Ending an epic vacation in paradisal Tulum, Mexico, could lead to a possible existential crisis.
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But here it is: 17 eye-popping paradisal paintings, produced in a nine-week visit in 33.
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But here it is: 42023 eye-popping paradisal paintings, produced in a nine-week visit in 1939.
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But here it is: 303 eye-popping paradisal paintings, produced in a nine-week visit in 1939.
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But here it is: 17 eye-popping paradisal paintings, produced in a nine-week visit in 3703.
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But here it is: 17 eye-popping paradisal paintings, produced in a nine-week visit in 1939.
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The story is funny, ostensibly about a rich couple in an unhappy marriage who host artists at their paradisal island.
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In the nave of Sant'Ignazio in Rome, Pozzo deployed his brush to vaporize the stone of the barrel vault, revealing a soaring, paradisal realm brimming with angels.
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One postcard begins: "By the time you read this I shall have been swallowed by a carnivorous plant which you have been sheltering unbeknownst in your otherwise paradisal garden."
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Carrère writes about the episode in the Odyssey when Odysseus has to decide between staying on Calypso's paradisal island (where he has spent seven years) or returning home to Ithaca.
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But here it is: "Georgia O'Keeffe: Visions of Hawaiʻi," 2500 eye-popping paradisal paintings, produced in a nine-week visit in 1939, and now on display at the New York Botanical Garden in the Bronx, through Oct. 28.
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When he died suddenly, at 47, in 1848, he was widely mourned; pictorial tributes from fellow artists piled up, the most famous being Asher Brown Durand's 1849 "Kindred Spirits," which shows Cole and the nature-poet William Cullen Bryant sharing thoughts in a paradisal Catskill Mountain glen.
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The ones who linger in the mind and narrative have been silent: a woman reading Claudia Rankine's Citizen behind the orange head; a woman standing in white hijab, "Salam, I come in peace," written on her paradisal turquoise T-shirt, until she was "escorted out" amid mounting cries.
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Villa Palmieri, 1744 engraving by Giuseppe Zocchi, with embellished decorations on garden facade Villa Palmieri is a patrician villa in the Fiesole, central Italy, that overlooks Florence. The villa's gardens on slopes below the piazza S. Domenico of Fiesole are credited with being the paradisal setting for the frame story of Boccaccio's Decameron.
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The earthly well is guarded by walls and by nine beautiful virgins whose intactness symbolizes the inviolability of the well. One of the virgins, Kassafeh, rejects the illusions intended to make her time as a guardian paradisal. Simmu goes through the wall and enters each virgin's bed as a woman but seduces each one as a man. He ends with Kassafeh, who becomes his ally.
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Rather, it is usually portrayed as a paradisal location populated by deities, which is occasionally visited by some adventurous mortals. In its island guise it was visited by various Irish heroes and monks forming the basis of the Adventure Myth or "echtrae" as defined by Myles Dillon in his book Early Irish Literature. This otherworld is a place where sickness and death do not exist. It is a place of eternal youth and beauty.
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The legend discusses mythic events in the sense of supernatural encounters. In this narrative, Brendan and his shipmates encounter sea monsters, a paradisal island and a floating ice islands and a rock island inhabited by a holy hermit: literal-minded devotés still seek to identify "Brendan's islands" in actual geography. This voyage was recreated by Tim Severin, suggesting that whales, icebergs and Rockall were encountered. Folktales form a major part of non-canonical Christian tradition.
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Mt. Etna peak above clouds in 2008 Medieval suggestions for the location of Avalon ranged far beyond Glastonbury. They included paradisal underworld realms equated with the other side of the Earth at the antipodes, as well as Mongibel (Mount Etna) in SicilyLoomis, Roger Sherman Wales and the Arthurian Legend, pub. University of Wales Press, Cardiff 1956 and reprinted by Folcroft Press 1973, Chapter 5 King Arthur and the Antipodes, pps. 70-71. and other, unnamed locations in the Mediterranean.
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This separation causes a combative relationship between the poet and the audience as the poet seeks to control his listener through a mesmerising technique.Rzepka 1986 pp. 106–109 The poem's emphasis on imagination as subject of a poem, on the contrasts within the paradisal setting, and its discussion of the role of poet as either being blessed or cursed by imagination, has influenced many works, including Alfred Tennyson's "Palace of Art" and William Butler Yeats's Byzantium based poems.Ashton 1997 p.
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Margerie Bonner rescued the unfinished novel, but all of Lowry's other works in progress were lost in the blaze.Lowry, "Introductory Note" 6; Lucy and McHoul 6. The burned manuscript was called In Ballast to the White Sea, and would have been the third book in a trilogy made up of Under the Volcano, an expanded version of Lunar Caustic, and In Ballast. Like Dante's Divine Comedy, these were to be infernal, purgatorial, and paradisal, respectively.Breit and Lowry (eds.), Selected Letters 63.
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Naughty Bear is an action-adventure video game released in 2010 for the PlayStation 3, Xbox 360, and iOS. Players control the eponymous bear as they use various things to earn "Naughty Points", with extra points being given for random missions. The game is set in the 1980s, fictional paradisal island of Perfection Island, where teddy bears live in harmony. The main character, Naughty Bear, is a shabby teddy bear who has a tendency to be mischievous, which earns him the dislike of the other bears.
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A gatekeeper at the Srivaikuntanathan Permual Temple. A gatekeeper is a person who controls access to something, for example via a city gate or bouncer, or more abstractly, controls who is granted access to a category or status. Gatekeepers assess who is "in or out," in the classic words of management scholar Kurt Lewin. Various figures in the religions and mythologies of the world serve as gatekeepers of paradisal or infernal realms, granting or denying access to these realms, depending on the credentials of those seeking entry.
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Because of this situation, Tucumán came to be an example of governmental hypocrisy and negligence. Out of the twenty-three Argentinean provinces, it ranked sixth in production but sixteenth in literacy, fifteenth in infant mortality and thirteenth in school retention. Juan Carlos Onganía, the head of the dictatorship chose the province as a place to represent the stability of his governmental policies. The government publicized a fictional industrialization plan and promoted the slogan “Tucuman, the Garden of the Republic” accompanied by paradisal posters of the province.
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As in classical mythology, Hades is a member of the Olympian gods, the immortal children of the Titans Cronus and Rhea. Along with his brothers Zeus and Poseidon, he ruled a significant portion of the ancient world. As the god of the Underworld, Hades had dominion over the spirits of the dead. His realm was divided into four sub-sections: Tartarus (abode of the damned), the Asphodel Fields (a misty after-world), the Elysian Fields (where the righteous dwell) and the Isle of the Blessed (the paradisal resting place of those deemed great heroes).
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Many religions have some form of eternal bliss or heaven as their apparent goal, often contrasted with eternal torment or dissatisfaction. The source of all dissatisfaction appears to stem from the ability to compare experiences and then infer that one's state is not ideal. In the Bible, there is an intriguing allegorical account that man's fall from his paradisal state was caused by man eating the forbidden fruit from the Tree of the Knowledge of Good and Evil. Man's eyes were "opened" to know the distinction between good and evil (Genesis 3).
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Both villains wear opulent robes and deck their conveyances out with bells. In The Magician's Nephew Jadis takes on echoes of Satan from John Milton's Paradise Lost: she climbs over the wall of the paradisal garden in contempt of the command to enter only by the gate, and proceeds to tempt Digory as Satan tempted Eve, with lies and half-truths. Similarly, the Lady of the Green Kirtle in The Silver Chair recalls both the snake-woman Errour in The Faerie Queene and Satan's transformation into a snake in Paradise Lost. Lewis read Edith Nesbit's children's books as a child and was greatly fond of them.
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But the Sleeping Nymph motif and the accompanying inscription applied to it became part and parcel of humanistic and fashionable recreations of paradisal garden spots with classical affinities— loci amoeni— right through the 18th century, all the while assimilated to the "Cleopatra", Leonard Barkan observes, "by a contagion among quite separate narratives that happen to converge in the enigmatic space of the signum/statue"."One of the words for 'statue' in Latin is, after all signum" (Barkan 1993:43). The niche, if it was not a grotto from the first, was redecorated as a grotto in the 1530s, when Francisco de Holanda made a drawing of it.Illustrated Barkan 1993:143 fig. 3.
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The description of elysium in Pindar's fragment 129, for instance, has many elements in common with Sappho 2: "meadows of red roses", "frankincense trees", "god's altars" all have parallels in Sappho. However, McEvilley finds equivalent parallels in poems by Xenophanes and Theognis, neither of which describe paradise, and argues that "ritual, paradisal, and festal images overlap" in archaic Greek poetry, especially by Sappho. Other scholars have seen the description of the grove as a metaphor for female sexuality, such as John J. Winkler and Barbara Goff, who describes the drowsiness induced in it as "nothing short of postcoital". The final surviving stanza of the poem describes Aphrodite pouring nectar "into golden cups".
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Coates's use of "the Dream" (in reference to paradisal suburban life) confused her, and she thought Coates stretched beyond what is safely generalizable. In particular, she felt that the phrasing of his comments on 9/11 could be easily misread. Kakutani thought that Coates did not consistently acknowledge racial progress achieved over the course of centuries and that some parts read like the author's internal debate. Benjamin Wallace-Wells of New York magazine said that a sense of fear for one's children propels the book, and Coates's atheism gives the book a sense of urgency. On November 18, 2015, it was announced that Coates had won the National Book Award for Between the World and Me. NPR's Colin Dwyer had considered it the favorite to win the prize, given the book's reception.
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King Arthur in Avalon, an illustration by left Geoffrey of Monmouth's 12-century Vita Merlini introduces the magical island of Avalon, the paradisal "Isle of Apples", as ruled by the nine entirely benevolent enchantress- sisters, known as great healers and capable of shape-shifting and other magic: Morgen, Moronoe, Mazoe, Gliten, Glitonea, Gliton, Tyronoe, and either Thiten and Thiton or two sisters both named Thitis of whom one of them distinguished as "best known for her cither". The sisters receive the dying Arthur from Taliesin, delivered to them in a hope they can revive him. Their beautiful, wise and powerful queen, Morgen, would later evolve into Morgan le Fay, Arthur's own sister in later Arthurian tradition, who herself takes the dying Arthur to Avalon. The other eight sisters appear only in this text and never return in any known works by other medieval authors.
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Her verse lauds the home's richness and wealth; finds delight and happiness in connection both to that self-creating plenitude and to the stunning prospect of the area accessible from what is probably the site of the house; and comments the paradisal nonappearance of hard work at Highbury.10Austen, notwithstanding, additionally bars topoi normally connected with the class. Most essentially, she doesn't commend the cordiality of the proprietor of the domain and his or her family; she doesn't depict the concordance between the individuals from the inhabitant family and their workers and occupants; and she doesn't give looks of the family's history, its cross-generational presence at the home.11 Likewise, although Austen's representation of the fruitfulness of the land participates in the expected conventions of the genre, she does not convey the typically emblematic, derivative relationship of the estate's Edenic qualities with respect to the resident aristocratic or gentle family.
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Another theory is that Mongibello came from the Italian word monte plus the Arabic word jabal, both meaning "mountain." Today, the name Mongibello is used for the area of Mount Etna containing the two central craters, and the craters located southeast and northeast of the volcanic cone. The name Mongibel is found in Arthurian Romance, as the name of the otherworld castle (or realm) of Morgan le Fay and her half-brother, King Arthur, localised at Etna, according to traditions concerning them derived from the stories told by the Breton conteurs who accompanied the Norman occupiers of Sicily. What were originally Welsh conceptions concerning a dwarf king of a paradisal, Celtic underworld became attached to the quasi-historic figure of Arthur as "Ruler of the Antipodes" and were then transplanted into a Sicilian milieu, by Bretons impressed by the already otherworldly associations of the great, volcanic mountain of their new home.
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Schiller, I, 147. On the Brescia Casket Christ flanked by two other men stand on wavy lines that might be clouds or waves; in the latter case the secene shows something else, perhaps the Calling of Peter and Andrew A more symbolic representation in the Basilica of Sant'Apollinare in Classe in Ravenna, 533–549, where the lambs represent apostles A different, symbolic, approach is taken in the apse mosaic of the Basilica of Sant'Apollinare in Classe in Ravenna, also mid 6th century, where half-length figures of Moses (beardless) and Elijah emerge from little clouds on either side of a large jewelled cross with a Hand of God above it. This scene occupies the "sky" over a standing figure of Saint Apollinaris (said to have been a disciple of Saint Peter) in a paradisal garden, who is flanked by a frieze-like procession of twelve lambs, representing the Twelve Apostles.
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Like the Flight, it was popular with Joachim Patinir and his circle, who set the family amid extensive world landscapes. Maryan Ainsworth contrasts this group, centred on the outward-looking international trading-centre of Antwerp, with the paintings dominated by large figures of the Virgin and Child produced by Gerard David and his circle, based in Bruges, a city that had lost commercial pre-eminence and was now turning in on itself.David, 241–253, especially 252 18th-century depictions were often set beside classical ruins, and a few 19th- century ones featured Ancient Egyptian architecture. Some Romantic depictions placed the incident in lush paradisal settings, notably one that is "the first successful realization of Philipp Otto Runge's ambition to unite Christian orthodoxy with Romantic mysticism and his own personal cosmology",German, 186 or, less appreciatively, one where "he seeks to express the working of divine forces in nature in a vague, emotional manner".
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