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Iceland - Isbn:9781741040760

Category: Travel

  • Book Title: Iceland
  • ISBN 13: 9781741040760
  • ISBN 10: 1741040760
  • Author: Paul Harding, Joe Bindloss
  • Category: Travel
  • Category (general): Travel
  • Publisher: Lonely Planet
  • Format & Number of pages: 328 pages, book
  • Synopsis: Catch the midnight sun, sleep under the northern lights, dance all night in Reykjavik's coolest clubs or chill out in a hot spring - Iceland is equal parts polar adventure and urban sophistication.

Another description

Galdrabok: An Icelandic Grimoire

Galdrabok: An Icelandic Grimoire
Publisher: Red Wheel Weiser | pages: 135 | 1989 | ISBN: 087728685X | PDF | 11,6 mb


The so-called Galdrab6k,' or "Book of Magic," is the singlemosi important document for understanding the practice of magic irlate medieval Iceland. It is especially important in that it give, a unique insight into the various religio-magical elements thai went into a synthetic national magical tradition in Iceland al the time of its compilation. No other document of comparable age gives so many details of the preservation of the archaic Germanic gods, cosmology, and magical practices as does this little manuscript. Here we are not dependent on folktales or indirect reports through confessions exacted by the tortures of the Inquisition or other churchly authorities to reconstruct the magicoreligious views of the aldramenn (magicians) of the day; instead, we have direct evidence of actual practices written by the rnagicians' own hands. In many ways the Galdrab6k is to the Icelandic folktales of magic' what the runic inscriptions are to the accounts of magic recorded in the sagas. They provide factuacorroboration of what otherwise might have been considered, form of fantasy.

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Articles

White Ravens

Iceland

Each year the language specialists (Lektoren) at the International Youth Library (IYL), in Munich, Germany, select newly published books from around the world that they consider to be especially noteworthy. This list of books is compiled into the annual White Ravens Catalogue, which is introduced each year at the Bologna (Italy) Children's Book Fair. The White Ravens Online Catalogue, which includes all titles from 1993 through 2007, was created by ICDL researchers in collaboration with the IYL and is available on the ICDL web site with the permission of the International Youth Library.

The White Raven label is given to books that deserve worldwide attention because of their universal themes and/or their exceptional and often innovative artistic and literary style and design. The titles are drawn from the books that the IYL receives as review or donation copies from publishers and organizations around the world. The White Ravens Online Catalogue currently includes:

3557 books
from 84 countries
in 60 languages

The Catalogue can be searched by keyword, or browsed by year, country, language, or Special Category, which include:

  • Special mention
    Books to which the IYL's Lektoren wish to draw particular attention
  • International understanding (☆)
    Books whose content is found to contribute to an international understanding among cultures and people. In this way we remind ourselves and our readers of the working maxim under which Jella Lepman founded the International Youth Library and which, in these times, is still of utmost concern.
  • Easily understandable (☼)
    Books whose text is judged to be easily understandable, i.e. easy-to-read texts, and yet dealing with topics of interest to older readers. Hence these books are well-suited to foreign-language readers and for inclusion in foreign language collections of public and school libraries.
  • In ICDL
    Books available on-line in the International Children's Digital Library.

Source:

www.childrenslibrary.org

Map of Green Man - The Full Wiki

Green Man: Map

A Green Man is a sculpture. drawing. or other representation of a face surrounded by or made from leaves. Branches or vines may sprout from the nose, mouth, nostrils or other parts of the face and these shoots may bear flowers or fruit. Commonly used as a decorative architectural ornament. Green Men are frequently found on carvings in churches and other buildings (both secular and ecclesiastical ). "The Green Man" is also a popular name for English public houses and various interpretations of the name appear on inn signs, which sometimes show a full figure rather than just the head.

The Green Man motif has many variations. Found in many cultures around the world, the Green Man is often related to natural vegetative deities springing up in different cultures throughout the ages. Primarily it is interpreted as a symbol of rebirth, or "renaissance," representing the cycle of growth each spring. Some speculate that the mythology of the Green Man developed independently in the traditions of separate ancient cultures and evolved into the wide variety of examples found throughout history.

Types of Green Man

Grave slab in Shebbear churchyard

The term "Green Man" was coined by Lady Raglan, in her 1939 article "The Green Man in Church Architecture" in The Folklore Journal. The figure is also often erroneously referred to as Jack in the green .

Usually referred to in works on architecture as foliate heads or foliate masks, carvings of the Green Man may take many forms, naturalistic or decorative. The simplest depict a man's face peering out of dense foliage. Some may have leaves for hair, perhaps with a leafy beard. Often leaves or leafy shoots are shown growing from his open mouth and sometimes even from the nose and eyes as well. In the most abstract examples, the carving at first glance appears to be merely stylised foliage, with the facial element only becoming apparent on closer examination. The face is almost always male; green women are rare. Green cats. lions and demons are also found. On gravestones and other memorials. human skulls are sometimes shown sprouting grape vines or other vegetation, presumably as a symbol of resurrection (as at Shebbear, Devon . England).

The Green Man appears in many forms; the three most common types have been categorized as:
  • the Foliate Head - completely covered in green leaves
  • the Disgorging Head - spews vegetation from its mouth
  • the Bloodsucker Head - sprouts vegetation from all facial orifices.
Green Men in churches

Superficially the Green Man would appear to be pagan. perhaps a fertility figure or a nature spirit, similar to the woodwose (the wild man of the woods), and yet he frequently appears, carved in wood or stone. in churches. chapels. abbeys and cathedrals. where examples can be found dating from the 11th century through to the 20th century.

To the modern observer the earlier (Romanesque and medieval ) carvings often have an unnervingly eerie or numinous quality. This is sometimes said to indicate the vitality of the Green Man, who was able to survive as a symbol of pre-Christian traditions despite, and at the same time complementary to, the influence of Christianity. rather than alienate their new converts, early Christian missionaries would often adopt and adapt local gods, sometimes turning them into obscure saints .

Later variations on the Green Man theme

From the Renaissance onwards, elaborate variations on the Green Man theme, often with animal heads rather than human faces, appear in many media other than carvings (including manuscripts. metalwork. bookplates. and stained glass ). They seem to have been used for purely decorative effect rather than reflecting any deeply-held belief. A Swiss engraver, Numa Guyot created a bookplate depicting a Green Man in exquisite detail. It was completed circa 1887.

In Britain, the image of the Green Man enjoyed a revival in the 19th century, becoming popular with architects during the Gothic revival and the "Arts and Crafts" era, when it appeared as a decorative motif in and on many buildings, both religious and secular. American architects took up the motif around the same time. The Green Man travelled with the Europeans as they colonized the world. Many variations can be found in Victorian -style Neo gothic architecture. He was very popular amongst Australian stonemasons and can be found on many secular and sacred buildings.

Modern images

The Whitefield Green Man. woodcarving (in dead section of a living tree) by Paul Sivell

The Green Man image has made a significant resurgence in modern times, with artists from around the world interweaving Green Man imagery into various modes of work. Among some of the artists discussed in Green Man Resurrected (a Master's degree thesis by Phyllis Araneo, available online)are English artist Paul Sivell, who created the Whitefield Green Man . a wood carving worked into a dead section of a living oak tree; David Eveleigh, an English garden designer who created the Penpont Green Man Millennium Maze. located in Powys, Wales (the largest depiction of a Green Man image in the world); and M.J. Anderson, a US based sculptor who created the marble sculpture titled Green Man as Original Coastal Aboriginal Man of All Time from Whence the Bush and All of Nature Sprouts from his Fingers.

Other artists mentioned by Araneo include Ghana-born Jane Brideson, Australian artist Marjorie Bussey, American artist Monica Richards (also known as a singer and composer), and English fantasy artist Peter Pracownik, whose Green Man artwork has been created in several media, including full-body tattoos.

These artists and others have continued the path and tradition of the ancient Green Man imagery into modern times, a creation which Araneo calls “an instinctive expression of our relationship with nature.” The modern images have often shown a marked divergence from the face-only images of traditional Green Men, and sometimes reveal a feminine nature, though this is still rare. American artist Rob Juszak, for example, has taken the theme of the Green Man representing Earth’s spiritual protector and turned it into a vision of the Green Man cradling the entire planet; artist Dorothy “Bunny” Bowen, also American, created a kimono silk painting, titled Greenwoman . as an expression of the feminine aspect of the Green Man legend.

Related characters

In Thomas Nashe 's masque Summer's Last Will and Testament (1592, printed 1600), the character commenting upon the action remarks, after the exit of "Satyrs and wood-Nymphs", "The rest of the green men have reasonable voices…".

Parallels have been drawn between the Green Man and various deities. Many see the Green Man as being connected to many gods such as Osiris. Odin and even the Christian Jesus. as well as later folkloric and literary characters such as the Green Knight. John Barleycorn. the Holly King and Tammuz of the Mesopotamians who is thought by some to symbolize the triumph of Green Life over Winter and Death.

Mythical figures such as Woden. Cernunnos. Sylvanus. Derg Corra. Green George. Jack in the green. John Barleycorn. Robin Goodfellow. Puck. and the Green Knight all partake of the Green Man's nature; it has also been suggested that the story of Robin Hood was born of the Green Man mythology. A more modern embodiment is found in Peter Pan. who enters the civilized world from a nether land, clothed in green leaves. Even Father Christmas. who was often shown wreathed in ivy in early depictions, has been suggested as a similar woodland spirit .

The Green Knight of Sir Gawain and the Green Knight serves as both monster and mentor to Sir Gawain, belonging to a pre-Christian world which seems antagonistic to, but is in the end harmonious with, the Christian one.

In the Germanic nations such as Germany . Iceland and England . depictions of the Green Man could have been inspired by deities such as Freyr or Woden. as both have many attributes of the later Green Men from throughout Europe.

Neo-paganism

In Wicca. the Green Man has often been used as a representation of the Horned God. a syncretic deity inclusive of ancient pagan gods such as the Celtic Cernunnos and the Greek Pan .

Green Men outside Europe

Tom Cheetham, an authority on Islamic mysticism, identifies Khidr of esoteric Sufism with the Green Man. In his book about the work of Henry Corbin and others concerning the 12th-century Muslim saint Ibn Arabi. he develops the idea of the Green Man/Khidr as the principle mediating between the imaginary realm and the physical world.

Osiris, lord of the dead.

His green skin symbolizes re-birth.

a similar theme, author on spirituality and architecture William Anderson writes: There are legends of him (Khidr ) in which, like Osiris. he is dismembered and reborn; and prophecies connecting him, like the Green Man, with the end of time. His name means the Green One or Verdant One, he is the voice of inspiration to the aspirant and committed artist. He can come as a white light or the gleam on a blade of grass, but more often as an inner mood. The sign of his presence is the ability to work or experience with tireless enthusiasm beyond one's normal capacities. In this there may be a link across cultures, …one reason for the enthusiasm of the medieval sculptors for the Green Man may be that he was the source of every inspiration. In one of his roles the ancient Egyptian God Osiris is regarded as a corn-deity and is commonly depicted with a green face representing vegetation, rebirth and resurrection. Containers of soil in the shape of Osiris planted with seed ("Osiris Beds") are found in some New Kingdom tombs. The sprouting corn implied the resurrection of the deceased.

Other gods depicted green are (in Tibet) Amogha-siddhi and (in Mexico) Tlaloc .

In Sanskrit the Green Man is cognate with the gana Kirtimukha or "Face Of Glory " which is related to a lila of Shiva and Rahu. The Face of Glory is often seen in Vajrayana Buddhist Thanka art and iconography where it is often incorporated as a cloudform simulacrum ; and depicted crowning the 'Wheel of Becoming' or the Bhavachakra .

Gallery

Image:Kilpeck Green Man.jpg|Romanesque carving, doorway of Norman church at Kilpeck . Herefordshire, mid 12th century Image:Villard de Honnecourt - Sketchbook - 10.jpg|Sketches by Villard de Honnecourt. c.1230 Image:Maria Laach Südportal.jpg|Carved capital, south door of Maria Laach Abbey . Germany Image:Panel with Amascaron2.jpg|Engraving of foliate head, Hans Sebald Beham. 1543 Image:Etching of Vendome Green Man misericord.jpg|Medieval misericord; abbey-church of Vendôme . France Image:RochesterCathedral Boss1.JPG|Painted wooden roof boss from Rochester Cathedral . Kent (medieval) Image:Rosslyn chapel green men.jpg|One of more than 110 Green Men carvings in Rosslyn Chapel. Scotland Image:Casa de arizon sanlucar barrameda detalle escudo.JPG|Foliate mask from Casa de Arizón near Cádiz . Spain (17th–18th century) Image:Mascherone Broletto5.JPG|Grotesque mascaron in courtyard of the Broletto (the old Province Hall), Brescia . Italy (17th century?) Image:Bankfield Museum 044.jpg|Green Man painted on 1867 neoclassical ceiling, Bankfield Museum . Halifax . UK Image:GreenManPortland(Crop).jpg|Architectural detail, Portland, Oregon (late 19th or early 20th century?) Image:GreenManAndFrenchHornSign.jpg|Illustration of the sign which hung outside a public house in Covent Garden in the 1970s Image:Austin Rose Garden Green Man.jpg|A modern garden ornament. Stonecarving by Pat Austin, David Austin Rose Garden, Albrighton (20th century) Image:MGD07GreenCouple.jpg|New Orleans Mardi Gras body painting carnival costumes Image:Imbolc battle Frost Green.jpg|Dramatised combat between the Green Man and Jack Frost at a community festival in YorkshireFile:Scarborough-Faire-Ent-2532.jpg|Costumed performer at Scarborough Faire (2007)Image:Green_Woman_Tries_to_Breathe_(Where_I_Come_From)_by_Phyllis_Araneo.jpg‎|Modern fantasy art image of Green Woman by Phyllis AraneoImage:Green Mason by Graham Wilson.jpg|A Green Man with the body of a faun. Green Mason by Australian artist Graham Wilson (21st century)

In popular culture
  • The Green Man shows up as a character in the 1990s adventure game. Conquests of the Longbow: The Legend of Robin Hood .
  • The Green Man is also quite possibly the reference to the fictional deity Obad-Hai in the popular fantasy role-playing game, Dungeons & Dragons .

The English Pop\Rock group XTC also have released a track called "Green Man" which explores the Green Man mythos in song and lyric.

See also References
  1. , quoted in
  2. Numa. Guyot Brothers
  3. http://www.mikeharding.co.uk/greenman/green6.html
  4. Harding, Paul, Joseph Bindloss, Joseph, & Cornwallis, Graeme. Iceland. Lonely Planet (2004) ISBN 1741040760, 9781741040760
  5. http://www.fantompowa.net/Flame/herne_the_hunter.htm
  6. http://www.englishfolkchurch.com/articles/greenman.htm
  7. http://www.fantompowa.net/Flame/readers_comments.htm#Herne%20the%20Hunter
  8. http://home.earthlink.net/
jordsvin/Asatru/Asatru%20Reborn.htm
  • The Official Mike Harding Web Site
  • Routledge Dictionary of Egyptian Gods and Goddesses. George Hart, p119, Routledge, 2005 ISBN 0415344956
  • Beer, Robert. The Encyclopedia of Tibetan Symbols and Motifs Shambhala. (1999) ISBN 157062416X, ISBN 978-1570624162
  • Further reading
    • Amis, Kingsley. The Green Man. Vintage, London (2004) ISBN 0-09-946107-2 (Novel)
    • Anderson, William. Green Man: The Archetype of our Oneness with the Earth. Harper Collins (1990) ISBN 0-00-599252-4
    • Basford, Kathleen. The Green Man. D.S. Brewer (2004) ISBN 0-85991-497-6 (The first monograph on the subject, now reprinted in paperback)
    • Beer, Robert. The Encyclopedia of Tibetan Symbols and Motifs Shambhala. (1999) ISBN 157062416X, ISBN 978-1570624162
    • Cheetham, Tom. Green Man, Earth Angel: The Prophetic Tradition and the Battle for the Soul of the World. SUNY Press 2004 ISBN 0-7914-6270-6
    • Doel, Fran and Doel, Geoff. The Green Man in Britain. Tempus Publishing Ltd (May 2001) ISBN 0-7524-1916-1
    • Harding, Mike. A Little Book of the Green Man. Aurium Press, London (1998) ISBN 1-85410-563-9
    • Hicks, Clive. The Green Man: A Field Guide. Compass Books (August 2000) ISBN 0-9517038-2-X
    • MacDermott, Mercia. Explore Green Men. Explore Books, Heart of Albion Press (September 2003) ISBN 1-872883-66-4
    • Matthews, John. The Quest for the Green Man. Godsfield Press Ltd (May 2004) ISBN 1-84181-232-3
    • Millar, Ronald. The Green Man
    Companion and Gazetteer. S.B. Publications (1997 & 1998 currently out of print) ISBN 1 85770 131 3
  • Neasham, Mary. The Spirit of the Green Man. Green Magic (December 2003) ISBN 0-9542963-7-0
  • Varner, Gary R. The Mythic Forest, the Green Man and the Spirit of Nature. Algora Publishing (March 4, 2006) ISBN 0-87586-434-1
  • External links

    Source:

    maps.thefullwiki.org

    Green Man

    Green Man

    A Green Man is a sculpture. drawing. or other representation of a face surrounded by or made from leaves. Branches or vines may sprout from the nose, mouth, nostrils or other parts of the face and these shoots may bear flowers or fruit. Commonly used as a decorative architectural ornament. Green Men are frequently found on carving s in churches and other buildings (both secular and ecclesiastical ). "The Green Man" is also a popular name for British public house s and various interpretations of the name appear on inn signs, which sometimes show a full figure rather than just the head.

    The Green Man motif has many variations. Found in many cultures around the world, the Green Man is often related to natural vegetative deities springing up in different cultures throughout the ages. Primarily it is interpreted as a symbol of rebirth, or "renaissance," representing the cycle of growth each spring. Some speculate that the mythology of the Green Man developed independently in the traditions of separate ancient cultures and evolved into the wide variety of examples found throughout history.

    Types of Green Man

    Usually referred to in works on architecture as foliate heads or foliate masks, carvings of the Green Man may take many forms, naturalistic or decorative. The simplest depict a man's face peering out of dense foliage. Some may have leaves for hair, perhaps with a leafy beard. Often leaves or leafy shoots are shown growing from his open mouth and sometimes even from the nose and eyes as well. In the most abstract examples, the carving at first glance appears to be merely stylised foliage, with the facial element only becoming apparent on closer examination. The face is almost always male; green women are rare. Green cat s, lion s and demon s are also found. On gravestone s and other memorial s, human skull s are sometimes shown sprouting grape vine s or other vegetation, presumably as a symbol of resurrection (see Shebbear, England ).

    The Green Man appears in many forms; the three most common types have been categorized as:
    *the Foliate Head - completely covered in leaves
    *the Disgorging Head - spews vegetation from its mouth
    *the Bloodsucker Head - sprouts vegetation from all facial orifices. [cite book
    last = Harding
    first = Mike
    authorlink = Mike Harding
    coauthors =
    title = A Little Book Of The Green Man
    publisher = Aurum Press
    date = 1998
    location =
    pages = p38
    url = http://www.em-online.com/lifestyle/article.asp?id=34
    doi =
    id =
    isbn =1854105612
    ] [cite book
    last = Pesznecker
    first = Susan
    authorlink =
    coauthors =
    title = Gargoyles: From the Archives of the Grey School of Wizardry
    publisher = Career Press
    date = 2007
    location = Franklin Lakes NJ
    pages = pp127-128
    url =
    doi =
    id =
    isbn =1564149110
    ]

    The term "Green Man" was coined by Lady Raglan, in her article "The Green Man in Church Architecture" in "The Folklore Journal". [Citation
    author = Lady Raglan
    title = The Green Man in Church Architecture
    journal = Folklore
    volume = 50
    issue = 90990
    pages = 45–57
    date = 1939-03-01
    year = 1939
    url = http://links.jstor.org/sici?sici=0015-587X(193903)50%3A1%3C45%3AT%22MICA%2.0.CO%3B2-F
    ] The figure is also often referred to (perhaps erroneously) as Jack in the green .

    Green Men in churches

    Superficially the Green Man would appear to be pagan. perhaps a fertility figure or a nature spirit, similar to the woodwose (the wild man of the woods), and yet he frequently appears, carved in wood or stone. in churches. chapel s, abbey s and cathedral s, where examples found dating from the 11th century through to the 20th century. To the modern observer the earlier (Romanesque and medieval ) carvings often have an unnervingly eerie or numinous quality. This is sometimes said to indicate the vitality of the Green Man, who was able to survive as a symbol of pre-Christian traditions despite, and at the same time complementary to, the influence of Christianity Fact|date=February 2007. (Rather than alienate their new converts, early Christian missionaries would often adopt and adapt local gods, sometimes turning them into obscure saint s.)

    Later variations on the Green Man theme

    From the Renaissance onwards, elaborate variations on the Green Man theme, often with animal heads rather than human faces, appear in many media other than carvings (including manuscript s, metalwork. bookplate s, and stained glass ). They seem to have been used for purely decorative effect rather than reflecting any deeply-held belief. A Swiss engraver, Numa Guyot [http://www.guyotbrothers.com/numa1.htm Numa ]. Guyot Brothers ] created a bookplate depicting a Green Man in exquisite detail. It was completed circa 1887.

    In Britain, the image of the Green Man enjoyed a revival in the 19th century, becoming popular with architect s during the Gothic revival and the "Arts and Crafts" era, when it appeared as a decorative motif in and on many buildings, both religious and secular. American architects took up the motif around the same time. The Green Man travelled with the Europeans as they colonized the world. Many variations can be found in Victorian -style Neo gothic architecture. He was very popular amongst Australian stonemasons and can be found on many secular and sacred buildings.

    Parallels have been drawn between the Green Man and various deities. Many see the Green Man as being connected to many heathen gods such as Osiris. Odin and even the Christian Jesus. as well as later folkloric and literary characters such as the Green Knight. John Barleycorn. the Holly King and Thamuz of the Mesopotamian s who is thought by some to symbolize the triumph of Green Life over Winter and Death. [http://www.mikeharding.co.uk/greenman/green6.html ]

    In Thomas Nashe 's masque "Summer's Last Will and Testament" (1592, printed 1600), the character commenting upon the action remarks, after the exit of "Satyrs and wood-Nymphs", "The rest of the green men have reasonable voices…". Myth ical figures such as Woden. Cernunnos. Sylvanus. Derg Corra, Green George, Jack in the green, John Barleycorn. Robin Goodfellow. Puck. and the Green Knight all partake of the Green Man's nature; it has also been suggested that the story of Robin Hood was born of the Green Man mythology. A more modern embodiment is found in Peter Pan. who enters the civilized world from a nether land, clothed in green leaves. Even Father Christmas. who was often shown wreathed in ivy in early depictions, has been suggested as a similar woodland spiritFact|date=February 2007 .

    The Green Knight of "Sir Gawain and the Green Knight" serves as both monster and mentor to Gawain, belonging to a pre-Christian world which seems antagonistic to but is in the end harmonious with the Christian one.

    In the Germanic nations such as Germany. Iceland and England. depictions of the Green Man could have been inspired by deities such as Freyr [Iceland By Paul Harding, Joseph Bindloss, Graeme Cornwallis Published by Lonely Planet, 2004 ISBN 1741040760, 9781741040760 ] or Woden. as both have many attributes of the later Green Men from throughout Europe. [http://www.fantompowa.net/Flame/herne_the_hunter.htm ] [http://www.englishfolkchurch.com/articles/greenman.htm ] [http://www.fantompowa.net/Flame/readers_comments.htm#Herne%20the%20Hunter ] [http://home.earthlink.net/

    Etymological research by the University of Wales into the meaning of the names of Celtic gods and goddesses shows that one Celtic deity. Viridios. has a name meaning "Green Man" in both the Celtic languages and Latin .

    Tom Cheetham, an authority on Islamic mysticism, identifies Khidr of esoteric Sufism with the Green Man. In his book about the work of Henry Corbin and others concerning the 12th-century Muslim saint Ibn Arabi. he develops the idea of the Green Man/Khidr as the principle mediating between the imaginary realm and the physical world. [cite book
    last = Cheetham
    first = Tom
    authorlink =
    coauthors =
    title = Green Man, Earth Angel
    publisher = State University of New York
    date = 2004
    location = Albany, NY
    pages =
    url =
    doi =
    id =
    isbn =0791462706
    ]

    On a similar theme, author on spirituality and architecture William Anderson writes: [cite book
    last = Anderson
    first = William
    authorlink =
    coauthors =
    title = Green Man: The Archetype of Our Oneness with the Earth
    publisher = Harper Collins
    date = 1990
    location = San Francisco
    pages =
    url =
    doi =
    id =
    isbn =0062500759
    ] There are legends of him (Khidr ) in which, like Osiris. he is dismembered and reborn; and prophecies connecting him, like the Green Man, with the end of time. His name means the Green One or Verdant One, he is the voice of inspiration to the aspirant and committed artist. He can come as a white light or the gleam on a blade of grass, but more often as an inner mood. The sign of his presence is the ability to work or experience with tireless enthusiasm beyond one's normal capacities. In this there may be a link across cultures, …one reason for the enthusiasm of the medieval sculptors for the Green Man may be that he was the source of inspiration.

    Green Men outside Europe

    In his "A Little Book of The Green Man", as well as his website, Mike Harding gives examples of similar figures in Borneo. Nepal. and India. the earliest is a foliate head from an 8th century Jain temple in Rajasthan. [ [http://www.mikeharding.co.uk/ The Official Mike Harding Web Site ] ] He also notes that heads from Lebanon and Iraq can be dated to the 2nd century and that there are early Romanesque foliate heads in 11th century Templar churches in Jerusalem. He tentatively suggests that the symbol may have originated in Asia Minor and been brought to Europe by travelling stonecarvers.

    Other gods depicted green are (in Tibet) Amogha-siddhi and (in Mexico) Tlaloc .

    In Sanskrit the Green Man is cognate with the gana Kirtimukha or " Face of Glory " which is related to a lila of Shiva and Rahu. The Face of Glory is often seen in Vajrayana Buddhist Thanka art and iconography where it is often incorporated as a cloudform simulacrum ; and depicted crowning the 'Wheel of Becoming' or the Bhavachakra. [Beer, Robert. "The Encyclopedia of Tibetan Symbols and Motifs" Shambhala. (1999) ISBN-10: 157062416X, ISBN-13: 978-1570624162 ]

    In Wicca. the Green Man has often been used as a representation of the Horned God. a loose appropriationFact|date=September 2008 of ancient Pagan gods such as the Celtic Cernunnos and the Greek Pan .

    *On the recording " Apple Venus Volume 1 " by English band XTC. the 6th song is titled "Greenman".
    *The fifth track of Type O Negative 's " October Rust " album is also titled "Green Man".
    * The Dancing Did released a single entitled "The Green Man and the March of the Bungalows" that concerns the destruction of the English countryside by greedy planners.
    *On the 1977 Jethro Tull album " Songs From The Wood " there is a track called "Jack In The Green" and in the track "Cup of Wonder" there is a reference to the Green Man.
    *The myth relating to the Green Man plays a key part in the books " Lavondyss " and " The Hollowing " by Robert Holdstock.
    *In the 1980 novel " Riddley Walker " by Russell Hoban, the main character finds a picture of a Green Man (which he calls "Greanvine") in the destroyed Canterbury after dreaming of one.
    *A Green Man appears in the closing chapters of Robert Jordan's novel, " The Eye of the World ".
    *In " Pirates of the Caribbean ", on Davy Jones' ship, there are cannons which come out of the Green Man's mouth.
    *The Green Man is the name of the pub in the movie " The Wicker Man ".
    *There is a Harlequin named Green Man in the novel " The Travler ".
    *In the BBC series New Tricks there is an episode involving the followers of a Wicca coven that worshipped Green George a.k.a. the Green Man.
    * The Kingsley Amis novel The Green Man was a 1990 BBC TV mini-series of the same name starring Albert Finney .

    * Architectural sculpture in America
    *Arcimboldo
    * Abellio (Celtic God)
    * Clun (Green Man Festival)
    * Chimera (mythology)
    * Gargoyle
    *Green language
    * Grotesque
    * Hunky Punk
    * Jack-In-the-Green
    * Sheela na Gig

    *Amis, Kingsley. "The Green Man", Vintage, London (2004) ISBN 0-09-946107-2 (Novel)
    *Anderson, William. "Green Man: The Archetype of our Oneness with the Earth", Harper Collins (1990) ISBN 0-00-599252-4
    *Basford, Kathleen. "The Green Man", D.S. Brewer (2004) ISBN 0-85991-497-6 (The first monograph on the subject, now reprinted in paperback)
    *Beer, Robert. "The Encyclopedia of Tibetan Symbols and Motifs" Shambhala. (1999) ISBN-10: 157062416X, ISBN-13: 978-1570624162
    *Cheetham, Tom. "Green Man, Earth Angel: The Prophetic Tradition and the Battle for the Soul of the World ", SUNY Press 2004 ISBN 0-7914-6270-6
    *Doel, Fran and Doel, Geoff. "The Green Man in Britain", Tempus Publishing Ltd (May 2001) ISBN 0-7524-1916-1
    *Harding, Mike. "A Little Book of the Green Man", Aurium Press, London (1998) ISBN 1-85410-563-9
    *Hicks, Clive. "The Green Man: A Field Guide", Compass Books (August 2000) ISBN 0-9517038-2-X
    *MacDermott, Mercia. "Explore Green Men", Explore Books, Heart of Albion Press (September 2003) ISBN 1-872883-66-4
    *Matthews, John. "The Quest for the Green Man", Godsfield Press Ltd (May 2004) ISBN 1-84181-232-3
    *Neasham, Mary. "The Spirit of the Green Man", Green Magic (December 2003) ISBN 0-9542963-7-0
    *Varner, Gary R. "The Mythic Forest, the Green Man and the Spirit of Nature", Algora Publishing (March 4, 2006) ISBN 0-87586-434-1

    * [http://www.bogbrothers.org/ The Beloved Order of the Greenman — Men's Fraternal Order dedicated to the image ] Hosting an extensive collection of links on the subject
    * [http://www.clungreenman.org.uk/ Clun Green Man Festival in South Shropshire ]
    * [http://www.btinternet.com/

    breinton.morris/WhoistheGreenMan.htm The Breinton Morris — Who is the Green Man? ]
    * [http://www.canterburygreenman.fsnet.co.uk/ Green Man on bosses at Canterbury Cathedral ]
    * [http://thegreenman.net.au/mt/archives/001067.html The Green Man in Birmingham ]
    * [http://www.greenmaneastanglia.co.uk/ Green Man East Anglia ]
    * [http://www.indigogroup.co.uk/edge/greenmen.htm The Green Man: Variations on a Theme ]
    * [http://www.sedayne.co.uk/heads-with-leaves.html Sean Breadin's Green Man Page ] Alternative perspectives, striking images, together with several short films from a number of UK locations.
    * [http://www.heliocd.com/greenman.html Green Men of Manhattan -Photos ]
    * [http://www.findarticles.com/p/articles/mi_m2386/is_v108/ai_20438232 The name of the Green Man ] Research paper by Brandon S Centerwall from "Folklore" magazine
    * [http://www.mythinglinks.org/ct

    greenmen.html www.mythinglinks.org ]
    * [http://www.green-man-of-cercles.org/ The Green Man of Cercles ] Julianna Lees on Green Man sculptures in Romanesque Churches in France
    * [http://www.carvedgreenman.com Carved Green Man ] various examples of native Australian style Green Men and play written about the Green Man
    * [http://www.maddy.aldis-evans.info/Green%20Men%20en.htm Green Men in Germany ] a catalogue of photos of Green men in Germany
    * [http://www.xs4all.nl/

    kazil/greenman.html Green Men in The Netherlands ] many neo-gothic and a few medieval examples

    Wikimedia Foundation. 2010 .

    Source:

    en.academic.ru

    Iceland - Modern Processes and Past Environments, Volume 5 - 1st Edition ISBN: 9780444549792

    Iceland - Modern Processes and Past Environments, Volume 5 Description

    Iceland provides an unique stage on which to study the natural environment, both past and present, and it is understanding both aspects of reconstructing the past and observing and interpreting the present that form the focus of the contributions to this volume.

    The papers are all written by active researchers and incorporate both reviews and new data. Although concentrating largely on the recent Quaternary timescale a wide range of topics is explored including subglacial volcanism, onshore and offshore evidence for the Last Glacial Maximum and subsequent deglaciation, current glacial characteristics including jökulhlaups and glacial landsystems, soil development, Holocene ecosystem change, current oceanography, impacts of volcanic sulphur loading, chemical weathering and the CO2 budget and documentary evidence for historical climate.

    The key element of the volume is that for the first time it provides a wide overview of a range of topics for which Iceland provides an almost unparalleled laboratory emphasizing the importance of research on this small island for studies over a much broader global scale. These reviews point the way to future research directions and are supplemented by extensive illustrations and a comprehensive bibliography.

    Key Features
    • Wide range of related topics covered both from a present day and quaternary perspective
    • Reviews from scientists active in each research area across a range of subjects providing both overviews and new data supplemented by an extensive bibliography
    • Extensive illustrations and examples from the field
    Readership

    Senior undergraduate/postgraduate/research level across a range disciplines - geology, physical geography, geosciences, palaeoecology, meteorology, pedology, hydrology, oceanography and archaeology

    Table of Contents
    1. Iceland. modern processes, past environments: an /inca/publications/misc/705143contentslist.pdfintroduction (C. Caseldine et al. ).
    2. Late Quaternary marine sediment studies of the Icelandic shelf-palaeoceanography, land/ice sheet/ocean interactions and deglaciation: a review (J.T. Andrews).
    3. Relative sea level change in Iceland: new aspects of the Weichselian deglaciation of Iceland (H. Norddahl and H. Pétursson).
    4. Recent developments in oceanographic research in Icelandic waters (S. Jónsson, H. Valdimarsson).
    5. The glacier-marginal landsystems of Iceland (D.J.A. Evans).
    6. Subglacial volcanic activity in Iceland (M.T. Gudmundsson).
    7. Icelandic jökulhlaup impacts (A.J. Russell et al. ).
    8. Environmental and climatic effects from atmospheric SO2 mass-loading by Icelandic flood lava eruptions (P. Pórdarson).
    9. Holocene glacier history (M. Wastl, J. Stötter).
    10. Variations of termini of glaciers in Iceland in recent centuries and their connection with climate (O. Sigurdsson).
    11. Local knowledge and travellers' tales: a selection of climatic observations in Iceland (A. Ogilvie).
    12. Chemical weathering, chemical denudation and the CO2 budget for Iceland (S.R. Gíslason).
    13. Icelandic soils (O. Arnalds).
    14. The Holocene vegetation history of Iceland, state-of-the-art and future research (M. Hallsdóttir, C. Caseldine).
    Details

    No. of pages: 420 Language: English Copyright: © Elsevier Science 2005

    Published: 28th April 2005 Imprint: Elsevier Science eBook ISBN: 9780080534398 Hardcover ISBN: 9780444506528 Paperback ISBN: 9780444549792

    Reviews

    Iceland provides an unique stage on which to study the natural environment, both past and present, and it is understanding both aspects of reconstructing the past and observing and interpreting the present that form the focus of the contributions to this volume.

    The papers are all written by active researchers and incorporate both reviews and new data. Although concentrating largely on the recent Quaternary timescale a wide range of topics is explored including subglacial volcanism, onshore and offshore evidence for the Last Glacial Maximum and subsequent deglaciation, current glacial characteristics including jökulhlaups and glacial landsystems, soil development, Holocene ecosystem change, current oceanography, impacts of volcanic sulphur loading, chemical weathering and the CO 2 budget and documentary evidence for historical climate.

    The key element of the volume is that for the first time it provides a wide overview of a range of topics for which Iceland provides an almost unparalleled laboratory emphasizing the importance of research on this small island for studies over a much broader global scale. These reviews point the way to future research directions and are supplemented by extensive illustrations and a comprehensive bibliography.

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    Source:

    www.elsevier.com

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