Tim Boucher

Questionable content, possibly linked

Hausōs (Indo-European mythology, dawn goddess)

Hausōs is also described as dancing: Uṣas throws on embroidered garments ‘like a dancer’ (nṛtūr iva), Ēṓs has ‘dancing-places’ (χοροί) around her house in the East, Saulė is portrayed dancing in her gilded shoes on a silver hill, and her fellow Baltic goddess Aušrinė is said to dance on a stone for the people on the first day of summer.[35][18] […]

Another common trait of the Dawn goddess is her dwelling, situated on an island in the Ocean or in an Eastern house. In Greek mythology, Ēṓs is described as living ‘beyond the streams of Okeanos at the ends of the earth’.[37] In Slavic folklore, the home of the Zoryas was sometimes said to be on Bouyan (or Buyan), an oceanic island paradise where the Sun dwelt along with his attendants, the North, West and East winds.[38] The Avesta refers to a mythical eastern mountain called Ušidam- (‘Dawn-house’).[39] In a myth from Lithuania, a man named Joseph becomes fascinated with Aušrinė appearing in the sky and goes on a quest to find the ‘second sun’, who is actually a maiden that lives on an island in the sea and has the same hair as the Sun.[35] In the Baltic folklore, Saulė is said to live in a silver-gated castle at the end of the sea,[40] or to go to an island in the middle of the sea for her nocturnal rest.[41] […]

Source: Hausōs – Wikipedia

Eos (Greek mythology, goddess of the dawn)

The dawn goddess Eos was almost always described with rosy fingers or rosy forearms as she opened the gates of heaven for the Sun to rise.[27] In Homer,[28] her saffron-colored robe is embroidered or woven with flowers;[29] rosy-fingered and with golden arms, she is pictured on Attic vases as a beautiful woman, crowned with a tiara or diadem and with the large white-feathered wings of a bird.

Source: Eos – Wikipedia

Ushas (Hindu goddess, dawn)

Ushas (Vedic Sanskrit: उषस् / uṣás) is a Vedic goddess of dawn in Hinduism.[1][2] She repeatedly appears in the Rigvedic hymns, states David Kinsley, where she is “consistently identified with dawn, revealing herself with the daily coming of light to the world, driving away oppressive darkness, chasing away evil demons, rousing all life, setting all things in motion, sending everyone off to do their duties”.[3] She is the life of all living creatures, the impeller of action and breath, the foe of chaos and confusion, the auspicious arouser of cosmic and moral order called the Ṛta in Hinduism.[3][4]

Source: Ushas – Wikipedia

Gusle (Slavic instrument, epic poetry, Homer)

The gusle (Serbian Cyrillic: гусле; Bulgarian: гусла) or lahuta (Albanian: lahutë) is a single-stringed musical instrument (and musical style) traditionally used in the Dinarides region of Southeastern Europe (in the Balkans). The instrument is always accompanied by singing; musical folklore, specifically epic poetry.

The gusle player holds the instrument vertically between his knees, with the left hand fingers on the strings. The strings are never pressed to the neck, giving a harmonic and unique sound. Singing to the accompaniment of the Gusle as a part of Serbia’s intangible cultural heritage was inscribed in 2018 on the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO.

Gusle are also indirectly important to the whole of Western civilization. The Homeric Iliad and the Odyssey are the generally considered foundational works of literature of Western civilization along with the Torah and the Christian Bible. As the verses pertain to a war and events long before the abjad script was known to the Greeks, it was proposed that Homeric hymns were sung, not written, and were passed down through generations of singing epic bards, who were, like Homer, often blind. This was finally proven as probable in the 19th century when the German classicist Heinrich Schliemann discovered the gusle tradition not far from Greece after observing a Serbian bard reciting a lengthy poem in a similar style.

Source: Gusle – Wikipedia

Brane cosmology (Particle physics)

The central idea is that the visible, three-dimensional universe is restricted to a brane inside a higher-dimensional space, called the “bulk” (also known as “hyperspace”). If the additional dimensions are compact, then the observed universe contains the extra dimension, and then no reference to the bulk is appropriate. In the bulk model, at least some of the extra dimensions are extensive (possibly infinite), and other branes may be moving through this bulk. Interactions with the bulk, and possibly with other branes, can influence our brane and thus introduce effects not seen in more standard cosmological models.

Source: Brane cosmology – Wikipedia

Hawala (Islamic finance)

The unique feature of the system is that no promissory instruments are exchanged between the hawala brokers; the transaction takes place entirely on the honour system. As the system does not depend on the legal enforceability of claims, it can operate even in the absence of a legal and juridical environment. Trust and extensive use of connections are the components that distinguish it from other remittance systems. Hawaladar networks are often based on membership in the same family, village, clan, or ethnic group, and cheating is punished by effective ex-communication and “loss of honour”—leading to severe economic hardship.[3]

Informal records are produced of individual transactions, and a running tally of the amount owed by one broker to another is kept. Settlements of debts between hawala brokers can take a variety of forms (such as goods, services, properties, transfers of employees, etc.), and need not take the form of direct cash transactions.

Source: Hawala – Wikipedia

Aeolus (Greek mythology, Odyssey)

This Aeolus lived on the floating island of Aeolia and was visited by Odysseus and his crew in the Odyssey. After their misadventure in Polyphemus’ cave, Aeolus gave them hospitality for a month and provided them a west wind to carry them home to Ithaca. He also provided a gift of an ox-hide bag containing all winds but the west. Odysseus and his crew members traveled steadily and anxiously for several days, but with his native land in sight, Odysseus sank overpowered by sleep. His men proceeded to indulge their curiosity to see the costly presents which they thought the bag contained, opened it unwittingly, and out burst the imprisoned winds with such a roar that the force drove the ship back to Aeolus’ island. Aeolus refused to provide any further help,[6] because he believed that their short and unsuccessful voyage meant that the gods did not favour them. This Aeolus was perceived by post-Homeric authors as a god, rather than as a mortal and simple Keeper of the Winds (as in the Odyssey).

Source: Aeolus (Odyssey) – Wikipedia

Obelisk In Antarctica Video (Quatria Conspiracy)

Nausinous & Nausithous (Greek Mythology, the Odyssey, Sons of Odysseus & Calypso)

In Greek mythology, Nausinous /ˌnɔːˈsɪnoʊəs/ (Greek: Ναυσίνοος, Nausinoos) was the son of Odysseus and Calypso.

While stranded on Ogygia, Odysseus was forced to become the lover of Calypso.[1] According to Hesiod, this union resulted in two sons, named Nausinous and Nausithous.[2] Neither Nausinous nor his brother are mentioned in Homer’s Odyssey.

Classical lore suggests some Greeks believed that Telemachus would later voyage to the island of Calypso and there marry his half-sister, the child of Calypso and Odysseus.

Source: Nausinous – Wikipedia

Circe (Greek mythology, Odyssey)

Circe was renowned for her vast knowledge of potions and herbs; one of her Homeric epithets is polypharmakos (“knowing many drugs or charms”).[2] Through the use of these and a magic wand or staff, she would transform her enemies, or those who offended her, into animals.

The best known of her legends is told in Homer’s Odyssey when Odysseus visits her island of Aeaea on the way back from the Trojan War and she changes most of his crew into swine. He forces her to return them to human shape, lives with her for a year and has sons by her, including Latinus and Telegonus. Her ability to change others into animals is further highlighted by the story of Picus, an Italian king whom she turns into a woodpecker for resisting her advances. Another story makes her fall in love with the sea-god Glaucus, who prefers the nymph Scylla to her. In revenge, Circe poisoned the water where her rival bathed and turned her into a dreadful monster.

Source: Circe – Wikipedia

Page 1 of 101

Powered by WordPress & Theme by Anders Norén