Dogū (土偶)(meaning "clay figures") are small humanoid and animal figurines made during the late Jōmon period (14,000–400 BC) of prehistoric Japan. Dogū come exclusively from the Jōmon period. By the Yayoi period, which followed the Jōmon period, Dogū were no longer made. There are various styles of Dogū, depending on exhumation area and time period. According to the National Museum of Japanese History, the total number found throughout Japan is approximately 15,000. Dogū were made across all of Japan, except Okinawa. Most of the Dogū have been found in eastern Japan and it is rare to find one in western Japan. The purpose of the Dogū remains unknown and should not be confused with the clay haniwa funerary objects of the Kofun period (250 – 538).
Some scholars theorize the Dogū acted as effigies of people, that manifested some kind of sympathetic magic. For example, it may have been believed that illnesses could be transferred into the Dogū, then destroyed, clearing the illness, or any other misfortune.
Dogs are an important motif in Chinese mythology. These motifs include a particular dog which accompanies a hero, the dog as one of the twelve totem creatures for which years are named, a dog giving first provision of grain which allowed current agriculture, and claims of having a magical dog as an original ancestor in the case of certain ethnic groups.
Chinese mythology is those myths found in the geographic area called China, which of course has evolved and changed throughout its history. These include myths in Chinese and other languages, as transmitted by Han Chinese as well as other ethnic groups (of which fifty-six are officially recognized by the current administration of China). (Yang 2005:4)
In the study of historical Chinese culture, many of the stories that have been told regarding characters and events which have been written or told of the distant past have a double tradition: one which tradition which presents a more historicized and one which presents a more mythological version.(Yang 2005: 12-13) This is also true of some accounts related to mythological dogs in China.
Dog meat refers to the flesh and other edible parts derived from dogs. Historically, human consumption of dog meat has been recorded in many parts of the world, including East and Southeast Asia, West Africa, Europe, Oceania and the Americas.
In the 21st century, dog meat is consumed in many parts of China,Korea and Vietnam, parts of Switzerland, as well as parts of Europe, Americas, the African continent, such as Cameroon, Ghana and Liberia.
Today, a number of cultures view the consumption of dog meat to be a part of their traditional and day-to-day cuisine, while others - such as Western culture - consider consumption of dog to be a taboo, although they have been consumed in times of war and/or other hardships. It was estimated in 2014 that worldwide, 25 million dogs are eaten each year by humans.
The Nureongi (Korean: 누렁이) is a yellowish landrace from Korea. Similar to other native Korean dog breeds, such as the Jindo, nureongi are medium-sized spitz-type dogs, but are larger with greater musculature and a distinctive coat pattern. They are quite uniform in appearance, yellow hair and melanistic masks. Nureongi are most often used as a livestock dog, raised for its meat, and not commonly kept as pets.
The following articles contain lists of Jo Stafford compilation albums:
The candy or candee (Marathi: खंडी, khaṇḍī;Tamil: கண்டி, kṇṭi;Malayalam: kaṇḍi,kaṇṭi), also known as the maunee, was a traditional South Asian unit of mass, equal to 20 maunds and roughly equivalent to 500 pounds avoirdupois (227 kilograms). It was most used in southern India, to the south of Akbar's empire, but has been recorded elsewhere in South Asia. In Marathi, the same word was also used for a unit of area of 120 bighas (25 hectares, very approximately), and it is also recorded as a unit of dry volume.
The candy was generally one of the largest (if not the largest) unit in a given system of measurement. The name is thought to be derived from the Sanskrit खण्डन (root खुड्) khaṇḍ, "to divide, break into pieces", which has also been suggested as the root of the term (sugar-)candy. The word was adopted into several South Asian languages before the compilation of dictionaries, presumably through trade as several Dravidian languages have local synonyms: for example ఖండి kaṇḍi and పుట్టి puṭṭi in Telugu.
"Candy" is a song from Paolo Nutini which was released on 18 May 2009. The song is the lead single from his second studio album "Sunny Side Up".
The single made the A' list on Radio 2, the B' list on Absolute Radio and the A' list on Radio 1. It charted at 19 in the UK Singles Chart making it his third highest charting single behind "Last Request" (#5) and "Pencil Full Of Lead" (#17), so far, and at 25 in the Irish Singles Chart.
In 2010, the song was covered by Welsh act Marina and the Diamonds on Dermot O'Leary's show on BBC Radio 2.
(Francisco Ulloa)
Ay, mamá (aé)
óyeme mi negra (oé)
corazón bendito
óyeme, mi negra
corazón bendito
no le des disgusto
a tu papacito
no le des disgusto
a tu papacito
Eh,... oh...
ay, Lolita, oh...
(¡Alínea!)
A mí no me gustan, Lola
a mí no me gustan
las mujeres ajenas
a mí no me gustan
las mujeres ajenas
tienen un sabor
a la berenjena
tienen un sabor
a la berenjena
Ay, Lola... oh...
ay, Lolita, oh...
¡Fiesta!
¡Fuego, Ulloa!
Ay, mamá
ay, Lola, oh...
le dije a mi negra
que a mí no me cele
le dije a mi negra
que a mí no me cele
que a mí no me gustan
todas las mujeres
que a mí no me gustan
todas las mujeres
[Improv.]
¡Ey!... ¿Qué?
¡Guasábara!
[Parlando]
¡Usted la paga,
mano!
Un canto de hacha es una antigua tonada de trabajo, que se cantaba en el
campo cuando un
grupo de vecinos unían fuerzas para cortar un árbol. Las letras pueden
tratar de cualquier
tema, lo importante es cantar con ritmo constante, de tal manera que el
hacha caiga sobre el
árbol al final de cada verso, que termina con una exclamación rítmica
("oé .... aé").
Obviamente, los verdaderos cantos de hacha se cantan a un ritmo
considerablemente más
lento que el acelerado "perico ripiao" en el cual Francisco Ulloa