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Trending: Vrbo Marketing 101 TikTok How to Sell
Read "Content Inc." and Build a Profitable Audience and Business
Published: Sep 12, 2015 Last Updated: Jun 20, 2016 by Ivana Taylor In Business Books, Marketing Books 1
The book "Content Inc." will show businesses both large and small how to leverage content to build a profitable audience.
Remember that old 1980s movie "Field of Dreams?" Kevin Costner is driven by the constant whisper … "If you built it, they will come."
Well, in his latest book, "Content Inc.: How Entrepreneurs Use Content to Build Massive Audiences and Create Radically Successful Businesses," Joe Pulizzi isn't whispering. He's screaming, "Build an audience and success will come!"
What the Book is About
There must be something in Cleveland drinking water because Joe Pulizzi and Dan Kennedy share an "attract ideal customers first" philosophy. Dan Kennedy's famous quote is: "Some people sell things so they can have customers. We have customers so we can sell them things." This is exactly the kind of philosophy you'll find in "Content Inc."
Author Joe Pulizzi (@JoePulizzi) started with a product to get customers, but was unsuccessful. What worked for him (and hundreds of other companies that he profiles in the book) is creating great content, building an audience and then selling them what they want.
It's a simple solution that isn't easy. Thankfully, Pulizzi has constructed a six-step process to get the job done.
Step 1: Uncover Your Sweet Spot
Pulizzi claims that if you've been trying to build an audience and have been unsuccessful at it, this is the first place to look. Do you have a sweet spot? Have you exploited the intersection of a skill you have with a passion?
Step 2: Tilt Your Content
If you don't have the level of audience that you'd like, Pulizzi says the next most likely mistake you're making is NOT leveraging the power of the "Content Tilt." Content tilt means having a unique point of view on a popular topic. Don't worry, "Content Inc." provides lots of examples and worksheets that you can use to uncover a unique point of view.
Step 3: Build Your Base
This is where the real work begins. The first step is to select your main platform. And yes, once again, this is where Pulizzi says folks will get easily sidetracked. Pulizzi wants you to sit down, focus and choose a primary platform; blogging, video, podcast? Pick one. DO NOT — repeat — DO NOT allow yourself to get distracted, it will dilute your efforts.
Step 4: Harvest the Audience
Once again, focus is the name of the game. Pulizzi is a huge advocate of owning your audience, and that means getting their email. Not everyone will agree with this approach, but that's his point of view. It's helped him and countless other build a profitable business and this sections shows you how to do that.
Step 5: Diversify
Only after you've done these first four steps can you start spreading your wings and your platforms. Why? Because you already have a loyal audience that is following you wherever you are.
Step 6: Monetize
At this stage of the game you are ready to monetize. Pulizzi recommends doing this as soon as possible. Be ready with a business model and deliver killer value.
An Entrepreneur's Vision Comes to Life
Like most entrepreneurs Pulizzi's entrepreneurial journey began with one end in mind and morphed into something completely different. He has a background in communications that he used as an intern for the Cleveland Cavaliers. Then an opportunity opened up at Penn State where he completed his Masters Degree in Communication.
Armed with a lot of education, he came to Cleveland and worked at a lucrative position at a publishing company. Then in 2007, he plunged into entrepreneurship with an idea for a fabulous product — but no income to support his family.
This is where creating killer content and building a thriving and engaged community came to the rescue.
"Three to five times per week I was creating and distributing helpful content targeted at marketers — in large companies — the audience I wanted to reach eventually with my new product. A few months later, I was starting to build a small loyal following."
This was the beginning of Pulizzi's Content Marketing Inc. Empire. And his secret sauce isn't a secret anymore; build an audience and the rest will come.
Yes, You Can Do This
The best thing about "Content Inc." is the confidence you'll get. Pulizzi gives so many examples from businesses all across the spectrum; online, offline, brick and mortar, services, and even industrial companies with small audiences.
I loved the templates and worksheets that are included in the book as well. Pulizzi says that the two factors he most attributes to his success are writing and tracking his goals. This is the first worksheet. As I mentioned earlier, he also says that choosing the right audience and the right platform are also key and he helps you do that as well.
About the only thing I would have liked to see more of in "Content Inc." is some critical assessment of which platforms are best for which type of content or business model or your marketing style. Admittedly, this is a tough proposition given the rapid expansion and evolution of media platforms today. He does give you some foundations upon which to judge and choose a platform, but I can see a lot of folks stumbling in this area.
Is "Content Inc." for You?
If you've been trying unsuccessfully to build an audience and wondering where you went wrong, this is the book for you.
I would recommend "Content Inc." for small business owners; brick and mortar, online experts and even manufacturers and industrial companies. Believe it or not, the more you think you can't benefit, the more this book will show you how you can leverage content to build a profitable audience.
Get discounts and special offers on new and classic business books with an Audible Premium Plus membership. Learn more and sign up for an account today.
Still Struggling With Remote Work? Read "How to Thrive in the Virtual Workplace"
The Ultimate Marketing Engine Puts Customers First
Ivana Taylor
Ivana Taylor is the Book Editor for Small Business Trends. She is responsible for directing the site's book review program and manages the team of professional book reviewers. She also spearheads the annual Small Business Book Awards. Ivana publishes DIYMarketers, where she shares daily do-it-yourself marketing tips, and is co-author of "Excel for Marketing Managers."
patmcgraw
Sorry to pick a nit…but the quote is one of my favorites, as is the film. The actual quote is…
The Voice: If you build it, he will come.
Source: http://www.imdb.com/title/tt0097351/trivia?tab=qt&ref_=tt_trv_qu


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text:
package org.hisp.dhis.calendar.impl;

import org.hisp.dhis.calendar.Calendar;
import org.hisp.dhis.calendar.ChronologyBasedCalendar;
import org.joda.time.DateTimeZone;
import org.joda.time.chrono.IslamicChronology;
import org.springframework.stereotype.Component;

/**
 * @author Morten Olav Hansen <mortenoh@gmail.com>
 */
@Component
public class IslamicCalendar extends ChronologyBasedCalendar
{
    private static final Calendar SELF = new IslamicCalendar();

    public static Calendar getInstance()
    {
        return SELF;
    }

    protected IslamicCalendar()
    {
        super( IslamicChronology.getInstance( DateTimeZone.getDefault() ) );
    }

    @Override
    public String name()
    {
        return "islamic";
    }
}

redpajama_set_name: RedPajamaGithub


text:
Dali (also Daal or Dæl; ) is a goddess from the mythology of the Georgian people of the Caucasus region. She is a hunting goddess who serves as the patron of hoofed wild mountain animals such as ibexes and deer. Hunters who obeyed her numerous taboos would be assured of success in the hunt; conversely, she would harshly punish any who violated them. She is most prominently attested in the stories of the Svan ethnic subgroup in northwestern Georgia. Other groups in western Georgia had similar figures considered equivalent to Dali, such as the Mingrelian goddess Tkashi-Mapa ().

She was usually described as a beautiful nude woman with golden hair and glowing skin, although she sometimes took on the form of her favored animals, usually with some marking to differentiate her from the herd. She was said to reside in a cavern high in the mountains, where she kept watch over the hoofed game animals who live on the cliffs. Dali was styled with a variety of regional epithets reflecting her different roles and associations.

Stories of the Svan people depict her taking human lovers and killing them out of jealousy, giving birth to sons such as the culture hero Amirani, and later clashing with her rival Saint George. Some myths depict her working alongside other forest deities, and she is sometimes accompanied by the legendary hunting dog Q'ursha. After the rise of Christianity in Georgia, Dali's importance as a goddess waned, which was reflected in changes to stories told about her. Saint George was presented as having the power to overrule her, and she began to be conflated with a malicious nature spirit called the ali.

Many authors have described parallels between Dali and stories from other mythologies. As a patron of the hunt associated with hoofed beasts, she has been compared with Artemis of Greek mythology, a Scottish hag called the glaistig, and the maiden who tames the unicorn. Her associations with gold, seduction, and the morning star have led scholars to draw connections with goddesses such as Aphrodite and Ishtar, who have similar mythological themes.

Her story remains an important part of Georgian cultural consciousness, and she is often referenced with eponyms and literary allusions. Although younger people treat her as a figure from mythology, some older hunters still consider her to be a real figure one might encounter deep in the forest.

Origins

Dali is attested primarily in surviving pieces of Svan folklore: myths, ballads, and round-dance songs. Linguistic anthropologist Kevin Tuite regards the surviving texts as fragmentary, representing "but a tiny fraction of the texts that would have been in circulation in the Svaneti of a few centuries ago". He also noted that most of these pieces would have been performed and likely composed by men, leaving any female perspective of Dali unclear.

Dali is also attested in oral traditions recorded in modern academic fieldwork by Georgian academics such as Vera Bardavelidze in the 1930s and Elene Virsaladze in the 1950s–1970s. According to Virsaladze, Georgian culture exhibits an extraordinary degree of live retention of ancient folklore and traditions, possibly from as far back as 3,300 years ago.

It has been suggested that Dali, along with numerous other deities of Georgian mythology, had her origins in a lost common religion of the Kartvelian peoples. Variations on this idea were supported by the Georgian historians Nikolai Marr and Ivane Javakhishvili, both of whom independently theorized that the similarities in folklore between the various Georgian ethnic groups indicated a common religious origin. Dating the origin of this religion, and therefore of Dali in particular, may be impossible due to the lack of surviving written sources. The only thing that can be stated definitively is that these beliefs predate the adoption of Christianity in Georgia, which archaeological evidence indicates began as early as the 3rd century.

Some archaeological artifacts have been suggested to have a connection to Dali. Folklorist Mikheil Chikovani considered the Trialeti Chalice, a Georgian artifact from approximately the 2nd millennium BCE, to depict a round dance or ritual dedicated to a goddess of the hunt comparable to Dali. He connected the motif of the animals on the lower portion of the chalice to the hoofed animals which Dali protected. Folklorist David Hunt also suggested the Chalice could be a depiction of a mistress of beasts. Some historians have speculated that certain Phasian drachma coins from the 4th to 5th century may have depicted Dali or her precursors, although numismatist John Hind argued against these interpretations in a 2005 paper.

Etymology and epithets

The etymology of Dali's name is unclear. Although many figures in Georgian mythology have origins in figures from the early Georgian Orthodox Church, Dali is not among them. It has been suggested that the name comes from the Georgian word dila, meaning "morning", or the Ossetian word dælimon meaning "demon", but these links are disputed. Tuite has linked the name to the various words for "god" in the Nakh languages, a group of languages in the Northeast Caucasian language family: "Chechen dēla, Ingush dǣlə, Bats dalě". These words can refer to Allah specifically, or can be used as a general term for pre-Islamic deities in the region. It was characteristic for central Caucasian cultures to replace sacred words with substitutes; this lexical replacement was driven by taboos against speaking the true words. Tuite believed Dali might originally have had a Svan name that gradually became replaced by the Nakh term for "god" as a result of this process.

Dali and her equivalents were also known by various epithets, reflecting local perceptions of the goddess's role or associations. At times she was simply called "Radiant", in reference to her extraordinary beauty. When focusing on her association with New Year's Eve, she was referred to with the epithet of Dæl Ešxwmiš, or "Dali of New Year's Eve". The Svan called her "the Queen Dali". Because she was said to live high in the mountains, she was sometimes referred to as "Dali of the Rocks". In the Racha and Kakheti regions she was called "the Mistress of Beasts" and the "Angel of the Crags". The name Tkashi-Mapa, used by the Mingrelians, translates as "the Queen of the Woods" or "the Sovereign of the Forest".

Depiction

Traditionally, Dali lived in a cavern high up in the mountains, far away from human settlement. Some traditions specified her home was the distinctive double-peaked mountain Ushba, whose ice-covered south face was sometimes called Dalis panjara, the Window of Dali (). The cave's exact location varied; it could be on the side of a glacier, or at the summit of the mountain. Sometimes the entrance was concealed by a rock door which Dali opened and closed to hide her dwelling. Rarely, Dali and her flock lived inside an enormous hollowed-out spruce tree. As a rule, Dali did not enter civilized spaces such as villages except on rare occasions, such as the funerals of her human lovers.

Dali was usually described as a beautiful young woman with long braided hair. She was most often portrayed as nude, occasionally wearing gold jewellery. If she wore clothes, they were white. Her skin was so white it was literally radiant. Her beauty was extraordinary: "both irresistible and terrible", it could drive a man to madness if he even spoke to her.

Dali's long hair was an important component of her mythology. Her hair was gold-colored; in some cases, it was actually made of gold, and shone like the sun. Some stories depicted this gleaming aspect as fire, describing the goddess leaving "little tongues of flame" in her wake, although this is less prevalent. She would sit on the cliffs combing her hair with a golden comb. In some tales, Dali used her supernaturally-strong hair to bind hunters who wronged her. In one story, she used it to strangle a hunter who had stolen one of her hairs to string his hunting bow.

Although strong enough to string a bow with, her hair was not invulnerable; indeed, using Dali's hair to threaten, harm, or kill her was a recurring motif. Multiple tales depict hunters grabbing or cutting Dali's hair in order to subdue and rape her. This tactic did not necessarily prevent the goddess from later taking revenge. In a story about Dali's Mingrelian equivalent Tkashi-Mapa, the goddess agrees to marry a hunter when he threatens to cut off her luxurious hair. He eventually grows tired of her endlessly washing and combing it, and hides her prized comb so she will stop. She destroys his family, killing one of his children and stealing another, and curses his entire line of descendants.

Women could also use Dali's hair against her. In one of the major Dali stories, a woman discovers her husband sleeping with Dali. She cuts Dali's hair off in a rage, killing her or banishing her from the world. A superstition recorded in 1971 described how a woman whose man had been away hunting too long might cut her own hair off, praying that God would cut Dali's hair in return, which would force the goddess to allow her husband to return home. In one unusual variation of the hair-cutting motif, a woman wishing to rid her son or her husband of Dali's influence sneaks up on the goddess while she is sleeping and washes her hair, sometimes in deer's milk. Dali is rendered so powerless, or so grateful, by this act that she becomes the woman's servant. Her Mingrelian equivalent could be dismissed with a similar method, using milk from a black cow instead of a deer.

Primary motifs

Game animals and hunting

Dali's primary mythological role was that of the mistress and guardian of hoofed game animals of the mountain. She protected her charges, which included deer, ibex, wild sheep, and goat-antelopes like turs and chamois, just as a shepherd guards a flock. Some stories portray her milking her animals. She was responsible for granting favor or misfortune to hunters, punishing the greedy and ensuring there would always be enough game to go around.

Stories involving Dali often feature animals that have been marked as special: either they are Dali's favorites among the herd, or they are the goddess herself in the form of an animal. Examples of these special features include a purely white coat, unusual markings, or golden horns. Dali could vary her size in both her animal and her human forms. When she took the shape of her favored animals, they were often significantly larger or smaller than the usual animals of that kind. She could also make her human form very small: in eastern Georgia, hunters would leave tiny pairs of shoes on the cliffs as an offering to her.

Several tales recorded by Georgian folklorist Elene Virsaladze reflect the deadly consequences for a hunter who wounded or killed one of Dali's marked beasts, or hunted too greedily. Two stories describe Dali cursing a hunter's family such that his sons, and later the hunter himself, died as a result. Another story describes Dali destroying the town of Nakvderi with an avalanche as revenge after a hunter wounded a tur marked by the goddess. In another story, a hunter killed a doe and its fawn, and was cursed by the herd's protector to never have any descendants of his own.

One Svan story describes the consequences for three brothers who follow one of Dali's mountain goats up into the crags and attempt to shoot it. The first two brothers both miss the goat, and are attacked and killed by Dali, who has been hiding in her cave nearby watching. The third brother watches the goat vanish into Dali's cave, and hides. Dali eventually emerges. The hunter leaps out of hiding, grabs her by the hair, and rapes her. She then becomes his mistress. The story's unusual inclusion of a hunter who overpowers Dali may indicate that it took some influence from an Ossetian legend involving two brothers overcoming a deer-herding witch.

Appeasement through taboos and offerings

Despite her protectiveness towards her animals, Dali was not necessarily hostile to hunters, and would even grant them blessings if they respected certain taboos and made appropriate offerings to her. These taboos typically revolved around concerns about spiritual purity and prevention of overhunting. Offerings usually involved small personal sacrifices given before and after the hunt.

Dali was perceived as extremely sensitive to any kind of spiritual pollution entering her mountains, which were considered pure and therefore sacred. She demanded that hunters abstain from the hunt if they were impure in any of a number of ways. Impurity usually originated from women and blood, but could also come from use of foul language, commission of adulterous acts, and association with dead bodies. On the night before a hunt, hunters had to refrain from intercourse with any women, even their wives. They had to avoid any contact, sexual or otherwise, with any woman who was menstruating or in childbirth. The wives of hunters were also subject to behavioral taboos. In some regions, "the wives of huntsmen were traditionally forbidden to wash, comb, or unplait their hair" while their husbands were out on the hunt. In an extension of the hunter's menstrual taboo, women were not permitted to eat meat from the hunt while menstruating, pregnant, or in childbirth.

Hunting was treated as a sacred act among the Svan. The hunt began with a sacrifice of a ceremonial bread, called lamsir, which was offered to Dali with a prayer. Hunters were taught to not kill more beasts than they could carry, usually one for each man in the hunting party. If their efforts were successful, hunters would make an offering of organ meat to Dali in thanksgiving. In some traditions, the horns of the animal would be consecrated to Dali once the hunters returned to their village.

It was believed that hunters who respected these taboos and made correct offerings, thereby avoiding ritual impurity, would always find enough game to ensure they and their families were fed. Conversely, hunters who became impure by failing to abide by taboos and restrictions could be punished by Dali in a number of ways ranging from failure to find game all the way to death by fatal fall. It was sometimes possible to abate Dali's rage after a transgression with appropriate offerings, as in one story where an offering of sacred bread prevented Dali from destroying a village by flooding the Inguri River.

Seduction and jealousy

Stories involving Dali often depict her taking mortal hunters as lovers, bringing both blessings and peril to the hunter. In an inversion of traditional gender roles, it is the goddess who chooses the hunter and initiates the affair. Often, her target was a hunter who had done her a favor such as protecting her from a pursuer. She would give her lovers tokens of affection such as beads, jewellery, or small objects like scissors, which he was required to keep hidden from everyone. A hunter who became Dali's lover would be guaranteed success in the hunt. The goddess might even protect the hunter from human assailants and heal his wounds. In return, he was prohibited from revealing the secret of his good fortune, and from taking any mortal lovers for the duration of the affair.

Engaging in an affair with Dali was a dangerous undertaking. Dali's beauty would inflame the hunter's passions to the point of near-madness, a state that was referred to as being "dalelukdune, Dali-possessed" (). Afflicted hunters would wander the wilderness aimlessly waiting for the goddess to find them. After the affair was consummated, any appearance of infidelity on the hunter's part would incur the goddess's wrath. He could be attacked by her animals or lured to his death upon a dangerous cliff. Dali's Mingrelian equivalent was known to petrify hunters who offended her. Even if a hunter did survive the liaison, he might be unable to take a mortal lover for the remainder of his life for fear of angering the goddess.

It was possible for a wily hunter to negotiate terms with Dali, such as limiting the length of the affair, or securing the right to marry a mortal at a later time. As long as the hunter's terms were set before the affair began, Dali would respect them. Some traditions held that a hunter could safely end an affair with Dali by giving his undergarments to a male guest, who would become the new focus of Dali's affections, allowing the original hunter to marry without enraging the goddess.

Even death did not end Dali's obsessive behavior toward her beloved hunters. She would come down from the mountains into villages to grieve dramatically over the bodies of hunters, even those whose deaths she was responsible for in the first place. Some villages had family members stand guard over freshly buried bodies to prevent Dali from unearthing them to weep over. In others, the family would leave the hunter's body alone in the house, enabling Dali to dress the body and mourn over it for a short time.

Although not specifically regarded as a fertility goddess, two major myths depict Dali giving birth. In one, the goddess drops her infant after the birth. It is rescued by a hunter, to whom she offers a sexual liaison as a reward. In the second, Dali seduces a hunter, becomes pregnant, and gives birth to a demigod son who becomes a hero.

Times of transition

Although she is primarily a hunting deity, Dali has strong associations with symbols and states of transition such as dawn, the morning star, and New Year's Eve. Svan hunting lore placed significant emphasis on the morning star. Svan hunters were taught to leave their homes before dawn, and arrive at the hunting grounds by its light. Once at the hunting grounds, they would light a small fire and offer a prayer via the morning star to Dali and other hunting deities such as Apsat (the god of small game) or Saint George (the patron of hunters). In the story of the hunter Betkil, his death at Dali's hands is sometimes set at the moment the morning star appears in the sky, or the moment the night becomes dawn.

Dali was also celebrated on New Year's Eve as the bringer of a peaceful transition from the old year to the new. During these celebrations, she was referred to with the epithet of Dæl Ešxwmiš, or "Dali of New Year's Eve". Both male and female heads of household would make offerings of special bread baked from consecrated grain to Dali of New Year's Eve. Georgian ethnologist Vera Bardavelidze documented a number of different forms of this sacred bread from various villages based on fieldwork she conducted in the 1930s. Some loaves would be kept until spring, where they would be crumbled and sown into the earth at a planting festival.

Mythology

Affair with Betkil

The most well-known of Dali's affairs is her dalliance with the legendary hunter Betkil or Betgil, who falls to his death from a high cliff after betraying Dali's affections. The story is depicted in the traditional Svan circle dance songs Bail Betkil, Betkan Kutsa and Betkani. These dances were performed in the Racha region of western Georgia each year on the third Sunday following Easter, at the bottom of the cliff where Betkil is believed to have died. The exact location is uncertain: Tuite mentions the Free Svaneti communes of Mulakhi and Muzhali, while folklorist Anna Chaudhri pinpoints the village of Ghebi. The annual performance of these dances was linked to a ritual meant to summon the rain.

The story begins with Dali selecting and pursuing Betkil. She gives him a token of her favor (Tuite translates it as "a bead, ring, or charm") and demands that he abstain from the touch of mortal females, including his own wife. For a time he is faithful to her and his hunts are always fruitful. Eventually, he breaks his vow with a mortal womanmost often his wife, but occasionally his sister-in-lawand this woman steals the goddess's love-token. In a rage, Dali transforms herself into a white deer or chamois and lures an unsuspecting Betkil from his village to the top of her mountain. The path closes, crumbles, or melts away behind him, forcing him to continue forward until he reaches the peak. There, Dali returns to her human form and angrily confronts Betkil about his betrayal and the loss of her token. The ground beneath Betkil's feet crumbles away entirely and leaves him hanging by one hand and one foot. Dali disappears, leaving Betkil to either jump or fall to his death. In some versions, prior to his death, Betkil entreats his family to grieve for him in various ways, and laments that his mortal lover allowed him to go out hunting while "impure".

In some variations of the Betkil story, he is accompanied up the mountain by the supernatural dog Q'ursha. In this version, Betkil is trapped on the mountain for several days and runs out of food. Eventually, Q'ursha insists that Betkil kill and eat him to survive. In some versions he goes through with it. In others, he kills the hound but cannot bring himself to eat him. Finally, in other versions, he sends Q'ursha to his village for help instead. The villagers come to Betkil's aid and throw ropes to him, but Dali's mountain grows taller and taller and the ropes cannot reach him. Again, he falls to his death.

White Mangur

Another hunter, known as White Mangur, fares unusually well in his encounter with Dali. One version of the story, recorded by academic researchers and first published in 1939, describes Mangur as a famously prosperous hunter. One night he takes shelter in an empty cave. Dali arrives and demands that he explain his presence in her cave. Mangur explains that he was overtaken by nightfall and had no other shelter available. Dali remarks that if he were any other man, she would "arrange for you an unlucky return home", but says it would be a pity to harm a man like Mangur. Instead, she invites him to her bed. He protests briefly that he has a wife and child, but quickly relents, and they have an affair. She tells him she will give him plenty of game, and if he is ever in trouble to call her name. In the morning, White Mangur leaves Dali's cave, but is soon accosted by enemies. He kills nine of his enemies, but receives nine serious wounds in return. He calls out to Dali for help, and the goddess leaps from behind the crags and massacres Mangur's enemies with an ash branch. She heals his wounds at a touch and sends him home.

"Dali is Giving Birth on the Crags"

The story of Dali giving birth on the crags has been passed down as a song accompanied by a traditional circle dance, called Dælil k'ojas khelghwazhale in Svan (). Linguistic analysis corroborated by archaeological findings indicates that the song is of ancient origin.

The song begins with a hunter named Mepsay or Mepisa, who hears the goddess crying out in pain from childbirth. Immediately after giving birth, Dali drops the infant down the mountain, where it is snatched up by a waiting wolf. The hunter shoots the wolf and brings the infant back up the mountain to Dali. She offers the hunter a choice of reward: she will gift him with various game animals, or he can become her lover. He warily declines her offer of sexual favors and asks for success in the hunt. Later, he attempts to shoot an ibex with golden horns, not realizing that it is the goddess herself. His bullet ricochets off the ibex's horns and strikes him down, killing him. In this story, the name of the child's father and the fate of the child are never given.

Amirani

The second of Dali's childbirth stories has more variations, but generally describes the conception and birth of the culture hero Amirani. In the most prominent version, a hunter finds Dali in the mountains, and she takes him as her lover. After several days together, they are discovered by his angry wife, who cuts off Dali's golden hair or ties her up with it. As a result, Dali is forced to abruptly leave the world. (In some variations, the cutting of her hair kills her outright.) If she is killed, her pregnancy is discovered after her death. If she is simply banished, she announces that she is pregnant before departing. She declares that her child will be a powerful hero, though not as powerful as he would be had he been carried to term. In either case, her lover reluctantly cuts the infant from her womb. In some versions, the infant is premature and must be placed in the stomach of a bull (or the womb of a cow, or both) to complete gestation. Eventually he is left beside a spring, where he is found by either the Christian God or Saint George and baptized with the name Amirani.

In another version of Amirani's birth story, a mortal hunter cuts off Dali's braids while she sleeps and rapes her; she becomes pregnant. Later, an old hunter named Sulkalmakhi hears her wailing high in the cliffs, and climbs up to her. She tells him she is dying, and begs him to cut her infant free so he does not die with her. She tells Sulkalmakhi to name him Amirani and care for him as his own.

Although Amirani is generally depicted as Dali's son, there is a story from the Guria region called "Dali and Amirani" in which Dali, enraged by an unspecified offense, attempts to entrap an adult Amirani. While wandering the mountains with his dog, Amirani sees a flame and begins to follow it up the cliffs, eventually discovering that the flame is Dali's hair. Dali lures Amirani to the top of the mountain by saying she has been looking for him. His dog warns him of her ill intentions, but Amirani disregards the dog's advice and climbs up to meet her. When he reaches the very top of the mountain, Dali disappears and Amirani finds himself hung from the rocks by her hair. His dog, unable to reach him, convinces a bird to pluck the hair away. Just as the bird frees Amirani, Dali returns and curses the bird and its kind to be weak and useless. This is a variation on the story in which Dali strangles an unnamed hunter at the top of a mountain after he stole a hair to string his bow.

Saint George

Later Svan mythology depicts Dali in opposition to St. George. In Georgian mythology, Saint George is regarded as a deity whose primary function is the protection of "men exploiting the world outside their villages for the benefit of the community", such as shepherds, beekeepers, and most significantly, hunters. The Svan round dance song Monadire Chorla ("The Hunter Chorla"), a late variation of the Betkil story, depicts a significant clash between Dali and Saint George. In the song, a hunter named Chorla kills more than his share of ibexes, despite knowing this will anger the goddess. Dali punishes Chorla for his greed by binding him up on a treacherous cliff. Chorla sends his dog for help, and it returns with Saint George, who intervenes for Chorla as a reward for his faith in Jesus Christ. Saint George threatens to pollute or destroy the mountains with storms and landslides unless Dali releases Chorla, which she does. Furthermore, he places Chorla under his protection and declares that he can hunt without limit in the future.

Some versions of this story, such as the Svan ballads of the hunters Givergil and Kala, describe the hunter being tormented by a group of spirits, collectively referred to as the Dalis, rather than a singular goddess. In the ballad about Kala, the Dalis explicitly call Saint George their master when he threatens to destroy their territory. Tuite found this plural representation similar to the "St Georges" and "St Elijahs" of Ossetic mythology, which were groups of spirits sharing traits of the Christian saints they were named for. In contrast, Virsaladze found the change from singular goddess to coven of spirits to be a confirmation that Dali had been relegated to a secondary role in Svan hunting mythology.

Associated figures

Dali was not the only hunting deity worshipped by the Svans, and she was sometimes depicted working alongside others. Georges Charachidzé, a French-Georgian scholar of Caucasian culture, recorded that Dali worked with three other Svaneti forest gods to assist the Lord of the Bare Mountain, Ber Shishvlish. These deities were Apsat, the god of small game like fish and birds, Cxek'isk angelwez, the Angel of the Forest, who ruled over forest animals like foxes and bears, and Saint George, who was the patron of wolves and hunters. Mikheil Chikovani believed this multitude of deities represented a later development of the original matriarchal myth, in which Dali was the mistress of all beasts. Particularly, he saw Ber Shishvlish as an unsuccessful replacement for Dali.

Some groups in eastern Georgia viewed Apsat and Dali as siblings who each took a season in turn protecting herds of wild beasts. When Apsat was in charge of the animals, hunters were said to have an easy time making kills, but when Dali took over, she watched the animals closely, making it much harder for the hunters to bring them down. The Svaneti circle dance Metkhvar Mare praises both Dali and Apsat in these roles. In some instances, Apsat is represented as Dali's husband or son, or even her father, rather than her sibling. Tuite theorized that this partitioning of roles between the two deities was the result of Apsat being adapted into a pre-existing belief system which featured a female figure as the primary patron of game animals.

Another Georgian hunting deity, Ochopintre, is often mentioned alongside Dali. Some sources report that they worked together to herd and protect animals from hunters. In contrast, Virsaladze reports that the Khevsurian people of the Khevsureti region viewed the male Ochopintre as their primary hunting god. They had a figure called the "forest woman", an unnamed protector of deer, but she was treated as minor in comparison.

Some sources refer to Dali being accompanied by hunting dogs, sometimes specifically the legendary black-eared hunting dog Q'ursha. However, Q'ursha is not a consistent feature of Dali stories. He is more commonly depicted accompanying male hunters, including her son, Amirani, as well as the hunter Betkil.

Post-Christianization depiction

As Christianity became more prominent in Georgia, beginning with its arrival in the 3rd century, many pagan beliefs were altered or appropriated to fit Christian ideology. Dali's functions as the mistress of the hunt began to be shifted to Saint George, as in the story of the hunter Chorla. Ethnomusicologist Maka Khardziani identified Saint George's victory over Dali in the Chorla story as emblematic of the weakening of pagan beliefs in the face of Christian influence. David Hunt suggested that the story in which Dali attempts to strangle Amirani reflects a Christian rejection of the female goddess, who is reduced to a malicious and "witch-like" figure.

Dali's loss of status and power in the Christian era was reflected in altered folk practices. Prayers and sacrifices once offered to Dali were instead offered to Saint George. In the village of Tskheta in historic Lechkhumi province, hunters who encountered "the forest woman" could dismiss her simply by speaking George's name, confirming his power over her.

Virsaladze writes that as Saint George began to eclipse Dali, she became increasingly associated with evil spirits and demonic imagery. Her character became entwined with a kind of evil spirit called the ali. The ali retained Dali's connection with hunters and high crags, but her supernatural beauty, particularly her radiant hair, was inverted into horrifying ugliness. A spell to protect travelers from the ali described her as having misplaced features, backwards limbs, a terrible visage, and "ghastly hair, soiled with blood". Her malicious aspects were emphasized and her patronage and protection of hunters were downplayed. Dali's favored animals, such as the wild goats and chamois she often transformed into, were used in Christian imagery to depict Satan, an evil entity who opposes God. This degraded version of Dali is sometimes depicted in the company of devils.

Virsaladze and Hunt have both suggested these changes to the Dali myth are a direct consequence of the Christian church altering existing pagan beliefs to associate them with evil in an effort to discredit them. According to Virsaladze, this was not entirely successful, and belief in Dali persisted alongside Christianity, particularly in remote mountainous regions where the Christian church had less influence. One elderly man she interviewed during her research in the mid twentieth-century described Dali as both a deity and as a tormenting spirit, indicating that both versions of the myth were still extant in the modern era.

Mythological parallels

More than one author has discussed significant parallels between Dali and other mythological figures from other cultures with similar roles and associations. Equivalent figures to Dali appear in the mythologies of many Caucasian groups. Scholarly comparisons to various figures from Greek mythology are also prevalent, and some have argued that these similarities are a result of sustained contact between the peoples of ancient Greece and ancient Georgia. Other work has compared Dali to Near Eastern goddesses, as she shares similar motifs including dawn associations and mortal lovers. Finally, it has also been suggested that Dali represents a preserved version of a particular Western European mythological archetype of a mistress of hunting or beasts, which has become altered or corrupted in other places.

Caucasian equivalents

Dali was important to the Svan, to the point of being their most widely-known mythological figure. Other Caucasian peoples had myths that described significantly similar deities who may be considered roughly equivalent with Dali, with regional variations. The Mingrelian people of the historical Samegrelo region, to the south of Svaneti, revered a golden-haired goddess of the hunt called Tkashi-Mapa, who scholars view as an equivalent of Dali due to the overlap in their mythological roles and associations. Both lived in the wilderness, shape-shifted into animals, took mortal lovers, and were dangerously jealous. Tuite, drawing on Chikovani's work in 1972, has proposed that the golden-haired goddess Samdzimari ("necklace-wearer") from northeastern Georgia served a similar, even equivalent role to Dali, though she was not explicitly a hunting deity. Samdzimari and Dali were both seductive figures associated with domestic functions who moved in inaccessible or non-civilized spaces. Each serves as the female counterpart of their respective regional version of Saint George.

Caucasian cultures who worshipped a male hunting deity often had stories about a figure who served Dali's function as the "mistress of the beasts", but was not considered a deity. In many places this figure is known only as the "forest woman" or a similar descriptive title. Virsaladze regarded this figure as essentially the same as Dali. The Khevsurians, who worshipped the male Ochopintre, retained the concept of a tiny protectress of the cliffs. The Ossetians, whose primary hunting deity was Æfsati, had a forest woman. The northern Caucasian Kumyks and the inhabitants of the Lechkhumi and Guria regions each had a forest woman rather than a strong tradition of a hunting goddess. The Avar people of the northern Caucasus have stories about a "Forest Beauty" with golden hair like Dali. The recurring concept of a "forest woman" (or less frequently a "forest man") has been proposed as possible evidence of a common pan-Caucasian mythology that might have existed before Christianity and Islam came to the Caucasus.

The "forest woman" is a recurring motif in the Nart saga, a loose collection of stories from the northern Caucasus which underpins much of the mythology of the area. The Digor, an Ossetian subgroup, have a story from about a deer-herding witch who bears some similarities to Dali. Like Dali, she favors a white doe and uses her hair to bind hunters who offend her, although unlike most Dali stories, the hunters overcome the witch in the end. Other Nart saga stories involve goddesses or magical women who, like Dali, transform into deer, have glowing skin, and take hunters as lovers. Tuite has also noted that Dzerassae, a water spirit of the Nart saga, had similarities to Dali: she had golden hair and could change her shape into a fish or a deer. He cited linguist John Colarusso, who suggested there might be a link between their names based on the initial syllable, with the shift in phoneme caused by translation into Circassian.

Greek mythology

Tuite compared Dali in her role as the mother of Amirani to the Greek Nereid Thetis, mother of Achilles. Each goddess took a mortal for a lover and bore a demi-god son. Their sons were destined to be warriors of enormous power, possibly enough to challenge the creator deity of their respective mythologies. Although extremely formidable, neither attains his full potential, and both are eventually defeated. Tuite posits that the similarity between the two myths is indicative of prehistoric contact between the ancient Greek and Caucasian peoples.

Classical scholar Egbert Bakker discussed Dali as a parallel to the Greek witch-goddess Circe of Homer's Odyssey, highlighting their shared aspects: "protection of animals, sexual predation, dawn and New Year associations", and a "male divine counterpart and adversary". He went on to suggest that their similarities indicated a cultural exchange between the Georgians and the Greeks, noting that the Svan homeland is close to the ancient Georgian kingdom of Colchis, a region with close trading connections to Greece.

Some sources have noted a similarity to the Greek goddess Artemis, who was also a patron of wild animals and hunting, although unlike Dali she was known for prudishness rather than promiscuity. Both were associated with transitions and boundaries, especially between civilization and the wilderness.

Near Eastern goddesses

Writing in the 1940s, the Georgian author Demna Shengelaya examined Dali as an equivalent of the Babylonian goddess Ishtar, identifying themes of matriarchy struggling against patriarchal values reflected in the stories of each.

Virsaladze found similarities between Dali and several related Near Eastern deities including Ishtar, the Phrygian goddess Cybele, Phoenician Astarte, and Carthaginian Tanit, noting that all these goddesses were associated with a mortal lover in a story cycle representing the transition to spring and the cyclical rebirth of nature. She particularly stressed the similarities between Dali and Ishtar: sovereignty over animals, an association with dawn, and a sexual aggressiveness that was feared by men. She suggested the possibility that the mythology surrounding Dali represented a preserved form of "a very ancient cycle of traditions and songs about the interrelations of the mistress, patroness, or sovereign, of the beasts, forest, crags and waters, with a mortal young man". According to Virsaladze, this mythological motif is a fragment of a matriarchal belief system which venerated nature and life-giving mother deities, later supplanted by patriarchal ideology.

Drawing on the work of earlier writers such as Walter Burkert and Paul Friedrich, Tuite described mythological similarities between Dali and several other similar goddesses who have parallel motifs possibly indicating mutual influence. Foremost among these similarities are an association with gold (both as a color and as a precious metal), fertility and patronage of animals, seductive behavior combined with destructive jealousy, and a connection to dawn or the morning star. He refers to these similarities as the "dawn goddess complex". Goddesses with some or all of these features include the Proto-Indo-European dawn goddess Hausōs, and two Greek deities likely descended from her, the dawn goddess Eos and the love goddess Aphrodite. He also highlights the Sumerian goddess Inanna, and her Babylonian counterpart Ishtar as sharing these parallel motifs, despite not being derived from Hausōs. Tuite identifies the overarching themes of the dawn goddess complex as ambiguity and transition. He notes that the mythological associations of these goddesses serve as symbols for larger concepts such as transitions between night to day, old to new, and birth to death. In Dali's case, her identification with both the morning star and New Year's Eve directly reinforce her status as a patron of transitions.

Archaeologist Elena Rova, drawing on Tuite's work, wrote that there appears to be evidence of the transmission of symbols and beliefs between the Mesopotamian and Georgian peoples during the Bronze Age. She described the 2014 discovery of a fragment of a decorated sandstone plaque in the Aradetis Orgora mounds on the Dedoplis Mindori archaeological site in Georgia as the basis for this speculation. The plaque, attributed to the 14th–13th centuries BCE, features a nine-pointed star similar to the eight-pointed star of Ishtar. Rova believed the star design may have been passed from Mesopotamia to Georgia through long-distance trade of the item itself or indirect memetic transmission of the design. It may then have been appropriated for use as a symbol of a local solar goddess such as Dali, possibly because some of Ishtar's features were similar enough to Dali "for the symbol of the latter to have been consciously chosen by the local population in order to symbolise a local goddess".

Western European figures

David Hunt compared the hunting mythology surrounding Dali to the western European concept of the unicorn and the lady who tames it. He noted that stories of the unicorn typically focus on hunting, often in high mountains. Traditional descriptions of the unicorn include features which are characteristic of goats and deer, such as cloven hooves. In turn, hoofed animals are important prey for the hunters of the Caucasian mountains and feature heavily in their mythology. Dali's favored animals were marked in ways that make them similar to the unicorn; in particular, they were often pure white or single-horned. Finally, he found a parallel between the motif of a lady taming the unicorn and the recurring idea of a goddess or supernatural mistress who protects wild game animals. Although he admitted the evidence was "circumstantial and sparse", he suggested that the unicorn story originated from ancient European hunting mythology, which he believes was preserved in the mythology of the Caucasus after fading elsewhere.

Hilda Ellis Davidson and Anna Chaudhri found similarities between stories of Dali and the glaistig of the Scottish Highlands. The glaistig was commonly described as a hag who lived high in the mountains and protected hoofed game animals. Like Dali, the glaistig could be both helpful and malicious, depending on the story in question. Although protective of her animals, in some stories the glaistig would allow them to be hunted, as long as the hunters were respectful and left appropriate offerings to her. In other stories, the glaistig would pose as an old woman and prey on hunters staying in mountain huts called bothies. Both Dali and the glaistig use their supernaturally-strong hair as bindings; Dali binds hunters directly, while the glaistig binds hunting dogs so she can safely attack their masters.

Davidson and Chaudhri concluded that Dali and the glaistig each represent a local version of an archetypal figure of a female guardian of the wilderness, which they suggested is a widespread mythological theme. Dali represents a preserved form of the myth, where the goddess retains her power and her beauty. In contrast, the glaistig represents an altered form, where the goddess has been reduced to an ugly hag and is accorded significantly less respect. They argue that similar figures who ranging from seductive to disturbing were once widespread across various European places and cultures, referencing the forest women of Scandinavia, Greek Artemis, and the Irish Cailleach. The later forms where the guardian figure is ugly or wicked represent a version that became prominent after respect for the earlier goddess figures had withered.

Modern legacy

Dali has retained cultural significance among Georgians into the modern day, particularly in more rural areas where hunting is still practiced as a profession. A survey conducted in 2013 found that, while most people who were either younger or more educated considered Dali to be mythological, many elderly hunters still thought of Dali as a real figure, although not one that any of them had personally encountered. They recounted stories to the researchers of hunters they knew who had encountered Dali and been injured or driven mad as a result.

In the modern era, eponyms and literary allusions to Dali indicate the persistence of her narrative in the cultural memory. The Dali Chasma and the Tkashi-mapa Chasma on Venus are named for Dali and her Mingrelian equivalent Tkashi-Mapa. Capra dalii, a fossil species of goat discovered in Georgia, is named for Dali. Fragments of Capra dalii fossils were first located at the Dmanisi archaeological site in 2006, and are believed to be related to the west Caucasian tur, Capra caucasica.

Celebrated Georgian novelist Konstantine Gamsakhurdia wove numerous figures from Georgian folklore, including Dali, into his 1936 novel Stealing the Moon. Georgian author Grigol Robakidze integrated Dali into his German-language works, particularly the novels MegiEin georgisches Mädchen (Megi – A Georgian Girl, 1932), where Dali forms the basis of the character Ivlite, and Der Ruf der Göttin (The Call of the Goddess, 1934), based on the stories of hunters falling from cliffs because of Dali. Two poems composed after the accidental death of the famed Svan mountain climber Mikhail Khergiani in 1969 refer to Dali mourning his loss.

In 2019, the town of Lentekhi removed a figure of Dali from the design of a large fountain planned for the city's main square. The original proposal featured a statue of Dali, nude, standing atop a large rock, with three ibexes standing on the rock beneath her. Metropolitan Stephan of the Georgian Orthodox eparchy of Tsageri and Lentekhi strongly criticized the inclusion of the goddess as idolatry, although mayor Badri Liparteliani stated the change was intended to increase the fountain's efficiency and visual appeal. The final version was built without the statue of Dali, and simply features three ibexes sitting atop a rock.

The top prize of the Svaneti International Film Festival, founded in 2021, is the "Goddess Dali Prize".

See also

 Britomartis – Greek goddess of mountains and hunting
 Bugady Musun – Siberian animal guardian who took the form of a reindeer
 Deer Woman – seductive forest spirit whose form was partially a deer
 Devana – Slavic goddess of forests and the hunt
 Mielikki – Finnish hunting goddess who herded cows and could determine the success of a hunt
 Potnia Theron – widespread motif found in ancient art depicting a female holding two animals
 Skaði – Norse mountain goddess associated with hunting, skiing, and winter

Notes

Citations

References

Georgian mythology
Animal goddesses
Dawn goddesses
Fertility goddesses
Hunting goddesses
Liminal goddesses
Mountain goddesses
Solar goddesses
Venusian deities

redpajama_set_name: RedPajamaWikipedia


Southern Vectis is the dominant bus operator on the Isle of Wight. Formed in 1921 and later owned by the Southern Railway, it was nationalised in 1948 and became part of the National Bus Company in 1969. Privatised in 1987, it became a subsidiary of the Go-Ahead Group in July 2005.
In the 1980s it engaged in some aggressive tactics to try and stifle its competitors. This attracted the attention of the Office of Fair Trading.
The origins of Southern Vectis began with a company called Dodson & Campbell, founded in 1921. In 1923, this was renamed the Vectis Bus Company, based in Cowes and with a distinctive livery of saxe blue and red, and 'VECTIS' fleet name. It had an association with London bus body builder Christopher Dodson, therefore, all Vectis buses of the period had Dodson built bodies.
In 1929 the business was bought by Southern Railway, and incorporated as The Southern Vectis Omnibus Company Limited. In 1948, the Southern Railway was nationalised, and as a result, so was Southern Vectis. This led to Southern Vectis becoming part of the National Bus Company in 1969. In 1986 as a consequence of the Transport Act 1985 the business was sold in a management buy out.


text:
DEA Store
la Feltrinelli.it
Spain: A History
Raymond Carr
Oxford University Press, 2000 - 318 pagine
In this up-to-date and engaging tour of Spain through the ages, one of the world's leading authorities on the history of Spain, Sir Raymond Carr, provides an authoritative overview of a country that has played a vital role in the history of the Western world.
He tells of prehistoric Spain and of the imposition of Roman rule, which created the idea of Hispania as a single entity. There are knowledgeable discussions of the Visigoth monarchy, Moorish Spain, the establishment of an empire, and the eighteenth-century Enlightenment. Carr examines not only the political and economic development of Spain, but also the extraordinary artistic and literary achievements of the Spanish people. He charts the rise and fall of liberalism in the nineteenth century, and the subsequent period of political instability culminating in the Civil War and authoritarian rule. The book concludes with a look at modern Spain as a fully integrated and enthusiastic member of the European community.
Attractively illustrated throughout, Spain: A History is the best historical account of Spain currently available for general readers.
Recensione dell'utente - Oberon - LibraryThing
I had seen this book reviewed as the best, single volume, concise history of Spain. Being a sucker for all things Spanish stemming from my college days, I thought I would pick it up. I can't say that ... Leggi recensione completa
Recensione dell'utente - Kirkus
Insightful essays by the leading English-language experts on the history of Spain from its prehistoric origins to today.Deftly edited by Carr (Warden/St. Antony's Coll., Oxford), this survey will ... Leggi recensione completa
Anteprima non disponibile - 2000
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Forgotten Continent: The Battle for Latin America's Soul
Michael Reid
Anteprima limitata - 2008
Properties of Modernity: Romantic Spain, Modern Europe, and the Legacies of ...
Michael P. Iarocci
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Informazioni sull'autore (2000)
Sir Raymond Carr, for many years Warden of St Antony's College, Oxford, was in 1999 honoured by Spain with the prestigious Prince of Asturias prize. He is a corresponding member of The Spanish Royal Academy of History and a doctor honoris causa of the Complutense University of Madrid. His publications include Modern Spain 1875-1980, Spain 1805-1975 (Oxford History of Modern Europe), and The Spainish Tragedy: Civil War in Perspective.
Titolo Spain: A History
Curatore Raymond Carr
Edizione illustrata, ristampa, riedizione
Editore Oxford University Press, 2000

redpajama_set_name: RedPajamaCommonCrawl


text:
Haliragoides niflheimri is een vlokreeftensoort uit de familie van de Calliopiidae. De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 2007 door d'Udekem d'Acoz.

Calliopiidae


A study of young adults published in eNeuro demonstrates how the brain responds to disruptions in the body's balance. The research identifies a pattern of electrical activity that could be used to assess balance in patients with movement disorders such as Parkinson's disease.
Regaining balance after the body is acted on by external forces is a complex process that requires integration of the senses and muscles to remain upright. Older adults, in particular, rely on their vision to maintain balance, which can lead to falls as visual acuity declines with age.
Steven Peterson and Daniel Ferris used electroencephalography (EEG) and electromyography (EMG) to record electrical activity from the brain and muscles as participants walked or stood in place on a narrow beam mounted to a treadmill. The participants' balance was challenged by either pulling them from side to side or distorting their visual field with a virtual reality headset. The researchers found that these balance disruptions elicited similar electrical responses in different parts of the brain, suggesting a common signature of balance maintenance in the healthy brain. Training programs to improve balance in older adults or individuals with lower limb amputations should therefore keep in mind these underlying brain differences.


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1050 aluminum coil is mainly a cold-treated forging alloy with high strength, far better than mild steel. The 1050 aluminum is formed by adding a small amount of copper to pure aluminum, with excellent forming characteristics, high corrosion resistance, good welding and electrical conductivity. The 1050 aluminum material is common cast-rolling material, namely oxidation, hot rolling material, suitable for customers with high oxidation requirements. 1050 aluminum coil is commonly used in daily necessities, lighting, reflector, decorative, chemical industry containers, heat sink, signs, electronics, lamps, nameplates, electrical appliances, stamping parts and other products.
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text:
the crime segments
...the crime fiction & mystery portion of reading avidly dot com: a casual reader's journal
the rare true-crime post: Anne Perry and the Murder of the Century, by Peter Graham
Skyhorse Publishing, 2013
originally published 2011
A long time ago, I watched Peter Jackson's film Heavenly Creatures for the first time and found myself captivated by the murder that inspired the film; since then I've watched it a number of times and just recently discovered the uncut version which I watched during a week when my husband was away on business. I'm not really a major true crime person, but there are some cases, like this one, that stick in the mind. This case took place in the early 1950s in New Zealand, where, as the author tells us, "murder of any kind was a major event," and that at that time, there were maybe two, three murders a year. He also says that Women who killed were rarities" and "As for teenage girls, matricide -- it was unheard of."
Lately my interest was reopened after reading Beryl Bainbridge's fictional take on the case, Harriet Said (1972), which changed the story but was most certainly loosely based on the Parker-Hulme case of 1954. Then, one insomniac night a couple of weeks ago, I stumbled on a documentary about the case, which made me want to watch Heavenly Creatures again, which then made me look for a true account of the murder, which led me to this book. I will say that as long as Graham sticks to the subject at hand, it's a book worth reading; it's when he goes off on tangents of details that I could have cared less about that I found myself tuning out.
Graham starts his story in the hours leading up to the actual murder itself, stopping at the point just before poor Honorah Parker's head is bashed in by a brick at Victoria Park in Christchurch. Honorah Parker (known as Rieper at the time), her daughter Paulette, and Paulette's friend Juliet Hulme had just finished having tea at a tearoom before venturing off down the "east side bush track"; later the woman who served them, Agnes Ritchie, would say that the girls were polite and that there was "Nothing out of the ordinary." Some 30 or so minutes later, Mrs. Ritchie was shocked to see the girls again, this time
"breathless, greatly agitated, with bloody hands and clothing. One girl's face with spattered with blood and the other's finely speckled."
She then learned that there'd been some sort of terrible accident and that the woman who'd been with them not too long before was now "covered with blood" somewhere "Down in the bushes -- down the track," according to the girls, having slipped on some rocks. Mr. Ritchie and his assistant went to find the woman but obviously it was too late when they arrived, since Honorah was dead. While the girls had called it an accident, Ritchie realized that there were "no rocks anywhere near," and not too far from her head lay a "half-brick with blood and bits of hair on it." The girls were taken to Juliet's home while police examined the scene; the investigators soon knew that this was no accident, but that "the deceased had been attacked with an animal ferocity seldom seen in the most brutal murders." What was worse, however, was that they also realized that "this savagery was the work of two teenage girls," a "thought too shocking for words."
After this beginning, which, coincidentally, mirrors that of Heavenly Creatures, Graham goes on to examine the lives of the two girls, both separately and together, in order to come to a conclusion as to why Pauline's mother had to die that day. While I leave his findings for other readers to discover, using a number of different sources, most pointedly Pauline's own diary, he paints a chilling picture as to what may have led up to that particular moment; he also goes on to look at the aftermath of the crime and its effects on the girls, the families, on the people in Christchurch, and its interest as the "murder of the century" that would later lead to plays, books, much debate, and a movie. While he's focusing on all of that, the book is captivating and hard to put down, and there are great photos in this book that help bring it to life. But I started finding my interest waning here and there as he throws in superfluous details that I could have cared less about (for example, the athletic prowess of the Hulme's attorney at his high school and then Cambridge, or the Hulme's psychiatrist's wife's love of theater etc., etc., and more unnecessary stuff down to what people were eating for lunch), and it became a major skimathon to get back to the meat of the story. Another thing: this book could have ended some 50-something pages earlier which would have, I think, made it a stronger piece of writing; my final niggle is that there are no footnotes. Sources are listed in the back but there are several spots where quotations are left unattributed and it drove me nuts. I know -- nerdiferous people such as myself are probably the only people who appreciate footnotes, but to me they're important and should be included in investigative pieces.
from AZ Quotes
My biggest issue here is that I was not at all impressed with the change of title of this book, and in fact thought it a sort of cheap, exploitative publishers' trick. When originally published in 2011, it was called So Brilliantly Clever: Parker, Hulme and the Murder that Shocked the World; when it came to the US it became Anne Perry and the Murder of the Century, which sort of bypasses the fact that there were two girls involved. It's also highly misleading: we don't discover the modern-day of Juliet Hulme as Anne Perry until very late in the book, at which point we also discover the post-prison identity (Hilary Nathan) of Pauline Parker. But where's Hilary Nathan in the title? Obviously the title change was done to sell more copies of this book since there are thousands of Anne Perry fans out there; personally speaking, I think it's a cheap tactic.
Having said all of that, however, while on topic it is a book I'd recommend for anyone with an interest in the case who wants to know more about it -- Graham has done a pretty thorough job here that will answer pretty much any question someone might want answered. It's actually one of the most chilling true-crime stories I've read.
Posted by NancyO at 10:44 AM
Labels: 2017, historical true crime
I saw "Heavenly Creatures," and I still don't know why those two teenagers killed Pauline's mother. Was Pauline a victim of horrific child abuse? I don't think so. Was she merely a rebellious teenager?
Rebellious teenagers may violate parents' rules, argue, yell, even indulging in risky behavior or substance use -- but they do not commit murder.
I know that after they got out of jail, they were ordered never to see each other or talk to each other again.
I don't know if Anne Perry has ever answered questions about this awful part of her history when interviewed by journalists or book reviewers. I wonder what she'd say.
NancyO July 3, 2017 at 11:14 AM
The author makes space for her at the end of the book to talk about her side of the story. It's not flattering. First she says it may have been that she was "on a medicine that was eventually taken off the market for its 'judgment-altering qualities"; in another place she says that she felt she had to do it because if she didn't, she didn't want to be responsible for Pauline taking her own life (she was bulimic); basically, she says she felt that she was under "moral duress." I say BS.
these are all based on different accounts she gave to different people.
Teenagers don't just commit murder of someone's parent. Something was very askew there.
I don't care what you write, but do be nice about it
the crime fiction collection (so far)
my crime-fiction shelf:
thought of the day:
The Overnight Kidnapper, by Andrea Camilleri
the rare true-crime post: Anne Perry and the Murd...
back now to my history of mystery project with *Ha...
Black Water Lilies, by Michel Bussi
from Mexico: Silver Bullets and The Acid Test, by...
What I've read this year in crime fiction and mystery, a split off of my regular reading journal
Hands down, crime fiction is my favorite genre. I am a wee bit picky, though, and I trend toward the darker side of crime. My focus in reading in this genre is to explore what makes people do what they do -- whether it's the bad guy or the good guy. I truly believe that the best crime fiction should explore human nature and how one's actions are determined by both outward and internal influences.
The crime segments is part of my overall online book journal -- it's neither a literary nor expert take on crime fiction/mysteries, but rather a way to keep a record of my reading as I explore different authors, different subgenres and currently works from obscure writers. Have fun and do feel free to comment!
back to the home blog
the rest of the books for the year, if you're interested
1910s crime fiction and mysteries (5)
1930s crime fiction and mysteries (26)
19th century mystery/crime fiction (28)
African crime fiction/mystery (3)
Algeria crime fiction (1)
American crime fiction (63)
American crime fiction/mystery (8)
another forgotten author (2)
Australia crime fiction (7)
Austria crime fiction (8)
Belgian crime fiction (3)
Belgium crime fiction (3)
Bitter Lemon Press (20)
Black Coat Press (1)
Black Curtain Press (1)
Black Dog Books (1)
Black Mask (1)
Blue Rider Press (3)
book reviews - British fiction (1)
British fiction (2)
British Library Crime Classics (8)
British mysteries/UK crime fiction (92)
Canadian crime fiction (1)
Caribbean crime fiction (1)
Cassava Republic Press (1)
Chinese crime fiction (1)
Coachwhip Publications (1)
crime fiction from Mexico (1)
crime fiction from Scotland (1)
crime fiction reference (1)
Crime Wave press (2)
Czech crime fiction (1)
Doubleday Crime Club (1)
Dutch crime fiction (1)
ecfp (1)
Europa Editions (2)
Feminist Press (1)
fiction from Scotland (3)
Forgotten Books (3)
French crime fiction (32)
German crime fiction (7)
German fiction (1)
Glagoslav Publications (1)
Greek crime fiction (1)
Hard Case Crime (1)
Hersilia Press (1)
Hesperus Press (3)
Hesperus Worldwide (1)
Hillman-Curl Clue Club (1)
historical crime fiction (30)
historical mystery series (1)
historical true crime (11)
history of mystery (27)
House of Stratus (3)
Hungarian crime fiction (1)
in love with this book! (1)
Irish crime fiction (6)
Irish fiction (2)
Israel crime fiction (1)
Italian crime fiction (43)
Japanese crime fiction/mysteries (11)
just me talkin' (2)
Korean crime fiction (1)
Latin American crime fiction (9)
Legend Press (1)
Leonaur (2)
locked-room/imossible crime (1)
LTER (3)
MacLehose Press (12)
Maigret (2)
Masterpiece Mystery (2)
Melville House (4)
Mexico crime fiction (1)
Millipede press (1)
Molotov Editions (1)
Mysterious Press (4)
mystery series opener (28)
New Zealand crime fiction (1)
Nigerian crime fiction (1)
NYRB books (4)
NYRB Classics series (1)
obscure women writers (11)
obscure writer project (21)
obscure writers (2)
page to screen (18)
Peepal Tree Press (1)
Pegasus Crime (1)
Persephone Books (1)
Philippines - crime fiction (1)
Poisoned Pen Press (5)
Poland crime fiction (6)
Portuguese crime fiction (1)
psychic detectives (1)
Pushkin Vertigo (11)
Quercus publishing (3)
Rue Morgue Press (1)
Russia crime fiction (1)
Russia/USSR crime fiction (4)
Scandinavian crime fiction (71)
sci-fi edged crime (1)
sensation fiction (1)
Serpent's Tail Publishing (2)
Seventh Street Books (1)
sherlockian (1)
Simenon (1)
Soho Crime (13)
Spanish Crime Fiction (7)
Stark House (4)
Stork Press (1)
supernatural-tinged crime fiction (2)
Switzerland crime fiction (1)
thriller/suspense (22)
Turkey crime fiction (1)
UK fiction (2)
Unnamed Press (1)
Valancourt Books (10)
Wildside books (4)
woman detective (1)
NancyO
bottom line: I love to read. I use this space to record and to talk about what I've read during the year. You won't see descriptions like "lush, lyrical prose" here ... I'm just an ordinary reader person who wants to share a love of the written word. I don't really "review" -- that's for the pros. I just offer opinions. Feel free to comment any time.


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Alaska's top forester talks timber in Southeast
Jacob Resneck, CoastAlaska - Juneau
The appointment of the U.S. Forest Service's top official in Alaska was recently made permanent. Dave Schmid oversees 22 million acres in the Tongass and Chugach national forests.
He replaced Beth Pendleton who spent eight years in the job.
Schmid didn't tip his hand to where he stands on proposals to roll back back the federal roadless rule in Tongass National Forest.
The state of Alaska has repeatedly taken the agency to court over the rule, though public hearings held in recent weeks were largely packed with roadless rule supporters.
He said six alternatives are currently under consideration by his agency.
"One of those is the 'no action' alternative, and bookending the other is a full exemption (to the roadless rule)," Schmid said.
Asked about the balancing act required for managing the Tongass and Chugach national forest lands, Schmid spoke of his office's commitment to all facets of the region's economy, including timber.
"Recreation, tourism, fishing are a vital part of our economy, as is mining and timber development," Schmid said in an interview. "And right now, the mill at Viking Lumber on Prince of Wales is kind of of the last of the moderate-sized mills. And while it's not very big it's a very important piece of those communities."
Schmid also reaffirmed that the agency seeks to eventually move away from old-growth timber sales. But he said it'll be a gradual process; indeed, a new old-growth sale was recently announced.
"Regeneration is not a problem in this part of the world," Schmid said. "And if you walk through some of these legacy, larger clear-cuts, trying to manage those into the future is really important. And so trying to actively thin for wildlife and habitat is really important."
He also said the Forest Service is moving to improve the work environment for its staff at all levels.
The Forest Service's chief in Washington resigned earlier this year over allegations of serial sexual misconduct. A subsequent investigation found widespread complaints at the regional level.
"We've spent time internally with our employees," he said. "We've done a number of things, including chartered an employee advisory group, that I meet with regularly to hear from a cross-section of folks, and we have taken several steps both nationally and in the region for our work environment."
Schmid had served as the acting regional forester for Alaska since April before being made permanent in November. He was previously the deputy regional forester for the Northern Region. That region manages over 25 million acres of federal forestland in five states. Much of his agency career has been in Alaska. He worked 23 years in both the Chugach and Tongass national forests.
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Jacob Resneck is CoastAlaska's regional news director in Juneau.
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These Alaskans were driven to witness this Inauguration — or something near it
Alaska Public Media > Homepage > New Story: With Photo > Alaska's top forester talks timber in Southeast


This online course provides an orientation to the main ingredients of an "integral approach to facilitation", from the IF pathway. This online course includes the same materials as the live 3-day Next Stage Facilitation live training, plus personalized coaching support.
This is a prerequisite for the Integral Facilitator Certificate Program and an alternative to the 3 day live Next Stage Facilitation Intensive.
Actively participate in their own lifelong learning.
Are willing to venture into the unknown in order to grow.
Meet people where they are and invite greater vision and growth.
How to notice and work with group energetics.
How to build connection and work with tension to deepen coherence and intimacy.
Yes, although each profession has different standards. We can work with you to provide the agenda and CEU hours. Depending on your registrar or professional organization's requirements, you may have to repackage the information about our training. We cannot guarantee that it will be accepted, but we will gladly provide you with the required information about the course that will support your application.


text:
Bolboleaus storeyi är en skalbaggsart som beskrevs av Henry Fuller Howden 1985. Bolboleaus storeyi ingår i släktet Bolboleaus och familjen Bolboceratidae. Inga underarter finns listade.

Källor

Skalbaggar
storeyi


NP 0F 01 C0 ENCLV NP V/V NA This instruction is used to execute privileged SGX leaf functions that are reserved for VMM use. They are used for managing the enclaves.
The ENCLV instruction invokes the virtualization SGX leaf functions for managing enclaves in a virtualized environment. Software specifies the leaf function by setting the appropriate value in the register EAX as input. The registers RBX, RCX, and RDX have leaf-specific purpose, and may act as input, as output, or may be unused. In non 64-bit mode, the instruction ignores upper 32 bits of the RAX register.
The ENCLV instruction produces an invalid-opcode exception (#UD) if CR0.PE = 0 or RFLAGS.VM = 1, if it is executed in system-management mode (SMM), or not in VMX operation. Additionally, any attempt to execute the instruction when CPL > 0 results in #UD. The instruction produces a general-protection exception (#GP) if CR0.PG = 0 or if an attempt is made to invoke an undefined leaf function.
Software in VMX root mode of operation can enable execution of the ENCLV instruction in VMX non-root mode by setting enable ENCLV execution control in the VMCS. If enable ENCLV execution control in the VMCS is clear, execution of the ENCLV instruction in VMX non-root mode results in #UD.
When execution of ENCLV instruction in VMX non-root mode is enabled, software in VMX root operation can intercept the invocation of various ENCLV leaf functions in VMX non-root operation by setting the corresponding bits in the ENCLV-exiting bitmap.
Addresses and operands are 32 bits in 32-bit mode (IA32_EFER.LMA == 0 || CS.L == 0) and are 64 bits in 64-bit mode (IA32_EFER.LMA == 1 && CS.L == 1). CS.D value has no impact on address calculation.
Segment override prefixes and address-size override prefixes are ignored, as is the REX prefix in 64-bit mode.
#UD If any of the LOCK/OSIZE/REP/VEX prefix is used.
If current privilege level is not 0.
If CPUID.(EAX=12H,ECX=0):EAX.OSS [bit 5] = 0.
If logical processor is in SMM.
#GP(0) If IA32_FEATURE_CONTROL.LOCK = 0.
If input value in EAX encodes an unsupported leaf.
If data segment expand down.
#UD ENCLV is not recognized in real mode.
#UD ENCLV is not recognized in virtual-8086 mode.


text:
Q: Delete temporary internet files on a terminal server (Server 2003) Are there any apps or scripts that will remove all temporary internet files for all users on a windows 2003 terminal server.

A: You could set a create a script or use a group policy to set the cache size.  Set it to 0 and the files will not be saved.

A: run the disk cleanup tool from the logoff script.  See Automating Disk Cleanup Tool in Windows for details on how to save and set options so you are not running the whole wizard every time (just temporary internet files)

redpajama_set_name: RedPajamaStackExchange


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We work the streets, know the market and find the deals. We have worked many with overseas investors as well, bringing them turn-key investment deals. This includes; locating, brokerage, rehabbing, renting and managing the asset.


Autonomous vehicle repair shops are smaller scaled and has less individuals working for them than dealerships. Subsequently, the amount that they will be charging you is also less as the cost that they have to spend for the maintained of the vehicle repair shop is less. This is why you will have to pay way less when you gain the services of a car mechanic from Gold Coast Car Electrics & Mechanical than when gain the services of dealership. If you are in a budget in fixing your car and if you need it on the road right away, it is best that you focus on getting the services of auto technician.
Most autonomous car repair shops depend on verbal exchange and client referrals to discover new clients for their business. Since they know how intense the challenge can be, they regularly apply additional push to guarantee that their clients will get the best administration there is and that they are highly satisfied from the services that are offered to them. On the off chance that you go to a decent autonomous vehicle repairing shop, you can always count on them to provide you with the best services and also, your work will be attended to right away.
There is nothing more critical than guaranteeing that get the services from a highly trained and a competent technician to work on the issues of your car. It will be hard to get to know the technician who will be working on your car when you gain the services from a dealership but when it comes to a car repair shop, you can always get to know the technician and even talk to him or her about the outcome that you are expected and also the issues to do with the vehicles as well.


We normally do not go to Downtown Orlando to dine but we were invited to dine there by some American friends when we were last over at our villa.
Kres Chophouse is located in Church Street Orlando it serves lunch Monday to Friday 11:30am to 5:00pm dinner Monday to Saturday 5:00pm to 12:00am.
This is a very stylish Chophouse & Lounge and it states that Kres is where "Contemporary and trendsetting design elements are merged with its classic architecture. " It certainly is impressive with a quite unique blend of retro, contemporary, brown and burgundy walls and antique ceilings whilst the lighting fixtures and furniture are modern.
The restaurant is very popular as a business dining venue with the menu changing daily and an extensive wine list. There are also semi-private rooms for special events. Apparently the Orlando Magazine 2009 Dining Awards recognized Kres as Best Late-Night Dining and Best Celebrity Spotting. I believe it has also received awards for its steaks. There is also a bar menu each night which is designed for the convenience of guests attending special events in the Downtown area including Magic Games, Broadway Shows at the Bob Carr or Concerts at the Amway Arena. The menu includes items found on the lunch and dinner menu.
All major credit cards are accepted and there is valet parking available from 6. 00pm. Reservations are accepted and can either be made online or by calling 407 447 7950.
The night we went the server, who was most professional, recommended the calamari appetizer which my brother and our friends had declaring it was some of the best calamari they had tasted. I chose the House Salad which was not like any other salad as it included Spring Greens, Tomatoes, Grapefruit, Bleu Cheese, Sunflower Seeds with a lovely Walnuts & Balsamic Vinaigrette.
For an entrée the men chose the Kres Mixed Grill which included Garlic Shrimp, Filet Mignon and Double Lamb Chops, Asparagus and Three Cheese Au Gratin Potatoes. Their meals were huge but they were both delighted with their choice.
Our friend's wife and I opted for the Filet Wellington this was a Filet and Wild Mushroom in Pastry served with Asparagus (cooked al dente just as we both liked it) with a Port Wine Sauce.
The men were too full for a dessert but us girls listened patiently as the "Dessert Lady" showed us and explained all the desserts. We chose Carrot Cake which we shared between us.
A live jazz band had started playing during the meal which was great however is you had been sitting near it I suspect it might have been difficult to hear the conversation at your table.
We will return to Kres.
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