Review(s) of: The prince and the plunder: How Britain took one small boy and hundreds of treasures from Ethiopia, Author: Andrew Heavens Published by: The History Press, Cheltenham, 2023, 272pp, ...22.90. pounds
To enhance the properties of natural fiber composite, proper selection of an optimum alkaline concentration for fiber surface modifications and composite manufacturing techniques are the main ...criteria to be considered. This study examined how NaOH and manufacturing methodsaffect the mechanical and absorbency characteristics of a Wild Abyssinia Banana (WAB) epoxy composite. 2 %, 5 %, and 7 % (w/v) NaOH concentrations; hand-layup and hydraulic press manufacturing techniques have been considered. Petroleum, diesel, distilled, and artificial lake water (wastewater) were used for the absorption test. A 5 % NaOH treatment improves composite tensile, flexural, and impact strengths by 14.78 %, 8.59 %, and 29.63 %, respectively. Moreover, the 5 % NaOH treatment reduced the absorption rate of the WAB fiber composite. Hydraulic press manufactured untreated WAB fiber composite was observed to have 26.27 % and 13.45 % higher tensile and flexural strengths than hand layup. The treated WAB fiber-reinforced composite can be utilized in gas stations, home appliances, and finishing materials for construction applications.
This article uses London-based South Asian and other colonial students as lenses to examine the development of anti-colonial alliances during the interwar period. It focuses on responses to three ...international crises in the 1930s: the Second Italian-Abyssinian War 1935-36, the Spanish Civil War 1936-39 and the Second Sino-Japanese War 1937-45. The overarching argument is that these international crises stimulated increased cooperation between London-based students and activists from South Asia, as well as Africa and peoples of African descent, and China, and identifies V.K. Krishna Menon and his anti-colonial India League as crucial to facilitating interactions. The article concludes by asserting that efforts to form transnational alliances also highlighted widening divergences between the representatives of colonies, foreshadowing the challenges of creating and maintaining South-South affinities in the postcolonial period.
This study explores the structure and modulation of diurnal climate over the Abyssinia highlands 7°–15°N, 35°–40°E using hourly satellite and reanalysis data in June–August season for the years ...2014–2016. Solar heating generates surface heat fluxes that trigger moisture convergence in the late afternoon. Satellite measured rainfall frequently propagates westward from the highest mountains near 14°N, 38°E at ~7 m s−1 from 1200 to 1800 UTC (3 to 9 p.m. local time). The mean diurnal cycle of reanalysis and satellite (GPM) hourly rainfall are in‐phase and exhibit min/max at 0900/1600 UTC. Diagnostic analysis reveals a 3‐hr delay from surface evaporation to mid‐tropospheric moisture uplift, and another 3‐hr delay to low‐level velocity potential maxima, which together modulate the diurnal rainfall. Morning cooling and convective inhibition over the highlands is just as strong as evening enhancement. Year‐to‐year variations in the amplitude of diurnal rainfall are small and suggest dependable water resources.
Mean diurnal cycle over the Abyssinia highlands: (a) 3‐hourly CMORPH satellite rainfall each June–August 2004–2018, with study years and standard deviation labelled. June–August 2014–2016 index‐area averaged hourly rainfall: (b) CFSr2 and GPM merged. (c) CFSr2 key variables: latent heat flux (W m−2/100), 500 W·q and 850 velocity potential (m2 s−2 × 106).
This study deals with a very important topic, especially for Jews and Ethiopians (Ethiopians), and the topic revolves around the disappearance of the Ark of the Covenant, as the Jewish narration ...indicates that the Lord commanded Moses (PBUH) to make the coffin during the departure of the Children of Israel from Egypt, and this coffin includes the plates on which the commandments were written. The ten biblical accounts indicate that the sarcophagus subsequently disappeared in mysterious circumstances, and this study sheds light on the Ethiopian account that indicates that the ark of the covenant disappeared after Menblick took over the king of Abyssinia, and that Menelik is the son of the Prophet Solomon of the Queen of Sheba called the name Makda or Belqis, which appeared In the three heavenly books without mentioning their true name, it is he who took the coffin and gave it to the Ethiopians after heading a king over them, then when the "Levites" made the ark of the covenant, Moses placed what is said in the "Torah" with it, as well as the "boards of the commandments" (or the Ten Commandments) inside it. . Since that time, the "ark of the covenant" has become one of the most sacred possessions of Jews throughout their history according to Jewish thought and belief, and the ark has become a symbol of the support of the Lord (Jehovah) for the "Children of Israel" during their travels in the wilderness after leaving Egypt. Since that time, this coffin has become one of the religious symbols that the Jews cherished, throughout their history, their history according to Jewish thought and belief. Moreover, it became a symbol of the support of the Lord (Jehovah) for: (the children of Israel) during their journey in the wilderness after leaving Egypt. So the research bore a series of questions, perhaps including: How did the Holy Coffin disappear, and who did it, and what happened to the coffin after that? And other methodological questions that will be exposed to that paper that we are going to talk about. This paper will discuss that problem, in light of the texts mentioned in the body of our research. تتناول هذه الدراسة موضوع في غاية الأهمية خصوصا بالنسبة لليهود والاحباش (الاثيوبيين ) والموضوع يدور حول اختفاء تابوت العهد، حيث تشير الرواية اليهودية ان الرب امر موسى (ع) ان يصنع التابوت ابان خروج بني إسرائيل من مصر، ويضم هذا التابوت الالواح التي دونت عليها الوصايا العشرة، وتشير الرواية التوراتية ان التابوت اختفي فيما بعد في ظروف غامضة، وهذه الدراسة تسلط الضوء على الرواية الحبشية التي تشير ان تابوت العهد اختفى بعد تولي منبليك ملك الحبشة، وان منليك هو ابن النبي سليمان من ملكة سبأ المدعوة باسم ماكدة أو بلقيس، التي وردت في الكتب السماوية الثلاث من دون ذكر لاسمها الحقيقي، وهو الذي اخذ التابوت واعطاه للأحباش بعد تتوجيه ملكا عليهم، ثم لما صنع "اللاويون" تابوت العهد، وضع موسى فيما يقال "التوراة" به، وكذلك "ألواح الوصايا" (أو الوصايا العشر) داخله. ومنذ ذلك الوقت، صار "تابوت العهد" من أقدس ما يملك اليهود عبر تاريخهم بحسب الفكر والعقيدة اليهودية، وقد صار التابوت رمزًا لتأييد الرب (يهوه) لـ"بني إسرائيل" خلال ترحالهم في البرية بعد الخروج من مصر. ومنذ ذلك الوقت، صار هذ التابوت من الرموز الدينية التي اعتز بها اليهود، عبر تاريخهم بحسب الفكر والعقيدة اليهودية، فضلاً عن ذلك أصبح رمز لتأييد الرب (يهوه) لـ:(بني إسرائيل) خلال ترحالهم في البرية بعد الخروج من مصر. لذا حمل البحث مجموعة من التساؤلات، ولعل منها: كيف اختفى التابوت المقدس، ومن فعل ذلك، وماذا حدث للتابوت بعد ذلك ؟ وغير ذلك من التساؤلات المنهجية التي سوف تتعرض لها تلك الورقةُ التي نحن بصدد الحديث عنها. وسوف تناقش هذه الورقةُ تلك الإشكالية، في ضوء ما ورد من نصوص في متن بحثنا هذا.
İdris, Kur’an-ı Kerim’in hakkında kısa bilgiler sunduğu bir peygamberdir. Onun yüce bir mekana yükseltilmesinden hareketle özdeşleştirildiği kişilerden biri olan Enoh da benzer şekilde Kitab-ı ...Mukaddes’in hakkında çok az bilgi sunduğu bir kişidir. Bu nedenle İdris'in kim olduğu ve isminin kökeni hakkında şimdiye değin çok sayıda yorum yapılmıştır. Bir köken arayışı çerçevesinde, çevre kültürlerin mistik ve mitolojik şahsiyetleri olan Thot, Hermes ve Merkür’le özdeşleştirilmeye çalışılması, İdris’in kimliğini daha kapalı bir hale getirmiştir. Bu makalenin temel iddiası, İdris Peygamber’le ilgili ayetlerin nüzul bağlamının, onun kim olduğunu tespit konusunda birtakım yönlendirmeler barındırdığıdır. Onun, ilk Müslümanların Habeşistan’a hicretinden önce inen ayetlerde zikredilen isminin ve özelliklerinin Habeş toplumunda bir karşılığı olduğu anlaşılmaktadır. Makalede, Kur’an’da yer aldığı şekliyle İdris’in isminin ve özelliklerinin Habeş toplumundaki kabule yönelik bir onaylama, ama aynı zamanda onu bu özelliklerden soyutlayanlara karşı da bir reddiye olduğu gösterilmeye çalışılmıştır.
In this book, Josephine Lee looks at the intertwined racial representations of nineteenth- and early twentieth-century American theater. In minstrelsy, melodrama, vaudeville, and musicals, both white ...and African American performers enacted blackface characterizations alongside oriental stereotypes of opulence and deception, comic servitude, and exotic sexuality. Lee shows how blackface types were often associated with working-class masculinity and the development of a nativist white racial identity for European immigrants, while the oriental marked what was culturally coded as foreign, feminized, and ornamental. These conflicting racial connotations were often intermingled in actual stage performance, as stage productions contrasted nostalgic characterizations of plantation slavery with the figures of the despotic sultan, the seductive dancing girl, and the comic Chinese laundryman. African American performers also performed common oriental themes and characterizations, repurposing them for their own commentary on Black racial progress and aspiration. The juxtaposition of orientalism and black figuration became standard fare for American theatergoers at a historical moment in which the color line was rigidly policed. These interlocking cross-racial impersonations offer fascinating insights into habits of racial representation both inside and outside the theater.
In this book, Josephine Lee looks at the intertwined racial representations of nineteenth- and early twentieth-century American theater. In minstrelsy, melodrama, vaudeville, and musicals, both white ...and African American performers enacted blackface characterizations alongside oriental stereotypes of opulence and deception, comic servitude, and exotic sexuality. Lee shows how blackface types were often associated with working-class masculinity and the development of a nativist white racial identity for European immigrants, while the oriental marked what was culturally coded as foreign, feminized, and ornamental. These conflicting racial connotations were often intermingled in actual stage performance, as stage productions contrasted nostalgic characterizations of plantation slavery with the figures of the despotic sultan, the seductive dancing girl, and the comic Chinese laundryman. African American performers also performed common oriental themes and characterizations, repurposing them for their own commentary on Black racial progress and aspiration. The juxtaposition of orientalism and black figuration became standard fare for American theatergoers at a historical moment in which the color line was rigidly policed. These interlocking cross-racial impersonations offer fascinating insights into habits of racial representation both inside and outside the theater.
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