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Spanishexperto – A guide to learning Spanish – Part 1 – Anybody can learn a new language

Spanishexperto – A guide to learning Spanish – Part 1 – Anybody can learn a new language

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Spanishexperto – A guide to learning Spanish – Part 1 – Anybody can learn a new language

There are many reasons why someone might want to learn Spanish. Perhaps you are planning a holiday or business trip to a Spanish speaking country or maybe you are thinking of emigrating. It could be that you don’t really need to speak Spanish at all but you just want to say that you can. Being able to communicate in another language certainly gives you a great sense of achievement.

My reasons were a little mixed. For a long time I had wanted to learn another language, and for some reason I was always drawn to Spanish. I am not entirely sure why this was. I think one reason was because the little I knew about Spain at the time somehow appealed to my sense of good living. Sun, sand, siestas, late night dinner parties and dark skinned beautiful women! Of course there is far more to Spain than this, but for me, Spain and the Spanish language held more appeal than say French or German did.

Although I had wanted to learn Spanish for a long time I guess the main reason why I finally decided to do something about it was because I was planning a long trip to Central and South America. I was about to pass through as many as 19 different countries where the official national language was Spanish. Well that was a back in 2002. Since then Spanish and all things Spanish both in Spain and in Latin America have literally taken me over. I wouldn’t have believed it then but now Spanish is a part of my every day life. I can speak, read and understand Spanish to the point where I don’t have to think about it too much.

When people ask me if I can speak Spanish fluently I am always a little hesitant to say yes. The truth is that even though I can communicate in Spanish with relative ease I still don’t feel that I know enough. I am not really sure if I ever will! There are always new words and phrases to learn for example and of course these vary from country to country.

I think one of the biggest tests for me is being able to sit in front of the TV with una cerveza (a beer) and watch a Spanish soap opera (una telenovela) or a Spanish movie and completely understand everything that is going on. After all, if I can do that in English why shouldn’t I be able to do the same in Spanish? Well I have to say I am definitely not there yet but almost! I highly recommend ‘Pasion de Gavilanes’. It’s a hugely popular telenovela from Columbia. I’ll talk more that this and others in later articles.

So, how did I get from not knowing a single word of Spanish (apart from – gracias and amigo), to being able to read a Spanish book, speak to a Spanish-speaking friend or watch a Spanish telenovel? Well the answer to that is what I intend to write about in the coming articles. I am not going to lie to you and say that the journey was an easy one. The truth is that learning a new language takes time and requires a great deal of patience and commitment. However what I really want to convey at this point is that anybody can do it if they rally want to.

In the next article I intend to write about preparation. By that I mean thinking about what it is you want to achieve and how you intend to go about achieving it. You are not going to learn Spanish overnight then I think it makes sense to prepare yourself for the challenges ahead. Learning a new language should be fun and there is no reason why it shouldn’t be as long as you realise your limitations.

By no means do I consider myself to be someone that has a natural flare for languages. When I went to school (all those years ago!) the only subject I failed in was French. For some reason I just couldn’t get my head round it. Before I started learning Spanish I knew nothing of other languages. I started right from the beginning. I guess what I’m trying to say is, is that if I can do it then believe me anybody can.

MISSILE STONEWARE: Thor’s thunder~bolt~serpent “ingot”; Freya’s “βαυβóν”; Odin’s ferry~boat “dart”. MAGIC.κ.TOOL: hafted saxon knife (“seax”) & saw; hilted hammer & harpoon. ♦SACRED♦ADAMANTINE♦LIGHTNING♦SHUTTLE♦
Latin Single
Image by quapan
──► DECK: Move your mouse over the above ło کee the noteς I’ve inکcribed onło the łhunderbolł-کerpenł’s deck. (Sept 2nd).
──► BOTTOM-UP: Odin’s ferry boat from beneath (Sept 15th).
──► STAR-BOARD: »thunder-boat« boomerangs around in wave-lines {keeled upon her port-side} (Oct 1st).
──► PORT-SIDE: is shaped in form of a nutshell (lune). It shows some remnants of the orange-red glaze. One of these is a big hot-spot of reddish (possibly iron-bearing) varnish. Upon all the seven levelled planes of the stoneware can be found traces of this warpaint. (Oct 16th).

▼ ▐► D I S C O V E R Y ◄▌ ▼
On Wednesday, August 29th 2007, one day after the full august moon, between sunset (20:03) and moonrise (20:18) I stumbled across a magick stone and picked it up. It was strikingly wedge-shaped. I was somehow happy to have found anything. Why did it have these three longsides? An underside, an outside and an inside. Was it possibly a hand axe or something like that?
I stayed alone upon the hill and took some photos of the nightlighted Berlin-Silhouette. The Moon of Alabama had risen up through the clouds over the horizon and was shining brightly. So I could make notes into my rough book. Next day deciphering what I had scribbled under the pale shimmer of the moonlight I was taken aback recognizing it as a grapholalia: »I’n tototally lunactiv ….«

Four days later on a sunday afternoon, September 2nd 2007, I began to investigate the architecture and design of the beautiful piece again. Suddenly I was recognizing with delight: The stone was the ideal tool for hunters & collectors: It is multifunctional.
Dart the missile ! The pointed keel will stabilize the ballistics of its trajectory !
With the proximal phalanx of the thumb at the hilt, you can use it as a little pestle (triangular area: 1,5 x 1,5 x 1,5 cm) – turn it by 180 degrees – and you can have a hand-chisel (‘nutcracker’) with a punch-area of 2,5 x 1,5 cm.
But preeminently you can use it as a hand hammer to stun birds or little animals by a blow, subsequently turn the hand-palm by 90 degrees and you get a hand knife with a 3-cm-blade between the tips of thumb and index – to cut the throats of your already dazed victims.

HAFT: The back quarter of the artifact has been shaped slightly bent to customize it to the fist (‘claw’) of a right-hander that must not have had very long finger-digits to provide firm and tight handholds.
BLADE: At the knife head there is a cutting edge that has a length of approximately three centimeters. It lies between two flattened triangular planes having obviously served as handles for the tip of the index finger (2cm x 2cm x 2cm) and and the tip of the thumb (3cm x 3cm x 1,5cm). A third flattened area is even larger. This one is not triangular but rectangular (4cm x 2,5cm) and gave hold for the thumb ball. The blade has one big flake scar (1,3 x 0,7cm) upon the outside and many little flake scars upon the inside (1,1 x 0,5cm).

Outward Appearance:
At first sight the piece looks a little bit like a meteorite. It has an oblong shape. The colour is darkly brown. At some parts it is covered with something that looks like rust . This maybe partly caused by iron oxide from the impurities of the fired clays used to produce the stoneware ("Darker clays often contain iron and other metal oxide impurities") but more likely these spots are the remnants of the red varnish that was used to mark the stoneware as destined for war. (–>Was ist Religion?)

Impregnable: The texture of the surface is vitrious, hence it is astounding water repellent and hygrophobic. Water rolls off from the stylized phallus with its retracted, rippling foreskin (→ notes) as if it was contrived as a glans. Possibly this impregnation was achieved by firing it two times, the second time with a much lower temperature and spread with a special glaze.
Circumstantial phenomena give evidence that the piece is not a rough-hewn stone or a earthenware but a fired stoneware. Arguments: Fired Stoneware generally absorbs up to 5% water whereas Earthenware absorbs more than 10%. Additionally stoneware is in contrast to earthenware freeze resistant !

Versatility & Mercuriality
Versatile & mercurial like a Six Blade Knife it is trivially or ritually useable as a mêlée or ranged weapon:
hammer | baubón | knife | pestle | harpoon | missile | …. | ….

Fragrance: If I touch with my nose the stoneware in order to inhale the flagrant gas which it is still exuding I can smell the New World Odour that had to take place as soon as these serendipitous people which have made this warhead in their smelting furnaces had discovered how to extract iron from their clays . The Hellenics reported the invention of iron originated from Scythia but possibly those Scythians were or received it from the ethnicities living at that time just where I have found this weapon – around the rivers Wuhle, Spree and Havel.

Time Line: I guess this ingot was forged on the verge of iron age. This would mean it was hiding for about 3000 years upon the summit of that germanic cradle hill.

Ground Plan (germanic / mexican mytho-theology)
The Ground Plan of the underside was wedged in the shape of a lune. But then the potter had to take into account mythological considerations: At the backside of the stone the broken off apex of the moon sickle (lune, crescent moon) shall remind us to the broken off hammer-shaft. The frontside tip (length=3 cm) was purposely bent against the suppossed direction – to starboard.
The bow is bent to the port side, and the stern is bent to starboard. So the ground plan of the (rock[et]) ship resembles either the rune eihwaz (yew tree) {which looks like a straightened question mark} or the rune sōwulō (sun).
But there is a much simpler answer to the problem of this winding ground line: The powerful tool of the Mexíca God Quetzalcoatl (Quetzal ‘feather of the quetzal’ & coatl ‘snake’) is the lightning snake and – as you may know – "the serpent is both a fertility and lightning symbol among many peoples" (Aztec Beliefs "Quetzalcoatl sailed away on a raft of serpents and the people looked forward to his return".). The stoneware is shaped like a boat, has a winding ground line and scales like a snake, – and therefore reminds us to the serpent-raft of Quetzalcoatl.
—> The germanic Donnar [Thor], the powerful fertility and lightning God, stands in significant analogy to the mexican Quetzalcoatl [mayan Kukulcan].
EVOLUTION: The scales of the fishes transformed to the scales of the reptiles and the scales of the reptiles transformed to the feathers of the birds.
The Eleven Planes
The ingot has 3 levelled large planes: inside, outside and underside.
There are 4 levelled smaller planes: 3 of them are for the fingertips, 1 of them for the thumb ball.
There are 4 not levelled smaller planes. One of them is the backside.

___length:_ 11,0 cm
___width :__ 3,5 cm
___height:__ 4,5 cm
blade-length: 3 cm____

Specific Density ρ
m = 0,212 kg; V ~ 80 ml → ρ (thunder~bolt) ~ 2,7 gram/ccm
Compare with:
ρ(granite)= 2.6 gram/ccm; ρ(concrete)= 2.5 gram/ccm; ρ (water) = 1.0 gram/ccm; ρ (ice) = 0.9 gram/ccm; ρ (Earth) = 5.5 gram/ccm; ρ(steel)= 7.7 gram/ccm;

Fracture Toughness
The thunder~bolt seems to be very adamantine. It has presumably a higher Fracture Toughness than granite.

Germanic Tracks Thor,Odin,Freya ▼
The trisided stoneware has a handle that is bent (‘Boomerang’) and somehow ‘broken off’. With its phallic shape, it could have had easily represented a ‘Mjolnir’.
There are some scratchers upon the surface. One of them seems to resemble the Futhark Rune nauÞiz which stands for Need/Hardship.
Upon a summit of a hill I stumbled across this fired thunder~bolt and a few days later (September 5th 2007) I have found at this site a fired bird panel made from the same sort of clay and the granite artefact buffalo BEROLINA which is a pestle with a mortar-tail.
„In ein Haus, in dem ein Donnerkeil ist oder Feuer auf dem Heerd brennt, oder ein Vogel ein Nest gebaut hat, schlägt der Blitz nicht ein.” (aus Lauthenthal, n. KUHN u. SCHWARTZ, 411) [Schwarzes Netz] ■ Thor’s Hammer Bryce Canyon National Park, Utah (1999)
Thor (wikipedia.de)
"Thor im Norden, oder Donar bei den kontinentalen germanischen Völkern .. In den eddischen Schriften hat er die Aufgabe des Beschützers von Midgard, der Welt der Menschen. ….„Jupiter tonans“, Zeus, der keltische Taranis, sie nutzen als Waffe den steinernen Donnerkeil, der durch den Blitzstrahl vom Himmel zur Erde geworfen wird.
… wenn er seinen Kraftgürtel Megingjarder umschnallt, der ihm doppelte Kraft verleiht, mit seinen Eisenhandschuhen den Hammer Mjölnir fasst …Da sagte Thrym, der Thursen König: „Bringt den Hammer, die Braut zu weihen! Leget Mjöllnir der Maid in den Schoß! Mit der Hand der War weiht uns zusammen!“
Das Herz im Leib lachte da Thor, als der hartgemute den Hammer sah: erst traf er Thrym, der Thursen König; der Riesen Geschlecht erschlug er ganz. {Das Thrymlied (Þrymskviða)}
Einst stahl Thrym Thor seinen Hammer, als dieser schlief. Als Thor aufwacht gerät er in hilflose Wut, als er sich seiner wichtigsten Waffe beraubt sieht. Loki fliegt, mit Freyas Federkleid ausgestattet, durch die Gegend und erspät Thors Hammer in Riesenheim und stellt Thrym zur Rede. Thrym will ihn nur unter der Bedingung zurückgeben, dass er die Göttin Freya zur Frau bekommt. Freya gerät allerdings in große Wut, als Loki ihr dies erzählt. Daraufhin schlägt Loki vor, Thor selbst als Freya zu verkleiden ihn als Braut zu schmücken, um ihn Thrym als Freya zu präsentieren. Thor hat Bedenken, dass man ihn auslachen könnte, sieht sich allerdings genötigt, auf diesen Plan einzugehen. Beide reisen in Verkleidung als Braut und Brautbegleiterin zu Thrym. Thor fällt durch das Donnern, das seine Reise begleitet, seinen stechenden Blick, als Thrym ihm den Brautkuss geben möchte und seine unglaubliche Gefräßigkeit beim Brautfest auf, Loki weiß allerdings Thrym immer wieder zu beruhigen. Zur Vollendung der Festlichkeiten lässt der Riesenfürst seiner Braut schließlich Thors Hammer Mjölnir in den Schoß legen. Woraufhin der Donnergott seinen Hammer fasst und alle anwesenden erschlägt. …
Thor trägt seinen Hammer Mjölnir und den Machtgürtel Megingiard. Wenn Thor den Hammer wegschleudert kommt dieser immer wieder zurück. Aus einer isländischen Handschrift des 18. Jhs.
Mjölnir Snorri Sturluson berichtet in seiner Snorra-Edda (in den Skáldskaparmál) von der Erschaffung des Hammers. Mjölnir (der auch sog. Uru-Hammer) wurde von den beiden Zwergen Sindri und Brokk aus Uru-Erz geschmiedet und besitzt die Eigenschaft, dass er, wenn er geworfen wird, nie sein Ziel verfehlt und wieder in die Hand des Werfers zurückkehrt. Außerdem kann er nur von Thor geführt werden. Es heißt, dass Loki in Gestalt einer Fliege den Zwerg Brokk, der in der Schmiede das Feuer schürte, in die Stirn stach, so dass der Schaft des Hammers zu kurz geriet.
Mjolnir In Norse mythology, Mjolnir (also spelled Mjölnir, Mjöllnir, Mjollner, Mjølnir, Mjølner, or Mjölner) (IPA pronunciation: [mjolnər]) "Mjolnir" simply means "mealer" referring to its pulverizing effect. It is related to words such as the Icelandic verbs mölva (to crush) and mala (to grind), but similar words, all stemming from the Proto-Indo-European root melə can be found in almost all European languages, e.g. the Slavic melvo (grain to be ground) and molotu (hammer), the Dutch meel (meal), the Russian Молоток (molotok – hammer), the Greek μύλος (mylos – mill) and the Latin malleus (hammer) as well as the Latin mola (mill). The English meal, mill and maul are direct relatives, while mallet and molar arrived via Latin. It has been suggested that although the name reflects Mjolnir’s awesome powers it might also allude to Thor’s agricultural nature, as he was primarily worshipped by farmers. An alternative theory suggests that Mjolnir might be related to the Russian word молния (molniya) and the Welsh word mellt (both words being translated as "lightning"). This second theory parallels with the idea that Thor, being a god of thunder, therefore might have used lightning as his weapon.[1] Mjolnir is said to be the most fearsome weapon in Norse mythology, and is used to slay any challengers to Æsir supremacy. It is often referred to as either a club, axe, or hammer, and is capable of toppling giants and destroying mountains with a single blow.[2] Legends surrounding the war hammer’s origins vary: some relate that the Svartalf Sindri and Brokkr made it at the command of Loki; other tales contend that it descended to earth as a meteorite. Consequently, many Norse polytheists believed that lightning strikes were a manifestation of Mjolnir on earth.
Mjolnir is often represented with a bent handle. The rune Tiwaz (↑), usually thought to be a symbol of the god Tyr, is thought by some to represent Thor’s hammer. Mjolnir may also mean fertility, the phallus that impregnates the earth.
Sometimes Mjolnir is compared to a boomerang, due to its ability to return to its thrower. Usually, it is used as normal war hammer. There may be a connection between Thor’s throwing hammer and the francisca throwing axes of the Franks.
Snorri’s Edda gives a detailed description of Mjolnir’s special qualities:
"…He [Thor] would be able to strike as firmly as he wanted, whatever his aim, and the hammer would never fail, and if he threw it at something, it would never miss and never fly so far from his hand that it would not find its way back, and when he wanted, it would be so small that it could be carried inside his tunic."[4] Freyja In Norse Mythology and Germanic Mythology, Freyja (sometimes anglicized as Freya) is sister of Freyr and daughter of Njord. She is usually seen as a Norse fertility goddess. – Freyja was also a goddess of war, battle, death, magic, prophecies and wealth. Freyja is cited as receiving half of the dead lost in battle in her hall Fólkvangr, whereas Odin would receive the other half.
Freya Scandinavian Mythology the goddess of love and of the night, sister of Frey. Often identified with Frigga. [NODE] ————————————————————————————
Odin / Wotan verdrängte den Himmelsvater Tyr, Allvater, Göttergeschlecht der Asen in Asgard (Krone der Weltenesche Yggdrasil)
www.asatru.de/ "seine beiden Brüdern Vili und Vé (Hönir und Lodur) .. Mit der Göttin Jörd (Erde) hat Odin den Sohn Thor (Donar). Attribute Odins sind sein Speer (Gungnir), sein Ring (Draupnir), die beiden Raben Huginn (Gedanke) und Muninn (Erinnerung), sein achtbeiniges Pferd Sleipnir und seine Wölfe Freki (der Gefräßige) und Geri (der Gierige). Einäugigkeit, Hut, (blauer) Mantel ." (Birka Vibeke in recht pomadigem Stil auf der Rieger-Site)
Official THUNDERBOLT Website Norwegian Black Heavy Metal Rocker (2002 ff)
en.wikipedia.org/wiki/Thunderbolt A thunderbolt is a traditional expression for a discharge of lightning or a symbolic representation thereof. In its original usage the word may also have been a description of meteors … In Norse mythology, Odin‘s spear Gungnir is an embodiment of lightning. In addition, his son, Thor is specifically the god of thunder and lightning, wielding Mjolnir.
thunderbolt (poetic/literary) a flash of lightning with a simultaneous crash of thunder – a supposed bolt or shaft believed to be the destructive agent in lightning flash, especially as an attribute of a god such as Jupiter or Thor – used in similes and comparisons to refer to very sudden or unexpected event or item of news, especially of an unpleasant nature [NODE p.1935] The quieter and darker it is the lighter the flash and the louder the thunder. (November,1st,2007)

Valknut is a symbol consisting of three interlocked triangles. The symbol appears on Scandinavian rune stones in connection with Odin.
According to H. R. Ellis Davidson (p. 146), the valknut — is thought to symbolize the power of the god Odin to bind or unbind [a man’s mind] … so that men became helpless in battle, and he could also loosen the tensions of fear and strain by his gifts of battle-madness, intoxication, and inspiration.
The Valknut symbol plays a role in modern Germanic neopagan faiths drawn from Germanic paganism, particularly
perplex verb (of somethng complicated or unaccountable) cause someone to feel completely baffled – dated: complicate or confuse (a matter)
Ásatrú, where numerous explanations and interpretations of the symbol are given. The symbol is also called : heart of the slain; heart of Vala; Hrungnir’s heart; Odin’s knot; Star of Wotan
ship burial or boat grave is a burial in which a ship or boat is used either as a container for the dead and the grave goods, or as a part of the grave goods itself. If the ship is very small, it is called a boat grave. This style of burial was used in the Vendel era and by the Anglo Saxons, the Merovingians, the Vikings and occasionally the Ancient Egyptians. This burial was seen as a way for the dead to sail to Valhalla, ship burial was a high honour.
human sacrifice and boat grave A detailed eyewitness account of a human sacrifice by what may have been a Völva was given by Ahmad ibn Fadlan as part of his account of an embassy to the Volga Bulgars in 921. In his description of the funeral of a Scandinavian chieftain, a slave girl volunteers to die with her master. After ten days of festivities, she is stabbed to death by an old woman (a sort of priestess who is referred to as ‘Angel of Death’) and burnt together with the deceased in his boat.

▐► Seax ◄▌
(also Hadseax, Sax, Seaxe, Scramaseax and Scramsax), was a type of Germanic single-edged knife.[1] Seax seem to have been used primarily as a tool but may also have been a weapon in extreme situations.[2] They occur in a size range from 7.5 cm to 75 cm. The larger ones (langseax) were probably weapons, the smaller ones (hadseax) tools, intermediate sized ones serving a dual purpose.[2] Wearing a seax may have been indicative of freemanship, much like the possession of a spear since only free men had the right to bear arms.[2] The seax was worn in a horizontal sheath at the front of the belt.[3] Scram refers to food and seax to a blade (so, "food knife").[4][2] The Saxons may have derived their name from seax (the implement for which they were known) in much the same way that the Franks were named for their francisca.[4] The seax has a lasting symbolic impact in the English counties of Middlesex and Essex, which both feature three seaxes in their ceremonial emblem.
The Anglo Saxon Broken Back Seax The majority of seaxes have quite short tangs, between 3cm and 7cm long. .. First and foremost is its distinctive "broken back" blade shape. … Its sharp wedge shape gives it great—even armour-piercing—strength. A cutting blow would smash flesh and bone beneath mail. On an unarmoured body, a cut would prove to be crippling or deadly. Likewise, its needle point would make thrusts devastating to the human body.

▐►Christianization Wars and Laws ◄▌
– against the saxon tribes on the continent and in England

Charlemagne enforced Christianization upon Saxons on the continent (772 – 804)
The word ‘Saxon’ is believed to be derived from the word seax, meaning a variety of single-edged knives. The Saxons were considered by Charlemagne’s historian Einhard (Vita Caroli c.7), to be especially war-like and ferocious.
The Saxons long resisted both becoming Christians ("they are much given to devil worship," Einhard said, "and they are hostile to our religion," as when they martyred the Saints Ewald, 695) and being incorporated into the orbit of the Frankish kingdom, but were decisively conquered by Charlemagne in a long series of annual campaigns, the Saxon Wars (772 – 804). During Charlemagne’s campaign in Hispania (778), the Saxons advanced to Deutz on the Rhine and plundered along the river. With defeat came the enforced baptism and conversion of the Saxon leaders and their people. Even their sacred tree, Irminsul, was destroyed.
Baptism Vow After the defeat against the Franks in the 8th century every saxon warrior had to forsake "Thunaer ende Uoden ende Saxnote ende allum them unholdum", (i.e. any old deities were bunched together as a triade and so should be publicly exorcized out of him the whole germanic pantheon,) and in place of it he had to commit himself to the confession in the frankish-christian ‘monotheistic’ trinity of father, son and ghost.
It’s not only demonizing and breaking down the old deities and replacing them by the new ones but denouncing polytheism by naming any old gods

Forsachistu diabolae?
ET RESPONDET: ec forsacho diabolae.
end allum diabolgelde?
RESPONDET: end ec forsacho allum diobolgeldae.
end allum dioboles uuercum?
RESPONDET: end ec forsacho allum diaboles uuercum and uuordum, Thunaer ende Uoden ende Saxnote ende allum them unholdum, the hira genotas sint.
gelobistu in got alamehtigan fadaer?
ec gelobo in got alamehtigan fadaer.
gelobistu in Crist godes suno?
ec gelobo in Crist gotes suno.
gelobistu in halogan gast?
ec gelobo in halogan gast.

‘… and all the diabolic sacrifices?
HE HAS TO ANSWER: and I forsake all diabolic works and words, Thunaer {anglosaxon transcription of Donnar-Thor} and Uuoden {Wotan-Odin} and Saxnote {?} and all the villains who are their comrades.’
The Saxons {.de: Sachsen} were a confederation of Old Germanic tribes.
Saxony in the names of states existing in the FRG today: Lower Saxony, Saxony-Anhalt, Free State of Saxony.

King Edgar orders to extinguish heathendom (10th century)
"We teach that every priest shall extinguish heathendom and forbid wilweorthunga (fountain worship), licwiglunga (incantations of the dead), hwata (omens), galdra (magic), man worship and the abominations that men exercise in various sorts of witchcraft, and in frithspottum (peace-enclosures) with elms and other trees, and with stones, and with many phantoms." (source: 16th Canon law enacted under King Edgar in the 10th century.)

▐► Structuralistic, mythological Remarks: ◄▌(hellenic | germanic)
○ Lightning and thunder are weapons of Zeus, given from the one-eyed Cyclops. Lightning and thunder are weapons given to Thor from the one-eyed Odin.
Lightning & Thunder – Double: Zeus & Bromios = Odin & Thor. The Sagittarius-Starsign of nowadays originates from a germanic glyph for Odin & Thor .
○ Zeus against Titans = Thor againts Thursen

▐► Polytheistic Perplexism versus Monotheistic Monadism ◄▌
The gods in ancient polytheistic religions are not simple entities like the prophets or saints in our monotheistic religions. They are ‘interwoven’. The symbol that was named ‘valknut’ by modern scholars stands for the perplexity of the polytheistic pantheon. (klp, sept.15th 2007)
"Don’t Get It Twisted!" [Tupac Shakur / Gwen Stefani (2006)]

▐► Βαυβώ & βαυβών ◄▌
Baubo war im Mythos der griechischen Antike die Amme der Fruchtbarkeitsgöttin Demeter. Als deren Tochter Kore von Hades entführt wird, erheitert Baubo die trauernde Demeter durch obszöne Gesten und Witze. Baubo bedeutet im Altgriechischen „Schoß“ und war ein Beiname der Unterweltgöttin Hekate. Sie trat auch unter dem Namen Jambe in Erscheinung, war dann die Personifizierung des obszönen Gesanges im jambischen Versmaß. Später wurde der Begriff Baubo zur Bezeichnung eines alten Weibes verwandt. In Goethes Faust ist von der Hexe Baubo die Rede, wie sie auf einer Sau durch die Walpurgisnacht reitet.
βαυβώ, ἡ, = κοιλία, Empedocles Poeta Philosophus {153}. 1.cavity of the body, i.e. thorax with abdomen 2. belly,abdomen 3.intestines 4.excrement [LSJ] βαυβών,ῶνος,ὁ,=ὄλισβος, Herodas Mimographus. 6.19. (→ Ed. W. Headlam & A.D.Knox, Cambridge 1922) [LSJ] ὄλισβος,ὁ, penis coriaceus, Cratinus 316, Aristophanes Lysistrata 109,Fragmenta 320.13, ὀλισβοκόλλιξ loaf in the shape of an ὄλισβος, Comica Adespota 1094 [LSJ] Baubo (Βαυβώ):
Gattin des Dysaules, Mutter der Mise, Figur der altorphischen Demetersage [dtv Der kleine Pauly, S.843], der Iambe des Homerischen Hymnus entsprechend. Während Iambe den Brauch des twthasmos in den eleusinischen Mysterien verkörpert, gibt die Episode von der die trauernde Deo-Demter erheiternde Entblößung der B. das Aition für eine bestimmte Form kultischer Exhibition (M. Delcourt Hermaphrodite, 1958, 49), die einen dem Iambismos analogen Sinne gehabt haben muß ([3], 29, Vgl. C. Sittl, Die Gebärden der Griechen und Römer, 1890, 104) . Nach S. Reinach Cultes, Mythes et Religions 4,1912, 116ff. und Wehrli a.O.81 wäre er apotropäisch; dagegen wollte Ch.Picard, RHR 25, 1927, 220ff. (zustimmend M.J. Lagrange, Rev. Bibl. 38, 1929, 76ff. und A. Loisy Les mysteres paiens et le mystére chretien, 1930, 68,1), – gestützt auf das Fragment von Empedocles und die Glosse des Herodas – , die Beziehung eines mit Iambe-Iambos vergleichbaren Paares βαυβώ-βαυβών zu den Sexualsymbolen κίστη- κάλαθος der zentralen eleusinischen Kulthandlung herstellen. (vgl. J. Dey Palingenesia, NTA 17,5 1937, 41ff.. 49ff. Für sprachlichen Zusammenhang zwischen Baubo und βαυβών auch Dieterich a.O. 127 und L. Rademacher RhM 59, 1904, 312f gegen Rohde Psyche 2,408, dessen Ableitung von dem Schallwort βαύ gleich wohl von Rademacher a.O. 311f akzeptiert wird. Wie Rohde und R. Eisler, Ph.68, 1909, 136,71, sieht er in B. einen zum Typ der Mormo, Gello, Gorgo gehörigen, ursprünglich hundegestaltigen weiblichen Schreckdämon (vgl. Orph. fr.53 Th. Hopfner Griechisch-Ägyptischer Offenbarungszauber,1,1921,51) aus dem nächtlichen Gefolger der Hekate, mit der spätorphische Tradition sie übrigens gleichsetzt (Hymn. Mag. 3,2 E. Abel Orphica, 1885, 289. Vgl. O. Kern, AM 16, 1891, 7.2. Dieterich a.O. 128). Die Sexualsymbolik von βαυβώ-βαυβών wird durch den Hinweis auf κύων-αἰδοῖον (Phot. Hesych.Eust.1822,13ff) damit in Einklang gebracht. Anderereseits hat die Variante Βαβώ, außer in dem bei Michael Psellos erhaltenen Orph.fr. 53 und einem kaiserzeitlichen epigr. Zeugnis aus Galatien (CIG 4142) noch durch die Inschrift von Paros belegt im Hinblick auf die Rolle der B. als Amme der Demeter (Hesych.) zu der Deutung "die (dämon.) alte Frau" (Baba-Boba) geführt (E. de Martino), für die man volkskundliche Parallelen zur Verfügung hat (W.Mannhardt, Mytholog. Forschungen,1884, 299ff). – Die Paros-Inschrift nennt B. zusammen mit den Hauptgottheiten von Eleusis Demeter, Thesmophoros, Kore und Zeus Eubuleus; das spricht für allte vororphische Zugehörigkeit zum eleusinischen Kultverein. Geographisch weist sie neben CIG 4142, der thebanischen Mänade B. zu Magnesia und der B. Tochter Mise auf den anatolischen Raum. Ihm entstammt auch die Gespenster Herrin Hecate-Brimo; ihr Konnex zum Kreis der Demeter als deren ehemalige Konkurrentin ist im hom. Hymnus noch faßbar (Wehrli, a.O.82f.). B. dürfte demnach eine selbständige Form der in die Demeterreligion eingedrungenen kleinasiatischen Göttin gewesen sein, deren nächtlich schreckensvolle Natur zum derb-komischen Gebaren eines häßlichen alten Weibes verharmlost wurde. Für den Sinn des obszönen Gestus ist die Version wichtig, nach der Demeter selbst ihn ausführt. Er gehörte also der großen Göttin, deren freundliche segenspendende Seite durch Demeter-Baubo (de Martino, a.O. 75ff. Vgl. K. Pruemm Der christliche Glaube und die altheidnische Welt 1, 1935, 350), deren düstere durch Hekate-Baubo vertreten wird. Der situs des ἀνάσυρμα hat dementsprechend gleich der Aischrologie der Gephyrismen apotropäisch-schreckende wie protreptisch-fruchtbarkeitsfördernde Funktion. Im Zusammenhang damit ist das von E. Hahn Demeter und Baubo,1896,54ff. zusammengestellte folkloristische Material über kult. αἰσχρολογία und αἰσχρουργία von Interesse; ebenso mit Rücksicht auf die Verbindung von τωϑασμός und ἀνάσυρμα bei den Frauen von Bubastis (Hdt. 2.60. A. Wiedemann Herodots 2. Buch, 1890,256), die von I. Lévy Mél. F.Cumont, 1936,819ff herangezogene ägyptische Überlieferung über rituelle Exhibition und rituelles Lachen (vgl. J. Capart, BAB 17, 1931, 421), ohne daß man daraus mit P.Foucart Les mystères d’Eleusis, 1914, 467ff. A. Koerte, ARW 18, 1915,120 und Lévy a.O. 832f eine Übernahme der Baubo-Gestalt aus Ägypten folgern müßte. Der Typus der ϑεὰ ἀνασυρομένη, wie ihn die gastrokephalen Statuetten von Priene (Th. Wiegand-H. Schrader Priene, 1904, 161ff S. Reinach, RA 10, 1907, 166f.[1],10f.) und die bekannte ital. Terrakotte der auf dem Schwein reitenden Dea impudica (Cook a.O. Abb.79) zeigen, findet sich von der ägäisch-anatolischen Welt bis zum Nildelta verbreitet (D.G. Hogarth, JHS 25, 1905, 128f. Picard a.O. 248f ErJb 6, 1938, 100ff Pestalozza a.O. 540). Die personifizierte Vulva (βαυβώ[1], 12f. [2],42f), drastischer Ausdruck der positiven und negativen maternalen Potenz, ist wie ihr Pendant, der verlebendigte Phallos (Bes-Akephalos: Pickard a.O. 250ff.) Symbol der großen lebengebenden Gottheit, von deren ursprünglich zweigeschlechtlicher Natur neben Mise-Mida auch Baubo-Orthobaubo (F.G.Kenyon Greek Papyri in British Museum, 1893, 79) eine Spur bewahrt hat. (de Martino a.O. 72f).
(Dr. Wolfgang Fauth (Göttingen) schrieb für Der Kleine Pauly (Band 1,S. 843-845, dtv, März 1979) diesen Artikel zum Lemma ‘Baubo’. )

▐►Mythic Example of Pareidolia ◄▌
Demeter started to laugh when she began to recognize Baubo’s vulva as a human face. —> Priene-Statuettes
Carl Sagan: hypothesized that as a survival technique, human being are "hard-wired" from birth to identify the human face. This allows people to use only minimal details to recognize faces from a distance and in poor visibility, but can also lead them to interpret random images or patterns of light and shade as being faces.

▐► grapholalia ◄▌
As many are aware, from its early inception to the present day, the Pentecostal movement has incorporated glossolalia, or speaking in tongues, in its worship practices. Much debate has circulated over this practice, and much confusion has resulted from it.
However, in my recent reading of Heaven Below, Grant Wacker’s essential history of Pentecostalism, I have come across a phenomenon he mentions only in passing known as grapholalia, or unintelligible scribbled writing attributed to the inspiration of the Holy Spirit. – Now, if this is writing is to have any merit, or at least the minimal merit due to writings vicariously inspired by the Holy Spirit, one would think that such texts would find themselve on equal footing with the Bible, provided their source could be authenticated by some authority. My only problem is, I can’t seem to find a single visual example of this bizarre phenomenon.
That being said, anyone who can find me an authentic representation of grapholalia will find themselves rewarded by yours truly with a six pack of the alcoholic beverage of his or her choice. If the finder of such a verifiable source happens him or herself to be Pentecostal, I will gladly substitute something caffeinated in the place of debaucherous drink.

▐► Atlantis◄▌
–> Donovan

▐► Diagenesis/Metamorphism & Weathering ◄▌
In geology and oceanography, diagenesis is any chemical, physical, or biological change undergone by a sediment after its initial deposition and during and after its lithification, exclusive of surface alteration (weathering) and metamorphism. These changes happen at relatively low temperatures and pressures and result in changes to the rock’s original mineralogy and texture.
Metamorphism Metamorphism can be defined as the solid state recrystallisation of pre-existing rocks due to changes in heat and/or pressure and/or introduction of fluids i.e without melting. There will be mineralogical, chemical and crystallographic changes.

▐► stoneage archaelogy ◄▌ [_basics_] Stone Age: see Paleolithic period; Mesolithic period; Neolithic period.
artifact 1. an object made by a human beeing, typically one of cultural or historical interest 2. something observed in a scientific observation or experiment that is not naturally present but occurs as a result of the preparative or investigative procedure. DERIVATES: artefactual [NODE] artefact or artifact [en.wikipedia]: In British usage, artefact is the main spelling and artifact a minor variant; however, some speakers claim to write artefact to mean “a product of artisanry” but artifact when the meaning is “a flaw in experimental results caused by the experiment itself”. In American English, artifact is the usual spelling, although it is regarded as nonstandard by some U.S. authorities. Canadians prefer artifact and Australians artefact, according to their respective dictionaries.
Cultural artifact, a man-made object which gives information about the culture of its creator and users
A stone tool is, in the most general sense, any tool made of stone. Although stone-tool-dependent cultures exist even today, most stone tools are associated with prehistoric societies that no longer exist.
The study of stone tools is often called lithic analysis by archaeologists. Stone tools may be made of chipped stone or ground stone. A person who makes chipped stone implements is called a flintknapper. In addition to tools, many minerals were used to make arrow heads and spear points.
Stone tool Chipped stone tools are made from cryptocrystalline materials such as chert, radiolarite, chalcedony or obsidian via a process known as lithic reduction.

Sept 5th 2007, uploaded in two colors (10 views til Sept. 10th–>deleted).
Sept 11th 2007, 03:05 uploaded a second time, now with 103.317 colours, after two hours of lucubrations with Photoshop’s Lasso-Tool ….
Sept 14th 2007,10h: Telephone call from brother Chr. Wants to do me a favour offering to flog the antique via his ebay-account for an amount of 200 €. I refused, arguing that it was at least 3000 years old.
15th May 2014
… 14h 00m: 203,057
… 14h 51m: 203,091
… 16h 20m: 203,151
16th May 2014
… 23h 00m: 203,852

10th May 2015
…. 15h 46m: 472,847

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