9:06
Middle High German: Languages of the World: Introductory Ove
Alexander Arguelles presents a series of videos to provide introductory overviews of the l...
published: 17 Jul 2008
Author: ProfASAr
Middle High German: Languages of the World: Introductory Ove
Alexander Arguelles presents a series of videos to provide introductory overviews of the languages of the world. Working diachronically through various language families in turn, he demonstrates how to identify each language, translates a text sample to show how it works, and discusses its genetic affiliation and cultural context. For further information about the series, please refer to www.foreignlanguageexpertise.com
2:27
Learning Medieval Languages
www.linguisticator.com - The Specialty Language Package at Linguisticator is designed to p...
published: 26 Aug 2011
Author: aralby
Learning Medieval Languages
www.linguisticator.com - The Specialty Language Package at Linguisticator is designed to provide the equivalent of one college semester's study in the medieval language of your choice: Old English, Old Norse, Gothic, Old High German, Middle High German, or Latin.
9:02
Old High German: Languages of the World: Introductory Overvi
Alexander Arguelles presents a series of videos to provide introductory overviews of the l...
published: 18 Jun 2008
Author: ProfASAr
Old High German: Languages of the World: Introductory Overvi
Alexander Arguelles presents a series of videos to provide introductory overviews of the languages of the world. Working diachronically through various language families in turn, he demonstrates how to identify each language, translates a text sample to show how it works, and discusses its genetic affiliation and cultural context. For further information about the series, please refer to www.foreignlanguageexpertise.com
5:31
Das Nibelungenlied
The Nibelungenlied is an epic poem in Middle High German. The story tells of dragon-slayer...
published: 15 Jul 2011
Author: MertensiaVirginica
Das Nibelungenlied
The Nibelungenlied is an epic poem in Middle High German. The story tells of dragon-slayer Siegfried at the court of the Burgundians, how he was murdered, and of his wife Kriemhild's revenge. The Nibelungenlied is based on pre-Christian Germanic heroic motifs preserved in oral traditions. Old Norse versions of the legend survive in the Völsunga saga, and the Poetic Edda. The image is a manuscript of the Nibelungenlied dating from the 13th century. The Nibelungenlied is often confused with Wagner's "Ring Cycle" of operas, a product of 19th century Romantic nationalism loosely inspired by material from the Völsunga saga and Nibelungenlied. The originals are quite different, both in story line and symbolism, and could even be interpreted as commentary on the tragic futility of violence. (1) In old stories we are informed of many wonders. Of famous heroes, of great struggles. Of happiness and festivals, of tears and lamentation. Of the strife between bold warriors, you can still hear about these things today. (2) A noble girl grew up in Burgundy, There was none more beautiful in any land, Kriemhild was her name: She became a beautiful woman. Because of this many men would lose their lives. (4) Her caretakers were three kings, noble and rich: Gunther and Gernot, the famous warriors, and the young Giselher, an excellent knight. The lady was their sister, the princes cared about her. (13) In these noble surroundings Kriemhild dreamed. She was raising a falcon, strong, beautiful <b>...</b>
6:10
Qntal - Palästinalied live ( high german translation )
Music by qntal ( live performance ) pictures by Medievel total war Palästinalied (Pal...
published: 14 Oct 2010
Author: godwrote01
Qntal - Palästinalied live ( high german translation )
Music by qntal ( live performance ) pictures by Medievel total war Palästinalied (Palestine Song) is a song written by Walther von der Vogelweide, the most celebrated German mediaeval lyric poet. Its subject matter is Palestine and the crusades. It is Walther's only song where not only the text but also the original tune was handed down to modern times. The full song consists of 13 strophes in Middle High German. Modern performers usually use only a few of these strophes.Palästinalied was written in connection with the Fifth Crusade (1217-1221). Although it is a political-religious propaganda song describing a crusade into the Holy Land, it is atypical for a song of this kind in that it also recognizes the claim of all Abrahamic religions to the Holy Land, although finally asserting that the Christian cause is the "right one" in the last strophe: Kristen juden und die heiden jehent daz dis ir erbe sî got müesse ez ze rehte scheiden dur die sîne namen drî al diu werlt diu strîtet her wir sîn an der rehten ger. reht ist daz er uns gewer This strophe can be translated as follows: Christians, Jews and Heathens claim this to be their heritage. God has to assign it in the right way, for His three names. The whole world is coming battling here - our cause is right. It is right that He is granting it to us. With the increased popularity of Medieval rock, Neofolk and related musical styles in the late 1980s and 1990s, Palästinalied became a sort of staple song for such genres and <b>...</b>
3:51
Dream Journey - Last Unicorn - Qntal
This is about the long journeys we take in our head. The song is in Middle High German. It...
published: 21 Jan 2008
Author: BloodyBun
Dream Journey - Last Unicorn - Qntal
This is about the long journeys we take in our head. The song is in Middle High German. Its about winter and dreaming of summer. This is my very first shot at making a video - tell me what you think.
4:09
Reise, Reise - Rammstein Lyrics and English Translation
I did not make this video. The lyrics are from herzeleid.com and the video was put togethe...
published: 20 Mar 2010
Author: lyricsoframmstein
Reise, Reise - Rammstein Lyrics and English Translation
I did not make this video. The lyrics are from herzeleid.com and the video was put together by YouTube user chreccleston. This song is from the 2004 Reise, Reise album. [1] Though written as a noun, "Reise" is obviously used as a verb in the song. The phrase "Reise, Reise" is used by seamen as a wake-up call and finds its roots in the Middle High German verb "risen", which meant "to rise" (to which it is obviously related as well). This verb has since died out in New High German, though the noun was retained and came to mean "journey" or "voyage". The verb "reisen" was rederived from the noun "Reise", but now means "to journey" or "to travel". It seems the old meaning has been preserved in this phrase in the seaman's language.
8:17
Alterslied - Walther von der Vogelweide
Performed by Eberhard Kummer. This recantatio, Walther's last recorded work, was writt...
published: 14 Apr 2011
Author: mrleedra
Alterslied - Walther von der Vogelweide
Performed by Eberhard Kummer. This recantatio, Walther's last recorded work, was written to drum up support for Frederick II's long-delayed crusade. As such, it is often presented simply as propaganda. But Walther was an old man when he wrote it, and I like to think that the poem, especially the first stanza, which is particularly beautiful, is heartfelt. I have prepared an English verse translation, and in time I hope to add it to the video. Some may notice that the Alterslied is in the same metrical form as the Nibelungenlied, and I believe that this poem is the source for the melody to which the Nibelungenlied is often performed.
3:35
Music for a Knight #9 - Katerine Collaudemus
Nos. 6, 8 and 9. Carmina Burana, made famous today by the music of Carl Orff, is a collect...
published: 19 Dec 2009
Author: SwingingRingaDing
Music for a Knight #9 - Katerine Collaudemus
Nos. 6, 8 and 9. Carmina Burana, made famous today by the music of Carl Orff, is a collection of poems and songs in medieval and Latin and Middle High German, found in the Benedictine abbey of Benediktbeuren in Beunen, Upper Bavaria. The manuscript dates from about 1230, with additions from later in the century. They are songs of spring, love, drinking and gambling and even songs with spiritual content. Here are songs of spring: Clauso Cronos, of faith: Katerine Collaudemus and Love: Axe Phebus aureo.
3:15
Music for a Knight #6 - Clauso Cronos
Nos. 6, 8 and 9. Carmina Burana, made famous today by the music of Carl Orff, is a collect...
published: 19 Dec 2009
Author: SwingingRingaDing
Music for a Knight #6 - Clauso Cronos
Nos. 6, 8 and 9. Carmina Burana, made famous today by the music of Carl Orff, is a collection of poems and songs in medieval and Latin and Middle High German, found in the Benedictine abbey of Benediktbeuren in Beunen, Upper Bavaria. The manuscript dates from about 1230, with additions from later in the century. They are songs of spring, love, drinking and gambling and even songs with spiritual content. Here are songs of spring: Clauso Cronos, of faith: Katerine Collaudemus and Love: Axe Phebus aureo.
5:58
Medieval Poems and Songs - Bache, bene venies.
"Carmina Burana" literally means "Songs of Beunen". It is a collection...
published: 14 Aug 2010
Author: musikselektion
Medieval Poems and Songs - Bache, bene venies.
"Carmina Burana" literally means "Songs of Beunen". It is a collection of poems and songs in medieval Latin and Middle High German, found in the Benedictine abbey in Beunen, Upper Bavaria. The manuscript dates from about 1230. The songs fall into four groups: songs that have a moral or satirical intention, songs of spring and love, songs of drinking and gambling, and songs with a spiritual content. All exhibit the exuberance and bawdiness associated with Chaucer. Bache, bene venies (running time : 5:55) Courtesy goes to Ensemble Unicorn. Bache, bene venies is a drinking song by an unknown composer.
6:01
Carmina Burana: Tempus est locundum
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a ma...
published: 27 Jun 2009
Author: micrologus2
Carmina Burana: Tempus est locundum
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a manuscript of 254 poems and dramatic texts from the 11th or 12th century, although some are from the 13th century. The pieces were written almost entirely in Medieval Latin; a few in Middle High German, and some with traces of Old French or Provençal. Many are macaronic, a mixture of Latin and German or French vernacular. They were written by students and clergy when the Latin idiom was the lingua franca across Italy and western Europe for travelling scholars, universities and theologians. Most of the poems and songs appear to be the work of Goliards, clergy (mostly students) who sent up and satirized the Church. The collection preserves the works of a number of poets, including Peter of Blois, Walter of Châtillon and the anonymous one, referred to as the Archpoet. The collection was found in 1803 in the Bavarian monastery of Benediktbeuern and is now housed in the Bayerische Staatsbibliothek in Munich. Along with the Carmina Cantabrigiensia, the Carmina Burana is the most important collection of Goliard and vagabond songs. The manuscripts reflect an 'international' European movement, with songs originating from the following countries, Occitanie, France, England, Scotland, Switzerland, Aragon, Castille, Germany.
5:58
Carmina Burana: Bachen Bene Venies
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a ma...
published: 27 Jun 2009
Author: micrologus2
Carmina Burana: Bachen Bene Venies
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a manuscript of 254 poems and dramatic texts from the 11th or 12th century, although some are from the 13th century. The pieces were written almost entirely in Medieval Latin; a few in Middle High German, and some with traces of Old French or Provençal. Many are macaronic, a mixture of Latin and German or French vernacular. They were written by students and clergy when the Latin idiom was the lingua franca across Italy and western Europe for travelling scholars, universities and theologians. Most of the poems and songs appear to be the work of Goliards, clergy (mostly students) who sent up and satirized the Church. The collection preserves the works of a number of poets, including Peter of Blois, Walter of Châtillon and the anonymous one, referred to as the Archpoet. The collection was found in 1803 in the Bavarian monastery of Benediktbeuern and is now housed in the Bayerische Staatsbibliothek in Munich. Along with the Carmina Cantabrigiensia, the Carmina Burana is the most important collection of Goliard and vagabond songs. The manuscripts reflect an 'international' European movement, with songs originating from the following countries, Occitanie, France, England, Scotland, Switzerland, Aragon, Castille, Germany.
8:42
Vogelweide -- Crusader Hymn and Its Carmina Burana Parody 1220
'Palastinalied' or 'Palestinalied', the 'Palestine Song', performe...
published: 24 May 2009
Author: SmilingPessimist
Vogelweide -- Crusader Hymn and Its Carmina Burana Parody 1220
'Palastinalied' or 'Palestinalied', the 'Palestine Song', performed by Hugues Cuenod, tenor, on a Westminster long-play disc, number XWN18848, issued in 1959; and a parody of it, 'Alte Clamat Epicurus', from the Carmina Burana manuscript, performed by the Clemencic Consort, recorded by Harmonia Mundi, France, and issued in the United States on a Musical Heritage Society long-play disc, number MHS3471, in 1976. The 'Palestine Song' is a Crusader hymn, composed by Walther von der Vogelweide to support the Fifth Crusade, 1217-1221. The opening stanza, sung here, in Middle High German, can be translated, "Now for the first time do I live since my sinful eyes can see the beauteous land and hallowed soil which every man must honor. Now what I prayed for has happened: I have come to the city where God as a man walked." 'Alte Clamat Epicurus' is one of a treasury of poems, many intended to be sung, contained in the Carmina Burana, or Songs of Benediktbeuren (after the monastery where the manuscript was found), dating from the eleventh, twelfth, and thirteenth centuries. The poems encompass a wide range of emotions and situations, including parody, indeed mockery, of religious belief. 'Alte Clamat Epicurus' was deliberately set to Vogelweide's melody; the opening stanza translates, "Epicurus cries aloud: The belly will be my god. Such a god the gullet seeks, his temple is the kitchen where heavenly odors abound." Both these performances are probably as authentic as possible <b>...</b>
Vimeo results:
40:38
Watchman for the Weak and Hurting
BECOMING A GOOD SAMARITAN: WATCHMAN FOR THE HURTING
COMING ALONGSIDE THOSE WHO SUFFER.
...
published: 05 Oct 2010
Author: Jim Tompkins
Watchman for the Weak and Hurting
BECOMING A GOOD SAMARITAN: WATCHMAN FOR THE HURTING
COMING ALONGSIDE THOSE WHO SUFFER.
This morning we are going to tackle a big subject. The Good Samaritan gave us an example of caring for the Weak and the Powerless, even when they are strangers. This morning I want us to look at our responsibilities when it comes to those in the world who are hurting because of disease and sickness.
Jesus twice sent out his disciples with very clear and concise instructions. Those same instructions apply to us as His servants:
Matthew 10:8 - Heal the sick, raise the dead, cleanse those who have leprosy, drive out demons. Freely you have received, freely give.
Luke 10:8-9 -"When you enter a town and are welcomed, eat what is set before you. Heal the sick who are there and tell them, 'The kingdom of God is near you.'
HEAL: THERAPEÚŌ - attendant, servant. To voluntarily wait upon, minister to, render service, heal. Pictures the physician's watchful attendance of the sick and man's service to God. Therapeuo means to serve as therápōn.
Therápōn-denotes a faithful friend to a superior, who solicitously regards the superior's interest or looks after his affairs, not a common or domestic servant.
Therápōn approaches more closely the position of oikonómos, manager, in God's house.
One who heals the sick is a friend who closely watches over one he considers his superior. One who heals the sick is actually functioning as a manager in God's house!
The reason this is so important is the actual meaning of the sick that Christ sent them out to minister to.
SICK: ASTHENÉS: "Without strength, powerless, weak, without physical ability. By implication, meaning afflicted, distressed by oppression, calamity. In a moral sense, wretched, diseased, i.e., in a state of sin and wretchedness .
Our attitude toward sickness and disease reveals the state of our heart-whether we are fit to be managers in God's House!
THE ROLE OF THE “WATCHMAN”
Ezekiel explains the Code of the Watchman. God sets some people up as Watchmen over His people. They are to warn the people of impending danger.
1 The word of the Lord came to me: 2 “Son of man, speak to your people and say to them, If I bring the sword upon a land, and the people of the land take a man from among them, and make him their watchman, 3 and if he sees the sword coming upon the land and blows the trumpet and warns the people, 4 then if anyone who hears the sound of the trumpet does not take warning, and the sword comes and takes him away, his blood shall be upon his own head. 5 He heard the sound of the trumpet and did not take warning; his blood shall be upon himself. But if he had taken warning, he would have saved his life. 6 But if the watchman sees the sword coming and does not blow the trumpet, so that the people are not warned, and the sword comes and takes any one of them, that person is taken away in his iniquity, but his blood I will require at the watchman’s hand. “So you, son of man, I have made a watchman for the house of Israel. Whenever you hear a word from my mouth, you shall give them warning from me. Ezekiel 33:1-7
Now at this time both the Northern and Southern Kingdoms of Israel and Judah had already been taken into captivity. Both nations had gone on a massive sinning spree - worshiping false gods and graven images and turning their back on their one true God time and time again.
Isaiah had prophesied over 100 years earlier, to the Nation of Judah who had witnessed their brothers to the North taken by the Assyrians. They thought they wouldn't be captured because THEY were so religious, beloved by Jehovah. They were proud of their "RELIGIOUSNESS" and wondered why they were having trouble with the Assyrians too! They were trying everything to win God's favor and support. They were even fasting. But here is what Isaiah said:
ISAIAH 58:3-12
3 “Why have we fasted, but You have not seen? We have denied ourselves, but You haven’t noticed!” “Look, you do as you please on the day of your fast, and oppress all your workers. 4 You fast ⌊with⌋ contention and strife to strike viciously with ⌊your⌋ fist. You cannot fast as ⌊you do⌋ today, ⌊hoping⌋ to make your voice heard on high. 5 Will the fast I choose be like this: A day for a person to deny himself, to bow his head like a reed, and to spread out sackcloth and ashes? Will you call this a fast and a day acceptable to the Lord? 6 Isn’t the fast I choose: To break the chains of wickedness, to untie the ropes of the yoke, to set the oppressed free, and to tear off every yoke? 7 Is it not to share your bread with the hungry, to bring the poor and homeless into your house, to clothe the naked when you see him, and not to ignore your own flesh ⌊and blood⌋? 8 Then your light will appear like the dawn, and your recovery will come quickly. Your righteousness will go before you, and the Lord’s glory will be your rear guard. 9 At that time, when you call, the Lord will
8:00
DFLL/decay for lou lou/PSYCHOS line LOVE7 by malga kubiak, the ego trip label
DFLL/decay for lou lou/PSYCHOS line LOVE7 by malga kubiak, the ego trip label
dedicated to...
published: 01 Oct 2010
Author: missmess film
DFLL/decay for lou lou/PSYCHOS line LOVE7 by malga kubiak, the ego trip label
DFLL/decay for lou lou/PSYCHOS line LOVE7 by malga kubiak, the ego trip label
dedicated to all dead poets
http://www.crowdculture.se/en/projects/fgl-noir-despair
ello i need to finalize my newest FEDERICO GARCIA LORCA NOIR DESPAIR
http://egotriplabel.blogspot.com/2011/11/success-going-down-is-rapid-annemarie.html
assistant DOUZE
edited malga kubiak
produced malga kubiak
pre edited ajc bruxelles, crac stockholm, wajda's film academy warsaw
camera Douze, Malga Kubiak
shot in Venice
cast Cecil, Malga Kubiak, Fred Pertuiset, Douze, Lilian Swinne, Strike, Fabio
12h installation or interactive project, 3 screens x 4h
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Carlo Giuliani (14 March 1978 - 20 July 2001) was an Italian anti-globalist who was shot dead by a police officer during the demonstrations against the Group of Eight summit that was held in Genoa from July 19 to July 21, 2001.
Contents
[hide]
* 1 Incident
* 2 Trial
* 3 Legacy
* 4 External links
* 5 Notes
[edit] Incident
Death of Carlo Giuliani. Carabiniere's firearm can be seen in the top right of the left-hand photograph. In between these photos, the police vehicle has run over Giuliani's body twice.
Carlo Giuliani, born in Rome, was the son of Giuliano Giuliani,[1] a CGIL trade union activist, and Haidi Giuliani, who after his death would become a Senator for the Communist Refoundation Party. On July 20, 2001, Giuliani was participating in a protest against the 27th Group of Eight summit in Genoa, Italy, when he was killed during a violent clash between protesters and Italian Carabinieri in Piazza Alimonda. A Carabinieri vehicle became stuck and was attacked by protesters (wielding metal poles and wooden boards). In the midst of this clash, Giuliani, who was wearing a blue ski mask, picked up a fire extinguisher, intending to throw it at the officers inside the police Land Rover Defender, who were wearing black ski masks. He was shot in the face at point-blank range. The Land Rover then drove once backwards and once forwards over Giuliani's body.
[edit] Trial
All charges against the Carabiniere who shot Giuliani, Mario Placanica, were dropped, when the judge presiding over the case concluded that the fatal bullet that struck Giuliani was not directly aimed at Giuliani and had "ricocheted off plaster",[2] and ruled that he had acted in self-defense, without taking the case to trial.[1]
However, during a later trial in Genoa of some demonstrators allegedly involved in clashes the same day Giuliani was killed, the same forensic doctor, professor Marco Salvi, who had been a consultant to Silvio Franz, the prosecutor who led the case against Mario Platanito, testified that Giuliani had been the victim of a "direct hit", thus contradicting the decision previously made based on the alleged mid-air change of direction of the bullet. The conclusion of Judge Daloiso, which had already been subjected to strong criticism, was challenged by the press, as was the decision not to charge the driver of the Land Rover for running over Giuliani on the basis that he was already dead. Medics tending to Giuliani after he was run over testified that his heart was still beating[3], and this was confirmed by professor Salvi during the trial in Genoa.
To confuse the situation further, in late 2003 Placanica told the Bologna daily Il Resto Del Carlino that "I've been used to cover up the responsibility of others." He claimed that the bullet found in Giuliani's body was not of the caliber or type fired by the pistols of the Carabinieri, and claimed the deadly shot had come from somewhere in the piazza outside.[4] After making this statement, Placanica was involved in a "suspicious" car accident, days after allegedly observing someone tampering with his car.[5] Placanica was allegedly kept in seclusion following the incident, and his parents were not allowed to visit him in the hospital.[3]
On August 25, 2009 the European Court of Human Rights notified in writing its judgement in the case of Giuliani and Gaggio v. Italy. It judged no excessive use of force was used and it was not established that Italian authorities had failed to comply with their positive obligations to protect Carlo Giuliani’s life. The Court did judge Italy has not complied with its procedural obligations in connection with the death of Carlo Giuliani and has awarded a total of 40.000 euro in non-pecuniary damage to the three applicants.[6] In 2010, the case was referred to the Court's Grand Chamber on appeals from both sides.[7]
months to 11 years
Prisoner Support | Europe | G8 2001 - Genoa | Social Control
Updated 15 December 2007:
More detailed updated at:
http://www.indymedia.org.uk/en/2007/12/387929.html
http://www.indymedia.org.uk/en/2007/12/387890.html
http://www.supportolegale.org/?q=taxonomy/term/15
Based on a quick translation from repubblica.it
Six years after the anti-G8 riots in Genova in July 2001, an Italian court has handed down sentences of b
95:07
Javier Souto & Jose Regalado - Bay of Pigs - Veteran Interviews
Javier Souto
Javier was born in Sancti Spiritus, Cuba, on December 15, 1938. In Cuba, he ...
published: 18 Aug 2011
Author: Momentum Miami
Javier Souto & Jose Regalado - Bay of Pigs - Veteran Interviews
Javier Souto
Javier was born in Sancti Spiritus, Cuba, on December 15, 1938. In Cuba, he attended La Salle Elementary school in Sancti Spiritus and La Salle High School in Havana, graduating in 1956. After that he attended Villanova University in Havana and the University of Havana. In the U.S.A. he attended Miami-Dade College and the University of Miami where he graduated from the School of Business in 1967. Souto is a veteran of the Bay of Pigs Invasion (a founding member, #2504) where he was active in the infiltration teams. He served for several years, after the Bay of Pigs, with the CIA sponsored Special Missions Groups. Commissioner Souto was elected to the Florida House of Representatives in November 1984. Javier D. Souto was the first elected Miami-Dade County Commissioner representing District 10 in April 1993. He was reelected in 1994, 1998, 2002, and 2006. His commission district includes portions of Kendall, Westchester, and Fontainebleau. Javier is married to Berta Cepero. They have three adult children, Javier arrived in Miami-Dade County from Cuba on March 25, 1960, and has lived in Miami ever since.
Jose Regalado
Infiltration
BACKGROUND INFORMATION
UBS International Inc., Coral Gables, Florida
1994-2004 Vice President International Investments – Retired in 2004
Merrill Lynch International, Miami, Florida
1987-2004 Senior Financial Consultant
1985-1987 Senior Vice-president Tesoro Savings and Loan Association
Head of Private Banking
San Antonio, Texas
Bank of America Latin American Division
1969-1985 Vice President and Manager, Metro America Soc. Financiera, Caracas Venezuela
Manager, Quito Branch in Ecuador
Senior Credit Administrator for Argentina, Uruguay, Paraguay, and Chile based in Caracas
Assistant Vice President Latin American Section, Los Angeles International Office
1960-1967 Bay Of Pigs Invasion Brigade, Intelligence Officer, Infiltration Teams – Miami, Guatemala,
Panama – Infiltrated in Cuba 02/14/1961 to train guerillas in Matanzas Province and help
The underground in Havana prior to the Bay of Pigs Invasion
EDUCATIONAL BACKGROUND
1969 University of Southern California in Los Angeles, Master of Business Administration
In International Business
1967 Mount St. Mary’s College, Los Angeles, Ca, Major in Spanish and Business Education
With a Minor in Economics
1987 Merrill Lynch MBA Training at Princeton, NJ as International Financial Consultant
1988 Mortgage Broker License State of Florida
1979 Bank of America Professor of Control Documentation for Officer Candidates in Latin
America
1959 Universidad Católica de Santo Tomas de Villanueva,
Marianao, Habana, Cuba. Graduated as C.P.A. B.A. In Sciences
Major in Accounting and Economics
Born in Marianao, Havana, Cuba - 08/15/1937 son of Jose Regalado Sanz, Spanish from Barcelona and Rufina Santana Iglesias from Pinar del Rio, Cuba.
Civil Status – Married 53 years ago, 4 children, 10 grandchildren, 2 great-grandchildren - US Citizen
Life in Pre-Castro Cuba:
Born in Marianao, Havana, Cuba.
Lived at same address in Marianao until married on 06/23/1956.
1941-1954 - From Pre-primary until graduation from High School attended same school. Colegio De La Salle of the Order of the Christian Brothers of St. Juan Bautista De La Salle. High School with emphasis in Humanities.
1954-1959 – B.A. in Sciences (Ciencias Comerciales) Universidad Católica de Santo Tomas de Villanueva in Marianao, Havana, Cuba.
Married to Nancy Salas Perez, 06/23/1956 the daughter of General Rafael A. Salas Canizares, killed by Revolutionaries in 1956. He was the National Chief of Police in Cuba.
1957-1958 traveling in Western Europe. Lived in Madrid for 6 months and returned to Havana prior to the fall of the Batista Government. Due to my wife’s family attachment to the Government of Fulgencio Batista Revolutionaries looted our house on January 1, 1959 and I was forced to be present during the looting of my house.
January 12, 1959 while driving to my parent’s home in the outskirts of Havana, I was kidnapped by elements of the July 26 Movement in the area of the Country Club and tied to a tree. They claimed that we had millions stashed away and they wanted $100,000 or else my mother-in-law, my wife, and I will be killed. They gave me 48 hours to get the money. A dear friend of mine Dr. Jose Roiz, a minority stockholder in one of our companies and a gun collector, upon learning about the predicament I was in offered himself with a couple of friends to set a trap up for the revolutionaries at my parent’s home. When they came for the money Jose Roiz, his friends and I engaged them in a firefight and they escape
58:56
THE BRANCH (complete) gestalt dreamwork on a painting
complete session (60 minutes) gestalt dreamwork on a painting instead of a dream, done by ...
published: 23 Mar 2011
Author: franklyn wepner
THE BRANCH (complete) gestalt dreamwork on a painting
complete session (60 minutes) gestalt dreamwork on a painting instead of a dream, done by franklyn wepner.
TO VIEW OR DOWNLOAD ALL OF MY VIDEOS, PLUS 1500 PAGES OF MY EXPLANATORY ESSAYS (ALL AT NO CHARGE) PLEASE VISIT MY WEBSITE: franklynwepner.com. ALSO PLEASE NOTE MY NEW EMAIL ADDRESS, IF YOU WOULD LIKE TO SHARE WITH ME ANY COMMENTS ABOUT MY WORK: franklynwepner@gmail.com. IN THE LISTING OF VIDEOS THE LETTERS (HQ) REFER TO A HIGHER QUALITY VERSION OF THE VIDEO, WHICH IS AVAILABLE TO YOU IF YOUR COMPUTER CAN HANDLE IT.
FRANKLYN WEPNER JUNE 2009
ESSAY: "HEIDEGGER & NACHMAN ON THE ORIGIN OF ART"
REFERENCES:
(1) NACHMAN OF BRESLAV, "COLLECTED ESSAYS" ("LIKUTEI MOHARAN"), SECTION 5
(2) MARTIN HEIDEGGER, "THE ORIGIN OF THE WORK OF ART", IN "PHILOSOPHIES OF ART AND BEAUTY", ED. HOFSTADTER & KUHNS
(1) THE "OPEN" & THE PURE PROCESS
MODE
(2) THE TEMPLE, PLATO & MASHIACH
(3) CONSECRATING THE TEMPLE AS
RITE OF INITIATION
(4) NACHMAN'S TEMPLE IN BRATSLAV
(5) CLAPPING HANDS AS ALCHEMICAL
MAGIC
(1) THE "OPEN" AND THE PURE PROCESS MODE
H 681. Setting up a world and setting forth the earth, the work is the fighting of the battle in which the unconcealedness of beings as a whole, or truth, is won.
FW: The above is a typical sentence taken from Martin Heidegger's essay, "The Origin Of The Work Of Art". This sentence is loaded with Heidegger technical jargon: world, earth, battle, unconcealedness, beings and truth. Also in this sentence, these terms are laid out in an interlocking manner such that words that we thought we understood suddenly become very strange to us. We are mystified. But let us try now to decode this knot of dialectical jargon. Decoding even this one sentence will reveal much of the underlying logic of Heidegger's philosophy of art. Our project in this short essay is to see whether Heidegger's recondite reflections about art can shed valuable light on the work of Nachman of Breslav. We have been approaching Nachman mainly from the perspective of Isaac Luria's dialectic of conflict, which was Nachman's own reference point in 1800. But doing so required jumping right away into the tsimtsum theory, and we risked explaining something very obscure in an even more obscure manner. Fortunately, we have available a magic carpet tool from the performing arts which in one quick, painless stroke will land us in the middle of the dialectical universe of both Heidegger and Luria and allow us from those two starting points to converge on our primary target, the work Nachman of Breslav. This tool is a world class technique with a long history. It constitutes a major foundation of the dance theaters of Asia, and in today's avant garde theater world it is known as the "pure process mode". Again I express my gratitude to the Mabou Mines Theater Company for initiating me into this bit of esoterica.
FW: The pure process mode as performed looks a lot like Tai Ch'i, but then again you might not know about Tai Ch'i either so I'll start from the basic idea. A group of performers is told to focus on awareness rather than thinking. Like in Gestalt Therapy, awareness here includes contact with one's environment using senses, with one's body using proprioception, and with one's fantasies. The stress in this exercise is on environment awareness. Along with work on awareness, the group is instructed to begin a holistic, total movement of all body parts, very slowly and very relaxed so as not to let the movements or body tension interfere with the awareness. All this is here and now work, passively responding to what is happening in one's awareness. What to do next stems from passively reacting to what already is happening, and going with that flow in a non-deliberate manner. Philosophically, what we have here is "induction" or Platonic collection, or gestalt formation, in the sense that from the particular details the performer infers a single new encompassing idea which then becomes the rule that guides his next choices. From the ground of what is happening arise potential figures, weak gestalts, until one of them becomes the strong gestalt or monad which then is the new world of that emerging moment. And here we have Heidegger's key term, "world", emerging as a product of inductive, intuitive thinking. The world that worlds, using Heidegger jargon, is the emerging gestalt or figure that then is the organizing center of the organism's existence until the next strong gestalt (world) takes over. For Gestalt Therapists a neurotic is an individual who interferes with, who interrupts his natural figure/ground process such that strong gestalts do not congeal and the ground keeps churning up weak gestalts aimlessly.
FW: So far we have presented half of the pure process mode concept, the side of passivity and induction. The other, complementary side of the pure process mode is the active, deliberate, deductive side. Here is how that
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4:19
Carmina Burana: Clauso Cronos
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a ma...
published: 27 Jun 2009
Author: micrologus2
Carmina Burana: Clauso Cronos
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a manuscript of 254 poems and dramatic texts from the 11th or 12th century, although some are from the 13th century. The pieces were written almost entirely in Medieval Latin; a few in Middle High German, and some with traces of Old French or Provençal. Many are macaronic, a mixture of Latin and German or French vernacular. They were written by students and clergy when the Latin idiom was the lingua franca across Italy and western Europe for travelling scholars, universities and theologians. Most of the poems and songs appear to be the work of Goliards, clergy (mostly students) who sent up and satirized the Church. The collection preserves the works of a number of poets, including Peter of Blois, Walter of Châtillon and the anonymous one, referred to as the Archpoet. The collection was found in 1803 in the Bavarian monastery of Benediktbeuern and is now housed in the Bayerische Staatsbibliothek in Munich. Along with the Carmina Cantabrigiensia, the Carmina Burana is the most important collection of Goliard and vagabond songs. The manuscripts reflect an 'international' European movement, with songs originating from the following countries, Occitanie, France, England, Scotland, Switzerland, Aragon, Castille, Germany.
4:01
Carmina Burana: Ich was ein chint so wolgetan
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a ma...
published: 27 Jun 2009
Author: micrologus2
Carmina Burana: Ich was ein chint so wolgetan
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a manuscript of 254 poems and dramatic texts from the 11th or 12th century, although some are from the 13th century. The pieces were written almost entirely in Medieval Latin; a few in Middle High German, and some with traces of Old French or Provençal. Many are macaronic, a mixture of Latin and German or French vernacular. They were written by students and clergy when the Latin idiom was the lingua franca across Italy and western Europe for travelling scholars, universities and theologians. Most of the poems and songs appear to be the work of Goliards, clergy (mostly students) who sent up and satirized the Church. The collection preserves the works of a number of poets, including Peter of Blois, Walter of Châtillon and the anonymous one, referred to as the Archpoet. The collection was found in 1803 in the Bavarian monastery of Benediktbeuern and is now housed in the Bayerische Staatsbibliothek in Munich. Along with the Carmina Cantabrigiensia, the Carmina Burana is the most important collection of Goliard and vagabond songs. The manuscripts reflect an 'international' European movement, with songs originating from the following countries, Occitanie, France, England, Scotland, Switzerland, Aragon, Castille, Germany.
4:43
Carmina Burana: Nulli beneficium
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a ma...
published: 27 Jun 2009
Author: micrologus2
Carmina Burana: Nulli beneficium
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a manuscript of 254 poems and dramatic texts from the 11th or 12th century, although some are from the 13th century. The pieces were written almost entirely in Medieval Latin; a few in Middle High German, and some with traces of Old French or Provençal. Many are macaronic, a mixture of Latin and German or French vernacular. They were written by students and clergy when the Latin idiom was the lingua franca across Italy and western Europe for travelling scholars, universities and theologians. Most of the poems and songs appear to be the work of Goliards, clergy (mostly students) who sent up and satirized the Church. The collection preserves the works of a number of poets, including Peter of Blois, Walter of Châtillon and the anonymous one, referred to as the Archpoet. The collection was found in 1803 in the Bavarian monastery of Benediktbeuern and is now housed in the Bayerische Staatsbibliothek in Munich. Along with the Carmina Cantabrigiensia, the Carmina Burana is the most important collection of Goliard and vagabond songs. The manuscripts reflect an 'international' European movement, with songs originating from the following countries, Occitanie, France, England, Scotland, Switzerland, Aragon, Castille, Germany.
3:15
Carmina Burana: In Taberna Quando Sumus
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a ma...
published: 27 Jun 2009
Author: micrologus2
Carmina Burana: In Taberna Quando Sumus
Carmina Burana, Latin for "Songs from Benediktbeuern", is the name given to a manuscript of 254 poems and dramatic texts from the 11th or 12th century, although some are from the 13th century. The pieces were written almost entirely in Medieval Latin; a few in Middle High German, and some with traces of Old French or Provençal. Many are macaronic, a mixture of Latin and German or French vernacular. They were written by students and clergy when the Latin idiom was the lingua franca across Italy and western Europe for travelling scholars, universities and theologians. Most of the poems and songs appear to be the work of Goliards, clergy (mostly students) who sent up and satirized the Church. The collection preserves the works of a number of poets, including Peter of Blois, Walter of Châtillon and the anonymous one, referred to as the Archpoet. The collection was found in 1803 in the Bavarian monastery of Benediktbeuern and is now housed in the Bayerische Staatsbibliothek in Munich. Along with the Carmina Cantabrigiensia, the Carmina Burana is the most important collection of Goliard and vagabond songs. The manuscripts reflect an 'international' European movement, with songs originating from the following countries, Occitanie, France, England, Scotland, Switzerland, Aragon, Castille, Germany.