#EGYPT NEW Revolution #25jan 2015 #UPDATE

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#EGYPT NEW Revolution #25jan 2015 #UPDATE





  1. From all the photos reportedly taken on the scene of the shooting in Talaat Harb square, a mix is visible of police, high ranking officers and masked men from special security forces, which are now a common sight at protests. Theirs are also the only visible weapons. Later, the circumstance of Shaimaa being hit was placed in the usual dynamic of police shooting birdshots or live rounds while dispersing protesters. This doesn't agree with the hypothesis of a random, "infiltrated" shooter, or an MB affiliate, as argued by Ministry of Interiors in their first version.











#سندس_رضا
LIVE FORM TAHRIR EGYPT





#UPDATE

 Whatever Happened To The Egyptian Revolution?








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تمثال النبي محمد في نيويورك الذي لم يلاحظه أحد A Statue of Prophet Muhammad on a New York

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كان ذلك سيعتبر إساءة شديدة، لكن لحسن الحظ لم يلاحظه أحد.




في النصف الأول من القرن العشرين، كان ثمة تمثال من الرخام بطول ثمانية أقدام للنبي محمد يطل على حديقة ميدان ماديسون من أعلى سطح شعبة النقض في دار القضاء الكائنة في ضاحية ماديسون.

وقبل 60 عامًا، جرى التخلص من التمثال في صمت. وذلك في خطوة تبدو الآن، على ضوء هجوم باريس، كنموذج للباقة والدبلوماسية.

كان ما أثار حفيظة المسلمين في الفترة ما بين 1902 و1955 هو أن تمثال النبي محمد قد وُضع بين تماثيل تسعة من “المُشرعين العظام”، بما فيهم كونفوشيوس وموسى.
يقول جورج تي.كامبل، رئيس كتبة شعبة النقض، القسم الأول، “على الأرجح لم يعرف المسلمون بوجود التمثال” في عام 1955، وذلك عندما جرى أخيرًا إزالة التمثال مراعاة للمسلمين، الذين يمثل تصوير الرسول بالنسبة لهم إهانة.
ولكن لا يبدو أن من بنى المحكمة كان ينوي إهانة المسلمين أو أي أحد آخر. فالمهندس المعماري (جيمس براون لورد) عمل مع مجموعة من النحاتين لزخرفة الواجهة بشخصيات تلهم الناظرين.
يقول مايكل إتش.بوغارت، أستاذ تاريخ الفن في جامعة ستوني بروك “كانوا مهتمين بتقديم الإسلام، أحد أعظم الأديان على وجه الأرض، إلى القانون الأمريكي والحضارة التي سادت في أوائل القرن العشرين”.
إن العديد من المباني الأمريكية من أواخر القرن التاسع عشر وأوائل القرن العشرين غنية بالأعمال الفنية الاستعارية أو التمثيلية التي فقدت مغزاها لدى العديد من المعاصرين.
ظل الحال على ما هو عليه حتى العام 1953، عندما أعلنت شعبة الاستئناف أنه ستجري عمليات إصلاح على المبنى المتداعي، مما أعاد إلى الأذهان أن أحد تلك التماثيل يمثل النبي محمد.
لكن إدارة الأشغال العامة في نيويورك انتصرت حينها، وجرى إزالة كافة التماثيل العشرة، بما أن حالتهم كانت سيئة جدًا. رغم أن السيد كامبل قاتل بشدة لإصلاحها وتنظيفها والإبقاء عليها.
لكن المناقشة العلنية للمشروع لفتت انتباه سفارات مصر وإندونيسيا وباكستان إلى وجود التمثال، فطلبوا من وزارة الخارجية التدخل لدى مفوض الأشغال العامة في المدينة.
كما أرسل العديد من المسلمين إلى المحكمة يطلبون منها التخلص من التمثال، حيث قال كامبل عام 1955 “إن قضاتنا السبعة يوصون بالموافقة على الطلب”.
وفي وقت ما بين عامي 1954 و1955، جرى إنزال تمثال النبي محمد، والذي كان وزنه يزيد على 1000 رطل، إلى الشارع، وجرى لفه في نجارة ونقله إلى مخزن في نيو آرك. لكنه لم يكن قد جرى التخلص منه عندما كتبت عنه صحيفة التايمز في التاسع من أبريل عام 1955.
وفي مقال نشرته صحيفة التايمز يوم 12 فبراير 2006 بعنوان “صور محمد، ولَّت إلى غير رجعة”، قدمت إشارة للتمثال بعد أن شوهد آخر مرة في عام 1983 “ملقى على جانبه في حديقة من الحشائش الطويلة في مكان ما في نيو جيرسي”.

It would have given great offense, had anyone known it was there.
For the first half of the 20th century, an eight-foot-tall marble statue of the Prophet Muhammad overlooked Madison Square Park from the rooftop of the Appellate DivisionCourthouse at Madison Avenue and 25th Street.
Sixty years ago, the statue was quietly removed, in an episode that now looks, in light of recent events in Paris, like the model of tact, restraint and diplomacy.
What had spared the sensibilities of Muslim passers-by from 1902 to 1955 was that “Muhammad,” by the Mexican sculptor Charles Albert Lopez, was among nine other lawgivers, including Confucius and Moses.
After New York’s polluted air had finished with the sugary stone, trying to figure out who was whom from street level, three very tall stories below the courthouse rooftop, would have been a fool’s game.
If any attribute might have identified Mr. Lopez’s figure as Middle Eastern, it would have been its scimitar. But the distinctive curving blade had fallen off at some point.
“They probably didn’t know he was there,” George T. Campbell, the chief clerk of the Appellate Division, First Department, said in 1955, when the statue was finally removed out of deference to Muslims, to whom depictions of the prophet are an affront.
(For the same reason, The New York Times has chosen not to publish photographs of the statue with this article.)
It does not seem likely that the designers of the courthouse intended offense to Muslims or anyone else. The architect, James Brown Lord, worked closely with a group of sculptors, including Mr. Lopez, to ornament the facade with figures that would instruct and inspire viewers.
“These artists were rendering the image of the prophet in a spirit of respect,” said Michele H. Bogart, a professor of art history at Stony Brook University and the author of “Public Sculpture and the Civic Ideal in New York City, 1890-1930.” “They were interested in Islam’s contribution, as one of the great world religions, to American law and civilization of the early 20th century.”
Many American civic buildings from the late 19th and early 20th centuries are rich in allegorical or representational artworks whose meanings are largely lost on contemporary viewers. They may have been an equal mystery back in the day.
It was not until 1953, when the Appellate Division announced that long-needed repairs were to be made at the crumbling courthouse, that the identity of one of the statues as a representation of Muhammad was widely recalled.
Had the New York City Department of Public Works prevailed at the time, all 10 statues would have been removed from the courthouse, since they were in a state of dangerous disrepair. The clerk, Mr. Campbell, fought hard to repair, clean and keep them.
Public discussion of the project, however, had alerted the embassies of Egypt, Indonesia and Pakistan to the existence of “Muhammad.” They asked the State Department to intervene with the city’s public works commissioner.
Many Muslims also wrote directly to the First Department, Mr. Campbell said, asking the court to get rid of the statue. “Our seven justices recommended granting the request,” he said in 1955.
To compensate for the absence of a figure at the commanding southwest corner of the building, seven statues were shifted one pedestal westward, leaving “Zoroaster” by Edward C. Potter in the place of “Muhammad.” The easternmost pedestal, once occupied by Henry K. Bush-Brown’s “Justinian,” was left vacant.
Sometime in 1954 or 1955, “Muhammad,” which weighed more than 1,000 pounds, was lowered to the street, wrapped in excelsior and spirited off to a storehouse in Newark. It had not yet been destroyed when The Times reported the episode on April 9, 1955.
An article in The Times on Feb. 12, 2006, “Images of Muhammad, Gone for Good,” made a tantalizing reference to the statue’s having last been seen in 1983, “lying on its side in a stand of tall grass somewhere in New Jersey.”
If the statue is still out there, however, now would not seem to be the moment to uncover it.


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STATE OF WAR IN #YEMEN #UPDATE

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حرب اليمن
STATE OF WAR IN #YEMEN #UPDATE 

و هل من جديد!! اليمن دائما فى حالة حرب من وقت انضمام الجنوب و الحدة ودائما (الدولة) تحارب من يقف فى طريقة و (الدولة) فى اليمن ما هى الا عائلة الاحمر و حاشيتة فقط ,,,, فهمى ملكية لكن تحت اسم الجمهورية و اليمن دولة فاشلة بكل المقيايس من فساد فى كل نواحى الحياة و السلاح ارخص من الطعا و مخدر القات اهم من اى شئ لليمنين 
القات هو من الاسباب الرئيسية فى تدمير اليمن حيث دمر الاقتصاد ة دمر زراعة البن فى اليمن وانهاء المخزون المائى فى اليمن كلة حتى ان اليمن اصبحت اول عاصمة فى العالم بلا موارد مياة.

و ال سعود من اكثر من 60 عام و هما يحاربون اليمن من خلال مرتزقة من السياسين و المحاربين فى كل موسسات الدولة العفنة, حتى ال سعود استعلوا امريكا نفسة لتدمير الجمهورية فى اليمن, و دفع مليارات لزعماء القبائل لشراء سلاح وافتعل الفتنة فيما بينهما.

و زرع الخلافات فى ما بين اهل الجنوب و تحريضهما على الانفصال, حتى قامت ثورات التقسيم للشرق الاوسط الجديد و النظام العالمى و اهمية اليمن فقط فى باب المندب و البترول و الغاز ال>ى تحارب السعودية من اجلة حتى لا يكتشف ولكى يكون اليمن فقيرا.

و من بعد خلع على عبدالله صالح وهميا فقط وافتعل رئيس وهمى و لكن الحاكم الحقيقى هو صالح وعائلة الاحمر الى تحارب من اجل السيطر على خيرات اليمن البكر, اليمن دولة ليست فقيرة ولكنة دولة منهوبة وخيراتة تحت الارض لم تكتشف حتى الان.
و تدخل ايران لمساندة الحوثيين ماديا و عسكريا وكانت اقصى طموح مجموع الحوثى هى حكم محافظة عمران فقط.


وطبعا ال سعود حاربوهما حيث اصبح الحوثثين يد ايران فى اليمن وبالتالى لن تقف ال سعود متفرجين.
الحوثييين يتحركون باوامر صالح و ايران الان ولكن الان اصبحت حالة الحرب رسميا و ضاع اليمن السعيد بسبب الخونة والعملاء و المرتزقة دمروا اقدم دولة فى التاريخ.
و دور قطر الخبيث فى تدمير اليمن و مصر و تونس 
الحوثييون..
عجزوا عن احتلال قرية دماج والتي تبلغ مساحتها3 كم
فـ كيف اليوم يسيطرون على اليمن!!!
لاتقولون إيران!!!!!





A video posted by Akrăm Al Jăhmee �� (@akram_aljahmi) on

يتابع ......

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Saint Samaan #Church #Christian #Jew #Islam #egypt #Coptic

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Saint Samaan #Church  #Christian #Jew #Islam #egypt #Coptic 












In the MoKattam, every Thursday evening mass and public exorcisms take place in one of the cave churches. Dive into an area where miracles are often, and the people extraordinary.
In the Mokattam, every Thursday evening mass and public exorcisms take place in one of the cave churches. Dive into an area where miracles are often, and the people extraordinary.
By Louise Sarant, Community Times
Mansheyet Nasser is mostly a Coptic area situated on the lowest slope of the Mokattam hill. This is the residence of the Zabaleen, or slum dwellers, who cart away the rubbish of Cairo metropolis. Apart from a dozen houses inhabited by Muslims and a small “masged” (mosque) among the dusty roads deprived of asphalt of the neighbourhood, mostly Copts are installed there.
The main road of Mansheyet Nasser, lined with cram-full garbage bags that reach impressive heights, bakeries, butcheries and other religious shops, climbs steeply to what the residents call “el dir”, the monastery, even though no monastery is to be seen. However, five amazing churches are established in this secluded and final area of the neighbourhood. A curvy paved road leads to a wide area back by the impressive raw, colored rock of the Mokattam, carved with holy images of the Christ carried out by Marcos, a polish sculptor.
Partly because of the round cafeteria packed with youngsters, who seem to enjoy this moment of rare freedom, and also the huge cave church know as “Saint Samaan Church” excavated in the rock that can host 20,000 people, the common sense of proportion starts to diminish. Thursday evenings sermons of Abouna Samaan, the priest of Mansheyet Nasser, attract thousands of people each week, some from the Mokattam, others from Cairo.
Microbuses also bring faithful Christians through the narrow and smelly streets of this tiny village. The contrast between the pristine and no-smoking area of “el dir” and the smelly streets of Mansheyet Nasser is startling, and gives an impression of sudden serenity and harmony.

THE STORY OF SAMAAN, THE SHOEMAKER

In order to understand why the father of the neighbourhood, whose name is Farahat, has chosen to baptize himself, as well as the church, Abouna Samaan, it is necessary to go back in time, while keeping in mind the legendary aspect of this tale.
A thousand years ago in Egypt, a rather tolerant Caliph encouraged Muslim, Christian and Jewish teachers to debate controversial issues without anger. A battle of wits started between a Jew and a Christian upon religious matters, and the Jewish teacher, in order to force the Coptic patriarch Abraham to the wall, quoted an excerpt of the Bible that says: “If you have faith as a mustard seed, you will say to the mountain move from here to there, and it will move”.
The Caliph was thrilled because through the accomplishment of this miracle, the Christian faith would be validated and there would be a way of expanding the city eastwards, blocked by the mountain. In case of failure, the future of the whole Christian community would be doomed.
The patriarch was granted three days to achieve this miracle, and started by warning the whole community of the imminent threat upon them, inviting them to pray and feast through the day. On the third day, the patriarch, hopeless, had a vision of the Virgin Mary that unveiled the identity of the man who will accomplish the miracle: Samaan, the shoemaker. Indeed, at sunset on the same day, the mountain rose up three times, and while it rose for the last time, the sun was seen under the mountain. The history, or legend, of the miracle that saved the whole Christian community from an assured extinction is still vivid today, which explains the name both of Farahat and the church.
Many miracles happen in those churches of the Mokattam, which also justify the use of the shoemaker’s name.

THE EXORCISM PROCESS

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On Thursday evenings, the first hour and a half is devoted to praying in the massive church of Saint Samaan and listening to the sermon of Abouna Samaan.
Around 9 pm, the huge assembly parts in two, those who go back to their homes and those who will follow the mass exorcism that is to take place right after the sermon in Mar Girgis Church. This church is considerably smaller than the previous one; still around 2000 people can be seated without a feeling of claustrophobia.
Originally, this church was a cavern filled with 140,000 tons of rocks. The auditorium-like shape of the cave is filled with rows of quite uncomfortable folding seats. In the middle stands a stage where the acts of exorcism are performed, and on both sides of the central stage, two neat queues (one for women and one for the men) are forming. Dressed in black with a bushy grey beard and a wooden cross in the right hand, Abouna Samaan radiates an impression of solemnity and wisdom that is quite striking to the audience.
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A tiny orchestra, led by a dynamic choir and a few instruments is lightening the atmosphere by playing a whole repertoire of songs glorifying Jesus while the exorcisms take place. The lyrics can be easily followed on a big screen that is hung on the wall of the cavern, scrolling on images of happy people. A woman is on stage, standing in front of the priest. Her body is shivering while he firmly presses his wooden cross on her forehead while whispering a prayer. In an instant, she is lying on the stage floor, almost unconscious.
A khadeema immediately covers her body with a white sheet and Abouna Samaan crouches close to the distressed women. Her body is struck by spasms, and her high-pitched screams fill the whole cave. The attention of the audience is total. After hitting her many times with his wooden cross so that her body calms down, he grabs the microphone and asks to the evil spirits inside her: “How many of you are there?” She screams louder, the audience stiffens.
“Six”, she answers.
The priest starts praying for her in the name of Christ and in the name of the cross, then orders her to lift her left leg. “Irfa!” he yells, while the leg of the young woman begins rising under the sheets, thus creating a very unnatural shape. “Put it back down!” yells the priest, and she obeys promptly. On the third time she lifts her leg, he addresses the devil and tells him that now is time to leave this body, and that he will let go of her when her leg touches the floor for the last time.
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At that moment, one of the numerous khadeemas on the stage pours “Baraka” water (from a real Baraka bottle) into the priest’s palm. As soon as the poor woman’s leg is back on the floor, Abouna Samaan sharply splashes her face with the holy water, prompting the immediate release from the evil spirit that inhabited her. She is helped to stand on her two feet again, and is invited by the priest to stomp her feet in the name of the Father, the Son and the Holy Spirit. She then readjusts the veil that has been crumpled in the exorcism process, and leaves the cave.
It could sound unconventional, but many Muslim men and women come to Abouna Samaan for an exorcism. It also happens in the Mar Girgis Cathedral in Ramses, where Abouna Makary Younane proceeds with exorcisms every Friday evenings.

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#AmericanSniper شيطان الرمادي Vs Juba (sniper)

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