So, in other words, "enemies" are not exactly imaginary beings.
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The dialogue of the book plays out between the main character and inanimate objects or imaginary beings.
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"As an illustrator and woman, I've looked at a lot of magazine images and didn't want these [imaginary beings] to be shrinking, small, waif-like characters," Goodman says.
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In 1980s Nigeria, a new form of masquerade called Ogele emerged, in which men wore top-heavy tiered wooden masks carved and painted to represent both real people and imaginary beings.
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For the past year and a half, the New York-based illustrator has dressed hundreds of historical faces in collages of absurd apparel to create her ongoing series, The Catalogue of Imaginary Beings.
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Although unicorns were indeed a cultural touchstone of the '90s — thanks to My Little Pony and the vibrant hearts-and-kitties-and-unicorns imagery of Lisa Frank — it wasn't until recently that the imaginary beings made a comeback.
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In the episode, Cartman swears that he has seen a leprechaun. Then, Stan and Kyle visit "Imaginationland", a land with imaginary beings.
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The Catoblepas was listed in the Book of Imaginary Beings (1957) by Jorge Luis Borges. It is described as a black buffalo with a hog's head that is always looking down.
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He mixed the real and the fantastic, fact with fiction. His interest in compounding fantasy, philosophy, and the art of translation are evident in articles such as "The Translators of The Book of One Thousand and One Nights". In the Book of Imaginary Beings, a thoroughly researched bestiary of mythical creatures, Borges wrote, "There is a kind of lazy pleasure in useless and out-of-the-way erudition."Borges, Luis Borges (1979) Book of Imaginary Beings Penguin Books Australia, p.
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Borges, Jorge Luis. (1969). The Book Of Imaginary Beings. In some visions, he also appeared as a snow bird, a swallow, a horse, a dog, a night hawk, a frog, or a dragonfly.Walker, James R. (1980).
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L'Infini turbulent (Infinite Turbulence) is an autobiographical essay by Henri Michaux about his experiences with mescaline. It was first published in 1957. The revised second edition was published in 1964.Frederic Joseph Shepler. Creatures Within: Imaginary Beings in the Work of Henri Michaux. Physsardt. 1977. Page 173.
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He retired from the university in 1950. His colleagues included F. M. Salter, E. Sonet and D. E. Cameron. Gordon is quoted extensively in The Book of Imaginary Beings by Jorge Luis Borges. In the entry describing the Fastitocalon, Borges includes an extended quote from R.K. Gordon's Anglo Saxon Bestiary.
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The character of the fearsome critters themselves was usually more comical than frightful. Often the greater emphasis is placed on behavioral traits with little or no detail mentioned on their appearance, as in the cases of the hidebehind, teakettler,Borges, Jorge Luis; Guerrero, Margarita. Book of Imaginary Beings. (New York: Dutton, 1969.) squidgicum-squee,Schwartz, Alvin.
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The Zaratan is a grandiose sea turtle found in literature and folk lore. Zaratans are notable for their long-life span and impossible size. Zaratan shells are easily mistaken for small islands, similar to the whale-like Fastitocalon. The Zaratan is catalogued in Jorge Luis Borges's El Libro de Los Seres Imaginarios (The Book of Imaginary Beings).
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The vase was found at Cerveteri in Italy and illustrates the blinding of Polyphemus by Odysseus and his companions. From the mid-8th century BC, the closer contact between Greece and the East enriched the ceramic art with new subjects – such as lions, panthers, imaginary beings, rosettes, palmettes, lotus flowers etc. – that led to the Orientalizing Period style, in which the pottery style of Corinth distinguished.
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Alternate names include Al-Rayann and Rakaboûnâ. Kuyootà, Kuyoothán were forms of the name as transcribed by Edward Lane, and given as Kuyata (Spanish), Kujata (first English translation, 1969), and Quyata (revised English translation) in various editions of Jorge Luis Borges's Book of Imaginary Beings; it has also been re-transcribed from Lane as Kuyūta. Kujūta was given by Thomas Patrick Hughes's Dictionary of Islam.
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Borges continued to publish books, among them El libro de los seres imaginarios (Book of Imaginary Beings, 1967, co-written with Margarita Guerrero), El informe de Brodie (Dr. Brodie's Report, 1970), and El libro de arena (The Book of Sand, 1975). He lectured prolifically. Many of these lectures were anthologized in volumes such as Siete noches (Seven Nights) and Nueve ensayos dantescos (Nine Dantesque Essays).
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A Bao A Qu is a legendary Mewar creature described in Jorge Luis Borges's 1967 Book of Imaginary Beings. Borges claimed to have found it either in an introduction to the Arabian Nights by Richard Francis Burton, or in the book On Malay Witchcraft (1937) by C.C. Iturvuru.The Book of Imaginary Beings, by J.L. Borges, Translated by Andrew Hurley, © 2005 Viking Penguin (original Spanish © 1967 by Editorial Kier, S.A., Buenos Aires under title "El libro de los seres imaginarios") The Burton reference was given in the original Spanish, but it was changed to the Iturvuru reference in the English text, possibly to make it sound more exotic, or as a reference to Borges' friend C. C. Iturburu. The writer Antares conjectures that Borges's tale might be inspired by Orang Asli myth, and that "A Bao A Qu" is a slurring of abang aku meaning "my elder brother".
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It only walks backwards, and steam issues from its mouth as it makes its whistle. As the myth goes, only a few lumberjacks have seen one, as they are very shy, but if a boiling kettle is heard and nowhere to be found, it is sure that a Teakettler is nearby. An account is given by Jorge Luis Borges under "Fauna of the United States" in Book of Imaginary Beings (1957).
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Being a creature of literature, the Baldanders is not often featured in contemporary works. However, there have been a few mentions and inclusions of the creature in various media. In further literature, the Baldanders was featured in the bestiary The Book of Imaginary Beings by Jorge Luis Borges. In The Book of the New Sun series by Gene Wolfe, a recurring character’s name was Baldanders, which Wolfe affirmed was based on Borges' description.
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Jorge Luis Borges in his Book of Imaginary Beings expounds on the crocotta and the leucrocotta. Leucrocottas appear in Rick Riordan's The Demigod Diaries, where Luke and Thalia encounter a small pack of them in a haunted mansion. The leucrocotta is featured in Susanna Clarke's Jonathan Strange & Mr Norrell, in the chapter "Leucrocota, the Wolf of the Evening", where the titular character names another person in the book as one, as a reference to his personality and lifestyle.
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Many of the songs were significantly re-recorded or remixed, most noticeably "The Negative Sex" and "Spit It Out", as well as "The Alternative", "Nightlife" and "Song of Imaginary Beings". "This Will Make You Love Again" is among a handful of songs to have been edited to include vocals by Janine Gezang. The re-released versions also include a string version of "Spit It Out" as a hidden track. The original album and the reissues also carry alternate covers.
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2, #20 (Vertigo/DC Comics, March, 1989). Doom Patrol member Dorothy Spinner, who has the ability to bring imaginary beings to life, considers among her imaginary friends the characters Flying Robert (a ghost baby balloon thing) and The Inky Boys. The 2000 AD strip London Falling (June–July 2006), by Simon Spurrier and Lee Garbett, explores bogeymen from English folklore and mythology wreaking havoc in a modern-day setting. Two of the characters, Peter Struwwel and The Tailor, are taken from Der Struwwelpeter.
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The name of the site is related to imaginary beings known as "chanos" that inhabited water streams. From the many Tlaloc (rain god) representations in the region, it is likely that the El Chanal, was a remembrance of the myths probably associated with Tlaloc worship. There is a version that relates El Chanal with “Place inhabited by water custodians”. In the Mexican State of Chiapas, is a municipality with the same name, according to the municipalities encyclopedia of Mexico, the “Chanal” name means "wise man that teaches".
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The English word carbuncle and the Spanish word carbunclo comes from the Latin carbunculus, meaning "little coal". Carbunclo is used to refer to ruby because this gemstone's shine is said to resemble the glow of hot coal. However, it is garnet and not ruby that is said to have been the mineralogical identity of the so-called "carbuncle of the ancients". According to the Book of Imaginary Beings 16th-century Spanish conquistadors began to apply the name to a mysterious small animal they saw in South America.
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"Kuyootà" was Edward Lane's transcription of the beast's name according to an Arabic source not clearly specified. This became "Kuyata" in Jorge Luis Borges's El libro de los seres imaginarios (originally published as Manual de zoología fantástica, 1957). Then in its first English translation Book of Imaginary Beings (1969) it was further changed to "Kujata", and then to "Quyata" (in the 2005 translation). "Kuyūthā" appears in a copy of al- Qazwini's cosmography and as "Kīyūbān () or Kibūthān" () in Wüstenfeld's 1859 printed edition of al-Qazwini.
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In ancient times, the remora was believed to stop a ship from sailing. In Latin, remora means "delay", while the genus name Echeneis comes from Greek εχειν, echein ("to hold") and ναυς, naus ("a ship"). In a notable account by Pliny the Elder, the remora is blamed for the defeat of Mark Antony at the Battle of Actium and, indirectly, for the death of Caligula. (cited in ) A modern version of the story is given by Jorge Luis Borges in Book of Imaginary Beings (1957).
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As explained in the Book of Imaginary Beings Barco Centenera "underwent many hardships hunting the reaches of Paraguayan rivers and jungles for the elusive creature; he never found it." In the same book, the mirror in the carbuncle's head is said to be akin to two lights observed by Spanish explorers in the Strait of Magellan. Gonzalo Fernández de Oviedo y Valdés identified these lights with the gemstones hidden in the brains of dragons. The association is likely derived from the 7th-century Etymologiae of Isidore of Seville.
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In modern times, artists such as Henri de Toulouse-Lautrec and Saul Steinberg have produced their own bestiaries. Jorge Luis Borges wrote a contemporary bestiary of sorts, the Book of Imaginary Beings, which collects imaginary beasts from bestiaries and fiction. Nicholas Christopher wrote a literary novel called "The Bestiary" (Dial, 2007) that describes a lonely young man's efforts to track down the world's most complete bestiary. John Henry Fleming's Fearsome Creatures of Florida (Pocol Press, 2009) borrows from the medieval bestiary tradition to impart moral lessons about the environment.
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The Mediated Matter group uses computational design, digital fabrication, materials science and synthetic biology to explore design possibilities in small and large structures. This sometimes involved taking images of a biological sample, developing algorithms to produce similar structures, and developing new manufacturing processes to realize the results. Projects have included wearables inspired by current and future environments,Design Fiction: Neri Oxman, “Imaginary Beings: Mythologies of the Not Yet”, Wired magazine. May 12, 2012. solar-powered and biodegradable designs,“Mushtari” Is a 3D Printed Wearable That Makes Products from Sunlight, ArchDaily.
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She signed with Why-Fi in mid-1981 and recorded an EP called A Bao A Qu, the title taken from a Malayan legend featured in Jorge Luis Borges's 1967 Book of Imaginary Beings. This was produced by Jon Astley and Phil Chapman. Using a demo studio in Wapping called Elephant Studios, Astley recorded the song that was to place her in the indie top 10 (#8) in 1983: "Love's a Lonely Place to Be", a song of despair and anxiety in spite of its Christmas carol sound. The song would later form part of the 1986 LP Hope in a Darkened Heart.
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Fantastic creatures such as dragons and chimeras and others are also carved, even carvings of Benito Juárez, Subcomandante Marcos, chupacabras (imaginary beings that eat goats), "Martians," mermaids, and helicopters. The diversity of the figures is due to a segmented market both in Mexico and abroad which rewards novelty and specialization. In a number of cases, carvings return to images from Mexican culture such as angels, saints, and Virgins, which will have somber faces even if they are painted in very bright colors. Devils and skeletons are often parts of more festive scenes depicting them, for example, riding dogs and drinking.
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Currently, its culture is undergoing an impetuous transition to a contemporary level to preserve their traditions with innovative art movements. One of the main factors of the traditional cultural energy of Iquitos is Amazonian mythology, which has a range of characters, identified by folklore in imaginary beings. Many of the legendary beings, with appearances motivated by local geography, have powers and influenced much in agriculture and worldview of Iquitos. The dance and music, a mix of indigenous and mestizo heritage are closely related to the meanings of mythology, and also with the life of the citizen and Amazonian villager.
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Mediated Matter worked extensively with various 3D printing techniques, developing their own methods and collaborating with printing companies such as Stratasys. Projects have ranged in scale from enclosures and large furniture, to artwork and clothes, to biocomposites, artificial valves, and DNA assembly. The group designed a prototype printer with a robotic arm that could build 8-foot tall structures all around itself in outdoor spaces, and a quick-curing printer that makes free-standing objects without support structures. In 2012, Oxman printed her first set of body-sized wearables, a collection titled Imaginary Beings and inspired by legendary creatures.
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Jorge Luis Borges, Selected Poems, 1923-1967, edited, with an introduction and notes, by Norman Thomas di Giovanni (New York: Delacorte Press, 1972) After Borges returned to Buenos Aires he invited di Giovanni to join him there and begin working with him on English versions of ten of his books. The first product of this collaboration, The Book of Imaginary Beings, was published by E.P. Dutton and Company in 1969. An account of their collaboration appears in Di Giovanni's 2003 book, The Lesson of the Master.Norman Thomas Di Giovanni, The Lesson of the Master, London & New York: Continuum, 2003.
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In South American folklore the carbunclo is identified as small elusive animal containing a mirror, shining gemstone or riches like gold. The description of the carbunclo vary, some saying it looks like a firefly in the night, or like having a bivalve-like shell and maize ear shape. According to the Book of Imaginary Beings "nobody ever saw it well enough to know whether it was a bird or a mammal, whether it had feathers or fur." A Chilean man known as Gaspar Huerta is said to have encountered a carbunclo while digging an irrigation canal, but reportedly he could not see what its shape was because he killed it on the spot to recover its riches.
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She has permanent works at the Club Rialto of Pereira, the solo museum of Cali and in the Library Luís Ángel Arango, of Bogota. Her characters, imaginary beings of black and deep eyes live in her paintings, that resemble his world; a beautiful ideal world, inhabited only by women and children. The artistic legacy is a trip by a world knitted of dreams, evocations and original proposals. Lucy Tejada exhibited her works in America and Europe, receiving several prizes for her work in different national contests without scholarships neither support of the state, always lived off the sale of her works and felt proud of this, as it should be the future of all talented artists of her country.
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Book of Imaginary Beings was written by Jorge Luis Borges with Margarita Guerrero and published in 1957 under the original Spanish title Manual de zoología fantástica. It was expanded in 1967 and 1969 in Spain to the final El libro de los seres imaginarios. The English edition, created in collaboration with translator Norman Thomas di Giovanni, contains descriptions of 120 mythical beasts from folklore and literature. In the preface, Borges states that the book is to be read "as with all miscellanies... not... straight through... Rather we would like the reader to dip into the pages at random, just as one plays with the shifting patterns of a kaleidoscope"; and that "legends of men taking the shapes of animals" have been omitted.
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Processions begin with a correfoc of ritual devils led by the Ball de Diables de Vilanova i la Geltrú, established in 1832 and one of eight dances of devils in Catalonia with a history of one hundred years or more. Ball de Bastons, Vilanova, Festa Major 2012 The processions include traditional dances by costumed figures including the dances of the Serrallonga, Ball de Bastons, Cintes, Panderos, Cap-grossos (big-headed dwarfs), Cercolets, Pastorets, Gitanes, and Valencians; imaginary beings such as Gegants (giants), Dracs (fire-breathing dragons), and Mulasses (demonic Mules), and the construction of towering human castles (castell). Senyera at Portal del Nin, Festa Major 2012, Vilanova i la Geltrú Other festes celebrated in Vilanova include Tots Sants (November 1), Nadal (December 25), Cap d'Any (January 1), els Tres Tombs (January 17), la Diada de Sant Jordi (April 23), Nit de Sant Joan (St John's Night) and Sant Pere (St Peter's Day). Giant couple.
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In: Rozsda, Museum of Fine Arts, Budapest, 2001 Surrealist tale (1955) Indeed, this arc of transformation that led Rozsda's painting from post-Impressionism and Surrealism through lyrical abstraction is not found in his graphic work. This part of his oeuvres constitutes a separate realm created whole by a sensibility described as surrealist by Breton in that famous conversation. Throughout his career, Rozsda made figurative and abstract drawings and often a unique combination of the two, although this variability in subject matter and technique does not contradict the realization that this part of his oeuvres is inspired by the same surrealist ambition aimed at the liberation of the imagination and the representation of the hidden occupants of the mind. This is true even when he created with ease subtle drawings composed in a playful rhythm of simple forms and with sensual references, or when he brought to life ominously swirling fantasies populated by imaginary beings with extraordinary precision.
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