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"proem" Definitions
  1. preliminary comment : PREFACE
  2. PRELUDE

66 Sentences With "proem"

How to use proem in a sentence? Find typical usage patterns (collocations)/phrases/context for "proem" and check conjugation/comparative form for "proem". Mastering all the usages of "proem" from sentence examples published by news publications.

"Two days ago, they arrested and charged [informal rescue groups] Proem-Aid and Team Humanity with [assisting illegal immigration]," Moore told me.
Khan's LinkedIn page shows that he recently founded a company called Proem Group, but that is the name of a trust Khan started.
This time, he headed out with a Danish colleague and three Spanish lifeguards from Proem Aid, another volunteer group he had worked with many times before.
Manuel Blanco, another lifeguard volunteer with Spanish organisation Proem Aid says the swimming lessons were also designed to take children out of the tedious refugee camp routine.
" After a moment or two, I said, "Well, some died in the war, and, if you read the proem carefully, you'll recall that others died 'through their own recklessness.
The prosecution drew condemnation from some Spanish officials and aid and advocacy groups, including Amnesty International, as Team Humanity and Proem-Aid sought to raise public awareness about the case.
Along with Mr. Aldeen and another Dane, Mohammed el-Abassi, who also worked for Team Humanity, three Spanish firefighters who volunteered for the Spanish group Proem-Aid faced as many as 15 years in prison.
The proem, as the first few lines of an epic are known, establishes the backstory: our polytropos hero has been delayed on his return "after sacking the holy citadel of Troy"; having "wandered widely," he has been detained by the amorous nymph Calypso, who wants to marry him despite his determination to get back to his wife, Penelope; all the men he took with him to fight in the Trojan War have perished, some through foolish misadventures on the journey home.
With a change in the final sentences, the first proem in Eichah Rabbah is used as a proem in the Pesiḳta pericope 11 (110a), and with a change of the proem text and of its close, proem 10 (9) of Eichah Rabbah is found as a proem in the Pesiḳta pericope 19 (137b). On the other hand, there is found embodied in the exposition of Lamentations 1:2, "she weepeth sore in the night," etc., a whole proem, the text of which is Psalms 78:7 et seq., "I remember my lute-playing in the night," etc.
Some of the homilies have more than one proem by R. Tanhuma. The piskot taken from PdRK have of course no Yelammedenu or Tanḥuma proems; the first part of piskah No. 14, which does not belong to PdRK, has at the beginning two halakhic introductions and one proem of R. Tanhuma.
The relevant verses are also sometimes attributed to the proem of On Nature, even by those who think that there was a separate poem called "Purifications".
There is an interesting statement in section 44 regarding the manner of treating a proem-text from the Psalms for the homily to Exodus 32:13.
According to Eustathius (Proem. 27, p. 298. 9 Dr) and Vit. Ambr. (p. 2. 2 Dr.), Pan was once heard between Cithaeron and Helicon singing a paean composed to him by Pindar (fr. 85).
Little is known of the life of Appian of Alexandria. He wrote an autobiography that has been almost completely lost.Appian Proem. 62 Information about Appian is distilled from his own writings and a letter by his friend Cornelius Fronto.
15, 2014, pp. 1-9. ISSN (en línea): 1316-1857. (online) and Meleager's proem to his Garland refers to her as a "lily", putting her alongside Sappho and Anyte. According to Tatian, Cephisodotus, the son of Praxiteles, sculpted her.
Genesis Rabbah 29 The close of this proem, which serves as a connecting link with Lamentations 1:1, is found also in the Pesiḳta as the first proem to pericope 15 (p. 119a) to Isaiah 1:21, the Hafṭarah for the Sabbath before the Ninth of Ab.Compare Müller, Einleitung in die Responsen, p. 38 The same is the case with the second and fourth proems in the Pesiḳta, which are identical with the fourth and third (according to the correct enumeration) of the proems to Eichah Rabbah; the fifth in the Pesiḳta (120b-121b), which corresponds to the second in this Midrash, has a defective ending.
Before the band announced the album, they had released two EPs; Midwest Monsters and Proem, both of which contained tracks that would feature onto this album. After they released Midwest Monsters, they were signed to Roadrunner Records to release Proem in June, to then announce this album a month after its release. The band had previously recorded material for a full-length studio album in 2008 but under the label Equal Vision Records with Chiodos guitarist Jason Hale, however, the band dropped from the label with Jason Hale departing from the band and no album was released, details regarding those recorded songs have not been revealed since.
Inverness, CA: Golden Sufi Center Publishing. Similarly, Kingsley argues that the imagery and wording of the proem, or introductory part, of Parmenides' poem record an initiate's descent to the underworld and indicate a mystical background connected to the ancient practice of healing and meditation known as incubation.
This book includes: Proem, Lyrics in the Mood of Reflection, Sonnets, Songs of Roses, Commemorations and Inscriptions, Verses of Occasion, Paraphrases and a final Epilogue in the Autumn Garden. It contains more than 50 individual pieces within it. He was the literary editor for the 1911 edition of the Encyclopædia Britannica.
Apparently, Psellos wrote the work for the emperor Constantine IX Monomachos. It was then revised for Michael VII Doukas by Symeon Seth, who wrote a brief introduction (the proem.), made some corrections in the text, omitting some chapters. The work deals with some two hundred and twenty-eight plants and animals.
The appearance of Proteus, a shapeshifting god, in the proem serves as a metaphor for Nonnus' varied style.Fornaro, col.813 and Shorrock, pg.20ff. Nonnus employs the style of the epyllion for many of his narrative sections, such as his treatment of Ampelus in 10–11, Nicaea in 15–16, and Beroe in 41–43.
The entire proem is also written in the format of a hymn, recalling other early literary works, texts, and hymns and in particular the Homeric Hymn to Aphrodite.Keith (2012), p. 39. The choice to address Venus may have been due to Empedocles's belief that Aphrodite represents "the great creative force in the cosmos".Sedley (2013) [2004].
In the Greek philosophical tradition, Parmenides was among the first to propose an ontological characterization of the fundamental nature of existence. In the prologue (or proem) to On Nature, he describes two views of existence. Initially, nothing comes from nothing, thus existence is eternal. This posits that existence is what may be conceived of by thought, created, or possessed.
Kingsley identifies the Greek pre-Socratic philosopher Parmenides as an iatromantis. This identification has been described by Oxford academic Mitchell Miller as "fascinating" but also as "very difficult to assess as a truth claim".Mitchell, Miller, "The Proem of Parmenides" in Sedley, David (ed.), Oxford Studies in Ancient Philosophy, Volume 30 (Oxford University Press, 2006), p.
It is unknown how long the Cynegetica originally was. Williams cites the length of Oppian's four volume Cynegetica as a precedent for a reasonably long work - although notes that there is no evidence that Nemesianus' Cynegetica was as long. Toohey estimates that Nemesianus' poem was at least 400 lines long, on the basis of the length of its proem.
One year later, in December 1943, the MLA issued the first volume of the second series, which continues to be published through present day. That first issue in 1943 celebrated the switch from “long, unwieldy, seemingly less permanent mimeographed sheets” of the first series to type-set pages, allowing for more space for articles as well as advertisements.Hill, Richard S. (Ed). ”Proem.” Notes.
Proba dedicates only a few lines to Exodus before moving onto the New Testament. Cullhed reasons that this is because the Book of Exodus and the remaining Old Testament is replete with violence and warfare that is stylistically too close to the tradition of pagan epic poetrya tradition that Proba expressly rejects in the proem of De laudibus Christi.Cullhed (2015), p. 121.
Corax devised an art of rhetoric to permit ordinary men to make their cases in the courts. His chief contribution was in helping structure judicial speeches into various parts: proem, narration, statement of arguments, refutation of opposing arguments, and summary. This structure is the basis for all later rhetorical theory. His pupil Tisias is said to have developed legal rhetoric further, and may have been the teacher of Isocrates.
Thureus tells the Indian king Deriades of what has happened. The news of the defeat reaches the Indian people and their morale deteriorates. In the forest, the Bacchic troops celebrate their victory. Leucus sings the story of Aphrodite's weaving contest with Athena and her defeat. Book 25 – The poet invokes the Muse in his second proem, saying that in emulation of Homer he will skip over the first six years of the war.
Most of these passages are anonymous and may perhaps be ascribed in part to the author of Genesis Rabbah. They begin with the verse of the text, which often stands at the head of the proem without any formula of introduction. The structure of the prefatory passages varies. In some, only the introductory text is given, its application to the verse of Genesis to be expounded being self-evident or being left to a later working out.
The lead poem "Kaddish" also known as "Kaddish for Naomi Ginsberg (1894-1956)", was written in two parts written by Beat writer Allen Ginsberg, was first published in Kaddish and Other Poems 1958-1960. The book was part of the Pocket Poet Series published by City Lights Books. In the table of contents, the poem is titled "Kaddish: Proem, narrative, hymmnn, lament, litany, & fugue". Along with Ginsberg's "Howl", Kaddish is said to be one of his greatest masterpieces.
Buber, p. 47a for which there was used a proem on the Pesiḳta section Isaiah 51:12, intended originally for the fourth Sabbath after the Ninth of Av, and a section which had for its text this verse of Lamentations (pericope 19, p. 138a); and also in regard to the comment to Lamentations 3:39,ed. Buber, p. 68a which consists of a proem of the Pesiḳta pericope 18 (p. 130b). But the author also added four proems from Eichah Rabbah itself (29, 18, 19, 31, according to the correct enumeration), retaining the introductory formula ר ... פתח, as a commentary to Lamentations 3:1,14,15; 4:12.ed. Buber, pp. 61b, 64a, b, 74b The opinion set forth in the introduction to Buber's critical edition that the arrangement of the proems at the beginning of the work was made by a later editor, who included the marked comments of the Midrash as proems, and who, after prefixing the introductory formula to a comment on the Midrash Ḳohelet 12:1 et seq.
Mariano Santo Proem of the Libellus Aureus Mariano Santo (1488 in Barletta – 1577 in Rome) was a prominent surgeon of the 16th century. He was born in Barletta in 1488 and went in Rome in 1510 for studying medicine. He became surgeon and started to teach in Bologna University. He returned in Baletta in 1520 for the death of his father, in 1524 married Maddalena Braccio (he had 4 sons with her), in 1526 went in Milan and in 1527 in Ragusa (today Dubrovnik).
The origins of this work are shrouded in mythology. Most accounts of the poem's construction derive from Umar ibn al-Farid's grandson, Umar ibn al- Farid in his biographical work “Adorned Proem to the Diwan” (Dibijat al- Diwan), heralding his grandfather's legacy and many of the stories surrounding it. According to Ali, Umar ibn al-Farid “would fall into deathlike trances for days, then recover and spontaneously recite verses directly inspired by God; these verses were then collected to form this long ode”.Homerin, Emil.
Given Lucretius's relatively secular philosophy and his eschewing of superstition, his invocation of Venus has caused much debate among scholars. Lucretius opens his poem by addressing Venus not only as the mother of Rome (Aeneadum genetrix) but also as the veritable mother of nature (Alma Venus), urging her to pacify her lover Mars and spare Rome from strife.Leonard (1916). By recalling the opening to poems by Homer, Ennius, and Hesiod (all of which begin with an invocation to the Muses), the proem to De rerum natura conforms to epic convention.
A page from William Caxton's edition of Anelida and Arcite, dated 1477 Anelida and Arcite is a 357-line English poem by Geoffrey Chaucer. It tells the story of Anelida, queen of Armenia and her wooing by false Arcite from Thebes, Greece. Although relatively short, it is a poem with a complex structure, with an invocation and then the main story. The story is made up of an introduction and a complaint by Anelida which is in turn made up of a proem, a strophe, antistrophe and a conclusion.
What little is known of Crane's life comes from his own writings. In 1621 he published a small collection of his own poems titled The Works of Mercy, Both Corporeal and Spiritual, which he dedicated to John Egerton, 1st Earl of Bridgewater. In the prefatory "Proem" to that volume, Crane indicated that he was a native Londoner, and the son of a successful member of the Merchant Taylors Company. He spent seven years as the law clerk to Sir Anthony Ashley, secretary of the Privy Council; Crane later became a scribe working mainly for attorneys.
Memoirs of a Murderer is the debut studio album by American heavy metal band King 810 which was released on August 18, 2014 via Roadrunner Records. The album contains four tracks that were originally featured on both of the band's previous EPs (Midwest Monsters and Proem) along with 12 original songs, making a total of 16 songs. The album is the first of the band's efforts to chart, peaking at 18 on the Top Hard Rock Albums and eight on the Top Heatseekers, making this their most successful release to date.
1.) was introduced to classical studies by the German philologist Franz Dornseiff in his Pindars Stil (1921);William A. Johnson, "Hesiod's Theogony: Reading the Proem as a Priamel," Greek, Roman, and Byzantine Studies 46 (2008): 231. it originally referred to "a minor poetic genre composed primarily in Germany from the 12th to the 16th centuries. Such priameln are, on the whole, short poems consisting of a series of seemingly unrelated, often paradoxical statements which are cleverly brought together at the end, usually in the final verse."Walter Moskalew, Formular Language and Poetic Design in the Aeneid (Brill, 1982: ), p. 1.
The poem has a mythological plot: it narrates the love of Troilo (Troilus), a younger son of Priam of Troy, for Criseida (Cressida), daughter of Calcas (Calchas). Although its setting is Trojan, Boccaccio's story is not taken from Greek myth, but from the Roman de Troie, a twelfth-century French medieval re- elaboration of the Trojan legend by Benoît de Sainte-Maure known to Boccaccio in the Latin prose version by Guido delle Colonne (Historia destructionis Troiae). The plot of the Filostrato can be read as a roman à clef of Boccaccio's love of "Fiammetta". Indeed, the proem suggests it.
The sources from which Yerushalmi drew must have been accessible to the author of Eichah Rabbah, which was certainly edited some time after the completion of the former, and which probably borrowed from it. In the same way older collections must have served as the common source for Eichah Rabbah, Bereshit Rabbah, and especially for the Pesiḳta de-Rab Kahana. The aggadic comment on Hosea 6:7 appears earlier as a proem to a discourse on Lamentations, and is included among the proems in this Midrashed. S. Buber, p. 3a as a comment on Genesis 3:9.
The protocol opened the charter by invoking God and enumerating the pious considerations for the King's act (proem). The corpus was usually in Latin and named the beneficiary, recorded the grant or transfer (dispositive clause), reserved common burdens (reservation clause) and invoked the wrath of God on anyone who failed to observe it (anathema or sanction). The corpus' final section, which was often in Old English, described the boundaries of the land (boundary clause). The eschatocol was composed of a dating clause and witness-list, which usually included powerful lay and ecclesiastical members of the king's court.
Hudson, Historia Ecclesie Abbendonensis, p. cciii. The refoundation is what lies behind an exceptionally elaborate charter for Pershore, dated 972, in which King Edgar is presented as granting new lands and privileges as well as confirming old ones, such as the one granted by Coenwulf. The authenticity of this document, however, has been questioned. Simon Keynes in 1980 showed that it belongs to the so-called Orthodoxorum group of charters, so named after the initial word of their proem, which he concluded were forgeries based on a charter of Æthelred II's reign.Keynes, The diplomas of King Æthelred 'the Unready' 978-1016, pp.
The following structural division of the poem is proposed by Toohey ;I Proem (lines 1- 102) :Nemesianus announces that his poem's theme is hunting and the "battles of the countryside" (proelia ruris). He is inspired by Castalius (i.e. Apollo), the Muses and Bacchus to set off on untested ground. Nemesianus briefly refers to various clichéd mythological themes (the myths of Niobe, Semele, Pentheus, Dirce, Hippodamia, the Danaides, Biblis, Myrrha, Cadmus, Io and Argus, Hercules, Tereus, Phaethon, the house of Tantalus, Medea, Glauce, Nisus, Circe and Antigone), but states that poets have already sung all about them.
Modern American Poetry Site "Proem: To Brooklyn Bridge" is the short lyrical ode to the Brooklyn Bridge and New York City which opens the sequence and serves as an introduction (and New York City's urban landscape remains a dominant presence throughout the book). After beginning with this ode, "Ave Maria" begins the first longer sequence labeled Roman numeral I which describes Columbus' eastward return from his accidental voyage to the Americas. The title of the piece is based upon the fact that Columbus attributed his crew's survival across the Atlantic Ocean to "the intercession of the Virgin Mary." Ellmann, Richard and Robert O'Clair, eds.
Their releases cover a wide range of styles, from cut up vocal hip hop by their most prominent artist Machinedrum, to central IDM by artists like Proem, Mr. Projectile, and Deru, to indie-influenced electronic music like Tiki Obmar or Lateduster. They also release a wide geographical range of artists, from all over Europe and the US, as well as Australia, Russia and Japan. Also Merck is somewhat known for only putting forth minimal artist images, and not promoting the label in the traditional music industry push style. Merck had produced 51 CD releases and 50 vinyl records by February 2007, at which point it ceased releasing new material.
North American audiences welcomed IDM, and by the late 1990s many IDM record labels had been founded, including Drop Beat, Isophlux, Suction, Schematic and Cytrax.[ IDM, AllMusic] In Miami, Florida, labels like Schematic, Merck Records, Nophi Recordings and The Beta Bodega Coalition released material by artists such as Phoenecia, Dino Felipe, Machinedrum and Proem. Another burgeoning scene was the Chicago/Milwaukee area, with labels such as Addict, Chocolate Industries, Hefty and Zod supporting artists like Doormouse, TRS-80, Telefon Tel Aviv and Emotional Joystick. Tigerbeat 6, a San Francisco-based label has released IDM from artists such as Cex, Kid 606 and Kevin Blechdom.
Kingsley, P. (1999). In the Dark Places of Wisdom. Inverness, CA: Golden Sufi Center Publishing.Kingsley, P. (2003). Reality. Inverness, CA: Golden Sufi Center Publishing. More than just a medical technique, incubation was said to allow a human being to experience a fourth state of consciousness different from sleeping, dreaming, or ordinary waking: a state that Kingsley describes as "consciousness itself" and likens to the turiya or samadhi of the Indian yogic traditions.Kingsley, P. (1999). In the Dark Places of Wisdom. Inverness, CA: Golden Sufi Center Publishing. Kingsley supports this reading of the proem with the archaeological evidence from the excavations of Parmenides' hometown of Velia, or Elea, in Southern Italy.
The cento's 694 lines are divided into a proem and invocation (lines 155), select stories from the Old Testament books of Genesis (lines 56318) and Exodus (lines 31932), select stories from the New Testament Gospels (lines 333686), and an epilogue (lines 68794).Cullhed (2015), pp. 190231. At the beginning of the poem, Proba references her earlier foray into poetry before rejecting it in the name of Christ. This section also serves as an inversion and thus rejection of the Virgilian tradition: whereas Virgil opened the Aeneid by proclaiming that he will "sing of weapons and a man" (arma virumque cano), Proba rejects warfare as a subject worthy of Christian poetry.
The proem of The boke named the Gouernour, deuysed by syr Thomas Elyot knight; printed by Thomas Berthelet, 1537 Berthelet is recorded, in an application for a marriage licence of 23 August 1524, as being resident in the London parish of St Dunstan in London's famous printing quarter, Fleet Street. He was a member of the Stationers' Company. On 27 September 1524 Berthelet printed his first book Opus sane de deorum dearumque gentilium genealogia, a small tract by the monk Galfredus Petrus of Bayeux, which was printed in his premises in Fleet Street. In 1528 he printed a translation by Thomas Paynell of the Regimen sanitatis Salerni.
" Then Kirsch goes on to call parts of the "Atlantis" section of the poem "exhilarating" while he criticizes the "Indiana" section for being "rankly sentimental." From a more positive critical perspective, The Bridge was recently singled out by the Academy of American Poets as one of the 20th century's "Groundbreaking Books". The organization writes, "Physically removed from the city [since he began the piece while living in the Caribbean], Crane relied on his memory and imagination to render the numerous awesome and grotesque nuances of New York, evident in poems such as 'The Tunnel' and 'Cutty Sark.' The book’s opening, 'Proem: To Brooklyn Bridge,' is indicative of Crane’s ecstatic, symbolic vision of the modern city. . .
However, according to a reading of S. Buber's editionp. 39a (which is the only correct one as shown by the context), Seir, not Ishmael, is mentioned in connection with Edom in this passage to 1:14. Zunz' other arguments likewise fail to prove such a late date for the Midrash, especially since Zunz himself concludes that the authorities mentioned therein by name are not later than Yerushalmi. All that can be definitely stated is that Eichah Rabbah was edited after the completion of the Yerushalmi, and that Bereshit Rabbah must also be considered as of earlier date, not so much because it was drawn upon, as because of the character of the proem collection in Eichah Rabbah.
In the proem, Parmenides describes the journey of the poet, escorted by maidens ("the daughters of the Sun made haste to escort me, having left the halls of Night for the light"), from the ordinary daytime world to a strange destination, outside our human paths. Carried in a whirling chariot, and attended by the daughters of Helios the Sun, the man reaches a temple sacred to an unnamed goddess (variously identified by the commentators as Nature, Wisdom, Necessity or Themis), by whom the rest of the poem is spoken. The goddess resides in a well-known mythological space: where Night and Day have their meeting place. Its essential character is that here all opposites are undivided, or one.
John Kerrigan, Revenge Tragedy: Aeschyus to Armageddon (Oxford University Press, 1996) online. The basic structure of the poem is as follows:For extended work on the poem's structure, see D. Krasne, "Crippling Nostalgia: Nostos, Poetics, and the Structure of the Ibis," TAPA 146: 149-189 (2016). :I. Introduction ::1-66: Proem which lays out Ibis' crime and declares war ::67-126: Prayers to the gods to inflict on Ibis poverty, hunger, and exile ::127-208: The eternity of Ibis' torment, which will outlast both Ovid's death and Ibis' own ::209-250: A biography of Ibis' infancy and a divine mandate given to Ovid to curse him :II. Catalogue ::251-638: Catalogue of mythological and historical torments which Ibis should suffer :III.
This evidence, according to Kingsley, demonstrates that Parmenides was a practising priest of Apollo, and would therefore have used incubatory techniques as a matter of course for healing, prophecy, and meditation. As Kingsley notes, this physical evidence from Velia merely conforms to and confirms the incubatory context already suggested by the proem itself. In Kingsley's understanding of this mystical tradition, the descent to the underworld is deeply connected with the conscious experience of the body—it is, in reality, a conscious descent into the depths and darkness of the very sensation of the physical body. Thus, in contrast to mystical paths that hope to "transcend" the physical, embodied state, Parmenides and Empedocles both find the divine in and through the body and the senses.
Though none of their writings have come down to us, other medical writers recorded what they had discovered. One such writer was Celsus who wrote in On Medicine I Proem 23, "Herophilus and Erasistratus proceeded in by far the best way: they cut open living men - criminals they obtained out of prison from the kings and they observed, while their subjects still breathed, parts that nature had previously hidden, their position, color, shape, size, arrangement, hardness, softness, smoothness, points of contact, and finally the processes and recesses of each and whether any part is inserted into another or receives the part of another into itself." Galen was another such writer who was familiar with the studies of Herophilus and Erasistratus.
Babylonian Talmud Megillah 10b, in, e.g., Talmud Bavli, elucidated by Gedaliah Zlotowitz and Hersh Goldwurm, edited by Yisroel Simcha Schorr (Brooklyn: Mesorah Publications, 1991), volume 20, page 10b2; see also Genesis Rabbah 42:3 (Land of Israel, 5th century), in, e.g., Midrash Rabbah: Genesis, translated by Harry Freedman and Maurice Simon (London: Soncino Press, 1939), volume 1, pages 341–46; Numbers Rabbah 13:5 (12th century), in, e.g., Midrash Rabbah: Numbers, translated by Judah J. Slotki (London: Soncino Press, 1939), volume 6, pages 513–16 (Rabbi Simeon bar Abba taught that the term "and it was" or "and it came to pass" (, va-yehi) indicates the approach of trouble or joy); Esther Rabbah, proem 11 (6th–12th centuries), in, e.g.
Genesis Rabbah 65; Lamentations Rabbah, proem, 2 Meir's tolerance, however, is best shown by his attitude toward the apostate Elisha ben Abuyah ("Aher"), his teacher. Of all Elisha's colleagues he alone, perhaps in the hope of reclaiming him for Judaism, continued to associate with him and discuss with him scientific subjects, not heeding the remonstrances of some pious rabbis who regarded this association with some suspicion. Meir's attachment for Elisha was so great that on the death of the latter he is said to have spread his mantle over his friend's grave. Thereupon, according to a legend, a pillar of smoke arose from it, and Meir, paraphrasing Ruth 3:13, exclaimed, "Rest here in the night; in the dawn of happiness the God of mercy will deliver thee; if not, I will be thy redeemer".
In some cases, long pieces, in others brief sentences only, have been adduced in connection with the Scriptural passages, seemingly in accordance with the material at the redactor's disposal. Inasmuch, however, as the homilies in Leviticus Rabbah deal largely with topics beyond the subject matter of the Biblical text itself, the explanations of the individual verses are often replaced by series of homiletic quotations that refer to the theme considered in the homily.Compare chapters 8, 12-15, 18, 19, 23, 31-34, 36, 37 In this, Leviticus Rabbah differs from the Pesikta, for in the Pesikta the individual explanations are seldom lacking. And while the Pesikta rarely quotes lengthy homiletic excerpts after the proems, Leviticus Rabbah quotes such materials after the conclusion of a proem, in the course of each chapter, and even toward the end of a chapter.
The author of the poem, Faltonia Betitia Proba, was born AD 322. A member of an influential, aristocratic family, she eventually married a prefect of Rome named Clodius Celsinus Adelphius.Kaczynski (2013), pp. 13132. Proba wrote poetry, and according to contemporary accounts, her first work was titled Constantini bellum adversus Magnentium; this poem, which is now lost, recounted the war between Roman Emperor Constantius II and the usurper Magnentius that occurred between AD 35053.Cullhed (2015), p. 24. At some point, Proba converted from paganism to Christianity, and De laudibus Christi, which was probably written AD 352384, was her attempt to "turn away from battle and slayings in order to write holy things".Kaczynski (2013), p. 132. With the exception of the proem and invocation of the poem, the entirety of De laudibus Christi is a cento (i.e.
Shanzerwho is of the opinion that Faltonia Betitia Proba likely died in AD 351bases much of her assertion on supposed date inconsistencies and anachronisms within the text. For instance, Shanzer points out that lines 13–17 of De laudibus Christi strongly resemble lines 20–24 of the poem Carmen contra paganos, which was written sometime after Faltonia Betitia Proba's death. Shanzer also claims that De laudibus Christi alludes to a notable debate about the date of Easter that took place in AD 387, thereby suggesting that the poem must date from the latter part of the fourth century. Finally, Shanzer argues that the reference to the war between Magnentius and Constantius in the work's proem precludes the possibility that Faltonia Betitia Proba arranged De laudibus Christi, due to the fact that the war took place in the same year as her supposed death.
Constantine VII was a scholar-emperor, who sought to foster learning and education in the Eastern Roman Empire. He gathered a group of educated people and dedicated himself to writing books about the administration, ceremonies, and history of the Eastern Roman Empire. A circle of educated people formed around Constantine VII written three unfinished books (De Administrando Imperio, De Ceremoniis and On the Themes) and finished a biography of his grandfather, Basil I. The text known as De Administrando Imperio was written by emperor Constantine VII Porphyrogenitus, but he had at least one educated “Anonymous Collaborator”. Constantine VII’s direct appeals to his son Romanus II and Constantine’s first-person commentaries are located both at the beginning of the treatise in the Proem and in chapter 13, as well as at the end of the text, in chapter 51.
The deep sympathy between the teachings of Parmenides and Empedocles is also found in the central, logical part of Parmenides' poem, often referred to as "Fragment Eight" or "The Way of Truth." As Kingsley notes, Parmenides' logic aims at demonstrating that reality is changeless, whole, unborn and immortal, and one—a description strikingly similar to the ways in which absolute reality is described in many mystical traditions, such as Advaita Vedanta, Zen, and Dzogchen. That this is no mere material or metaphysical monism is indicated by the initiatory motifs of the proem; the setting and hymnal language of Fragment Eight; the unnamed goddess as the speaker of these words; and the figure of the historical Parmenides as priest of Apollo. Kingsley reads Parmenides as saying that this "ultimate reality" is not on some supercelestial plane, but rather is very simply the reality of the world all around us.
Dante himself tells us that the prose of the Convivio is "temperate and virile," in contrast to the "fervid and passionate" prose of the Vita Nova; and that while the approach to this in the work of his youth was "like dreaming" the Convivio approaches it subjects soberly and wide awake, often modeling its style on Scholastic authors. The Convivio is a kind of vernacular encyclopedia of the knowledge of Dante's time; it touches on many areas of learning, not only philosophy but also politics, linguistics, science, and history. The treatise begins with the prefatory book, or proem, which explains why a book like the Convivio is needed and why Dante is writing it in the vernacular instead of Latin. It is one of Dante's early defenses of the vernacular, expressed in greater detail in his (slightly earlier) linguistic treatise De vulgari eloquentia (On Eloquence in the Vernacular).
I have not been exposed since the nineteen-seventies, which is to say that my experiences, my adventures with homosexuality took place largely in the nineteen-sixties, and back then I relied on time and abstinence to indicate my degree of freedom from infection and to protect others and myself." Once past its "Proem," Delany's novel opens with similar statements, but placed in the negative: "I do not have AIDS. I'm surprised that I don't . . ." As critic Reed Woodhouse (in Unlimited Embrace: A Canon of Gay Fiction, 1945—1995, University of Massachusetts Press, 1998), wrote, "What one hears in Delany's sentence is the sound of the gauntlet being thrown down, for he wants to completely reverse the story Brodkey tells: the story, that is, of an 'innocent victim' who may have played around a little but very long ago and certainly not doing those things.
All the allies would have attended the Easter celebrations for the sharing-out of war booty. In 1066 Bishop Guy may have sought to win royal esteem, possibly damaged by the involvement of Hugh of Ponthieu in the death of King Harold and the senior family's attempts to assassinate the young duke in childhood. Bishop Guy himself was out of favour with the pope, and it has been suggested that he wanted to garner some Norman influence by writing the Carmen in William's honor and inviting Lanfranc of Pavia, abbot of Abbey of Saint-Étienne, Caen and later archbishop of Canterbury (to whom the Proem of the poem is dedicated) to use his influence with king and pope. A further possibility (though none of these are mutually exclusive) is that Guy composed the Carmen to present Eustace, Count of Boulogne, in a favourable light in order to reverse King William's banishment of Count Eustace following his failed invasion of England in the autumn of 1067 (Eustace remained in fact out of favour until late in the 1070s).

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