Smart, thoughtful and a shrewd fashioner of his own image as a food and cultural authority, he keeps his rebellion within firm limits.
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Morpheus, painted by Jean-Bernard Restout Morpheus ('Fashioner', derived from the meaning 'form, shape')Griffin, p. 249; Grimal, s.v. Morpheus, p. 296; LSJ s.v. μορφ-ή.
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Reverend Bizarre / Mr Velcro Fastener is a split EP by Finnish doom metal band Reverend Bizarre and electro music duo Mr Velcro Fastener, released in 2008 on the Solina label. In typical split-album fashion, Mr Velcro Fashioner covers a Reverend Bizarre song while Reverend Bizarre covers a song by Mr Velcro Fastener.
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The Earth was not formed until long after the creation of the first three worlds: the waters of the underworld; the air which included the higher world (i.e. the sun, the moon and the stars) and earth. Roog is the creator and fashioner of the Universe and everything in it. The creation is based on a mythical cosmic egg and the principles of chaos.
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In the Platonic, Neopythagorean, Middle Platonic, and Neoplatonic schools of philosophy, the demiurge () is an artisan-like figure responsible for fashioning and maintaining the physical universe. The Gnostics adopted the term "demiurge". Although a fashioner, the demiurge is not necessarily the same as the creator figure in the monotheistic sense, because the demiurge itself and the material from which the demiurge fashions the universe are both considered to be consequences of something else. Depending on the system, they may be considered to be either uncreated and eternal or the product of some other entity.
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In the various branches of the Neoplatonic school (third century onwards), the demiurge is the fashioner of the real, perceptible world after the model of the Ideas, but (in most Neoplatonic systems) is still not itself "the One". In the arch-dualist ideology of the various Gnostic systems, the material universe is evil, while the non-material world is good. According to some strains of Gnosticism, the demiurge is malevolent, as it is linked to the material world. In others, including the teaching of Valentinus, the demiurge is simply ignorant or misguided.
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In the historical Vedic religion, ' () is the artisan god or fashioner. The Purusha Sukta refers to the Purusha as Tvastr, who is the visible form of creativity emerged from the navel of the invisible Vishvakarma.अ॒द्भ्यः सम्भू॑तः पृथि॒व्यै रसा॓च्च । वि॒श्वक॑र्मणः॒ सम॑वर्त॒ताधि॑ । तस्य॒ त्वष्टा॑ वि॒दध॑द्रू॒पमे॑ति । तत्पुरु॑षस्य॒ विश्व॒माजा॑न॒मग्रे॓ ॥ Rigveda 10-82 In the Yajurveda, Purusha Sukta and the tenth mandala of the Rigveda, his character and attributes are merged with the concept of Hiranyagarbha/Prajapati or Brahma. The term, also transliterated as ...Tvaṣṭr, nominative ', is the heavenly builder, the maker of divine implements, especially Indra's Vajra and the guardian of Soma.
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Id. Roberto Ago died on February 24, 1995 in Geneva.Ago at 581 Sir Robert Jennings, wrote that Ago "is an international lawyer who has excelled in all the several different aspects of that calling: as scholar and writer; as teacher; as consultant to governments and international organizations; as fashioner of law through the International Law Commission; as advocate; and as judge." Robert Y. Jennings, The Judicial Function and the Rule of Law in International Relations, in 3 International Law at the Time of Its Codification: Essays in Honour of Roberto Ago 139, 139 (1987) His term of office at the International Court of Justice was due to expire in February 1997.
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It was even said that the soul of Orpheus had been reborn into Ficino. Ficino saw the sublunar demiurge as "a daemonic 'many-headed' sophist, a magus, an enchanter, a fashioner of images and reflections, a shape-changer of himself and of others, a poet in a way of being and of not-being, a royal Pluto." This demiurgic figure identified with Pluto is also "'a purifier of souls' who presides over the magic of love and generation and who uses a fantastic counter-art to mock, but also ... to supplement, the divine icastic or truly imitative art of the sublime translunar Demiurge."Entry on "Demiurge," in The Classical Tradition p. 256.
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Intef III was the son of his predecessor Intef II. This is indicated by the stela of Tjeti, chief treasurer during the reigns of Intef II and Intef III. Tjeti's stele mentions the death of Intef II and goes on describing how Tjeti served Intef II's son who acceded to the throne upon the death of his father: : Then, when his son assumed his place, Horus, Nakht-neb- Tepnefer, King of Upper and Lower Egypt, Son of Re, Intef, fashioner of beauty, living like Re, forever, I followed him to all his good seats of pleasure. Intef III possibly married his sister Iah, described as a king's mother (mwt-nswt), king's daughter (sȝt-nswt) and priestess of Hathor (ḥmt- nṯr-ḥwt-ḥr).Joyce Tyldesley, Chronicle of the Queens of Egypt, Thames & Hudson. 2006, pp. 66-68.
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Maggie Smith as the title character in the film adaptation of The Prime of Miss Jean Brodie Jean Brodie is a fictional character in the Muriel Spark novel The Prime of Miss Jean Brodie (1961); and in the play and 1969 film of the same name—both by Jay Presson Allen—which were based on the novel, but radically depart from it in the interest of theatre and poetic licence. Miss Brodie is a highly idealistic character with an exaggerated romantic view of the world; many of her catchphrases have become clichés in the English language. The character takes her name from the historical Jean Brodie (aka Jean Watt), common law wife or mistress of Willie Brodie, whom the fictional Miss Brodie claims as a direct descendant; thus, she is the fictional namesake of the real Jean Brodie. The real Deacon Willie Brodie was indeed a cabinetmaker and fashioner of gibbets.
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" Napoleon Bonaparte admired Muhammad and Islam,Talk Of Napoleon At St. Helena (1903), pp. 279–80 and described him as a model lawmaker and a great man. Thomas Carlyle in his book Heroes and Hero Worship and the Heroic in History (1840) describes Muhammad as "[a] silent great soul; [...] one of those who cannot but be in earnest". Carlyle's interpretation has been widely cited by Muslim scholars as a demonstration that Western scholarship validates Muhammad's status as a great man in history. Ian Almond says that German Romantic writers generally held positive views of Muhammad: "Goethe’s 'extraordinary' poet-prophet, Herder’s nation builder (...) Schlegel’s admiration for Islam as an aesthetic product, enviably authentic, radiantly holistic, played such a central role in his view of Mohammed as an exemplary world-fashioner that he even used it as a scale of judgement for the classical (the dithyramb, we are told, has to radiate pure beauty if it is to resemble 'a Koran of poetry').
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