BEST FLIGHT FARES. BEST FLIGHT
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Best Flight Fares
- a formation of aircraft in flight
- shoot a bird in flight
- an instance of traveling by air; "flying was still an exciting adventure for him"
- Shoot (wildfowl) in flight
- (in soccer, cricket, etc.) Deliver (a ball) with well-judged trajectory and pace
- The money a passenger on public transportation has to pay
- (fare) menu: an agenda of things to do; "they worked rapidly down the menu of reports"
- (fare) eat well
- A passenger paying to travel in a vehicle, esp. a taxicab
- A range of food, esp. of a particular type
- (fare) do: proceed or get along; "How is she doing in her new job?"; "How are you making out in graduate school?"; "He's come a long way"
Jane's Naval Warfare Collection (688(i), Fleet Command, F/A-18)
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Keep the waters safe for democracy with Jane's Naval Warfare Collection. This trio of games will have you protecting the oceans at, above, and below the water line. Fleet Command will put you in control of entire naval fleets, 688(I) will bring you into the depths of a massively powerful nuclear submarine, and F/A-18 will strap you into a state-of-the-art naval fighter.
"At certain moments I felt that the entire world was turning
into stone: a slow petrification, more or less advanced depending on people and places but one that spared no aspect of life.
It was as if no one could escape the inexorable stare of Medusa. "
"The only hero able to cut off Medusa’s head is Perseus, who flies with winged sandals; Perseus, who does not turn his gaze upon the face of the Gorgon but only upon her image reflected in his bronze shield.
To cut off Medusa’s head without being turned to stone, Perseus supports himself on the very lightest of things, the winds and the clouds, and fixes his gaze upon what can be revealed only by indirect vision, an image caught in a mirror.
The relationship between Perseus and the Gorgon is a complex one and does not end with the beheading of the monster. Medusa’s blood gives birth to a winged horse, Pegasus—the heaviness of stone is transformed into its opposite. With one blow of his hoof on Mount Helicon, Pegasus makes a spring gush forth, where the Muses drink. In certain versions of the myth, it is Perseus who rides the miraculous Pegasus, so dear to the Muses, born from the accursed blood of Medusa.
As for the severed head, Perseus does not abandon it but carries it concealed in a bag. When his enemies are about to overcome him, he has only to display it, holding it by its snaky locks, and this bloodstained booty becomes an invincible weapon in the hero’s hand. It is a weapon he uses only in cases of dire necessity, and only against those who deserve the punishment of being turned into statues. Here, certainly, the myth is telling us something, something implicit in the images that can’t be explained in any other way. Perseus succeeds in mastering that horrendous face by keeping it hidden,
just as in the first place he vanquished it by viewing it in a mirror. Perseus’s strength always lies in a refusal to look directly,
but not in a refusal of the reality in which he is fated to live; he carries the reality with him and accepts it as his particular burden.
On the relationship between Perseus and Medusa, we can learn something more from Ovid’s Metamorphoses. Perseus
wins another battle: he hacks a sea-monster to pieces with his sword and sets Andromeda free. Now he prepares to do what any of us would do after such an awful chore—he wants to wash his hands. But another problem arises: where to put Medusa’s head. And here Ovid has some lines (IV.740-752) that seem to me extraordinary in showing how much delicacy of spirit a man must have to be a Perseus, the killer of monsters: “So that the rough sand should not harm the snake-haired head, he makes the ground soft with a bed of leaves, and on top of that he strews little branches of plants born under water, and on this he places Medusa’s head, face down.” I think that the lightness, of which Perseus is the hero, could not be better represented than by this gesture of refreshing courtesy toward a being so monstrous and terrifying yet at the same time somehow fragile and perishable. But the most unexpected thing is the miracle that follows: when they touch Medusa, the little marine plants turn to coral and the nymphs, in order to have coral for adornments, rush to bring sprigs and seaweed to the terrible head.
Italo Calvino's Six Memos for the Next Millenium
«In certi momenti mi sembrava che il mondo stesse diventando tutto di pietra: una lenta pietrificazione piu o meno avanzata a seconda delle persone e dei luoghi, ma che non risparmiava nessun aspetto della vita. Era come se nessuno potesse sfire allo sguardo inesorabile della Medusa.»
«L'unico eroe capace di tagliare la testa della Medusa e Perseo, che vola coi sandali alati, Perseo che non rivolge il suo sguardo sul volto della Gorgone, ma solo sulla sua immagine riflessa nello scudo di bronzo ... per tagliare la testa di Medusa senza lasciarsi pietrificare, Perseo si sostiene su cio che vi e di piu leggero: i venti e le nuvole, e spinge il suo sguardo su cio che puo rivelarglisi solo in una visione indiretta, in un'immagine catturata da uno specchio»"
«Il rapporto tra Perseo e la Gorgone e complesso: non finisce con la decapitazione del mostro. Dal sangue della Medusa nasce un cavallo alato: Pegaso; la pesantezza della pietra puo essere rovesciata nel suo contrario; con un colpo di zoccolo sul monte Elicona, Pegaso fa scaturire la fonte da cui bevono le Muse ... Quanto alla testa mozzata, Perseo non l'abbandona ma la porta con se, nascosta in un sacco; quando i nemici stanno per sopraffarlo, basta che egli la mostri sollevandola per la chioma di serpenti, e quella spoglia sanguinosa diventa un'arma invincibile nella mano dell'eroe ... Perseo riesce a padroneggiare quel volto tremendo tenendolo nascosto, come prima l'aveva vinto guardandolo in uno specchio. E sempre in un rifiuto della visione diretta che sta la forza di Perseo, ma non in un rifiuto della realta di mostri in cui gli e toccato di vivere, una realta che eg
88 / 365 - FDT : Packing Issues™ Style!
Happy Face Down Tuesday everybody!
Ouch, packing hurts! I guess as much as unpacking is the greatest part of every travel, since it symbolizes the BEGINNING of something, packing is the most boring moment.
Because it doesn't just means the utterly END of something, but also because it's hella boring and grabs away plenty of useful time.
I also feel like i owe a "thanks you" to whoever developed the best videogame in history, Tetris™ , without which i wouldn't now be able to make a huge deal of things stay in a every-time-too-small lage :)
So yes, the quickies of you might have understood that i'm packing at the moment, or even better, i'm thinking on what to bring with me and what to bring not.
That's why the question of the day is : what are the 3 things without which you'd never leave your home for a long travel?
The answer for me is :
1) My Coffee Moka (machine, maker, how do you call it?)
2) My Training Drumpad and my favorite pair of Drumsticks
3) My Zippo (too bad i can0t have it with me on the plane though)
Obviously i'm not referring to "normal" things such as clothes, shoes, cameras, mp3players ecc ecc
Looking forward to read your answers and… HFDT!
[Oh, and yes, it's - 5 today :) ]
Camera Info: Nikon D300 | 35mm (?/1.8G) @ 35mm | ?/2.8 | ISO 1100 | 1/15 s — Camera on tripod high high high above me!
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