God doesn’t want any of us to perish nor does He want His sons and daughters causing strife or harm to another human being. God does want us to pray against our enemies, not the way David did but the way Paul instructed because we are to love others as ourselves. For our struggle is not against flesh and blood, but against the rulers, against the authorities, against the powers of this dark world and against the spiritual forces of evil in the heavenly realms.” Put on the full armor of God, so that you can take your stand against the devil’s schemes. “Finally, be strong in the Lord and in his mighty power. The Bible tells us that we do not wage war like the rest of the world does on flesh and blood. While we may view these individuals as our enemies, they in fact are not. Or it could even be the sibling who snuck into your room and stole $50. It could be the woman down the street who wants to destroy your marriage. To you and I, an enemy could be the gossipy co-worker who wants to ruin your reputation. The Merriam-Webster Dictionary defines an enemy as, “One that is antagonistic to another, something harmful or deadly, or a hostile unit or force.” He wants us to use the power of prayer against our enemies, but we must first understand who our enemies truly are and it might not be what you think. God wants us to bring our issues to Him-including those who have sinned against us. Photo Credit: ©GettyImages/imtmphoto Is Using Prayer Against Enemies Biblical? Prayer is a perfect opportunity to explore our hearts, share our lives, thoughts, and desires with God including the things that weigh us down like dealing with our enemies. Praise be to God, who has not rejected my prayer or withheld his love from me!” If I had cherished sin in my heart, the Lord would not have listened but God has surely listened and has heard my prayer. I cried out to him with my mouth his praise was on my tongue. “Come and hear, all you who fear God let me tell you what he has done for me. The perfect example of the power of prayer is Psalms 66:16-20: Prayer has the power to move mountains, transform others, and understand ourselves through God’s lens. The power of prayer has the ability to move angels, heal illnesses, and attack demons. Through prayer, we learn to talk to God, connect with Him, and understand what He wants for us. We pray because it is the best way to understand God. Jesus reminds His followers that "the Father knows what you need before you ask Him” ( Matthew 6:8). Prayer isn’t like using a magic genie or vending machine, nor is it the transfer of information, but rather an act of humility because God knows our thoughts and needs before we utter one syllable.Īccording to Scripture, God is all-knowing and completely wise which means He understands everything about a situation and sees the best path through it ( Psalm 147:5). We’re told to pray because this is the best way to experience an intimate relationship with God. These words give us comfort because David expressed all the emotions we experience when someone has harmed us. How can we justify David’s praying, in the same psalm, for the annihilation of his enemies? Admittedly these psalms are complex as it reveals the range of feelings and emotions David was going through. Not only in this passage but in Psalms 52-57 as well. Instead of asking the Lord to have mercy on them in His faithfulness, the psalmist prays that God will annihilate them. Here we find David praying to God against his enemies. Let death take my enemies by surprise let them go down alive to the realm of the dead, for evil finds lodging among them,” ( Psalm 55:1-3 23). My thoughts trouble me and I am distraught because of what my enemy is saying, because of the threats of the wicked for they bring down suffering on me and assail me in their anger…. “Listen to my prayer, O God, do not ignore my plea hear me and answer me. Psalms 55 reveals he prayed for God to do the avenging. Even though David is considered a man after God’s own heart, we find that he wrote several psalms about the plight of his enemies. For the better part of his life, David was on the run from his enemies. King Saul repeatedly tried to kill him and later all the surrounding nations also tried to kill David. David had been facing enemies since he fought Goliath as a young boy. We all have enemies, but I doubt any of us have the kind of enemies that David had. We’ve been taught to pray and forgive our enemies but what about prayer against enemies? How should we handle our enemy? How should we react when forced into a fight? Should we ignore them or try to destroy them? Should we treat our enemies with the spirit of compassion, love, and forgiveness? Or should we feel happy and celebrate when we see our enemies harmed?
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In the 19th century, scholastic suspicions appeared to be confirmed by the discovery that Egyptians in Heliopolis had venerated the Bennu, a solar bird similar in some respects to the Greek phoenix. Such is the story they tell of the doings of this bird. In order to bring him, they say, he first forms a ball of myrrh as big as he finds that he can carry then he hollows out the ball and puts his parent inside, after which he covers over the opening with fresh myrrh, and the ball is then of exactly the same weight as at first so he brings it to Egypt, plastered over as I have said, and deposits it in the temple of the Sun. They tell a story of what this bird does, which does not seem to me to be credible: that he comes all the way from Arabia, and brings the parent bird, all plastered over with myrrh, to the temple of the Sun, and there buries the body. Its size and appearance, if it is like the pictures, are as follow: The plumage is partly red, partly golden, while the general make and size are almost exactly that of the eagle. Indeed it is a great rarity, even in Egypt, only coming there (according to the accounts of the people of Heliopolis) once in five hundred years, when the old phoenix dies. have also another sacred bird called the phoenix which I myself have never seen, except in pictures. Herodotus, writing in the 5th century BC, provides the following account of the phoenix: In the fragment, the wise centaur Chiron tells a young hero Achilles the following, describing the phoenix's lifetime as 972 times the length of a long-lived human's:Ī chattering crow lives now nine generations of aged men,Īnd a raven's life makes three stags old,Ĭlassical discourse on the subject of the phoenix attributes a potential origin of the phoenix to Ancient Egypt. Early texts Įxterior to the Linear B mention above from Mycenaean Greece, the earliest clear mention of the phoenix in ancient Greek literature occurs in a fragment of the Precepts of Chiron, attributed to 8th-century BC Greek poet Hesiod. So phoenix may mean "the Phoenician bird" or "the purplish-red bird". The word Phoenician appears to be from the same root, meaning "those who work with red dyes". That word is probably a borrowing from a West Semitic word for madder, a red dye made from Rubia tinctorum. The Greek word is first attested in the Mycenaean Greek po-ni-ke, which probably meant " griffin", though it might have meant " palm tree". The Latin word comes from Greek φοῖνιξ phoinīx. In time, the word developed specialized use in the English language: For example, the term could refer to an "excellent person" (12th century), a variety of heraldic emblem (15th century), and the name of a constellation (17th century). This borrowing was later reinforced by French influence, which had also borrowed the Latin noun. The word first entered the English language by way of a borrowing of Latin phoenīx into Old English ( fenix). The modern English word phoenix entered the English language from Latin, later reinforced by French. Some scholars have claimed that the poem De ave phoenice may present the mythological phoenix motif as a symbol of Christ's resurrection. Over time, extending beyond its origins, the phoenix could variously "symbolize renewal in general as well as the sun, time, the Empire, metempsychosis, consecration, resurrection, life in the heavenly Paradise, Christ, Mary, virginity, the exceptional man, and certain aspects of Christian life". Over time the phoenix motif spread and gained a variety of new associations Herodotus, Lucan, Pliny the Elder, Pope Clement I, Lactantius, Ovid, and Isidore of Seville are among those who have contributed to the retelling and transmission of the phoenix motif. The origin of the phoenix has been attributed to Ancient Egypt by Herodotus and later 19th-century scholars, but other scholars think the Egyptian texts may have been influenced by classical folklore. In the Motif-Index of Folk-Literature, a tool used by folklorists, the phoenix is classified as motif B32. Some legends say it dies in a show of flames and combustion, others that it simply dies and decomposes before being born again. Associated with the sun, a phoenix obtains new life by rising from the ashes of its predecessor. While it's part of Greek mythology, it has analogs in many cultures such as Egyptian and Persian. The phoenix is an immortal bird that cyclically regenerates or is otherwise born again. Greek mythology, Egyptian mythology and Persian mythologyĪncient Greece, Ancient Egypt and Ancient PersiaĪ depiction of a phoenix by Friedrich Justin Bertuch (1806) The phoenix, "unica semper avis" (ever-singular bird), 1583 Go to that section and set Live Wallpaper as a background on the home or lock screen through the Share icon, clearing the old value beforehand. When the processing is over, you’ll see a new Live Wallpaper in the My Wallpapers section. Click Next in the upper right corner and select the number of repetitions. You can use filters under the slider, or click the lightning bolt to speed up or slow it down Use the slider in the middle to choose which part of the video to turn into Live Wallpaper. The video will load and then you need to indicate the frame you want to use as a cover, just like in any gallery app for Android. You can choose any video, but Live Wallpaper can have a max duration of 5 seconds Tap the video you want to turn into Live Wallpaper, then tap Done in the upper right corner. You will see all videos saved on your device. You need to give the app access to your camera and photos Click the Live Photo icon (looks like three concentric circles) in the lower middle part of the screen. Launch TurnLive and accept terms and services It's free, but there are additional paid features. Download TurnLive – Live Wallpaper app from Google Play store. Turn a Video into a Live Photo on Android Feel free to set it as your lock screen background or Home screensaver – it is activated when you press and hold your finger on it. The new Live Photo will be saved in the corresponding Photos section. Wait till a Live Photo is created, then click Save Live Photo. Select the number of repetitions you want to get (paid) or choose “no repeat” When you're done editing, click Make in the upper right corner of the screen. To select the correct parameters, go to Canvas and choose what you need Use video and sound editing tools, add filters, change the background, adjust the speed and duration with the help of a slider (more than 5 sec are paid). Select the share icon and start scrolling down. Next, go to your Camera Roll and find a Live Photo you want to turn into a GIF. Go to the VIDEO tab, scroll and select the video you want to convert. Use your iPhone to create a GIF from any Live Photo. On the first launch, the app defines whether your device supports Live Wallpapers or not. Download the app from the App Store, open intoLive - Live Wallpapers app, giving it access to your Photos library. You can further share these files via social networks or use as live wallpaper: Once copied, you can create a text layer and use it as a link to a page, file, frame, or prototype.While IntoLive is free to download, there are still in-app purchases, so you can get pro-level editing tools, filters, and repeating loops to transform a video or GIF file into Live Photos. Click on the video you want to turn into a Live Photo.
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Multi-Level District Relationship Management: Own and manage relationships at multiple levels within school districts, from Superintendents and their Cabinets to program directors and administrative assistants, including cross-functional touchpoints.Proactive Customer Management and Risk Mitigation: Proactively manage customer engagements to pre-empt risks, create risk mitigation plans, and effectively manage issues to ensure successful outcomes.Product Knowledge: Develop a thorough understanding of InformedK12 products and stay up to date with the product roadmap.Client Engagement: Engage with clients to understand their unique business cases and provide expert platform recommendations.Product Success: Drive product success through the development of high-quality, scalable design and architecture while delivering positive business outcomes.Portfolio Management: Take ownership of the design, build, and deployment of IK12 solutions for your portfolio of customers.Your positive relationships with our district partners will help them lead large-scale change in their organization. If large-scale change management and moving diverse groups of people with competing priorities toward common goals is interesting to you, then you will find the work we do both rewarding and challenging. You will partner with our clients to take them on a transformation journey as they reimagine critical processes and build operational capacity for their organizations. This often means wrangling stakeholders and getting very creative in getting wide and deep within multiple district departments and department leaders. We're looking for folks that can influence a change in district behaviors through technology. Learn more about us at About the roleĪt Informed K12, a critical part of what we offer is a high-touch, consultative approach to implementation, where we leverage our expertise to provide school districts with a clear path to success. Informed K12 (formerly Chalk Schools) was one of the first companies funded by Stanford’s StartX accelerator and top education technology incubator Imagine K12, now part of Y Combinator. Our founders came out of Stanford University’s Graduate School of Education. In short, we are powering the future of school district operations by helping district administrators drive the systemic change needed to improve productivity, accountability, and equity. This makes it possible to hire the right teachers for the right classrooms faster, manage bus routes for students without permanent housing, ensure teachers get reimbursed and paid on time, and a lot more. We transform paperwork from a daily stumbling block to a strategic tool. Still today, most school districts have hundreds of mission-critical processes that run on paper, making visibility and improvement near impossible. Please only apply if you are based in California**Īt Informed K12, we’re on a mission to help school district administrators operate efficiently and gain insight into their most critical school business processes. **Please note: This position is remote, but candidates MUST be based in California. For example, the Japanese League of Legends page renders the name of the enemy character Kha’zix as カ=ジックス, with the double hyphen representing the apostrophe. Occasionally the double hyphen can represent other internal punctuation. And Jean-Claude Van Damme’s name would be ジャン=クロード・ヴァン・ダム. For example, Catherine Zeta-Jones’s name could be written as キャサリン・ゼタ=ジョーンズ, with the dot representing the space and the double hyphen linking together her two last names. You’ll occasionally see the double hyphen doing that same thing, but it’s rarer and when you do see it, it’s more often representing a western name that is already hyphenated. I could write it in katakana as ドゥルー・マッキー, with the dot in the middle representing the separation between my first and last names. In Japanese, the double hyphen (ダブルハイフン, daburu haifun) is one of the symbols used to separate first and last names being written in katakana. (Sega was not informed of this rule, it seems.) Often, the lines of the double hyphen are made at an angle specifically so a reader doesn’t confuse the mark with an equals sign. The example the Wikipedia page gives is cross⸗country, where cross⸗ lands at the end of one line and country at the beginning of the next, to show you that it’s meant to be cross-country and not crosscountry. In English, the double hyphen shows that a divided word is actually meant to be hyphenated and is not merely hyphenated as a result of landing on a line break. These are not equals signs but double hyphens, a punctuation mark used differently in English and Japanese and rarely used in either. The answer, of course, lies in Japanese - specifically, the various ways the written form of this language can demonstrate the break between someone’s first and last names. I just plunked in a quarter and got going on bashing bad guys, but the whole thing made me feel like that Simpsons joke with Lisa and the Yahoo Serious film festival: “I know those words, but that sign doesn’t make any sense.” So yeah, to restate the scene: I’m a little kid in an arcade, fairly ignorant of the world and trying to make sense of a bunch of words that don’t seem like they’re used in a way I’m familiar with. (And yes, that is a strange choice for a name, as I explain in the miscellaneous notes section.) The way his screen introduces him with that equals sign, however, you might conclude that his name is Ax, with Battler perhaps being his class: “Ax = Battler,” if you will, or “Ax is a Battler.” But no, immediately below this line is “The Barbarian,” which seems to reframe him as something else. These screens display identically in the English and Japanese versions of the game, BTW.įor example, the main hero is named Ax Battler. If you were, in fact, in arcades back when Sega’s barbarian brawler Golden Axe stalked the earth, you may have noticed the unusual way the four main characters were introduced in the attract mode. Decades later, I have an explanation for what I was looking at, and I’m betting I’m not the only one who was wondering. I think of this post as the second in a series beginning with the one about Blanka’s name: a thing that confounded me when I was spending time in arcades as a kid and just watching attract modes play on a loop. A fair warning: For this post, I’m taking the thrilling world of Conan the Barbarian–style sword-and-sandal adventures and turning it into a post about… punctuation. Swinging bookcases always sag a little, too. Besides, even a piano hinge is hard to hide in the trim on a swing-out case. I’ve seen carpenters use piano hinges, too, but then it’s tough to take the case off or adjust the hinge. Trust me, those never work, no matter how many of those little hinges you use, they always sag. I’ve also seen cabinet shops build these types of doors, using euro hinges. Besides, butt hinges only work on swing-in bookcases-there’s no way to hide them completely on a swing-out design. Plus, they require a lot of jamb clearance, which has never seemed right to me. And they always need some adjustment down the road. heavy-duty ball bearing hinges, and they work alright, though the hinges tend to sag a little when the case is really loaded down with books. I’ve seen and installed a lot of bookcase doors, many that swing on regular butt hinges. Maybe one day we’ll all be able to build one that’s perfect in every way. Hidden door bookcases aren’t easy to design or build, but they’re intriguing. If you notice any others, please let me know. In this article, I’ll point out a few of the mistakes I made so hopefully you won’t make them-and maybe I won’t make them again. After all, hidden bookcase doors are a lot more complicated than an ordinary door-there are a lot of variables, both in design and construction, especially on openings that have to swing out. Each time I build one, I learn something new. Without a doubt, I’ve never built a perfect pivot bookcase, but I’m getting a lot closer!Įven the bookcase in this article isn’t perfect. Of course, I mean something that no one else would notice, though some of you might. As a matter of fact, I can’t recall too many that didn’t have at least one minor mistake. My total cost (without tax) for everything I bought at IKEA for our closet is $1630.Not every project I build comes out perfectly. You can create a pretty amazing closet for significantly less than other closet systems including The Container’s Store Elfa system and California Closets’ systems.
For example, when Pride kills Gluttony, Envy expresses disgust towards him. Furthermore, while they can be disrespectful towards their siblings, Eny does care about them to an extent. When Edward finds out Envy's true feelings, Envy labels themself as "the supreme insult". Envy is thoroughly ashamed by this and never ever reveals it, nor even lets pass the slightest hint. Deep down in their heart, Envy envies the humans for their solidarity and free will, something that homunculi sorely lack (thus mirroring the Deadly Sin from which it is born). Finally, seeing people working out their differences aggravates them to no end.Įnvy's hatred and scorn towards humans stems from their jealousy of the inner strength they wields. Envy also loves to taunt people and to turn them against each other by calling upon their desire for vengeance. Envy also love tormenting their victims by playing with their feelings and bonds as often as they can, using it to threaten their hostages with what they fear the most. Envy goes as far as complaining when its foes "do not play fair", while Envy themself always fights with the most under-handed tricks it can find.Įnvy enjoys demeaning people, teasing them and pushing their buttons to no end. Indeed, Envy cannot stand not dominating the situation and quickly loses their temper whenever they get bested by "inferiors". This extreme scorn goes hand in hand with Envy's equally extreme cockiness. Unlike the other Homunculi, who see humans as mere insects not worth any attention or energy, Envy passionately and emotionally hates them and will go to great lengths to make them suffer. Envy heavily despises humans, whom they deem pathetic and inferior, and never hesitates to voice this opinion out loud, mocking mankind for believing themselves to be powerful and reeling in the prospect of proving them wrong. While Envy mostly acts in a playful and seemingly friendly way, this is but a thin façade. Envy remains able to use their front paws like arms though.Įnvy is vicious, sadistic and hateful. eNVY retains the aspect of a hideous, eight-legged, reptilian monster but it becomes ridiculously tiny, lose all human features and look more like a leech, having animal sharp teeth and big eyes. When deprived of all their power, Envy reverts to their original, powerless form. Envy's upper body is covered with the bald, tormented faces (and some upper body parts) of those whose souls were used to create their Philosopher's Stone. Eny has two pairs of human arms in the front part of their body and two human legs crouched like that of a lizard on the back part, a spiked back, a long tail and an extensible tongue. Envy's true form resembles a gigantic, green reptilian monster with eight limbs, much like the Basilisk, long black hair running along the neck, and a humanoid face with a nose and square teeth, retaining the red triangle on the forehead. Envy has the homunculi's red lines across their body, including a red triangle on the headband that covers their forehead, and their Ouroboros mark is located on their left thigh.Įnvy's humanoid form is not their real one though, more of a second skin. Envy appears to be an androgynous teenage young man with long, dark hair and violet eyes, dressed in the black garments common among the homunculi (in the 2003 anime series, it has dark green hair). I will analyse in this respect the Unesco document called Florentine Declaration on Landscape (). The question is not trivial and it is open to debate. I state that one of the ways to safeguard landscape is to consider it a common good and also a possible human right. In the contemporary era the main issues relative to commons are the exhaustion of natural resources and the safeguarding of cultural and natural heritage (both material and immaterial). The literature on the concept of commons is currently thriving, and in this paper I focus on the specific relationship between landscape and commons (see also Menatti, 2013 2014). Through the concept of commons, several authors question the liberal theory of state in the management of land, and the fact that private property was often considered the only solution for both poverty’s problem and management of CPRs (see Caffentzis 2004 Hardt and Negri 2009 Harvey 2011 De Bollier 2012 Angelis 2013 ). Nowadays the political implications of the concept of commons/common good are various. Furthermore, the management of landscape is related to a philosophical idea of state, values and democracy (Olwig, 2003 2013). The analysis of old and new commons shows that there is a specific idea of state, society, politics embedded in the different approaches in analysing and managing landscape. Ostrom (1990 2009), by considering how she changed the idea of commons and the management of CPRs, after the great debate that the topic crated in the sixties (see Hardin 1968). Regarding the distinction among the previous three terms, I will take inspiration from the work by E. In this paper I will analyse and question the idea of “right to landscape” firstly by focusing on the concepts of common good/commons/common pool resources. Referencing both historically situated and contemporary art and anthropological research practices, alongside their modes of dissemination, Part II critically reflects on contested questions surrounding exhibition and curation, allied to the decolonisation of the anthropological museum. The primary concern of Part II is the role of the mediation of the artworks in postproduction, which draws on material collated during intersubjective field encounters, exhibited across contested sites of representation. While acknowledging the central role of the photograph as a critical tool of Western visual representation, focus is directed to multi-sensory cultural practices prevalent in non-Western and indigenous cultures. Adopting a feminist research approach and attention to indigenous methodologies as points of departure, Part I provides a critical overview of relevant and intersecting literature on theories of othering and the Western notion of the portrait it outlines the foundation on which the studied cultural practices were interpreted as practices of relating and attributing. The thesis comprises Parts I and II, together with an introduction and conclusion, in addition to four appendices. Turning the gaze upon the artist/researcher in performative acts of mutual representation as a dialogical method, cross-cultural projects addressed in the thesis include the indigenous Sámi’s yoik, the Aboriginal Australian’s track reading and female veiling in Yemen. Drawing on a selection of projects conducted over two decades across diverse cultural contexts, together with written publications, the thesis explores possible ways to identify and theorise alternative methodological and analytical frameworks through which the Other can be represented. This art practice-based thesis addresses the ocularcentric approach inherent in Western representations of ‘otherness’ with a view to expanding notions of the ‘portrait’ as a culturally specific practice. I therefore conclude my contribution by presenting the work of other contemporary artists (Jorma Puranen, Kathleen Petyarre) who have combined aspects of portrait and landscape in their work, providing opportunities for both reflection and social/political change. In particular, I argue that the combination of portrait and landscape through the positions of contemporary artists can make a significant contribution to the discourse on landscape. Suggesting a stronger inclusion of different cultural practices/traditions and artistic positions in the discourse on landscape, I present my own practice-based research on portraiture as a possibility of how landscape could open up new perspectives in the light of other cultural practices and artistic expressions to deepen and ex□pand Mi□chell□□'s in□tercu□l□□tural and multisensory perspective on landscape. Mitchell developed in his nine theses on landscape, applies to the portrait. Discussing the historical commonalities of portrait and landscape, this paper analyses how the cross-cultural and multi-sensory aspects, which W.J.T. DOAs will be replaced with an equivalent animal and no additional charge. LIVE DELIVERY GUARANTEE: I guarantee live, healthy delivery as long as I ship when I feel it is safe. Please contact me for details on how to set up an international order. I've send many Ball Pythons overseas over the past few years. 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