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.
The Dog (狗) is one of the 12-year cycle of animals which appear in the Chinese zodiac related to the Chinese calendar. The Year of the Dog is associated with the Earthly Branch symbol 戌. The character 狗 refers to the actual animal while 戌 refers to the zodiac animal.
People born within these date ranges can be said to have been born in the "Year of the Dog", while also bearing the following elemental sign:
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.
-ana (more frequently -iana) is a suffix of Latin origin, used in English to convert nouns, usually proper names, into mass nouns, as in Shakespeareana or Dickensiana, items or stories related to William Shakespeare or Charles Dickens, respectively.
The recognition of this usage as a self-conscious literary construction, typically as a book title, traces back at least to 1740, when it was mentioned in an edition of Scaligerana, a collection of table talk of Joseph Justus Scaliger, from around 150 years previously. By that period Scaliger was described as "the father, so to speak, of all those books published under the title of -ana".
As grammatical construction it is the neuter plural, nominative form of an adjective: so from Scaliger is formed first the adjective Scaligeranus (Scaligeran) which is then put into the form of an abstract noun Scaligerana (Scaligeran things). In Americana, a variant construction, the adjectival form already exists as Americanus, so it is simply a neuter plural (suffix –a on the stem American-); the case of Victoriana, things associated with the Victorian period, is superficially similar, but the Latin adjective form is Dog Latin.
Ana is a 1982 Portuguese independent docufictional and ethnofictional feature film, written, directed and edited by António Reis and Margarida Cordeiro. It was filmed in Trás-os-Montes like António Reis' previous film, Trás-os-Montes. The film was selected as the Portuguese entry for the Best Foreign Language Film at the 58th Academy Awards, but was not accepted as a nominee.
Ana was present at film festivals like the Venice Film Festival, the Berlin Film Festival, Rotterdam Film Festival, Hong Kong International Film Festival or the São Paulo International Film Festival.
The film was in exebition in Paris for three months.
In 2011, Ana was screened at the Jeonju International Film Festival, marking the beginning of the international rediscover of the work of António Reis and Margarida Cordeiro. In 2012, the film was screened in the United States at the Harvard Film Archive, the Anthology Film Archives, at the UCLA Film and Television Archives and at the Pacific Film Archive as part of The School of Reis program.
Ana may refer to:
I can't speak and I can't breathe
And no words are comin' out of me
And I can't tell if I'm upside down
Or if I'm just goin' round and round
I trap myself in idioms
With the battles raging in my head
And I can't tell if I'm fallin' in
Or if I'm just climbin' up again
Hey man, yeah, yeah, yeah, yeah, yeah, yeah
I'm wide awake man
Yeah, yeah, yeah, yeah, yeah, yeah
I'm wide awake man
I'm so anxious, I packed my head
In a paper bag to quell my nerves
Have I lost all my urgency
Or can I be part of history?
You say I hide in my dreams
So I tell myself don't sleep, don't sleep
Don't sleep, don't sleep, don't sleep, don't sleep
Don't sleep, save all your energy to say
Hey man, yeah, yeah, yeah, yeah, yeah, yeah
I'm wide awake man
Yeah, yeah, yeah, yeah, yeah, yeah
I'm wide awake man
Hey man, yeah, yeah, yeah, yeah, yeah, yeah
I'm wide awake man
Yeah, yeah, yeah, yeah, yeah, yeah
I'm wide awake man
Open, open your up your mind now
Open up the sky now
Come on and fly now, hey, hey
Open, open your up your mind now
Open up wide now
Come on let me in now, hey, hey, hey, hey
Yeah, yeah, yeah, yeah
Open, open and fly now
Come on and try now
Come on and try now, hey, hey, hey, hey