Clockwise from left: Behemoth (on earth), Ziz (in sky), and Leviathan (under sea).
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The fearsome Behemoth is now in Monster Hunter World thanks to the Final Fantasy 14 collaboration. Here's an in-depth guide on how to beat Behemoth.
Behemoth (/bɪˈhiːməθ,ˈbiːə-/; Hebrew: בהמות, behemot) is a beast mentioned in Job 40:15–24. Suggested identities range from a mythological creature to an elephant, hippopotamus, rhinoceros, or buffalo.[1]Metaphorically, the name has come to be used for any extremely large or powerful entity.
Description[edit]
- DPS on BRD was 3800-4k either way using kaja/cento or aeneas/sari including SC dmg. For pure WS damage I don't think anything can beat savage at this point, my rudras top out around 32k on non pierce mobs but savage has hit as high as 50k with a lot in the 40k range.
- Extreme Behemoth can call multiple Meteors at the start of the fight. Thunderbolt is a Thunder-element attack that flinches nearby Hunters then calls down lightning bolts in an arc-shaped pattern. Comet is a variation of Meteor that leaves a rock behind after impact.
Behemoth and Leviathan, watercolour by William Blake from his Illustrations of the Book of Job.
Job 40:15–24 describes Behemoth, and then the sea-monster Leviathan, to demonstrate to Job the futility of questioning God, who alone has created these beings and who alone can capture them.[2] C. L. Patton lists several interpretations of the nature of these beasts, including the idea that they are chaos monsters destroyed by the deity at the time of creation.[3]
Leviathan is identified figuratively with both the primeval sea (Job 3:8, Psalms 74:13) and in apocalyptic literature as the Devil, who has been around since before creation and will be defeated during the end times. In the divine speeches in Job, Behemoth and Leviathan may both be seen as composite and mythical creatures with enormous strength, which humans like Job could not hope to control. But both are reduced to the status of divine pets, with rings through their noses and Leviathan on a leash.[1][4]
15 Behold now behemoth, which I made with thee; he eateth grass as an ox.
16 Lo now, his strength is in his loins, and his force is in the navel of his belly.
17 He moveth his tail like a cedar: the sinews of his stones are wrapped together.
18 His bones are as strong pieces of brass; his bones are like bars of iron.
19 He is the chief of the ways of God: he that made him can make his sword to approach unto him.
20 Surely the mountains bring him forth food, where all the beasts of the field play.
21 He lieth under the shady trees, in the covert of the reed, and fens.
22 The shady trees cover him with their shadow; the willows of the brook compass him about.
23 Behold, he drinketh up a river, and hasteth not: he trusteth that he can draw up Jordan into his mouth.
24 He taketh it with his eyes: his nose pierceth through snares. Dmg file download.
16 Lo now, his strength is in his loins, and his force is in the navel of his belly.
17 He moveth his tail like a cedar: the sinews of his stones are wrapped together.
18 His bones are as strong pieces of brass; his bones are like bars of iron.
19 He is the chief of the ways of God: he that made him can make his sword to approach unto him.
20 Surely the mountains bring him forth food, where all the beasts of the field play.
21 He lieth under the shady trees, in the covert of the reed, and fens.
22 The shady trees cover him with their shadow; the willows of the brook compass him about.
23 Behold, he drinketh up a river, and hasteth not: he trusteth that he can draw up Jordan into his mouth.
24 He taketh it with his eyes: his nose pierceth through snares. Dmg file download.
Later Jewish writings[edit]
In Jewish apocrypha and pseudepigrapha such as the 2nd century BCE Book of Enoch, Behemoth is the primal unconquerable monster of the land, as Leviathan is the primal monster of the waters of the sea and Ziz the primordial monster of the sky. According to this text Leviathan lives in 'the Abyss', while Behemoth the land-monster lives in an invisible desert east of the Garden of Eden (1 Enoch 60:7–8). https://epcelestial.weebly.com/wordpress-download-mac.html.
A Jewish rabbinic legend describes a great battle which will take place between them at the end of time: 'they will interlock with one another and engage in combat, with his horns the Behemoth will gore with strength, the fish [Leviathan] will leap to meet him with his fins, with power. Their Creator will approach them with his mighty sword [and slay them both].' Then, 'from the beautiful skin of the Leviathan, God will construct canopies to shelter the righteous, who will eat the meat of the Behemoth and the Leviathan amid great joy and merriment.' (Artscrollsiddur, p. 719).
In the Haggadah, Behemoth's strength reaches its peak on the summer solstice of every solar year (around 21 June). At this time of year, Behemoth lets out a loud roar that makes all animals tremble with fear, and thus renders them less ferocious for a whole year. As a result, weak animals live in safety away from the reach of wild animals. This mythical phenomenon is shown as an example of divine mercy and goodness. Without Behemoth's roar, traditions narrate, animals would grow more wild and ferocious, and hence go around butchering each other and humans.[5]
Identity[edit]
Behemoth as depicted in the Dictionnaire Infernal
Since the 17th century CE there have been many attempts to identify Behemoth. Some scholars have seen him as a real creature, usually a hippopotamus or elephant, occasionally a rhinoceros or water buffalo.[2] The reference to Behemoth's 'tail' that 'moves like a cedar' presents a problem for most of these readings, since it cannot easily be identified with the tail of any animal. Biologist Michael Bright suggests that the reference to the cedar tree actually refers to the brush-like shape of its branches, which resemble the tails of modern elephants and hippopotamuses.[6]
Some have identified the cedar as an elephant trunk, but it might instead refer to Behemoth's penis, since the Hebrew word for 'move' can also mean 'extend', and the second part of the verse speaks of the sinew around his 'stones'. The Vulgate seems to endorse such a reading by using the word 'testiculorum'.[7]Russian-language speakers have used the cognate word бегемот (begemot) to refer to the hippopotamus from third quarter of the 18th century – Russian-speakers also use the name гиппопотам (gippopotam).
Young Earth Creationists, who tend to believe humans coexisted with dinosaurs, have argued that the behemoth may have been a sauropod-like dinosaur due to it being a large, plant-eating land animal with a long tail resembling a cedar.[8] Young earth creationists assert that the creature's massive size and its tree-like tail eliminate the possibilities of it being an extant land animal, where they see it more akin to a large herbivorous dinosaur (such as a sauropod).[9][10] Convert exe file to dmg.
Another opinion sees Behemoth as a product of the imagination of the author of Job, a symbol of God's power: in verse 24 he is described as having a ring ('snare') through his nose, a sign that he has been tamed by Yahweh.[1]
Literary references[edit]
The 17th-century political philosopher Thomas Hobbes named the Long Parliament 'Behemoth' in his book Behemoth. It accompanies his book of political theory that draws on the lessons of English Civil War, the rather more famous Leviathan.
The Behemoth is also mentioned in the opera, Nixon in China, composed by John Adams, and written by Alice Goodman. https://evervr478.weebly.com/download-sonos-to-my-mac.html. At the beginning of the first act, the chorus sings 'The people are the heroes now, Behemoth pulls the peasants' plow' several times.[11]
In a letter to his sister Mariana, Khalil Gibran told her that his health was 'as good as a Bahamut', which is thought to derive from the biblical 'Behemoth'.[12]
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See also[edit]
- Bambotus, ancient name for the Senegal River
- The Beast (Revelation), two beasts described in the New Testament
- The Giant Behemoth, an American-British science fiction giant monster film
- Behemoth (novel), novel by Scott Westerfeld
Notes[edit]
- ^ abcMetzger, Bruce Manning; Coogan, Michael D (2004). The Oxford Guide To People And Places Of The Bible. Oxford University Press. p. 33. ISBN978-0-19-517610-0. Retrieved 22 December 2012.
- ^ abVan Der Toorn, Karel; Becking, Bob; Van Der Horst, Pieter W (1999). Dictionary of Deities and Demons in the Bible: Second Extensively Revised Edition. Brill. pp. 165–168. ISBN978-90-04-11119-6.
- ^Iwanski, Darius (2006). The Dynamics of Job's Intercession. Biblical Institute Press. p. 41. ISBN978-88-7653-161-3.
- ^Michael D. Coogan (2008). A Brief Introduction to the Old Testament. Oxford University Press. p. 387
- ^Adapted from Legends of the Jews, Louis Ginzberg - volume I
- ^Bright, Michael (2006). Beasts of the Field: The Revealing Natural History of Animals in the Bible. London: Robson. pp. 26–27. ISBN1-86105-831-4.
- ^Mitchell (1987)
- ^Keil, C.F. and Delitzsch, F., Commentary on the Old Testament, Vol. IV, Job, Eerdmans, Grand Rapids, p. 357, 1988.
- ^Hanson, A. and Hanson, M., The Book of Job, SCM Press, London, p. 112, 1953.
- ^Driver, S.R. and Gray, G.B., A Critical and Exegetical Commentary on the Book of Job, T. & T. Clark, Edinburgh, Part II, p. 326, 1921.
- ^'Nixon in China Libretto | Adams'. Opera-Arias.com. 1972-02-21. Retrieved 2014-02-04.
- ^'Gibran's letter to Mariana, c(1927-1930)'.
References[edit]
- Metzeger, Bruce M.; Michael D. Coogan, eds. (1993). The Oxford Companion to the Bible. Oxford, UK: Oxford University Press. ISBN0-19-504645-5.
- Mitchell, Stephen, 1987. The Book of Job. San Francisco: North Point Press. Cited in R. T. Pennock, 1999, Tower of Babel, Cambridge, Massachusetts: MIT Press.
External links[edit]
Wikimedia Commons has media related to Behemoth. |
- Leviathan and Behemoth article in the Jewish Encyclopedia
- Putting God on Trial – The Biblical Book of Job contains a major section on the literary use of Behemoth.
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Behemoth&oldid=923316073'
Behemoth | |
---|---|
Directed by | Zhao Liang |
Produced by | Sylvie Blum |
Screenplay by | Zhao Liang, Sylvie Blum |
Music by | Huzi, Alain Mahé |
Cinematography | Zhao Liang |
Edited by | Fabrice Rouaud |
Distributed by | Upside Distribution, Grasshopper Film |
| |
95 minutes[1] | |
Country | China |
Language | Mandarin |
Behemoth (Chinese: 悲兮魔兽; pinyin: bēixī móshòu) is a Chinese documentary film directed by Zhao Liang about the environmental, sociological, and public health effects of coal-mining in China and Inner Mongolia. Loosely based on Dante Alighieri's Divine Comedy Kindle for pc mac download. , Liang’s documentary has been lauded for its surreal cinematography and poignant imagery. The film was released in competition on September 11, 2015 at the 72nd Venice International Film Festival.[2] Regarding the ban in China, the director explained that 'even though environmental protection is a national policy, but the regional government quite disliked this type of film (虽然环保是国家政策,但是地方政府对这种电影很反感)'.[3] This was not Liang’s first banned film, as his 2009 documentary Petition was also subjected to government censorship.
- 3Reception
Plot[edit]
Starting with an explosion on the desolate field in Inner Mongolia, Behemoth depicts a hellish large-scale landscape as a result from mining industry. Accompanied by the traditional Tuvan throat singing, the naked back[further explanation needed] lies in the scene of smoky mountain under the control of “Behemoth”. The man carrying a mirror reflecting the past looks at the desolate mining field, which used to be their beautiful home.
Trucks run all the time in the field transporting raw coal to coke-making factories. Workers, soaked in black smoke and struck by wind, continuously take turns to mine. Their skin, due to long-term exposure to ore and sand, is pocked with red spots and black dust particles.
Shifting from natural mining to industrial smelting, the camera moves to where the pollution is even more severe. But workers continue to endure the extreme working conditions and work day and night. As pointed out in the film, wealth accumulates elsewhere, but all living creatures who once inhabited the space have dispersed and the workers now living there are trapped in poverty. What’s left are the continuous explosions, smelting, atmosphere pollution, smog, and wasted water.
Living in the long-term pollution, the workers’ health is threatened. Besides the smoke-lined eyes and covered skin on the surface, lung cancers developed within them. https://epcelestial.weebly.com/the-reaction-with-dmg-gives-nidmg22aq.html. They cough, have difficulty breathing, and are on the verge of death. Immigrant workers seek help from the government, but their passive hard-working lives are destined to end in nearby graveyards.
Sheep no longer roam there, replaced by statues in memory of the past herding lifestyle. All mining and smelting activities produce steel, which seems to be the building block of desire of a kind of paradise – the modern city.
But the “paradise” is more like a castle in the air with few people actually living inside. Those who dedicated themselves to the production of steel, and the building of the massive uninhabited ghost cities, end up themselves only with death.
The film concludes by inferring that workers and their activities are like the underlings of Behemoth, which itself is created by human beings for the desire for an illusory modern life that escapes the very people working to make it possible. The consequences of such pollution are vast, which leaves many considerations for the viewers.
Production[edit]
Created with a limited cast and crew, Behemoth is an example of the burgeoning wave of independent documentaries and films made with limited support and funding.[4] Without the restrictions of a larger production company, these film-makers are able to express more politically scathing ideas without having to cater to the general box-office audience.
Zhao Liang’s documentary only loosely follows the idea of what a movie should be, and instead expresses itself as a form of visual poetry. Limited dialogue, backing score, and an abandonment of conventional cinematic techniques underscores the larger political message of Behemoth.
The cinematography is strongly symbolic and contains myriad allusions to Dante Alighieri's Divine Comedy, adopting both its character archetypes and general plot structure. The narrator, a representation of Dante, follows a stand-in for Virgil, who carries a mirror on his back – reflecting the eye of the viewer back on themselves.
The documentary is composed of three chapters, demarcated by a color transition and a general tonal shift. Download hobby lobby app for android. The film starts in the strip mine, Liang’s stand-in for the Inferno or Hell, which is identified with the color red. As the film progresses, the countryside surrounding the pit mines and the lives of its inhabitants is portrayed through a blue transition as Purgatory. The film ends in a satirically mordant Paradise, the culmination of the coal-miner’s labor which supposedly validates their suffering, an uninhabited ghost city represented with the color grey.
Reception[edit]
The documentary has been banned in China for its critique of the coal-mining industry and Chinese government, but did receive critical approval in countries across the world.[5]
Selections[edit]
- 72nd Mostra Internazionale d’Arte Cinematografica Venezia Italy
- Tetrio Millennio Film Fest – Roma Italy
- Viennale - Austria
- CPH: DOX - Denmark
- IDFA Amsterdam - Netherlands
- Traces de Vies – Festival du film documentaire Clermont Ferrand / Vic Le Comte - France
- Stockholm International Film Festival - Sweden
- Tokyo Filmex - Japan
- Porto/Post/Doc Film et Media Festival - Portugal
- WATCH DOCS Human Rights in Film IFF Warsaw - Poland
- Dubai International Film Festival - United Arab Emirates
- Venice Film Festival, in competition
Awards[edit]
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- Mostra Internazionale d’Arte Cinematografica Venezia Italie, Green Drop Award, Prix Signis
- Stockholm International Film Festival Suède, Best Documentary
- TOKYO FILMeX Japon, Special Jury Prize
- Porto/Post/Doc Film et Media Festival Portugal, Great Prize Porto/Post/Doc, Teenage Prize
- WATCH DOCS Human Rights in Film IFF Varsaw Pologne, Watch Docs Award for the best film in competition (ex aequo)
- The 40th Hong Kong International Film Festival, Firebird Award of Documentary Competition
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Public health relevance[edit]
Coal-mining industries involve pollution, but what really matters are the scale and methods of exploitation. In order to rationally utilize natural resources, the scale of exploitation should be determined according to actual adequate needs from the market. (In the film, overproduction is the case.) Thus, there should be a well-considered balance between nature preservation and resource exploitation in the beginning. Methods include the employment of both machines and workers. In terms of machine mining, a better covering and transporting techniques should have been adopted to minimize the effect of smoke and air pollution. In terms of workers’ working conditions, their protections are far less than what is needed.[6]
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When it comes to smelting, better waste processing is required. Due to the long-term exposure to dust, smoke, and harmful gases, the probability for workers to get lung cancers rises rapidly.[7]
Atmospheric pollution affects everyone living under the sky, especially those living in the neighborhood, so its sources should be monitored and regulated.[8] In the film, there is a petition for the government to provide help for the suffering workers. However, the effectiveness of execution remains doubtful as depicted later in the film, in that the man carrying the mirror continues to step towards the predictable end of the whole-cycle mining activities.
References[edit]
- ^'Behemoth'. IMDB.
- ^'72nd Venice International Film Festival'.
- ^'中國禁片《悲兮魔獸》蒙城上映 導演詳解被禁原因'. Archived from the original on 8 August 2017.
- ^Brody, Richard. 'Independent Filmmaking in China: The Age of Dissent'.
- ^Zhao, Liang. 'Behemoth'. Zhao Liang Studio.
- ^Hatton, Celia. 'Under the Dome: The smog film taking China by storm'.
- ^Jones, J. 'In Zhao Liang's ecological documentary Behemoth, we're the monster'.
- ^'专访柴静'. Sohu Website. Renmin Website.
External links[edit]
Mhw Someone Did 50k Dmg On Extreme Behemoth Youtube
- Frames of Representation: Behemoth (Bei xi mo shou) Q&A on YouTube
- 'Behemoth' Q&A – Zhao Liang – New Directors/New Films 2016 on YouTube
- Behemoth on IMDb
- Film Review: 'Behemoth' on Variety
- As China Hungers for Coal, ‘Behemoth’ Studies the Ravages at the Source, The New York Times
- Short Take: Behemoth, Film Comment
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