Friedrich Hölderlin's novel Hyperion from 1797 starts at the "paradisiac plain of Sicyon".
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During a concert opening for the Masters of Reality in the SMAK (Ghent) they came to the attention of Josh Homme of the Queens of the Stone Age. Subsequently, they were asked to support Queens of the Stone Age on their European and American tours, and have since toured with Muse and Foo Fighters. At the begin of 2004 the band started the works for the album Paradisiac, but during the recording session the guitarist Ben Wyers left the band. In 2005 the band released their second album Paradisiac produced by Josh Homme and finetuned at the studio of fellow Queen of the Stone Age Alain Johannes.
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Virgin site said the clip is "fresh and colorful", and expresses "the naughty and the childhood side of the artist". According to Obiwi, the video is "sweet and paradisiac" and "we would believe it was taken from a fairy's tale". For Musique.evous, Farmer seems surprisingly "happy" in this video which "shows the red icon in a new light".
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Tamoanchan is a mythical paradisiac location known to the Mesoamerican cultures of the central Mexican region in the Late Postclassical period, is a central part of the ancient Mesoamerican cosmology. Tamoanchan is the cosmic tree that connects life and supports the world. Its roots are underground in the water and fertility field. Its trunk is between human beings above ground and heavens.
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The music video continues in a similar style and ends with Inna running to the water wearing black clothing. Cut scenes show her and Luz climbing rocks and posing at the camera. Spanish website Coverlia called the clip a "paradisiac video", further praising Inna's looks. Portal Excite compared it to the visual of Jennifer Lopez's "I'm Into You" (2011), with Revista Tango labelling it as "erotic".
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In this district could be visited the House of the Culture and the Historical Artisan Museum of the Oñondivepá Cultural Center, that shows diverse samples of the history, art and culture of the region. The cathedral and the bishopric see also deserve a visit. There are many commerce where could be acquired the products made of poyvi, like sheets, hammocks, blankets and ponchos. By the Caapucumí company you can get to Mosito Isle navigating in cachiveos (canoes made of timbó trunks) to visit the paradisiac isle of 35 hectares in the middle of the Ypoá estuary.
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Ricardo Morales Hernández is a contemporary artist from San Juan, working on extemporaneous drawing narrating a personal, political and cosmic history. He uses analog, digital and biological media and is known for his paradisiac imagery reminiscent of the natural ecosystem of the colony of Puerto Rico. His works evokes musical notations and graphic systems and in occasions are fed by participative practices of volunteers on internet or nomad workshops. Historical relations can be traced from: primitive markings, medieval marginalia, neo-expressionism, concrete art , conceptual and post-digital aesthetics while at the same time questioning the dominant discourses of contemporary art.
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Ladyfoot by Idan Zareski The Whistler by Idan Zareski A Bigfoot Family is born: Babyfoot, Bigfoot, Ladyfoot, Grandpafoot, Grandmafoot, Longfoot, Coolfoot, Le Siffleur and La Nena are among the team members. Each one possesses his own characteristic while still keeping a common familiar symbolism: these big feet, which represent our roots, and our attachment to the same planet, the Earth. According to the artist “no matter what our race or color is, where we live or who we are, we are all enslaved to our paradisiac planet, our home”. This idea of unity amongst the human race is something Idan Zareski wants to express through his work.
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The Lianozovo Group formed in 1958 was named after the small village Lianozovo outside Moscow, where most of the artists lived and worked. The members of this group were: Evgenii Kropivnitsky , the artist and poet, Olga Potapova , Oscar Rabin, Lidia Masterkova, Vladimir Nemukhin, Nikolai Vechtomov and the poets Vsevolod Nekrasov , Genrikh Sapgir, and Igor Kholin. This group was not related due to aesthetic concerns, but due to "their shared search for a new sociocultural identity." critic and theorist Victor Tupitsyn considered that, "the aestheticization of misery is precisely what distinguishes the representatives of the de-classed communal intelligentsia of the thaw era from their predecessors (the Socialist Realists), who created a paradisiac image of history."Tupitsyn, Victor.
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The nature of the afterlife which the dead people enjoyed is difficult to define, because of the differing traditions within Ancient Egyptian religion. In the Book of the Dead, the dead were taken into the presence of the god Osiris, who was confined to the subterranean Duat. There are also spells to enable the ba or akh of the dead to join Ra as he travelled the sky in his sun-barque, and help him fight off Apep.Spells 100-2, 129-131 and 133-136\. Taylor 2010, p.239-241 As well as joining the Gods, the Book of the Dead also depicts the dead living on in the 'Field of Reeds', a paradisiac likeness of the real world.Spells 109, 110 and 149. Taylor 2010, p.
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Werfel's narrative style is omniscient as well as having a polyfocus, in which he moves from character to character as well as being a spectator. For that reason, the connection between the author's consciousness and that of his characters can almost read seamlessly. This is evident as the novel opens in the spring of 1915, during the second year of the World War I. Gabriel Bagradian, a wealthy Armenian from Paris, has returned to his native village of Yoghonoluk, one of seven villages in Aleppo Vilayet, now Hatay Province, Turkey. (Bagradian's character was inspired by the figure of , whose Armenian first name was the same as that of the mountain.) His view is dominated by a familiar and looming presence in this paradisiac landscape—Musa Dagh—which means Mount Moses in Turkish (Musa Ler is the Armenian for Mount Moses).
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Flower Mountain is a term from Classic Maya iconography referring to stylized lateral or frontal depictions of an animate mountain, or mountain cave, characterized by the presence of one or more flower symbols at the mountain's 'brow'. This Flower Mountain is repeatedly found associated with solar symbols and depictions of terrestrial water. The earliest representation of a Flower Mountain is found in the Late Preclassic murals of San Bartolo (Maya site). The icon has been interpreted as (a) the 'Flowering Mountain Earth', a concept of the present-day Tz'utujil Mayas denoting a mountain located at the world's centre, and associated with a tree of life which can take the form of a sprouting maize plant; (b) the paradisiac dwelling place of the ancestors; (c) the Cave of Emergence (Aztec Chicomoztoc); (d) the place of celestial ascent of ancestors and (solar) sky gods; and (e) the mountain containing the maize seeds (Aztec Tonacatepetl).
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