Podcasts about Lota

A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: A poem about a map opens north and south, the first collection of the great 20th century poet Elizabeth Bishop. And since maps have been associated with her poetic vision, at once telescoping and binocular, and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also handheld, man made intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative and personal. Over the next few episodes, we'll be reading a selection of some of Bishop's most anthologized poems, starting with the moose as expressions of, among other things, her map, like imagination. This is Erin O'Luanaigh. And this is Wes Alwan, and you're listening to Subtext. Wes, have you ever seen a moose in the wild? 1:12 Wes: I have not, but I have seen Instagram videos of them and people getting too close, and I've heard that they actually are quite dangerous. 1:23 Erin: Oh, perfectly harmless. 1:24 Wes: As cute as they look. So not safe as houses. Which is a very surprising line, unless you think that houses maybe aren't as safe as they seem or ought to be. But that's something we'll talk about later. How about you? 1:38 Erin: I have not. And I actually, it's become a running joke among certain friends of mine that I haven't seen a moose because I long to see a moose in the wild. This is my dearest wish. 1:52 Wes: Is that the first time anyone said that in history? I long to see. 1:56 Erin: I don't know. 1:57 Wes: It's a good first line for a poem, actually. Why do you long. Long to see a moose in the wild? 2:03 Erin: Really? Maybe because of the poem. I don't know. I just really want to, but I. Maybe this will become significant without getting too personal or maybe with getting too personal. With apologies to the listeners. Ten years ago now, when my grandfather passed that summer, my grandmother wanted to go up to Maine and revisit certain places that she had been with him. And we ended up going to Acadia. And I was so excited to see. Am just. I got it into my head that I had to go to Acadia and see a moose. And I even bought a sweatshirt. I'm not wearing it right now. I looked down to see if I was wearing it. It's the same size and shape as this one. This is a Yankees, 1996 World Series sweatshirt. 2:42 Wes: It's not a Rocky and Bullwinkle sweatshirt, is it? 2:45 Erin: No, no, no. It's an acadia and it has a. It has a mousse on it. And so I bought it the first day that I was there and I was like, this is my sweatshirt and it has a moose on it. And I'm gonna. I'm gonna see a moose. And I did not see a moose. And then I. I bought a moose sweatshirt in, I think Grand Teton, and I was like, I'm gonna see a moose. And I did not see a moose. And then I lived obviously many years in Utah, and things would happen. Everybody knew I wanted to see a moose. And I would go to these trails where you could see moose. And I would like be going up a trail and someone would be coming down saying, there are moose up there. We just saw a moose. You just saw baby moose. I'd get all upsided and I would. I would run up and it was gone and people would taunt me. 3:32 Wes: So you don't want to see like a magic white heart or something like that? 3:38 Erin: No, no, I just want to see him. Even the garden variety moose? No, no. Just a humble moose will hide itself from me when. When it knows that I am after it. 3:49 Wes: Because they are a goofy, right? Are they majestic? Are they goofy looking? Are they both? 3:55 Erin: I think they're both. And I think that kind of qual quality is really well captured in the poem. No, I mean that quality of if not being then looking safe as houses or being a gargantuan size, and yet having. I know this is a female moose, which I believe is called a cow, as opposed to a bull. Right. But the bulls, even their horns have that hand like quality to them. You know, it looks kind of like an outstretched hand. 4:22 Wes: Interesting. 4:24 Erin: Yeah. They're not majestic. 4:25 Wes: Yeah, I think that's important to the poem. It's not some obviously majestic creature, although it is large and there is majesty in it in the poem, but it's not the typical majesty that you can just get from, oh, look at this beautiful animal. 4:41 Erin: Yeah. And this is kind of why I brought up my grandfather. There was some connection for me as I think there is something quite personal going on with the moose at the end, other than the shared experience of everybody in the bus, all of that. Like there's something bigger than us, more than us, and yet familiar in a way. And it's magical in a sense, because to see it is kind of a rare thing. Yet it also comes out of the landscape that she's that she's grown up in and that she's part of. I think there's a. Yeah. A lot of interesting dualities going on. 5:17 Wes: Okay. So maybe you can read the whole thing and then you could give a little bit. Or we could give a little bit of the biographical background because this is a bus trip she actually took. Right. 5:26 Erin: Yeah. 5:27 Wes: The significance of Nova Scotia, which is where she's departing from in the poem and all of that stuff. But. Yeah. Do you want to start by reading? 5:35 Erin: Sure. The moose from narrow provinces of fish and bread and tea, home of the long tides, where the bay leaves the sea twice a day and takes the herrings long rides where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home, where silted red sometimes the sun sets facing a red sea and others veins the flats. Lavender rich mud and burning rivulets. On red gravelly roads, down rows of sugar maples, past clapboard farmhouses and neat clapboard churches, bleached ridged as clam shells, past twin silver birches through late afternoon a bus journeys west, the windshield flashing pink, pink glancing off of metal, brushing the dented flank of blue beat up enamel, down hollows, uprises and waits patient, while a lone traveler gives kisses and embraces to seven relatives and the collie supervises goodbye to the elms, to the farm, to the dog. The bus starts. The light grows richer. The fog shifting, salty, thin, comes closing in. Its cold round crystals form and slide and settle in the white hen's feathers in gray glazed cabbages on the cabbage roses and lupins like apostles. The sweet peas cling to their wet white string on the whitewashed fences. Bumblebees creep inside the foxgloves and evening commences. One stop at Bass river, then the economies, lower middle, upper five islands. Five houses where a woman shakes a tablecloth out after supper. A pale flickering gone the Tantramar marshes and the smell of salt hay. An iron bridge trembles and a loose plank rattles but doesn't give way. On the left a red light swims through the dark. A ship's port lantern. Two rubber boots show illuminated, solemn. A dog gives one bark. A woman climbs in with two market bags. Brisk, freckled, elderly. A grand night. Yes, sir. All the way to Boston. She regards us amicably. Moonlight as we enter the New Brunswick woods. Hairy, scratchy, splintery moonlight and mist caught in them like lamb's wool. On bushes in a pasture the passengers lie back, snores some long sighs. A dreamy divagation begins in the night, a gentle auditory slow hallucination in the creakings and noises, an old conversation not concerning us but recognizable somewhere back in the bus, grandparents, voices uninterruptedly talking in eternity, names being mentioned. Things cleared up finally. What he said, what she said, who got pensioned. Deaths, deaths and sicknesses. The year he remarried, the year something happened, she died in childbirth. That was the son lost when the schooner foundered. He took to drink. Yes, she went to the bad when Amos began to pray, even in the store and finally the family had to put him away. Yes, that peculiar affirmative. Yes, a sharp indrawn breath, half grown, half acceptance. That means life's like that, we know it. Also death talking the way they talked in the old featherbed, peacefully on and on, dim lamplight in the hall, down in the kitchen, the dog tucked in her shawl. Now it's all right now, even to fall asleep, just as on all those nights. Suddenly the bus driver stops with a jolt, turns off his lights. A moose has come out of the impenetrable wood and stands there, looms rather in the middle of the road. It approaches, it sniffs at the bus's hot hood, towering antlerless, high as a church, homely as a house or safe as houses, a man's voice assures us, perfectly harmless. Some of the passengers exclaim in whispers, childishly, softly, sure are big creatures. It's awful plain. Look, it's a she. Taking her time. She looks the bus over, grand, otherworldly. Why. Why do we feel. We all feel the sweet sensation of joy? Curious creatures, says our quiet driver, rolling his Rs. Look at that, would you? Then he shifts gears for a moment longer by craning backward. The moose can be seen on the moonlit McAdam. Then there's a dim smell of moose, an acrid smell of gasoline. 11:05 Wes: Thank you. Very nice. It's really great to hear it spoken out loud. Spoken is the wrong word. It's the word read, performed. Do you want to say anything about the form of the poem before I ask you about some of the autobiographical background? 11:22 Erin: Yeah. Short lines, six line stanzas, 20, I believe. 28 stanzas in all. Irregularly rhymed, should we say? Kind of like a lot of bishop, you know, we get A, B, C. Then sometimes not rhymed where you might expect. So the rhymes peek their heads out and then. And then recede. Chatty a little bit in places, lots of repetitions of words. But that. That's something we could talk about More. But, yeah, kind of. Kind of mysterious form. One of the best things I've ever heard or read, I guess, about Bishop was by Michael Hoffman, who wrote quite a bit about her. And he said that it seems as though every time Bishop is writing, whether in form or in a kind of nonce form that she's creating, that she seems to be just inventing every form, like from scratch. You know, there's no blueprint. She doesn't have a familiar style in which she writes or particular kind of verse form that she seems to gravitate to. And when she writes, you know, a sistina or a villanelle or a sonnet or something like that, it seems like she's almost inventing the form as she goes along. And in this instance, there's a real. I keep wanting to say homemade after Crusoe in England. But, yeah, I think that's maybe what he was trying to get at, that homemade quality, that sort of bespoke kind of quality. And in the places where the rhyme goes in and out, I think that's really exemplified. 12:53 Wes: Well, it better be bespoke. She took forever to write it. 12:55 Erin: Yeah, that's right. She started this in, I think, 1946. 13:01 Wes: And then she finished it when this 13:04 Erin: was published in Geography 3. So she finished it in the 70s. 13:07 Wes: Okay. 13:08 Erin: Geography 3 came out in 1977. And this must have been published before then, individually, perhaps in the New Yorker, I think. Oh, geography three is 76. I would say maybe 72 is the date that comes to mind. Don't quote me on that. 13:24 Wes: Do we know why it took her so long? Obviously, she put it down for a couple days here and there. 13:29 Erin: It was the July 15th issue, 1972. So close to the day that we're recording. Why did it take her so long? She just worked on things forever and ever and ever. You see it, if you read. I highly recommend to listeners that they Get Words in Air. A very, very thick book of all the letters between Bishop and her friend Robert Lowell. You see her bringing up things or even mentioning in a description that she's writing to Lowell in a letter, a line that will later show up in a poem. Yeah. Low rate of productivity is great to. 14:08 Wes: You know, I can relate to that. 14:11 Erin: I take it as my model, honestly. Like, you know, live. Live Large and die with a slim Collected is kind of a. 14:19 Wes: Kind of a great Monroe Doctrine. But call it. What's another name? Bishpro. 14:28 Erin: That's right. 14:29 Wes: Is it right that she was forced to complete it because she agreed to read it this is something for deadlines. Right. At Harvard's Phi Beta Kappa ceremony. 14:38 Erin: I didn't know that. I know she read it at that ceremony, but I didn't know that that's what. The impetus for completing it. But that doesn't surprise me. 14:45 Wes: Yeah. So deadlines help every once in a while. 14:47 Erin: Absolutely, absolutely. 14:49 Wes: And then biographically. Right. This is based on a trip that she actually took, and she. She'd been to visit relatives in Nova Scotia and then came back on this bus trip. And the. There really was a moose. There really was a collie. Seven relatives for the rest of it. Yeah, yeah. Seven else. 15:11 Erin: Yeah, yeah. The specificity and all of it's. You know, there is a kind of like a photo realism, not just in the style, but in the. You know, we could sort of be certain that these things happened the way that she is recording them somehow, and yet she's spinning it into something more than just reportage. 15:30 Wes: So she was raised partly by her grandparents in Great Village, Nova Scotia. Right. Her. Her father had died in infancy and her mother was institutionalized. 15:41 Erin: That's right, yeah. 15:41 Wes: She aged at. When she was 5. 15:43 Erin: That's right. 15:44 Wes: So it's important just because. Yeah. The bus is leaving Nova Scotia, but go. Go ahead. 15:48 Erin: Yeah, it is important. She was born in 1911 in Worcester, Massachusetts, and she's buried there. I've seen her grave up there. It has a line or two lines from the bite on her tombstone. All the untidy activity continues. Awful but cheerful. Yeah. So she was born in 1911. Her father died, I think, of Bright's disease when she was 8 months old. And then her mother was institutionalized when she was 5, and she never saw her again. She didn't die until the 30s, I think, while Bishop was at Vassar. 16:23 Wes: Do we know what she was institutionalized for? Mental illness in general? 16:28 Erin: Yes. I don't know exactly what. In a short story of Bishop's, she describes as her. A scream coming from her mother. And whatever was wrong was exacerbated by her husband's death. And so then Elizabeth was left to be raised by her grandparents in Nova Scotia who were quite poor. And I guess she was kind of running around barefoot on the farm and stuff like that. And her father's family were very wealthy, and so when they came up to visit Elizabeth, they were, I guess, horrified by the fact that she was just like, you know, running around, hanging out with farm animals. And they took her to. Back with him to Worcester, and she was very unhappy there. Very ill child. She had asthma and eczema. And really, like, I think almost died of both at one time or other, very unhappy. And then eventually she moved to an aunt's house in, I want to say, in Revere, Massachusetts, and she was a little happier there. And then she went to Vassar, and I've been to the Vassar campus to see various buildings associated with Bishop and also to see. They did a really fabulous exhibition of her postcards at the Vassar Library a couple of years ago, which I really loved, seeing her hand and her little. In jokes and asides and really amazing to see. Anyway, at Vassar, the librarian there set up a meeting between Bishop and Marianne Moore, who became a mentor to her. They were very close. And then also over the course of her life, she was very close with and had an important friendship with Lowell. Hence the enormous book of letters. I have it here. It's so heavy I could barely pick it up. But this is a great book. It's kind of like an epistolary novel. Yeah. And she was. I think it's important to say, too, that she was a lesbian who had a very long relationship with a Brazilian architect named Lota de Mecedo Soares, who was her partner in Brazil for 15 years. She lived down there, known for travel. A lot of her collections, whether it's Geography three, which is the most obvious one, or north and south, have. There are a lot of Brazilian pumps. There are a lot of geographical poems. The first poem in her first collection, north and south, was the Map, which is often read as a kind of ars poetica. She's known for these types of, you know, sweeping landscapes that the moose begins with, and an interest in landscape and in this kind of bird's eye view. But then also you get these telescoping details, like a cinematic close up interspersed. Much is made of that in Bishop, of that kind of vision of hers, and specifically of, I don't know, the idea that she creates these. These beautiful miniatures, which is true, but maybe sometimes can be a little. I mean, she's revered, as she should be, and she's one of the most popular poets and she also has a great ear and she has so many other great things going on. So I don't want to exclusively focus on that kind of visual element, though it's there and it's very rich. 19:43 Wes: So from narrow provinces of fish and bread and tea. That's a very good opener. Why are they narrow provinces? And what is the. What are the fish and bread and tea doing? Fish and bread sounds vaguely like it could be a biblical reference, but maybe it's not. But you add tea. Right. There's something mundane here and perhaps restricted, provincial. And that's what she's going to be departing from. I mean, well, begins with the tides, but. 20:12 Erin: Yeah, right. Yeah, that's right. Narrow in a few kinds of ways. Because there's a strange. Because of the Bay of Fundy, there's almost that like U shaped corridor of land around it. So Nova Scotia is kind of narrow. And then up into. Then there's the narrow isthmus. I don't know, I don't know if I'm using that word correctly. Up into New Brunswick. Yeah, so there's something maybe a little, I don't want to say spiritually narrow, maybe somewhat limited or like practical. Practical and, you know, just the necessities and a place we learn that that is. That maybe has to be stalwart in response to the vagaries of the water around it. The Bay of Fundy, I was reading online, the tide, over the course of just one tide, can rise and fall 50ft because the bay is like a giant funnel. When it goes out, it just leaves this vast, open, muddy plain basically behind it. 21:16 Wes: She portrays this very beautifully. We get the image of the tide retreating and then the flats that are being illuminated by the setting sun as burning rivulets. And then there's almost a transition into the bus ride when she says on red gravelly roads, eventually the subject of that is going to be the bus. Although in the beginning, before we get to the bus, it looks like the rivulets have almost become roads. So you almost get the sense like the tides come in and it's going to go further inward, it's going to go all the way to Boston, but it's going to become the inhabitants of the bus who are much like the herrings. Right. In the first stanza. The herrings on the tides take herrings on long rides. So it's almost as if as the tide comes in, she is caught in the tide and brought along with it towards her destination. 22:08 Erin: That's right, yeah. And the bay itself, the water itself is also like a traveler, you know, you might go to visit it and find it's not at home, it's gone out for on a trip or something. So there's also that connection as well. Whereas the roads are part of this more solid and dependable and the water being fickle and not always depended on to be there. 22:31 Wes: Well, I was going to say there's something very poignant about the way she describes the tides and whether they're in or out. And I can't put my finger on it exactly. It's almost. It's this idea of. Right. Where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home. If the tide is in or coming in the river clashes with it in a wall of brown foam. Is that the idea now? And what's the image there? Is it always a wall of brown foam? Well, either way, I just. Something about this idea of. It depends on whether the bay is at home or something like that. It's a poignant image. 23:12 Erin: It is. It's that sense of just. Of disappointment or just missing someone, like a missed opportunity. Seems kind of surprisingly emotionally resonant, considering that she's talking about a tide. 23:25 Wes: And we. You know, it introduces the idea of home and. Which I think will be significant. And later on we'll talk about whether the moose is safe as houses and the reflections of the elderly and all that stuff. But. 23:40 Erin: And boundaries, too, right. You have very slippery boundary between the bay and the. And the sea, between the rivers and the bay that feeds them. And I think that boundary very much plays into the idea of home. And you could say that the bus seems to be a part of that too. Right. Like the bus becomes the home. So there's a little bit of the slippery idea of this transposition of home life into the bus, or the people on the bus all becoming the. We like a family within it. The way that it can literally cross national boundaries. It's going to Boston across the border. 24:18 Wes: Yeah. And then they'll be observing provincial life, I guess, from within the bus. And. And, you know, a woman shaking out an apron, for instance, or home life. But, yeah, I had the same thought to you. The bus. The interior of the bus becomes its own kind of mobile home, I guess. I guess the wall brown foam part. There's that push and pull, or it's a matter of who's doing the pushing. Right. In one case, the brown foam. The wall of brown foam is caused as. As the river pushes on the retreating tide. And the other case, it's the tide pushing back against the river as it comes in. But in either case, there's a clash there. 24:58 Erin: Then there are places, though, where there's blurring of boundaries. Like one of my favorite lines in the whole poem, the idea of the churches as ridged as clamshells. She always takes that. This is much remarked upon among scholars of Bishop. Where you get the thing that's. That's really big, suddenly reduced in size to the handheld, but coming out of the same idiom. You know, both the clamshell and this clapboard church are in a way equally native to Nova Scotia. The brilliance of connecting those two things and fishing being an industry in the area, you know, sort of springing out of the fishing industry. 25:42 Wes: Yeah. And shells are what's left as the tide retreats. Right. As it's as if the houses are just the natural residue of a retreating tide. 25:52 Erin: That's great. 25:52 Wes: From the beginning of the poem, there's a sense of momentum, and almost like you, at least in my case, I felt like I'm on a camera moving over the landscape, and it starts with the tide, and then it moves to the burning rivulets. Right. So now we're hovering over. I don't know what you would call it, a. A tidal plane. Anyway, she calls it the flats. Right. So all the silt, and we're moving along there, and then suddenly we're on a gravelly road. So the sun takes over from the sea. The redness of the sun. And then the bus takes over from the sun. But that's the momentum of the poem is from sea to sun to bus. 26:37 Erin: Yeah. The bus flashes pink. We get lots of pairs of the same word, creating a kind of chime with each other. So we get the windshield flashing pink. Pink glancing off of metal. And we wonder, I suppose, because part of the reason why the roads are red is because of the clay content. Right. Of the road itself. So we get that combination of, like, something red in the road or in the composition of the soil and rock of the area. 27:07 Wes: Laterite, I think, which I only know because of Graham Green, who I've been reading. Oh, and what heart of the matter. He's talking about laterite houses, like. So from the red clay, you can make, you know, homes from as well, and common in Sierra Leone. So he used the word like a hundred times before he finally looked it up. All right. There must be something that's going to not know what he's talking about. I'm like, oh, okay, now I get it. Yeah. 27:41 Erin: So that's the mineral, the. 27:44 Wes: It's reddish. Yeah. Reddish clay type of soil, topsoil or something like that. I should know more about this because I used to write about this, too, when I was writing about transportation and engineering. 27:56 Erin: Right. 27:57 Wes: It's important what kind of soil you're building on. But anyway, I remember nothing about that. But, yeah. So it could be the right word. Who knows? But. But, yeah. So you're getting at the. Yeah. The way the redness of the sun is interacting with the. 28:12 Erin: Yes, it's coming. 28:13 Wes: The redness of the soil. 28:14 Erin: Yeah. And that kind of redness coming from below and above to glint off of the bus. The windshield is flashing pink from the sun and the metal is flashing pink from the road. They're both brushing the dented flank of the blue beat up enamel from one direction or the other, it seems. Yeah. Sort of tunnel of red in which the. In which the bus is traveling. 28:41 Wes: Such a vivid image that she gives us. It made me think, you know, sometimes it's almost better than film. It's more vibrant or more. Don't know how to say it, but I was thinking about this because in some of the philosophy podcasts we do, there are philosophers who deny that we have imagery in our head. Exactly. Or we can never. Which seems true. Right. We can't imagine anything with the vividness that we would have if we actually saw it. But it makes me think when I read a poem like this, but also. And also reading some of the novels I've been reading. Well, there's a special kind of vividness to figurative language that perception can't capture. In some ways it's more. More vivid, definitely. 29:26 Erin: I think the sonic quality of the word, the repeated. Right. It's on the one hand a repeated image, but then it also creates that kind of just the soundscape, makes them feel somehow more synesthetic to say, but somehow more picturable or more tangible or more. I don't know, the pink glancing off metal, the dented flank beat up enamel. You know, there's just. It's like. I think that's contributing to it, to the vividness of the image. And yeah, you talked about momentum, too. I mean, this entire. This whole first sentence is six stanzas long. It ends with. And Akali supervises. So there's also that kind of. Yeah. Locomotive propulsion of the camera work, so to speak, Zooming in and then following the road into the bus. And then the bus arrives to sort of catch again, quite cinematically the scene that's actually happening or the place where the eye, if there is an eye in the poem, actually is the lone traveler embracing these relatives with the collie watching on. So there's a sense in which the I eye of the poem doesn't actually catch up with the speaker until stanza six and the end of this first sentence until we get goodbye to the elms, to the farm, to the dogs. So there's kind of lamination at that moment of the I eye and the capital I. 30:49 Wes: We seem to be gradually getting more of a point of view. Right. It's very omniscient in the beginning, hovering over the landscape. And I think gradually we're going to be getting a her point of view in the bus and then a we. But also just to note, this is one. I think this is the first of three pauses. Right. There's gonna. It's gonna pause here, the bus. The momentum is gonna stop as the bus lets on the lone traveler, which I presume is her. Right. Her saying goodbye. And then there'll be a pause when the amicable freckled woman gets on. She's there because we need everything to be in threes. And then we. Then we're gonna pause for the moose in the very end. I didn't miss anything. Right. There's not other places where we stop? 31:32 Erin: No. I mean, there are, of course, stanzas that end some more definitively than others and stopped with a period. There's a stop at Bass River. Right. So there is a little bit of that kind of start. Stop syntactically. But I think you're right that those are the stops where there's content. 31:49 Wes: Content goes. 31:50 Erin: Yes. And where there's a very particular. Yeah, the content of the bus, except for the moose obviously doesn't get on the bus. But there's a stop that's motivated, let's say, rather than just being described as various stops along the way where we don't know who got on and who got off or whatever. Certainly there's also a movement toward that more personal experience of the speaker. But then there are also things that the speaker couldn't possibly know or you know, because once she's said goodbye to everyone and gets on the bus, then we also get the sort of nature show close ups. The crystals of fog, the lupins like apostles, the sweet peasants clinging. One of my favorite parts, clinging to their wet white string on the whitewashed fences. Again, we get two uses of white right next to each other. Bumblebees creeping in the foxgloves. All things you really can't see from certainly from a moving bus. 32:43 Wes: Yeah, the point of view gets focused very, very gradually, maybe through the whole palm. Maybe it's not fully focused until the very end, but. Yeah. So you're pointing out something important which is at the sort of omniscient point of view is still here in these very. What do you call it when you take a close up with your phone? Macro, ironically. Yeah. These very close up pictures of flora and fauna and very Beautiful. 33:12 Erin: Yeah. They compound and then they get more and more loaded and mysterious. And just when we're about to maybe go over the edge, we get recalled back a little bit. That's at least how I'm reading, for instance, stanza 12, about the ship's port lantern and the boot and the bark of the dog. And then suddenly a woman climbs on the bus. And so we're sort of stopped from going off into some sort of train of thought that you could follow there down a rabbit hole. But I love that stanza on red light swimming through the dark. It reminds me of the last stanza of disillusionment, of 10 o'. Clock. Do you know the old sailor, drunk and asleep in his boots, catches tigers in red weather? I think that's how it goes, the Stevens bomb, because we get the boots and the red light in the ship, so they're probably. No. No real connection there. 34:07 Wes: So all of these little intricate descriptions that she's giving, right. It begins with the light growing richer, which I take it mean, means we're approaching dusk and evening, or we're in dusk and it's evening is approaching and a kind of mini winter, Right. Something. It's a diurnal cycle, but there's a bit of a parallel to something seasonal. Right. So we get crystals forming and the images like sweet peas clinging and the bumblebees inside foxgloves. As evening commences, it's almost like. I don't know if this is true, but it's almost as if we're getting the response of the animals and flora and fauna to the commencement of evening. That's our first indication of it. So I was surprised to see, okay, it's still light out enough for us to see a woman shaking a tablecloth out after supper. And that is beautifully described as a pale flickering. Right. Almost as if that's something like the light reflecting off the enamel bus, or not pink anymore, but just a flickering of pale light and then gone, I suppose. Does that mean that we're now without light? Is that sort of the way nighttime is ushered in by the end of the next stanza? And it's in the next stanza that we see a red light in the dark. Now we have a ship in the dark. So it's almost as if. Yeah, the shaking of the tablecloth is like a magician. Abracadabra. Now it's nighttime, Right? 35:39 Erin: Yeah. I love that. Yeah. You're making me realize how many connections there are to Keats in this poem. Right. There's something Keatsian about it, very. To Autumn, you get the sweet peas clinging on the fence. You get that image of fecundity things on top of other things. You know, the mossed cottage trees and the late flowers for the bees. And then the shaking out of the tablecloth is like the hair lifted by the winnowing wind. Right. Because there's. There's wind, there are flowers and bees. And then there's also, of course, redness and that image of, you know, like the evening. Autumn. Evening redness. And maybe this is. Yeah. Rows of sugar maples. Those could be red as well. If we're in an autumnal landscape, can't be too late because everything is, you know, it's got to be like August, maybe because we have this. Or. No, I guess maybe not. Gray glazed cabbages. I don't know enough about cabbages to know at what point in their development. 36:40 Wes: Yeah. Whatever season it is. I just think that the evening is almost like a mini winter. It gets colder and we see the. 36:46 Erin: Definitely. 36:47 Wes: We see the effects of it. But, yeah, maybe autumn is probably the logical season for. 36:53 Erin: Right. Yeah. And that point. Or that point in the transition from summer to autumn where, I mean, even on a summer night in Nova Scotia, the evening temperature is quite autumnal regardless. And so when the woman climbs on with the market bags, we get. 37:09 Wes: Shall we take a. Shall we? 37:12 Erin: Oh, yes. 37:13 Wes: Let's let the freckled amicable woman on in part two. 37:17 Erin: She'll have to wait. 37:18 Wes: Let's not let her on the bus yet. 37:20 Erin: You have to wait for everyone else to get off before you can get on. It's one of the cardinal rules of public transportation. Okay, we will continue in part two. Thank you. 37:29 Wes: Thank you.

Postulación de Lota como Sitio Patrimonial UNESCO. Exposición en recuerdo de Claudio SIlva Fierro en Bandera 1001.

OPEN HEAVENSMATALA LE LAGI MO LE ASO SA 24 ME 2026(tusia e Pastor EA Adeboye) Manatu Autu: Fa'amasinoina fa'aleagaga 3 (Spiritually discerned 3) Tauloto Tusi Paia: Isaia 30:21 “E fa‘alogo fo‘i o ‘outou taliga i le ‘upu i o ‘outou tua, pe a ‘outou afe ane i le itū taumatau pe afe ane i le itū tauagavale, e fa‘apea mai, “O le ala lava lenei,” ‘ia ‘outou sāvavali ai.”Faitauga - Tusi Paia: Kenese 26:1-6 O le mafai ona faamasinoina faaleagaga e matua taua i soo se kerisiano, aemaise pe a faia ni faaiuga taua i le olaga, e pei o le filifili o le toalua, le atunuu e nofo ai faapea ma uo. O nisi kerisiano ua faaipoipo atu ini tagata amio leaga e foliga mai o ni agelu o le malamalama ona e lē iloa faamasino faaleagaga. Ua latou opogi ni Iesepela ma Napalu, o tagata e ifo i tupua ma valea e taitai ese ai i latou mai le Alii ma faaleaga i o latou olaga. E manaomia e tagata faatuatua ona iloa lelei le tagata e tatau ona faaipoipo iai. Mo se faataitaiga, ina ua manao Aperaamo e filifili se toalua o Isaako, na ia faatonu maoti lana auauna i le ituaiga tamaitai e agavaa mo lona atalii ma fetaui lelei ma le feagaiga ua maea ona la faia ma le Atua (Kenese 24:1-8). Na ia faatonu lana auauna e alu i lona nuu ma lona aiga e filifili mai ai se toalua o Isaako. O le tapulaa muamua o le filifiliga a se kerisiano mo sona toalua, e tatau ona ia faaipoipo atu i seisi o le auuso kerisiano aua o lo tatou nuu o kerisiano o le lagi. O nisi kerisiano faatuatua ua faatuatuanai i lenei tapulaa ma ua oo ina latou fano ai. E lē gata e tatau ona faaipoipo atu i seisi kerisiano, e matua taua le ole atu i le Atua e faasino atu le tagata tonu mai le anoanoai o lana fanau. O nisi tamaitai kerisiano ua seetia i upu malie a isi kerisiano ua latou le ole atu i le Atua pe fetaui ma agavaai  o ia. E faapena foi i alii kerisiano, ua latou filifili i tamaitai ona o le toaga i galuega a le Ekalesia ua lē lagona ai e i latou le siufofoga o le Atua o loo faailoa atu lana amio. A oo loa i le mataupu o le faaipoipoga, e lē tatau i se kerisiano ona seetia i mea o loo vaaia ma misia ai le taitaiga a Agaga Paia. Afai e lei faia sou toalua, ou te tatalo ia e faataga le Alii, ae lē o ou lagona, foliga vaaia, iloiloga faale tagata e taitaia oe i lau filifiliga, i le suafa o Iesu. O le nofoaga e te lua nonofo ai e taua foi e manaomia le faamasinoina faaleagaga. I le Kenese 13:10-13, e lei fesili atu Lota i le Atua ae lei faia lana filifiliga e faatu lona faleie agai i Sotoma. Ua nofo i le ogatotonu o tagata faapaupau ma amioleaga ma na iu ina leai sona fale ina ua faaumatia e le Atua Sotoma ma Komoro ona o le agasala a ona tagata. Na o tagata e mafai ona faamasino faaleagaga e latou te iloa pe finagalo le Atua e o atu i seisi atunuu pe leai. Le au pele e, aua e te faia faaiuga e aafia ai lou olaga ma lou aiga e fua i lau faamasinoga ma le malamalama. Saili le finagalo o le Atua ma tumau i le faamasinoina faaleagaga ina ia e iloa poo le a le tulaga o loo ia finagalo e te faia. TataloLe Alii e, faamolemole fesoasoani mai ia te a'u ia aua lava nei ou lē faalogo i lau taitaiga, i le suafa o Iesu, Amene. 

O Flamengo não joga fora de casa, ele transforma qualquer estádio.Neste vídeo, mostramos os números que comprovam como a torcida rubro-negra lota setores visitantes, aumenta o público dos mandantes e bate recordes de renda no Brasileirão 2026.QUER FALAR E INTERAGIR CONOSCO?:        CONTATO I contato@serflamengo.com.br SITE I ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠serfla⁠me⁠ngo.⁠com⁠.br⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TWITTER I ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SiteSerFlamengo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠INSTAGRAM I ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Sitese⁠rFlamengo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠#Flamengo #NotíciasDoFlamengo #TorcidadoFlamengo

T.D.A debuta en Bar Callejón en los Ciclos Iguanna Rock. Festival de Jazz llega a Teatro de Lota. Agustín Diore saluda a las madres en su día con la canción "Otoño Invierno".

José ManuelSee omnystudio.com/listener for privacy information.

O ajuste da lotação continua entre os principais erros do pecuarista na hora de se preparar para o período seco

Damaszek bywa nazywany jednym z najstarszych stale zamieszkanych miast świata. Ludzie mieszkali tu od tysięcy lat, a samo miasto pojawia się w źródłach starożytnych wcześniej niż Rzym, Londyn czy Paryż. Znajduje się na północny wschód od góry Hermon. Na wschód od Damaszku znajduje się Pustynia Syryjska, ale samo miasto znajduje się nad rzeką Barada, w starożytności nazywaną Abana. W 2 Królewskiej 5:12 znajdujemy słowa Namana Syryjczyka: “Czy rzeki damasceńskie Abana i Parpar nie są lepsze od wszystkich wód izraelskich?”. Ta rzeka tworzy oazę, która stała się początkiem tego miasta. Tędy przechodziły starożytne szlaki kupieckie.Józef Flawiusz twierdził, że Damaszek założył wnuk Sema. W Rodzaju 10:22 czytamy: “Synami Sema są: Elam, Assur, Arpachszad, Lud i Aram”. Abraham wywodził się od Arpachszada, a Syryjczycy mieli się wywodzić od Arama. W oryginale hebrajskim gdy mowa jest o Syrii używa się słowa Aram. Tak jak Etiopię nazywa się Kusz, tak właśnie Syrię w tamtych czasach określano jako Aram. Ja będę korzystał z przekładu Biblii Warszawskiej gdzie pozostawiono słowo Aram i Aramejczycy, ale w wielu Bibliach przetłumaczono to na Syrię i Syryjczyków. Aram to słowo hebrajskie, ale Grecy używali nazwy Syria. Prawdopodobnie dlatego, że był to skrót od słowa Asyria. Ja muszę powiedzieć, że mi się kiedyś myliły Syria z Asyrią.Prawdopodobnie przez Damaszek przechodził Abram. W Rodzaju 15:2 czytamy: “Wtedy Abram odpowiedział: Panie Boże, cóż mi możesz dać, gdy ja schodzę bezdzietny, a dziedzicem domu mego będzie Eliezer z Damaszku”. Słowa te wypowiada bezdzietny jeszcze wtedy Abram. Według ówczesnego zwyczaju miał po nim dziedziczyć sługa czyli wymieniony Eliezer z Damaszku. Wygląda na to, że Abraham przechodził przez Damaszek i tam dołączył do niego ten sługa. Abram znalazł się tam ponownie gdy odbijał swojego bratanka Lota. W Rodzaju 14:15 “Potem podzieliwszy swój oddział, napadł na nich w nocy ze sługami swymi, pobił ich i ścigał aż do Choby, na północ od Damaszku”. Być może skorzystał wtedy z wiedzy Eliezera, który wychował się w tych stronach.W czasach Dawida Damaszek był stolicą jednego z syryjskich królestw. W 2 Samuela 8:5 czytamy: “Gdy zaś nadciągnęli Aramejczycy damasceńscy na pomoc Hadadezerowi, królowi Soby, Dawid pobił z Aramejczyków dwadzieścia dwa tysiące wojowników”. Aramejczycy damasceńscy to Syryjczycy z Damaszku. Dawid podporządkował sobie Damaszek, ale sytuacja zmieniła się za rządów Salomona. W 1 Królewskiej 11:24 czytamy o Rezonie: “Zebrał on wokoło siebie wojowników i został wodzem bandy. Gdy Dawid ich pobił, udali się do Damaszku i tam się osiedlili, i uczynili go królem nad Damaszkiem”. Był on przeciwnikiem Izraela w czasach Salomona.Kolejny król Damaszku pojawia się w czasach dwóch królestw. Ben-Hadad miał sojusz z królem Izraela Baszą, ale król Judy Asa posłał mu srebro i złoto. W 2 Kronik 16:4 czytamy: “Ben-Hadad przychylił się do prośby króla Asy i wyprawił swoich dowódców przeciwko miastom izraelskim”. Jest to pierwszy z trzech królów o tym imieniu. Hadad to bóg burzy jak kananejski Baal. Ben jak pewnie wiecie znaczy syn. W ten sposób władcy sugerowali boskie pochodzenie lub chociaż boską opiekę.Ben-Hadad II wielokrotnie próbował podbić Izrael. Na koniec dostał się do niewoli. W 1 Królewskiej 20:34 zapisano słowa Ben-Hadada oraz Achaba, czytamy tam: “Ten zaś rzekł do niego: Miasta, które zabrał mój ojciec twojemu ojcu, zwrócę, ty zaś możesz sobie w Damaszku urządzić bazary, jak mój ojciec urządził sobie w Samarii. Ja zaś - rzekł Achab - wypuszczę cię na wolność jako mojego sprzymierzeńca. I zawarł z nim przymierze, i wypuścił go wolno”. To, że Ben-Hadad II wspomniał swojego ojca, który żył równolegle z ojcem Achaba przyjmuje się za dowód, że nie jest on tym samym królem Damaszku wspomnianym w czasach Asy, choć teoretycznie było to możliwe.Prorok przepowiedział, że Achab umrze ponieważ wypuścił Ben-Hadada II. Gdy później doszło do kolejnej bitwy właśnie łucznicy tego syryjskiego króla zabili Achaba. Później Elizeusz przebywał w Damaszku. Ben-Hadad II był chory i wysłał swego sługę aby zapytał proroka o to czy wyzdrowieje. W 2 Królewskiej 8:10 czytamy: “Elizeusz rzekł do niego: Idź i powiedz mu: Na pewno wyzdrowiejesz, chociaż Pan mi objawił, że na pewno umrze”. Niektórzy bibliści sugerują, że chodzi tutaj o grę słów. Król miał wyzdrowieć ale i tak umrzeć, ale nie z powodu choroby. Ten sługa przekazał królowi tylko pierwszą część mówiąc: “na pewno wyzdrowiejesz”.W 2 Królewskiej 8:15 czytamy: “Lecz następnego dnia wziął Chazael derkę, zamoczył ją w wodzie i narzucił ją na jego twarz tak, że umarł. Potem Chazael objął po nim władzę królewską”. Był to przykład samospełniającego się proroctwa. Wykorzystał to później Szekspir w Makbecie. Chazael miał syna, któremu też nadał imię Ben-Hadad, historycy dają mu numer III. Być może Chazael po zabiciu Ben-Hadada II ożenił się z jego córką i w ten sposób jego syn Ben-Hadad III miał w żyłach krew poprzedniej dynastii do czego nawiązuje to imię. Ale to tylko moje przypuszczenia.Chazael gnębił zarówno Izrael jak i Judę. Przypisuje mu się stellę z Tel Dan. Mowa tam o pokonaniu “domu Dawida”. Zdobył też filistyńskie miasto Gat. Jego syn Ben-Hadad III też tego próbował, ale ostatecznie został pokonany przez Izrael. W 2 Królewskiej 14:28 czytamy: “Pozostałe zaś sprawy Jeroboama i wszystko, czego dokonał, i jego potęga, z jaką prowadził wojny i jak przywrócił Izraelowi Damaszek i Chamat, które należały do Judy, opisane jest w Księdze Dziejów Królów Izraelskich”. Przez “przywrócenie Izraelowi Damaszku” należy chyba rozumieć, że to miasto płaciło Izraelowi haracz czy daninę tak jak to było w czasach Salomona.Kolejny król Damaszku jest wspomniany w czasach króla Judy Achaza. W Izajasza 7:8 czytamy: “Gdyż stolicą Aramu jest Damaszek, a głową Damaszku jest Resyn”. Ten król Damaszku Recyn (lub Resyn) wraz z Królem Izraela Pekachem postanowili pozbawić korony linię Dawida w Judzie i ustanowić królem syna Tabala (Izajasza 7:6). Achaz poprosił wtedy o pomoc Asyrię. Król asyryjski Tiglat-Pileser III zdobył Damaszek. Przybył tam do niego Achaz i skopiował jego bożki. Podobne kazał wykonać w Jerozolimie. Tak więc Damaszek upadł, ale jego religia przetrwała, przynajmniej za panowania Achaza, bo jego syn przywrócił później religię mojżeszową.Po Syryjczykach z Damaszku pozostało jednak coś ważniejszego i bardziej długotrwałego. Prawdopodobnie wiecie, że kiedyś międzynarodowym językiem była łacina czyli język Rzymian. Wcześniej była to greka koine, a jeszcze wcześniej właśnie język aramejski zapewne dialekt z Damaszku. Według niektórych językoznawców aramejskim posługiwał się również Jezus. Ślady tego odnajdujemy w samej Ewangelii - to aramejskie słowa takie jak Abba (Ojcze), Kefas (Skała - imię Piotra) czy zawołanie Talitha kum. Jezus przynajmniej raz rozmawiał z Syryjką. Miałoby to sens gdyby rozmawiali po aramejsku. Jeżeli to prawda Jezus używał by aramejskiego który był lingua franca. Jego uczniowie używali greckiego, a kolejne pokolenia chrześcijan przeszły na łacinę.Póżniej Damaszek zdobywali Babilończycy, Persowie, a na koniec Grecy. Po śmierci Aleksandra Wielkiego, Seleukos I Nikator, który rządził Syrią przeniósł stolicę do Antiochii. Damaszek stracił wtedy na ważności. Po Grekach przyszli Rzymianie w osobie Pompejusza Wielkiego. Zdobył on Damaszek, który stał się jednym z miast Dekapolu wspominanego w Ewangeliach. Np. w Marka 7:31 czytamy o Jezusie: “wyszedł z okolic Tyru, przyszedł przez Sydon nad Morze Galilejskie środkiem ziemi Dziesięciogrodzia”. Dekapol to z greckiego 10 polis czyli 10 miast, co oddano jako “Dziesięciogrodzie”. Niektórzy historycy twierdzą, że władza Heroda Wielkiego rozciągała się aż po Damaszek.Do Damaszku przybył Saul, który później zmienił imię i stał się znany jako apostoł Paweł. W Dziejach 9:11 czytamy polecenie Jezusa do jednego z chrześcijan: “Wstań i idź na ulicę Prostą, i zapytaj w domu Judy o Saula z Tarsu”. Ta ulica istnieje do dzisiaj. Po łacinie nazywała się Via Recta. Ostatecznie Paweł musiał stamtąd uciekać. W 2 Koryntian 11:32 czytamy: “Namiestnik króla Aretasa w Damaszku otoczył strażą miasto Damasceńczyków, aby mnie pojmać”. Jak mówią Dzieje Apostolskie 9:25 zostal spuszczony w koszu z murów Damaszku. Okno w murze z czasów rzymskich jest pokazywane dziś turystom jako to przez które spuszczano Saula w koszu.Król Aretas wspomniany przez Pawła to dobrze znany historykom Aretas IV, władca Nabatei ze stolicą w Petrze. Zachowały się jego monety, inskrypcje oraz opis wojny z Herodem u Józefa Flawiusza. Wzmianka Pawła sugeruje, że pod koniec życia Aretas miał wpływy także w Damaszku. Sam król Nabatejczyków miał swoją stolicę w Petrze, ale według 2 Koryntian w Damaszku był jego namiestnik. To pozwala nam datować wydarzenia z życia apostoła Pawła. Ponieważ Aretas umarł około 40 roku n.e. ucieczka Pawła z Damaszku musiała nastąpić wcześniej, być może w 39 roku.Czy rzeki damasceńskie Abana i Parpar nie są lepsze od wszystkich wód izraelskich? Czy nie mogłem w nich się obmyć i oczyścić? Potem odwrócił się i odszedł pałając gniewem.https://biblia-online.pl/Biblia/Warszawska/2-Ksiega-Krolewska/5/12Synami Sema są: Elam, Assur, Arpachszad, Lud i Aram.https://biblia-online.pl/Biblia/Warszawska/1-Ksiega-Mojzeszowa/10/22Wtedy Abram odpowiedział: Panie Boże, cóż mi możesz dać, gdy ja schodzę bezdzietny, a dziedzicem domu mego będzie Eliezer z Damaszku.https://biblia-online.pl/Biblia/Warszawska/1-Ksiega-Mojzeszowa/15/2Potem podzieliwszy swój oddział, napadł na nich w nocy ze sługami swymi, pobił ich i ścigał aż do Choby, na północ od Damaszku https://biblia-online.pl/Biblia/Warszawska/1-Ksiega-Mojzeszowa/14/15

Ponemos el foco en el alcance que tiene el narcotráfico en América Latina. Según el Banco Interamericano de Desarrollo, la violencia puede repercutir en casi un 3,5% del PIB regional. Pero cuando nos referimos al narco no podemos hablar solo del impacto en la seguridad y en la economía sino también tenemos que hablar de la repercusión que tiene en la salud, los servicios sociales, la política y el turismo. Lo analizamos con María José Chaguaceda, analista de Riesgo-País de Cesce, la Compañía Española de Seguros de Crédito a la Exportación.De la actualidad estamos pendientes de la llegada de un petrolero ruso a Cuba y de la paralización de la justicia argentina a parte de la reforma laboral del presidente Javier Milei. Además, les contamos que un ataque de una banda armada en Haití ha dejado 70 muertos y miramos a Ecuador donde ha terminado el toque de queda en 4 provincias del país. Después, Teresa Montoro nos acerca a la gira que está haciendo el coreógrafo chileno Pedro Fernández Embrujo con el espectáculo Lota las mujeres del Carbón y nos despedimos con una nueva versión del puertorriqueño Ricky Martin. Escuchar audio

El bailarín y coreógrafo chileno Pedro Fernández Embrujo rinde homenaje con "Lota, las mujeres del carbón" a las mujeres de ese enclave minero del sur de Chile, fuente principal de la extracción de carbón en el país austral hasta el cierre definitivo de sus minas en 1997, guardianas de la vida cotidiana, de la memoria colectiva y de la resistencia social. Una situación extrapolable a otros lugares como Asturias, donde la obra se acaba de representar. Con un elenco de artistas chilenos y españoles, el espectáculo entrelaz danza folclórica chilena y española, flamenco, teatro, música en vivo y las letras de la cantautora chilena Violeta Parra.Escuchar audio

Luis Lota, director de la Región Metropolitana Bogotá-Cundinamarca by Diario La república

Wyobraźmy sobie film o Napoleonie, w którym cesarz sprawdza godzinę na cyfrowym zegarku Apple Watch. To jest właśnie anachronizm - umieszczenie przedmiotu, pojęcia lub osoby w czasie, w którym jeszcze nie istniały. Definicja: W literaturze to sygnał, że autor tekstu żył znacznie później niż postacie, o których pisze. W Pięcioksięgu (Torze) takich „zegarków na ręku patriarchów” jest całkiem sporo. Tradycja podaje, że Pięcioksiąg czyli 5 pierwszych ksiąg w Biblii napisał Mojżesz. Znajdują się tam jednak informacje, których nie mógł on znać.Zacznijmy od przykładu geograficznego. W Rodzaju 14:14 czytamy: “Gdy Abram usłyszał, że bratanka jego wzięto do niewoli, uzbroił swoich trzystu osiemnastu wypróbowanych ludzi, urodzonych w jego domu i ruszył w pościg aż do Dan”. Mowa tutaj o Abrahamie, który ruszył za oddziałami, które uprowadziły Lota. Ścigał ich na północ aż do miasta Dan. Problem w tym, że to miasto w czasach Abrahama nazywało się Laisz. Według Biblii Abraham był ojcem Izaaka, który był ojcem Jakuba, który miał 12 synów, w tym jednego o imieniu Dan. Cała ta rodzina udała się do Egiptu i dopiero po wyjściu stamtąd podbili Kanaan i zmienili kilka nazw.W Sędziów 18:29 czytamy o potomkach Dana: “Miastu temu nadali nazwę Dan od imienia ich ojca Dana, który się urodził Izraelowi. Poprzednio miasto to nazywało się Laisz”. Tak więc ani Mojżesz ani nawet Jozue nie mogli znać tej nazwy. Aby unaocznić ten problem przypomnijmy historię miasta nad Bosforem. W czasach starożytnych nazywało się ono Bizancjum, potem Rzymianie zmienili jego nazwę na Konstantynopol, a w końcu Turcy na współczesny Istanbuł. Gdybyśmy czytali jakiś tekst napisany w I wieku n.e. o tym mieści, ale pisarz użyłby nazwy Konstantynopol lub Istanbul to bylibyśmy pewni, że to musiało zostać napisane później.Kolejny przykład dotyczy systemu politycznego. W Rodzaju 36:31 czytamy: “A oto królowie, którzy panowali w ziemi edomskiej, zanim nad synami Izraela zapanował król”. Według Biblii nad Edomitami król panował już w czasach Izaaka i Jakuba. Jednak Izraelici pierwszych królów mieli dopiero po czasach sędziów. Zwykle za pierwszego uznaje się Saula, potem Dawida, Salomona itd. Innymi słowy pierwszy król Izraela pojawił się parę wieków po Mojżeszu. Z drugiej strony w Księdze Powtórzonego Prawa 17:14 czytamy: “Gdy wejdziesz do ziemi, którą Pan, Bóg twój, ci daje, obejmiesz ją w posiadanie, osiądziesz w niej i powiesz sobie: Ustanowię nad sobą króla, jak wszystkie narody wokół mnie”.Kolejny przykład dotyczy demografii. W Rodzaju 13:7 czytamy: “Między pasterzami stad Abrama a pasterzami stad Lota powstał spór. A Kananejczycy i Peryzyci mieszkali wówczas w kraju”. Mowa jest tutaj o przeszłości, czyli okresie gdy w tamtej ziemi mieszkali Kananejczycy. Jednak w czasach Mojżesza to była teraźniejszość. Nawet po podboju Ziemi Obiecanej przez Jozuego dalej mieszkali tam Kananejczycy. Np. Księga Sędziów rozdziały 4 i 5 opisują walkę Baraka i Debory z Jabinem, królem Kananejczyków. W zasadzie Kananejczycy nigdy nie opuścili ziemi obiecanej ale zmieszali się z potomkami Izraela.W Księdze Ezechiela 16:3 czytamy: “I powiedz: Tak mówi Wszechmocny Pan do Jeruzalemu: Twoje pochodzenie i twój ród wywodzi się z ziemi kanaanejskiej. Twoim ojcem był Amorejczyk, a twoją matką Chetytka”. Oczywiście Kananejczycy przestali istnieć jako osobny naród, ale Żydzi w czasach Ezechiela byli ich potomkami. Kiedy zniknęły te narody. Trudno powiedzieć. Jeszcze z niewoli babilońskiej wrócili potomkowie Gibeonitów. Kiedy więc napisano fragment z Rodzaju 13:7 o tym, że kiedyś w tej ziemi mieszkali Kananejczycy? Prawdopodobnie w okresie królów lub po niewoli babilońskiej.Przejdźmy teraz do najważniejszej części naszych rozważań. Skąd się wzięły w Pięcioksięgu te anachronizmy? W czasach Ezdrasza istniała już grupa przepisywaczy, którzy starali się skopiować tekst bez żadnej zmiany. Wcześniej jednak tekst mógł być “żywy” czyli podmieniany. Być może był przekazywany ustnie. Np. kolejne pokolenia dowiadywały się jak to Abraham uratował Lota gdy ścigał wrogów aż do miasta Laisz. Ale w międzyczasie miasto zmieniło nazwę, tak więc opowiadający tą historię zaczęli używać nazwy Dan. Inne wyjaśnienie dotyczy przepisywaczy takich jak Ezdrasz. Być może to oni zrobili korektę tekstu wstawiając nowe nazwy miast i napiali Dan zamiast Laisz.Przykładem jak to mogło wyglądać jest Ewangelia Marka. Według tradycji Marek spisał historię Jezusa opowiedzianą przez Piotra. Np. w Marka 5:41 czytamy: “I ująwszy dziewczynkę za rękę, rzekł jej: Talita kumi! Co znaczy: Dziewczynko, mówię ci, wstań”. Być może Piotr opowiadając przypomniał słowa: “Talita kumi!”, ale Marek pisząc dla Greków od razu je przetłumaczył. Ale tutaj też jesteśmy zdani na tradycję, która przypisuje tą Ewangelię Markowi i dodaje, że jego źródłem był apostoł Piotr. Dokładnie tak samo jest z Pięcioksięgiem. To tradycja żydowska przypisuje te księgi Mojżeszowi.Dla chrześcijan największym autorytetem jest oczywiście Jezus. W Marka 12:26 czytamy: “A co do umarłych, że zostaną wskrzeszeni, czy nie czytaliście w księdze Mojżesza, jak to Bóg rzekł przy krzaku do niego: Jam jest Bóg Abrahama i Bóg Izaaka, i Bóg Jakuba?” Zacytował tutaj Księgę Wyjścia 3:6. Czy jednak oznacza to, że Jezus myślał, że każde słowo w tych księgach napisał Mojżesz? Wyobraźmy sobie taką sytuację masz Pana Tadeusza z wieloma przypisami wyjaśniającymi tekst. Dalej będziesz mówił, że autorem jest Adam Mickiewicz. Podobnie jest z Opowieściami Cantenberyjskimi. Zostały one napisane w staroangielskim. Współczesne angielskie wersje różnią się od oryginału, ale dalej twierdzimy, że napisał je Geoffrey Chaucer.Bibliści badający te księgi wyciągają różne wnioski. Od takich, że wszystko napisał Mojżesz po takich, którzy twierdzą, że nie napisał on ani jednej literki z tego tekstu. Oczywiście są też tacy, których są gdzieś pośrodku i przypisują Mojżeszowi większość tekstu, ale dodają, że niektóre fragmenty dopisali lub zmienili przepisywacze tacy jak Ezdrasz. Jestem ciekawy jakie jest wasze zdanie. Napiszcie mi o tym w komentarzu. Warto pamiętać, że jeżeli nawet uznacie przypisywanie autorstwa Mojżeszowi za błąd to jest to błąd tradycji. Te księgi nigdzie nie mówią: “To ja Mojżesz napisałem każde słowo w tym zwoju”.Gdy Abram usłyszał, że bratanka jego wzięto do niewoli, uzbroił swoich trzystu osiemnastu wypróbowanych ludzi, urodzonych w jego domu i ruszył w pościg aż do Dan.https://biblia-online.pl/Biblia/Warszawska/1-Ksiega-Mojzeszowa/14/14Miastu temu nadali nazwę Dan od imienia ich ojca Dana, który się urodził Izraelowi. Poprzednio miasto to nazywało się Laisz.https://biblia-online.pl/Biblia/Warszawska/Ksiega-Sedziow/18/29A oto królowie, którzy panowali w ziemi edomskiej, zanim nad synami Izraela zapanował król.https://biblia-online.pl/Biblia/Warszawska/1-Ksiega-Mojzeszowa/36/31Gdy wejdziesz do ziemi, którą Pan, Bóg twój, ci daje, obejmiesz ją w posiadanie, osiądziesz w niej i powiesz sobie: Ustanowię nad sobą króla, jak wszystkie narody wokół mniehttps://biblia-online.pl/Biblia/Warszawska/5-Ksiega-Mojzeszowa/17/14Między pasterzami stad Abrama a pasterzami stad Lota powstał spór. A Kananejczycy i Peryzyci mieszkali wówczas w kraju.https://biblia-online.pl/Biblia/Warszawska/1-Ksiega-Mojzeszowa/13/7I powiedz: Tak mówi Wszechmocny Pan do Jeruzalemu: Twoje pochodzenie i twój ród wywodzi się z ziemi kanaanejskiej. Twoim ojcem był Amorejczyk, a twoją matką Chetytka.https://biblia-online.pl/Biblia/Warszawska/Ksiega-Ezechiela/16/3I ująwszy dziewczynkę za rękę, rzekł jej: Talita kumi! Co znaczy: Dziewczynko, mówię ci, wstań.https://biblia-online.pl/Biblia/Warszawska/Ewangelia-Marka/5/41A co do umarłych, że zostaną wskrzeszeni, czy nie czytaliście w księdze Mojżesza, jak to Bóg rzekł przy krzaku do niego: Jam jest Bóg Abrahama i Bóg Izaaka, i Bóg Jakuba?https://biblia-online.pl/Biblia/Warszawska/Ewangelia-Marka/12/26

Conversamos en el #TraficantesDeCultura con Macarena Cortés, directora del Centro del Patrimonio de la Universidad Católica a razón de dos libros editados por EDICIONES UC: Balnearios populares 1970-1973. Patrimonio, turismo y memoria y Paisaje cultural de Chiloé"Balnearios populares 1970-1973. Patrimonio, turismo y memoria":Durante el gobierno de Salvador Allende (1970-1973), la política de los balnearios populares materializó una larga tradición de turismo social en Chile y en el mundo. El impulso de esta práctica tuvo varios propósitos: recorrer y reconocer el territorio nacional, fortalecer el sentido de pertenencia a través del paisaje, y garantizar vacaciones dignas para los trabajadores. La investigación reunida reconstruye la historia de diecisiete balnearios levantados a lo largo del país, desde Arica hasta Lota, y muestra cómo estos espacios —concebidos originalmente para el descanso y la vida comunitaria— fueron transformados tras el golpe militar: al menos cuatro de ellos se convirtieron en centros de detención y tortura, mientras otros pasaron a ser centros vacacionales de las Fuerzas Armadas o vendidos a privados."Paisaje cultural de Chiloé":Paisaje Cultural de Chiloé invita a recorrer un territorio donde geografía, arquitectura, historia y vida comunitaria se entrelazan de manera inseparable, desde los asentamientos costeros y la relación cotidiana con el mar, hasta las iglesias, palafitos, festividades y prácticas contemporáneas. El libro muestra la manera en que el archipiélago se ha configurado como un paisaje cultural único, en el que la naturaleza, lo material y lo simbólico dialogan constantemente. Pensado para lectores interesados en el patrimonio, el territorio y las culturas del sur de Chile, así como sus diversas comunidades, este volumen se presenta como una ventana privilegiada hacia la riqueza chilota. Publicado en el marco de los 200 años de su incorporación a la República de Chile, invita a mirar el paisaje cultural no solo como una herencia, sino que, al modo de un tejido vivo, en permanente movimiento.

Stāsta Dzīvā muzeja "Senās Kuldīgas stāsts" gide Inga Spēkaine; pārraides producente - Dina Dūdiņa-Kurmiņa Kuldīgas ģerbonī attēlotā sieviete ir mocekle Svētā Katrīna ar mocekļa kroni galvā, stilizētu moku ratu un lūgšanas krellītēm (rožukroni) labajā rokā un zobenu – kreisajā rokā. Svētā Katrīna ir Kuldīgas pilsētas aizgādne. Nostāsti vēsta, ka viduslaikos viņa bijusi viena no pilsētas iedzīvotājām. Kādu nakti meitene redzējusi sapni, ka viņai Kuldīgā jāuzbūvē baznīca. Meitene aicinājumu uztvērusi nopietni, čakli strādājusi un, kad nauda bija nopelnīt, devusies pie pilsētas valdniekiem un atklājusi savu vēlmi. Viņi par tādu uzdrošināšanos kļuvuši nikni un nolēmuši sodīt Katrīnu ar nāvi. Nostāsti ir dažādi. Vieni vēsta, ka meitene tikai sarauta gabalos uz moku rata, citi – ka Katrīna, gluži tāpat kā daudzas gudras viduslaiku sievietes, nosaukta par raganu un sadedzināta sārtā. Līdzīgs stāsts ir par Aleksandrijas Katrīnu. Absolūtas patiesības – vai arī Kuldīgā reiz dzīvojusi meitene, kas par savu aicinājumu uzskatīja baznīcas celšanu, vai arī tas ir viens no klejojošajiem stāstiem, kuru uz Kuldīgu atvedis un iedzīvinājis kāds no daudzajiem svešzemju ceļotājiem –, nav. Zināms, ka pēc nāves Katrīna atzīta par nevainīgu, iecelta svēto kārtā, un viņai par godu nosaukta dažus gadsimtus vēlāk uzceltā baznīca. Šodien Svētā Katrīna ir viens no Kuldīgas simboliem. Viņas vārdā nosauktais dievnams ir pelēcīgi dzeltenā krāsā, jo pirmā pasaules kara laikā, vēlēdamies pasargāt baznīcu uzlidojumu laikā, kuldīdznieki ēku esot nokrāsojuši ar kvēpiem. Vēlāk gan viņi centušies baznīcu atkal nomazgāt, bet tas īsti neesot izdevies. Tā nu sārmaino pelnu klātās sienas joprojām atgrūž krāsu. Kuldīgā dažāda veida sodi tikai izpildīti Rātslaukumā, kas savu atrašanās vietu nav mainījis. Pirmdienās tas pārvērtās par tirgus laukumu. Līdzās preču tirdzniecībai un maiņai tur notika nepaklausīgo kuldīdznieku sodīšana. Populārs bija kauna stabs jeb sieksta, kurā vispirms nelaimīgo ieslēdza, bet pēc tam pēra ar pletnēm un ķēdēm, nomētāja ar akmeņiem. Vainīgos, tostarp par raganām uzskatītās jaunās, skaistās meitenes, dažkārt ieslodzīja zem Rātsnama esošajā cietumā. Tagad tur atrodas kuldīdznieku un pilsētas viesu iecienīta kafejnīca... Pilsētniekus, kuri nevēlējās strādāt, ievietoja sodu jeb sliņķu kastē. Ja kapracis vai baņķieris naktī bija aizsēdējušies krogā un no rīta nevarēja aiziet uz darbu, viņiem nācās sēdēt sliņķu kastē, bet pārējie pilsētnieki viņus aplēja ar dubļiem un citādi apsmēja. Vispopulārākais soda veids, kuru skatījās kā izrādi, bija pakāršana. To varēja izpelnīties par dažādiem pārkāpumiem un pamatīga izmeklēšana tolaik netika veikta. Tā kā augstmaņiem un aristokrātiem šķita, ka pakāršana izskatās neglīti, viņu sodīšanai izmantoja sudraba zobenu. Neviens no šiem sodīšanas veidiem gan neesot attiecies uz sievietēm – viņas parasti sadedzināja sārtā, lai pēc tam nepaliek grēcīga miesa.  

OPEN HEAVENSMATALA LE LAGI MO LE ASO SA 18 IANUARI 2026(tusia e Pastor EA Adeboye) Manatu Autu: Faamanuiaga ma aiaiga (Conditional blessings)Tauloto Tusi Paia:3 Ioane 2 “Le pele e, ‘ia e manuia i mea uma, ma ‘ia e mālōlō, fa‘apei ‘ona manuia o lou agaga.”‭‭Faitauga - Tusi Paia: Teuteronome 28:1-14O le tele o taimi a tatou tau atu i se faamanuiaga ao faitauina le Tusi Paia, e tatou te fiafia ma tatou avea ma tatou lena faamanuiaga. Peitai ona o a'u o se tagata tau matematika, ua a'oa'oina a'u e iai fuaiupu faafuainumera e faatoa mafai ona maua le taunuuga pe a faamalieina aiaiga. O le tulaga lea a ou vaai i se faamanuiaga i le Tusi Paia, ou te fiafia e saili auiliili aiaiga e tatau ona faamalieina ina ia ‘ou maua ma fiafia i lenei faamanuiaga. O nisi kerisiano, e latou te le maua ma fiafia i faamanuiaga ua maea ona folafola e le Atua mo latou ona latou te le o iloa aiaiga e tatau ona faamalieina ina ia taunuu. O le mafuaaga lea e taua tele lou iloa o aiaiga o loo afifi mai i folafolaga a le Atua ina ia taunuu ma ia faaauau pea nei aiaiga ina ia e fiafia ai pea i nei faamanuiaga. Fai mai le Kenese 12:1-3“‘Ua fetalai mai le ALI‘I ‘iā Aperamo: “‘Ia tu‘ua e oe o lou nu‘u, ma tagata o lou nu‘u, ma le ‘āiga o lou tamā a e alu atu i se nu‘u ‘ou te fa‘asino atu ai ‘iā te oe. ‘Ou te faia oe ma nu‘u tele, ‘ou te fa‘amanuia fo‘i ‘iā te oe, ‘ou te matuā fa‘amamaluina lou igoa; e manuia fo‘i oe. ‘Ou te fa‘amanuia atu ‘iā te i latou o ē fa‘amanuia ‘iā te oe, ‘ou te fa‘amalaia atu fo‘i ‘iā te i latou o ē fetu‘u ‘iā te oe; e manuia fo‘i ‘iā te oe o ‘āiga uma o le lalolagi.”‭‭I fuaitau o loo taua i luga, na foai e le Atua faamanuiaga e fitu ia Aperaamo e fua i aiaiga nei: Na ia faatonu o ia e tuua lona nuu, tuua lona aiga, tuua le fale o lona tamā ae alu atu e saili le nuu o le a ia faasino atu ia te ia. O lona uiga, o le mafai ona taunuu ma fiafia Aperaamo i nei faamanuiaga, sa tatau ona ia faataunuuina aiaiga uma na avatu ia te ia e le Atua. Na tuua e Aperaamo le fale o lona tamā ma lona nuu e saili i le nuu na folafola atu e le Atua e pei ona faatonuina, ae na ia avea le atalii o lona uso (Lota), ma lē  faataunuuina ai se tasi o aiaiga. O le iuga, o faamanuiaga na folafolaina e le Atua ia te ia, na taofia seia vavaeeseina Lota mai ia Aperaamo i le Kenese 13:14-15. O le faitauga mai le Tusi Paia o le asō, o loo tusia ai nisi o faamanuiaga matagofie. Peitai, e lē tatau ona e siitia i le faalogo i folafolaga o faamanuiaga, e tatou ona e sailiili aiaiga o loo manaomia. Na fetalai le Atua e tatau ona e faalogo ma le filiga i lana upu ma aua lava nei fulitua iai ina ia e fiafia i nei faamanuiaga. A e faitau i isi fuaiupu 15-68, o le a vaai ai i le taui o le lē faataunuuina o aiaiga o le faamanuiaga. Le au pele e, afai e te faamalieina aiaiga a le Atua, e te maua ma fiafia i ana faamanuiaga. Peitai a e le maua, e lē mafai ona e maua ma fiafia iai. Ia e maitau lelei aiaiga e tatau ona faamalieina ina ia e maua ma fiafia i faamanuiaga a le Atua, i le suafa o Iesu, Amene. 

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V textu se apoštol Petr vrací k příběhu Lota, aby na jeho osudu ukázal rozdíl mezi tím, jak Pán vede své věrné, a jaký konec čeká ty, kdo klamou a svádějí druhé.Tento podcast můžete podpořit na https://radio7.cz

Milhares de pessoas foram às ruas, no último domingo, para protestar contra a anistia para golpistas, e contra os retrocessos promovidos pela direita no congresso. Lideranças petistas participaram das manifestações, que contaram com a mobilização do partido, de movimentos sociais e sindicais, artistas e representações do campo progressista.Sonoras:

Sarah and Simon squeeze in to discuss upcoming festivities. Sarah tightly shares about her time on the North Island of NZ, while Simon breathes in to talk about a unique parkrun experience for him. There are roving reports from Bowen, Wynuum and Parrs Park parkruns. This episode is filled with celebrations and we learn about the importance of double checking your own luggage before leaving home.              

Quarta-feira, 17 de setembro de 2025.

Ashok Pande writes in many voices. He writes travelogues and poetry, he has written a book about forgotten women of the world and a lot about his corner of Uttarakhand. His Facebook page is a treasure trove of stories big and small, told with a mix of humour, compassion and curiosity, all in equal parts. Where I pause most in his work is his book of “kissas” (anecdotes). For someone like me who “hears” the words as I read, intonation and all (I recently discovered that it's a scientifically proven thing, this hearing of words in one's head in an actual voice!) It's a special treat to read his words thick and sweet like honey with regional accents. Enjoy this qissa from his book, Babban Carbonate. अशोक पांडे ने बहुत कुछ लिखा और लिख रहे हैं।  वे यात्रा वृत्तांत और कविताएँ लिखते हैं, उन्होंने दुनिया की भूली-बिसरी महिलाओं पर एक किताब लिखी है और उत्तराखंड के अपने सलोने कोने के बारे में भी बहुत कुछ लिखा है। उनका फेसबुक पेज छोटी-बड़ी कहानियों का ख़ज़ाना है। उनके काम में मेरी सबसे पसंदीदा है उनकी "किस्सा" की किताब, ‘बब्बन कार्बोनेट'। आज उनकी किताब, बब्बन कार्बोनेट, के इस किस्से का आनंद लें।

OPEN HEAVENSMATALA LE LAGI MO LE ASO FARAILE 2 ME 2025(tusia e Pastor EA Adeboye)Manatu Autu: O le faigamalaga o le olaga nei (The journey of life)Tauloto -Tusi Paia–Salamo 36:9 “Auā o lo‘o ‘iā te oe le puna o le ola, o lou malamalama matou te iloa ai le malamalama.”‭‭Faitauga – Tusi Paia – Salamo 32:8-9I le Kenese 47:7-9, na fesili Farao ia Iakopo, ‘E fia ea tausaga o lou olaga ?'. Na tali Iakopo, ‘sa ou faimalaga mo le 130 tausaga, ae sili atu o'u tamā'. O le fesili, ‘e fia ou tausaga?', o lona uiga, o le ā le umi ua iai lau faigamalaga i le olaga nei? O le taimi e te fanau ai, e amata ai lau faigamalaga i le lalolagi nei. Peitai a e maliu, e gata loa le faigamalaga, ona e faafesagai loa lea ma le faavavau, a lē o seoli o le lagi, e fua pe na e talia Iesu Keriso i lou olaga pe leai. E fia faia atu la'u fesili, a'o e feagai ma le faigamalaga i le lalolagi nei, o e malaga i le ala tonu? O e silafia le taunuuga o fuafua e le Atua mo oe?O le asō, e toatele o faimalaga i le olaga nei e aunoa ma le saili ia iloa le finagalo o le Atua mo lo latou taunuuga, e le tatau ona e faia lea tulaga. E iai le mafuaaga ma le faamoemoega autu na e fanau mai ai, a lē taunuu lea faamoemoega, e te tali I Lē na foai atu le ola o loo e ola ai nei. O au faaiuga e faia, pe telē pe laitiiti, e fua iai lo'u taunuuga i le olaga nei. I le Kenese 13:10-11, na faia le faaiuga a Lota e aumau i se nofoaga e fua i lona matagofie i le vaai e aunoa ma le saili o le finagalo o le Atua. O lenā faaiuga e tasi na suia ai le taunuuga o lona olaga faapea uma suli na tupuga mai ia te ia e faavavau. Le au pele e, o Lē na tuua oe I lenei faigamalaga ua maea ona ia saunia le taunuuga mo oe, ma tusia le faafanua o le ala e te taunuu ai iai. Na ia fetalai i le Ieremia 29:11, e na te foaiina atu le iuga e iai le faamoemoe. E moni e faaalia atu e le Atua le taunuuga, ae na te lē auiliiliina atu i le taimi e tasi. Na ia fetalai ia Aperaamo, ‘ia e tuua le fale o lou tamā ae alu i le nuu o le a ou faaali atu ia te oe'. Na ia faailoa I le fanauga a Isaraelu, ‘o le a ou taitai ia te oe i le nuu na folafolaina'. Na ia faaali ia Iosefa o le a avea o ia ma taitai tautaua ma sa ia fai foi ia Peteru o le ia faia o ia ma faifaiva I tagata. O nei tagata uma, na latou iloa se vaega o lo latou taunuuga, ae o le faafanua o le ala e agai ai o loo tumau I le Atua. O le faafanua ma le ala e te oo ai i le taunuuga, o loo i le Atua, a e mafuta latalata ia te ia, e na te taitai ia te oe ia e taunuu iai. Fai mai Tavita i le Salamo 119:105“O lau afioga o le sulu lea i o‘u vae, ma le malamalama i lo‘u ala.”‭‭Le au pele e, a faamuta le lua mafutaga ma le Atua, e te leiloa foi le faafanua o le ala iai, ma è te ono taunuu i se taunuuga sesē. Faalatalata i le Atua, ma faataga o ia e taitai i ou laasaga uma i le faigamalaga o le olaga nei. TataloTamā, faamolemole fesoasoani mai ia te a'u ina ia ou latalata pe ia te oe e faavavau Ina ia ou ausia le taunuuga ua e fuafuaina mo lo'u olaga i le suafa o Iesu, Amene. 

OPEN HEAVENSMATALA LE LAGI MO LE ASO GAFUA 28 APERILA 2025(tusia e Pastor EA Adeboye)Manatu Autu: Alo ese mai misa (Avoiding strife)Tauloto -Tusi Paia–Iakopo 3:16 “Auā o le mea e i ai le mata‘u‘a ma le misa, o i ai le fē‘avaua‘i ma mea leaga uma.”‭‭Faitauga – Tusi Paia – Kenese 13:1-18E matuā lamatia misa, e faaleagaina mafutaga ma faaumatia aiga aemaise pe a faataga e faaauau pea. Ina ua ave e Aperaamo le atalii o lona uso, o Lota,  i le nuu na folafolaina e le Atua ia te ia, e lei manatu e iai ni faafitauli o le a fotuai mai i lō la va. Na fiafia Lota i faamanuiaga a le Atua ona o Aperaamo, peitai e lei poto ma faatonu ana tagata faigaluega e faaaloalo i le aufaigaluega a Aperaamo. E ui I lea tulaga, e lei to'atamai ai Aperaamo. Ae na ia fofōina le faafitauli i lo la va ma Lota. Na ia valaau ia Lota ma fai iai, ‘Faamolemole ia aua nei iai se misa i lo ta va ona o taua o le auuso'. Na faatauaina e Aperaamo le la mafutaga ma le Atua faapea lona auuso e sili atu i faafitauli o loo latou feagai. Na faamaualaloina o ia ma ole atu ia Lota e filifili poo fea e fia alu iai muamua. Na malamalama Aperaamo i se tulaga e tele ina lē malamalama ai le toatele, ua ia silafia, o le taimi e te faatagaina ai misa, ua e tuu avanoa i le tiapolo. Ao faagasolo le polokalame o le ola i le Ekalesia RCCG i Lonetona, sa iai se ulugalii mai Polani sa faatalitali mo se la tama, na faia se la tautinoga ina ua faamanuia le Atua iai laua ma ua maua se la tama. Ao faia le tautinoga a le tamā, ona o le gagana Peretania e lē o sana gagana faavae, na faapea mai, ‘na ou sau i le tausaga talu ai ona e iai se tagata na fai mai o so'o se tagata e pai iai le taitai aoao e tō'. Sa nofo lau avā i ou talane ua ata ma faapea mai, ‘aua e te pai mai ia te a'u. Ou te lē toe fia tō'. Na matou taliē i le tala a le tamaloa sa faia aua o loo matou malamalama ia te ia ma le atunuu e sau ai. Peitai e ono faauiga seseina e nisi ona o upu na ia faaaogaina. E moni e iai ni faafitauli e lavelave ma faigata atu ona oni feeseeseaiga i le va o ni tagata se toalua ona latou te lē o taumafai e malamalama i faamatalaga atoaatoa i le mea e sau ai lea tagata.  Le au pele e, ia aoaoina oe e suesue lelei poo fea e o mai ia tagata ao e taumafai e fesootai ma i latou, e fesoasoani lea ia te oe e te ‘alo ese ai ma ni feeseeseaiga e lē manaomia. E iai tagata e o mai mai nofoaga, ua ou matua e pei o latou tamā poo le tamā o latou tamā, a ō mai e matou te feiloai, ou te manatu e tatau ona latou tootuli ma faaaloalo mai e pei o a matou aganuu. Ae e iai foi tagata ou te lē manatu e tootuli ma faaaloalo mai ona o atunuu ma nofoaga e o mai ai, o le mea moni ou te ofo pe a latou faia. O se ala e faafeiloai ai i Isi aganuu ma atunuu, e te ono manatu o loo faaonoono atu ia te oe, e ono faatupuina lou ita ma faamisa ai, ma tuu atu ai le avanoa i le tiapolo. ‘Alo ese mai le misa e pei o se faama'i pipisi, aua o se faitotoa i le tiapolo, i le suafa o Iesu, Amene. 

A arte popular brasileira conquista espaço nos Estados Unidos com a primeira exposição solo de Madalena Santos Reinbolt fora do Brasil. A mostra "A Head Full of Planets", em cartaz no American Folk Art Museum (AFAM), em Nova York, reúne 42 obras da artista, que foi empregada doméstica antes de se tornar um nome de destaque na arte têxtil. Luciana Rosa, correspondente da RFI em Nova YorkA organização da exposição é de Valérie Rousseau, curadora de arte contemporânea e do século 20 e presidente de curadoria do AFAM, que destacou a importância da mostra para o reconhecimento da artista no cenário internacional.Madalena Santos Reinbolt nasceu em 1919, em Vitória da Conquista, na Bahia, em uma família pobre e numerosa. Desde muito jovem, ela precisou trabalhar, o que a levou, ainda na adolescência, a se mudar para o Rio de Janeiro em busca de melhores condições de vida. Foi na capital fluminense que Madalena começou a trabalhar como empregada doméstica, primeiro em casas de família, até ser contratada como cozinheira por Lota de Macedo Soares, arquiteta responsável pelo projeto do Parque do Flamengo, e sua companheira, a poeta americana Elizabeth Bishop.Foi nesse ambiente que Reinbolt teve contato com o mundo da arte. Inspirada pelo trabalho de Lota e pelas influências culturais que a cercavam, Madalena começou a criar suas primeiras peças usando materiais simples, como fios de lã e tecidos reaproveitados. A princípio, seus trabalhos eram presentes para amigos e familiares, mas logo começaram a chamar a atenção pela riqueza de detalhes e pela expressividade.“A questão é que precisamos pensar no acesso aos materiais. É interessante quando voltamos ao básico: você vive em uma casa com poucos recursos, mas também tem esse conhecimento de trabalho têxtil. Então, como maximizar isso? E, para uma artista, é muito importante ter acesso a materiais”, explica Valérie Rousseau.Movimento e identidade nas obrasA exposição apresenta 42 obras, entre bordados e pinturas a óleo, que Madalena produziu ao longo de sua vida. As peças apresentam cenas vibrantes, retratando tanto a vida rural quanto as festas e celebrações populares. Entre os destaques, estão painéis de grandes dimensões que mostram dançarinos de samba, lavadeiras, procissões religiosas e festas juninas. A força e o dinamismo das figuras retratadas impressionam pela riqueza de detalhes e pela forma como a artista capturava movimento e emoção com fios de lã e tintas.“O mais impressionante é como Madalena conseguia capturar o movimento. Seus bordados não são estáticos. As figuras dançam, os cenários ganham vida — há uma dinâmica que reflete o que ela via e sentia. Ela usava a arte para contar histórias — histórias que, de outra forma, seriam esquecidas”, comenta Rousseau.De artesanato a arte consagradaMadalena começou a ganhar reconhecimento na década de 1960, quando suas obras foram exibidas em pequenas galerias no Rio de Janeiro. Na época, o trabalho da artista foi classificado como “arte popular”, o que, segundo Rousseau, limitava o entendimento sobre a profundidade e complexidade de sua produção artística.“A arte de Madalena era vista como ‘artesanato', o que subestimava a sofisticação técnica e a força narrativa de suas obras. Hoje, nós a reconhecemos como uma artista completa, que desenvolveu um estilo próprio e uma linguagem artística única. Esse é o valor dessa exposição — tirar Madalena do rótulo de ‘arte popular' e colocá-la no lugar de artista consagrada”, destaca a curadora.Um ato político e culturalA exposição também explora a dimensão política e social da obra de Madalena. Como mulher negra e pobre em um Brasil marcado pela desigualdade, sua arte é um testemunho das lutas e das resistências de seu povo. Os painéis bordados retratam cenas de trabalho rural, festas religiosas e protestos, sempre com um olhar crítico sobre as relações de poder e sobre o papel das mulheres na sociedade.“Essa foi uma oportunidade de trazer uma figura que não recebeu o reconhecimento internacional que merecia para o centro das atenções. Foi muito interessante destacar como Madalena é uma artista que intersecciona diferentes existências: empregada doméstica, mulher negra e artista”, explica Rousseau.Legado e reconhecimento tardioDurante muito tempo, a obra da artista foi desvalorizada e tratada como artesanato em vez de arte. Foi apenas nos últimos anos que seu trabalho começou a receber o devido reconhecimento, especialmente em mostras internacionais. Segundo Valérie Rousseau, essa exposição é um passo importante para corrigir essa injustiça histórica.“A Madalena foi limitada em sua exposição a redes artísticas durante a vida porque ela precisava trabalhar em tempo integral e não tinha acesso ou suporte financeiro para se dedicar exclusivamente à arte. Mas, apesar disso, ela perseverou, e hoje sua obra chega até nós como uma grande inspiração. É uma lição sobre como artistas sem formação formal podem criar trabalhos incrivelmente complexos e cheios de significado”, conclui Rousseau.

Maria Carlota Costallat de Macedo Soares (1910-1967), often remembered simply as Lota, was a Brazilian designer and urban planner. She is best known for transforming Rio de Janeiro’s Flamengo Park into a harmonious blend of nature and modernity, crafting one of the world’s largest urban parks. For Further Reading: Architectural Review: Maria Carlota Costallat de Macedo Soares (1910-1967)Soul mates #3 Lota de Macedo SoaresOldschool Rio: An ambitious project called Aterro do Flamengo Soul mates #3 Lota de Macedo SoaresOldschool Rio: An ambitious project called Aterro do Flamengo Oldschool Rio: An ambitious project called Aterro do Flamengo This month, we’re talking about Architects. These women held fast to their visions for better futures, found potential in negative space, and built their creations from the ground up. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn’t help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Adrien Behn, Alyia Yates, Vanessa Handy, Melia Agudelo, and Joia Putnoi. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

El 23 de febrero de 1554 se produjo la Batalla de Marihueñ, un enfrentamiento militar entre españoles y mapuches en la sierra de Marihueñu, actual Cerro de Villagrán, al sur del río Chivilingo, actual comuna de Lota. Fue una de las mayores victorias militares de los mapuches sobre los españoles durante la Guerra de Arauco.

Last week, I had the incredible opportunity to visit ICFA Church in Lota, Chile, where we witnessed powerful worship, miraculous healings, and a church on fire for Jesus! Their growing congregation is in urgent need of a roof for their new space, and Centerpoint is stepping up to sow into their mission. Join us as we celebrate what God is doing, and if you feel led, you can be a part of this miracle too. Let's flow in the Spirit together!

Felipe Avello en vivo desde el Teatro Lota 2024 Extractos del show 2 realizado el 17 de diciembre del 2024. Si quieres ver este capitulo en video, lo podrás encontrar en nuestro canal de Youtube https://www.youtube.com/@FelipeAvelloOficial Capítulo: https://www.youtube.com/watch?v=JtrfYfASoEw También nos puedes encontrar en: Instagram: https://instagram.com/felipeavellooficial?igshid=MzRlODBiNWFlZA== TikTok: https://www.tiktok.com/@felipeavellooficial?_t=8g1JYWMrkRB&_r=1 Para próximos shows y compra de entradas visita: https://felipeavello.cl/

OPEN HEAVENSMATALA LE LAGI MO LE ASO TOFI 16 IANUARI  2025(tusia e Pastor EA Adeboye) Manatu Autu: E tatau ona faaolaina lou nuu (Your hometown must be saved) Tauloto -Tusi Paia–Luka 9:6 “Ua latou ō atu, ‘ona fa‘ata‘amilo ai lea i lea ‘a‘ai ma lea ‘a‘ai e folafola le tala lelei, ma fa‘amālōlō i ma‘i i mea uma.”Faitauga – Tusi Paia – Kenese 18:16-33I le faitauga o le Tusi Paia o le asō, o loo savali atu Aperaamo I Sotoma ma tamaloloa e toatolu sa asia o ia. Ao iai I le ala, sa faaali e le Atua ia Aperaamo o le a ia faaumatia Sotoma ma Komoro ona o le tele naua o le agasala. Ou te talitonu  na faaali e le Atua ia Aperaamo lana fuafuaga aua na ia finagalo e tatalo ma tu Aperaamo i le vā mo tagata o lea nuu. Na tatalo ma tu Aperaamo i le vā ma na talia e le Atua mea uma na ia ole atu ai. Peitai, e lei lava tagata amiotonu I totonu o Sotoma ma Komoro ma o lea na iu ai ina faaumatia. O loo faaalia ai iina, a valaau le Atua mo le au tatalo e tutū I le va i talosaga, ina ia taofia le faaumatia o se atunuu poo se taulaga, afai e na te lē mauaina ni kerisiano se toatele, e ono iu lava lea atunuu poo le nuu e faaumatia. Ao tatalo ma tū I le va Aperaamo mo Sotoma ma Komoro, e leiloa pe sa ia matuā manatu I lona tei o Lota. E mautinoa sa vave ona ia faitau ma faavasega fuainumera e aofia ai Lota, o lona toalua ma ona afafine. Na ia tau manatu foi e tatau ona iai ni uo tama a afafine o Lota o loo iai ma o latou matua. Ina ua maea le faavasegaina o ana fuainumera, na ia iloa ai e tatau la ona maua ni kerisiano se toasefulu o ni fanau a le Atua I lea aai. E leiloa poo le mafuaaga lea na finau ai I le Atua ma faapea, “Le Alii e, afai e te o'o atu I Sotoma ae e maua ni tagata amiotonu se toasefulu, e te faasaoina le nuu ona o I latou?” Na talia e le Atua, peitai e lei atoa se toasefulu o tagata amiotonu I totonu o le taulaga. Ou te tatalo, a asiasi le Atua I lou nuu, e na te maua ni tagata amiotonu e sili atu I le toasefulu, ona maua ai lea o lona alofa mutimutivale i lō le faamasinoga. O le mafuaaga lea e tatau ai ona e faia vave se gaoioiga i lou nuu. E tatau ona e faamautinoaina e susulu pea le malamalama o le talalelei, tusa pe faia e nisi o tagata o le nuu le amioleaga e ono o'o mai ai le toasa o le Atua, o le a ia manatu i lana fanau ona faasaoina lea o le nuu po'o le atunuu. Ia faamautinoaina o loo e talai le talalelei i taimi uma I tagata o lou nuu ina ia e liliuina ni agaga se tele i ala o le amiotonu. Fai mai le Tusi Paia a e faia lea tulaga, o oe o se tagata poto, ma e sili le mamalu o loo i lou lumanai (Tanielu 12:3). Na fetalai maoti Iesu I ē na mulimuli ia te ia e amata ona talai le talalelei I o latou nuu ina ua ia faapea mai I le Galuega 1:8, o le a avea I latou o molimau ia te ia e amata mai I Ierusalema, sosoo ai ma Iutaia, o Samaria seia oo atu i tuluiga o le lalolagi. Le au pele e, lauga ma aoao le upu a le Atua I tagata o lou nuu. O le finagalo lea o le Atua, ma a e usitai, e matua faamanuiaina oe ma lou nuu.  Lauga, talai le Upu a le Atua ma amata se mafutaga I lou nuu e faamautinoa ai o loo susulu iina le malamalama o le Atua, I le suafa o Iesu, Amene.   

OPEN HEAVENSMATALA LE LAGI MO LE ASO LULU 15 IANUARI  2025(tusia e Pastor EA Adeboye) Manatu Autu: Ia e iloa le pa I Ieriko 2 (Identifying the Jericho wall 2) Tauloto -Tusi Paia–1 Korinito 15:33 “Aua ne‘i fa‘asesēina ‘outou, “O lē feoa‘i ma ē amio leaga e leaga ai amio lelei.”Faitauga – Tusi Paia – 2 Samuelu 13:1-14O le a faaauau I le asō le faatalatalanoaga na ou amataina ananafi I vaega e mafai ona taofia le agai o se tagata I luma. E iai taimi, o le pā e taofia lou agai I luma o se lua mafutaga ma se tagata. E tele tagata latou te lē iloa, peitai o tagata e te alofa ma pele ia te oe, e ono avea ma faalavelave I lou agai I luma. I le Kenese 12:1-5, na ave e Aperaamo Lota ina ua valaau le Atua ia te ia e tuua lona aiga  ae agai I se nuu o le ia faaali atu ia te ia. Peitai, ana lē tuueseeseina i laua ma Lota i le Kenese 13:14-17, e le fetalai le Atua ma faaali atu ia te ia le nuu folafolaina. O le taitai faaleagaga e te galue ai i lalo o lana taitaiga e mafai ona taofia lou agai I luma (1 Tupu 13:1-24). O le mafuaaga lea e tatau ai ona e filifili ma le faaeteete lou tamā faaleagaga poo lou taitai foi, e ala I le taitaiga a Agaga Paia. Fai mai le Ioane 15:20, e lē tatau ona sili atu le auauna I lona taitai. Poo ai lava e te filifilfi e fai ma ou taitai e fua iai le mamao e te oo iai. Ia e tatalo ma filifili se tagata o loo tuputupu pea ina ia aua nei iai se pa puipui e taofia lou agai I luma. O se tasi o ituaiga tagata e mafai ona avea ma pā o Ieriko o loo taofia lou agai I luma o sau uo. O I latou e te taua o au uo e fua iai le mamao e te oo iai i le olaga nei. O le mafuaaga lea na lapatai  ai Solomona I lona atalii I le Faataoto 1: 10-15 ia aua nei feoai ma mafuta ma nisi o ituaiga uō e leaga. Ina ua ou faaolaina, o se tasi o mea muamua na ou faia o le suia o a'u uo. Sa faigata ma tigā, peitai ana ou mafuta pea iai, semanū ou te lē o'o mai I le mamao lea ua ou iai. O Amanono, semanū e umi lona soifua ma manuia o se atalii o Tavita, peitai na iu leaga lona olaga ona sa iai sana uō e leaga. Fai mai le Tusi Paia i le 2 Samuelu 13:3, “Sa ‘iā Amanono o lana uō, o lona igoa o Ionatapa”E iai tagata e foliga mai o ni uo peitai o I latou e pei o ni pa I Ieriko. A iai ni au uo faapea, ia e alo ese mamao ma I latou aua o ni fili I latou I lou agai I luma. A iai sau uo e na o le faia lava o tala o tagata, ae lē taitai tatalo ma talanoa I Le Tusi Paia, o le a avea lena uo ma faalavelave I lou agai I luma. Afai e iai ni au uo e fautua lava I mea e tetee I le Tusi Paia ma uunaia oe e faaitiitia lou galue mo le Atua, o na uo e pei o le pa I Ieriko, e I le va o oe ma fuafuaga sili a le Atua mo lou olaga. Le au pele e, faamolemole tamoe vave ese ma na uō. TataloTamā, faamolemole fesoasoani mai ia te a'u ina ia ou alo ese mamao mai a'u uo e taofia le agai I luma o lo'u olaga, I le suafa o Iesu, Amene. 

Message Rella B Here!Welcome to Reading with Rella B! This episode features a sample reading of the early reader chapter book: The Silly Cupcake by Amaya Lota.Come along with Princess Sparkle, the silly cupcake who loves jokes and fun, on this whimsical adventure! In this episode, celebrate her special birthday with lots of surprises and fun activities from her friends. You'll also meet her sweet friend, Glitter Cherry, and enjoy their silly moments together, like slurping up ramen noodles and having the surprising moment when a tooth falls out! If you like this book, it can be purchased on Amazon.FREE ACTIVITYSupport the show***I have a new book that will be coming out! Check it out on BackerKit to get exclusive merch and a copy before it is released to market!*** We will begin getting our brains and bodies ready with some stretching and a riddle with Rella, then we will hear the story and shout out our Co-Creators!There are many participation opportunities for the little ones, so please go to RellaBBooks.com or your favorite social channel, if you would like to learn more about those! I send out FREE weekly activities to my newsletter subscribers and followers. Social HandlesFacebook: @RellaBBooksInstagram: @RellaBBooksTwitter: @RellaBBooksPinterest: @RellaBBooksYouTube: @RellaBBooksTikTok: @RellaBBooksWebsite: RellaBBooks.comThanks for listening, toodles!

OPEN HEAVENSMATALA LE LAGI MO LE ASO SA 1 TESEMA 2024(tusia e Pastor EA Adeboye) Manatu Autu: E Tatau Ona Faaolaina Lou Nu'u (Your Hometown Must Be Saved)  Tauloto -Tusi Paia– Luka 9:6 'Ua latou ō atu, ‘ona fa‘ata‘amilo ai lea i lea ‘a‘ai ma lea ‘a‘ai e folafola le tala lelei, ma fa‘amālōlō i ma‘i i mea uma.” Faitauga – Tusi Paia – Kenese 18:16-33I le Faitauga mai le Tusi Paia o le asō, o loo ta'u mai ai, a'o savavali Aperaamo agai i Sotoma faatasi ma tagata e toatolu na asiasi atu ia te ia, na faailoa atu e le Alii ia te ia lana fuafuaga e faaumatia Sotoma ma Komoro aua ua tele nauā a latou agasala. Ou te talitonu na ta'u e le Atua lona finagalo iā Aperaamo, o le mana'o ia tatalo fa'atoga Aperaamo mo tagata o nonofo i nei nu'u.Na tatalo fa'atoga Aperaamo, ma na talia e le Atua mea uma na ole atu ai. Peita'i, e le'i lava ni tagata amiotonu i Sotoma ma Komoro ma na i'u lava ina fa'aumatia ia aai. Ua faaali mai ai tusa lava pe mana'o mai le Atua i tagata tatalo ia tutu i le va, ia aua ne'i o'o se fa'afanoga i se atunuu poo se nu'u, afai e lē lava ni kerisiano o nonofo ai, e ono faaumatia lava lea nu'u.A o tatalo fa'atoga Aperaamo mo Sotoma, atonu na ia manatua Lota le atalii o lona uso. O'u te mautinoa na vave ona fai lana faaopoopo ma faitau uma Lota, o lona toalua ma ona afafine. Atonu fo'i na faapea Aperaamo e tatau ona i ai ni uo tama a afafine o Lota ma ni o latou matua e nonofo uma i le nuu. Ina ua uma lana faitau faanatinati, na i ai lana faaiuga e tatau ona maua se toasefulu o fanau a le Atua i totonu o le aai. Masalo o le mafuaaga lea na fai ai I le Atua, “Le Alii e, pe afai o i le aai tagata e toasefulu o e amiotonu, e te fa'asaoina ea le aai ona o i latou?” Na talia e le Atua le fa'atoga a Aperaamo, paga lea e lei atoa se toasefulu o tagata o e amiotonu, i le aai. Ou te tatalo so'ose taimi e asia ai e le Atua lou nu'u, o le a ia maua pea le silia ma le sefulu tagata amiotonu o nonofo ai, ma i ai pea lona alofa mutimutivale ae lē o le faamasinoga.O le mafuaaga lea ua tatau ai ona faavave ona e faia se galuega mo lou nu'u. Ia e fa'amautinoa o susulu le malamalama o le Talalelei i lou nu'u, afai e fai pea e nisi le agasala e ono o'o mai ai le toasa o le Atua, e silasila pea o ia i lana fanau ma fa'asaoina le nu'u. Fa'amautinoa e te laugaina pea le finagalo o le Atua i tagata o lou nu'u e lē aunoa, ina ia mafai ona e ta'ita'iina ni agaga se tele I le ala o le amiotonu. Fai mai le Tusi Paia a e faia faapea, o oe o le tagata poto, ma o le pupula e tele o loo faatali mai mo oe (Tanielu 12:3).Na ta'u faapitoa e Iesu i e na mulimuli ia te ia, ia o latou amata lauga le Talalelei mai o latou nu'u ina ua ia fetalai I le Tusi o Galuega 1:6 ia fai i latou ma molimau ia te ia e amata i Ierusalema a o le'i faaauau i Iutaia, Samaria ma tuluiga uma o le lalolagi.Le au Pele e, lauga ma a'oa'o le Upu a le Atua i tagata uma o lou nu'u. O le finagalo lea o le Atua, ma afai e te usita'i, o oe ma lou nu'u o le a faamanuiaina sautualasi. I le suafa o Iesu Amene.

OPEN HEAVENSMATALA LE LAGI MO LE ASO TOONAI 16 NOVEMA 2024(tusia e Pastor EA Adeboye) Manatu Autu: Tusi Paia, Itupa ma feusuaiga 3.  (The Bible, gender and sexuality 3) Tauloto -Tusi Paia–Efeso 4:25 “O lenei, ‘ia ‘outou tu‘u ‘ese le pepelo, ‘ia tautalatala fa‘amaoni ta‘itasi ma lē la te tuā‘oi; auā o itū tino lava tatou o le tasi i le tasi.”‭‭Faitauga – Tusi Paia –Roma 1:20-32I le taualuga o le lesona na o'u amata i aso e lua ua mavae fa'atatau i itupa ma feusuaiga, o le a o'u faasoa atu ma oe se a'oa'oga na o'u maua. I ni tausaga ua mavae, sa o'u I se atunuu i Sisifo ou te lauga ai, ma na faatalanoa a'u e se tusitala faatatau i so'u manatu e uiga i ulugalii a le tama ma le tama, ma le teine ma le teine poo itupa tutusa. Na o'u tali i le uso na faatalanoaina a'u, na faia e le Atua tane ma fafine ia fanafanau. Ona o'u fesili lea, “E mafai ea e tagata itupa tutusa ona fanau ni fanau?” Na fa'ai'u la'u faamatalaga i lo'u fai atu, afai o tagata uma o le a faaipoipo i se isi la te itupa tutusa, o le a uma ai i le lalolagi i le augātupulaga lenei.Faapei o se atali'i/afafine o le Atua, so'o se taimi e te maua ai le avanoa e te talanoa ai faatatau i feusuaiga faa Sotoma ma Komoro aua e te ‘alo ma taamilomilo solo lau talanoa. O le mafuaaga o le sasao fa'aafi o le amioleaga ona o le fefefe o tagata lelei e ta'u le mea moni. Aua e te gūgū pe a fai atu tagata o latou e tosina o latou loto i feusuaiga ma tagata o la latou lava itupa. Aua e te faamasino pe fa'asala ia i latou, a ia ta'u ia i latou le mea moni ma le alofa. O le fa'asala o i latou e na o le faatupu ai o le misa, ma o lo tatou Atua e lē o se Atua o fa'asalaga, a o le Atua o le alofa. Talanoa i ai i le alofa, a ia faasino pea ia i latou upu o le Tusi Paia, o mea o o latou faia e lē mai le Atua auā o loo manino i lana upu e inosia e ia amioga faapea. Ta'u ia i latou e te augofie e tatalo ma i latou ma fesoasoani ia fa'asa'oloto i latou mai nei lagona.O le faitauga mai le Tusi Paia o le asō ua ta'u mai ai ia i tatou le mea e tupu i tagata pe a tu'u pea i o latou mafaufau leaga; o ia tagata e lē mafai ona i'u lelei vagana ua salamō. Tumau e tete'e i feusuaiga I le va o tagata itupa tutusa, ma fai mea uma e te mafaia e faaali atu ai i tagata faapea le ala sa'o e tatau ona soifua ai o loo tusia i le Tusi Paia. Na tu mau Lota e tete'e atu i feusuaiga fa'afātama ma fa'afafine i le Tusi o Kenese 19:1-7, e ui na matua'i iloga lona popole. Na te le'i fa'atagaina tagata Sotoma e ulufale i lona fale e fai le amio leaga ma agelu na ia valaaulia e malōlō i totonu o lona fale, tiga ona faatauanau le nuu ia te ia ma toetoe a osofa'i lona āiga.Le au Pele e, ou te iloa i nisi atunuu, o se solitulafono le tau o le upu moni fa'atatau i feusuaiga fa'a Sotoma, peita'i e sili atu lo tatou mālō iā Keriso, ma e tatau ona o tatou faailoa o ia i mea uma tatou te i ai. Aua e te tūtū ma matamata a'o agai atu tagata i le fa'afanoga; e I ai lou tiute e tatau ona fai e lavea'i ai ni agaga se toatele, (Iuta 1:17-23). Ta'u atu le Upu moni I le Afioga Paia a le Atua fa'atatau i le faa Sotoma i soose taimi ma se aso e te maua ai le avanoa. I le suafa o Iesu. Amene.

El 9 de septiembre de 1852 Matías Cousiño fundó la Compañía Carbonífera e Industrial de Lota.

E ftuara e parë në emisionin “Back to the Beginning” për këtë sezon me moderatoren Kozeta Kurti ka qenë aktorja Yllka Lota njëkohësisht edhe Menaxhere e Protokollit në “Pristina International Film Festival” (Prifest) që do të mbahet nga data 10 deri më 15 shtator. Artistja e njohur ka zbuluar detaje gjithashtu edhe nga karriera e saj ndër vite.

Simon and Mel were back at the standup desks to discuss the Olympics, Singapore's extra day and where they popped up on parkrunday (Lota & Peppertree). There were two UK roving reports, with Ruth reporting in from Rotherham parkrun and Ali at Thames Path Woolwich parkrun. Mail was received about Matilda, two launches discussed, talk of (legal) budgie smuggling and Rachel gave us some more regional challenges. Do you feel lucky punk?

Podcast: Industrial Cybersecurity InsiderEpisode: Future Trends in Industrial Cybersecurity with Sandeep Lota of Nozomi NetworksPub date: 2024-07-16In this episode, cybersecurity expert Sandeep Lota, Nozomi Networks Field CTO, joins Dino Busalachi to discuss the challenges and innovations in OT cybersecurity. Key topics they explore include dealing with the evolution of OT security tools, the challenges with IT-OT convergence, and the increasing importance of continuous monitoring. Sandeep also talks about the role of OEM partnerships and the rising trend of managed services. Tune in to stay ahead of the curve!Chapters00:01:00 - Meet Sandeep Lota of Nozomi Networks00:02:00 - Cybersecurity Journey and Milestones00:03:00 - IT vs OT: The Convergence Challenge00:05:00 - OEM Partnerships in Security00:07:00 - Future Trends in OT Security00:10:00 - Why Continuous Monitoring Matters00:11:00 - The Boom in Managed Services00:18:00 - Nozomi Networks' Global Impact00:19:00 - Key Takeaways and Final ThoughtsLinks And Resources:Sandeep Lota on LinkedInNozomi NetworksVelta TechnologyDino Busalachi on LinkedInJim Cook on LinkedInCraig Duckworth on LinkedInThanks so much for joining us this week. Want to subscribe to Industrial Cybersecurity Insider? Have some feedback you'd like to share? Connect with us on Spotify, Apple Podcasts, YouTube, and Google Podcasts to leave us a review!The podcast and artwork embedded on this page are from Velta Technology, which is the property of its owner and not affiliated with or endorsed by Listen Notes, Inc.

Episode Twenty-Three - The Seamstress As Frankie and Josie head off on their quests, Mary reminisces with Lota about meeting Josie…many, many years ago. Note: This episode contains dual timelines, the “present” of our story and a historical timeline based on a real Black settlement in 1920s New Mexico. In the historical voice and context of the flashback scenes, Black characters refer to themselves as “colored.” No white characters or actors use the term. This episode also makes brief reference to the KKK. Transcript here! The Way We Haunt Now is supported in part by an award from the Vermont Arts Council and the National Endowment for the Arts. This episode of The Way We Haunt Now was written by Courtney Floyd and Georgia Mckenzie. Sound design was by Brad Colbroock and voice acting by: Becca Marcus as Lota Brad Colbroock as Cas Candace McAfee as Netta Carl G Brooks as Theodore Eleanor Grey as Frankie Georgia Mckenzie as Josie Jordan Alekzander Moore as Howard Kira Apple as The Narrator and Mary Lindsay Zana as Danny Paul H. Rollins as Nick Tal Minear as Myrtle There's no need to bust out your Ouija board to keep in touch. Whether you're new to the spirit world or simply a ghost in need of some entertainment, you can visit www.hauntnowpod.com for information about our cast and crew, content warnings, and transcripts. You can also find us screaming into the void of social media at, you guessed it, @HauntNowPod. Remember to HAUNT RESPONSIBLY. Support The Way We Haunt Now by contributing to their tip jar: https://tips.pinecast.com/jar/the-way-we-haunt-now

The art of losing isn't hard to master in this episode devoted to the loves and losses of Elizabeth Bishop's life. If you'd like to support Breaking Form:Review the show on Apple Podcasts here.Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.     James's ROMANTIC COMEDY is available from Four Way Books.Read Bishop's villanelle (the only one she ever published!)  "One Art." Read about her drafting process (at least 16 versions) here. You can listen to Bishop read a few of her poems, including "In the Waiting Room" here--recorded at the 92nd Street Y in October 1977. And here's a much younger Bishop reading "The Fish."Bishop's Paris Review interview is absolute gold. For more on Lota and Samambaia, the house she built north of Rio, read this Paris Review article on two recent movies made about Bishop and Lota. Other receipts for what we say in the show are found in this New York Times article, "The Love of Her Life"For more about the acrimonious "war of the legal wills" between Bishop and Macedo Soares, I recommend David Hoak's article "Proofs of Love: The Last Letters of Lota de Macedo Soares," published in PN Review Volume 42 Number 2 (Nov-Dec 2015). The link contains a paywall.See more photographs of Samambaia, the glass butterfly-shaped house Lota built in Petrópolis.Here are the receipts about Judy Flynn.Receipts for the Louise Crane-Billie Holiday tryst are here and here. Read "The Loneliness of Elizabeth Bishop" in The Nation. Crusoe in England" was a coded coping with grief over Soares' death. when the repatriated Robinson Crusoe recalls the loss of “Friday, my dear Friday,” who “died of measles / seventeen years ago come March.” Had Soares lived to one more March birthday, the couple would have spent seventeen years together. You can hear Bishop read (and follow along the text of) "Crusoe in England" here. 

No ar, mais um #NE451ªedição. Na pauta, as últimas novidades do futebol nordestino. Nesta edição, discutimos a atualização do Sport sobre a descrição do Torneio Norte-Nordeste como o “Brasileiro de 1968”, e a crescente expectativa pelo novo título nacional. Também falamos sobre a lesão de Zé Roberto, que fraturou a fíbula e ficará afastado dos […]

A história de duas mulheres e um parque. Se tudo tivesse saído como planejado, Elizabeth Bishop não teria passado mais de alguns dias no Brasil. O país era a primeira parada dela numa circunavegação do continente americano, não um destino escolhido como lar. Mas uma mordida num caju e uma mulher acostumada a impor a força de vontade dela mudaram de forma definitiva a rota da poeta. Essa semana, a reprise de um episódio especial do podcast 451 MHz, da revista Quatro Cinco Um, com Flora Thomson-DeVeaux e Paula Scarpin, sobre um triângulo amoroso, brigas sobre a curva das passarelas, merda oceânica, e o significado secreto dos mocassins. Siga o canal da Rádio Novelo no WhatsApp: https://radionovelo.com.br/whatsapp Inscreva-se na nossa newsletter e receba o link para o episódio, dicas culturais da nossa equipe e mais direto na sua caixa de e-mail https://bit.ly/newsletterna Ouça os episódios narrativos do podcast 451 MHz, da revista Quatro Cinco Um: https://encurtador.com.br/nMXZ9 Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrei da Rocha Fraga, secretário da ATL POA Lotações de Porto Alegre - 07/03/2024 by Rádio Gaúcha

Lota boy..

Lotta Sebzda, a 57 year old Swedish Ashtanga yoga practitioner and hairdresser, shares her love for Ashtanga yoga and her journey with the practice. She discusses the benefits of a consistent practice, the importance of listening to your body, and the joy of teaching workshops. Lota also talks about the evolution of social media and its impact on the yoga community.Follow Lotta on Instagram at @lottasebzdayoga https://www.instagram.com/lottasebzdayoga/Key Takeaways:Ashtanga yoga is a consistent practice that can be done anywhere and provides different experiences each day.Age is just a number in yoga, and it's never too late to start or continue your practice.It's important to listen to your body and modify poses as needed to avoid injury.Social media has made yoga more accessible and allows for connection and inspiration within the yoga community.Thanks for listening to this episode. Check out:

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