It was there in the first ever glossary of slang, the collection of criminal jargon published c.1532, and it’s still going strong.
Booze: Alcoholic drink, and as a verb, to drink.
It came from Dutch buizen, to drink to excess (and beyond that buise, a large drinking vessel) and the first examples were spelt bouse.
Over the centuries it spread its wings.
We find the boozer (both pub and person), the booze artist, -gob, -head, -freak, -hound,-hoister, -rooster, -shunter and -stupe, all drunkards.
There are the pubs, saloons and bars – the booze barn, -bazaar, -casa, -crib, -joint, -mill, -parlour, -factory, -foundry and -emporium.
Across the mahogany (the bar counter) stands the booze clerk, -fencer or -pusher. If we hit the booze too heavily, we get a booze belly, and maybe a trip on the booze bus, Australia’s mobile breath-tester.
“The Pier, Sellin” by elbfoto from Wedel, Germany – Seebrücke Sellin/Rügen. Licensed under CC BY 2.0 via Wikimedia Commons
Sellin Pier (German: Seebrücke Sellin) is a pier in the Baltic seaside resort of Sellin on the German island of Rügen.
The pier has a restaurant near the beach over the water and has a diving gondola (Tauchgondel).
Initial plans in 1901 foresaw a 60-metre-long landing stage, but this was deemed insufficient due to the very high visitor numbers anticipated. The first 508-metre long pier with a restaurant was built in 1906.
After a fire at the bridge head in 1920 a new building was needed. In 1925 a new pier was built, with a platform and concert hall, that had a length of approximately 500 metres.
This bridge was destroyed in severe ice conditions in the winter of 1941/1942. The undamaged bridge house survived, however, and from 1950s to the 1970s was the site of a popular dance hall.
During this time, however, the structure of the building was neglected and in 1978 the dilapidated bridgehead, including its structures, had to be demolished.
In 1991 the President of Germany, Richard von Weizsäcker, visited Sellin and this prompted active support for its rebuilding.
On 27 August 1992, reconstruction began in several sections based on models of the buildings from 1906 and 1925.
On 20 December 1997 Sellin honorary citizen, Hans Knospe, symbolically cut the ribbon for at the handover of the structure.
The official opening of the new pier, including its restaurant, was held on 2 April 1998.
At 394 metres it is the longest pier on the island.
After water damage was found in October 2011 the restaurant was closed for some time.
Martin Eder is a German artist who paints atmospheric portraits, blurring the lines between reality and fantasy in a semi-surreal haze.
His recent series involves figures of mythological repute, clad in armor and posing on the battlefield while the background boils with fire, smoke, and blood.
Elsewhere, in more subdued scenes, his subjects recline in tender contemplation, or transform — with a silent violence — into a swan.
Blending Botticelli-esque classicism with contemporary hyperrealism, Eder’s paintings defy categorization, appealing in their ambivalence to our fantasies through passionate stories radiating courage and melancholia.
Eder’s previous works are known for their flickering touches of eroticism blended with absurdity.
Those who see his depictions of women as somewhat fetishized are not mistaken; experimenting with desire (and engaged criticisms) as affirmations of life, Eder asks us, in a rhetorical turn, “isn’t arousal, if it’s present at all, a rebellion against death?” (Source).
In his bloodied and battle-wearied warrior portraits, however, Eder seems to be metaphorically driving at something else: a connection to the present, as the curator’s statement for Eder’s current exhibition at Galerie Eigen + Art suggests:
Women in armour, torn linen fabrics, armed with swords, traces of acts of war on their faces. The theme seems to be of a historical one, but is omnipresent: women of war in battle, in combat.
Amongst the overflow of catastrophes, natural disasters and war images, emerge female figures as warriors that we repeatedly see, as soldiers, in the form of mothers who protect their children or their villages with weapons in the Middle East, or on another front on Maidan Square, equipped with improvised armour of street signs, gaffer tapes and plastic containers.
Visit Eder’s website to see more of his art. In addition to oil paintings, he also works in watercolour, photography, and sculpture.
These beautiful watercolours come from the Austrian painter Aloys Zötl’s Bestiarium, a series of exquisite paintings of various animals undertaken from 1831 through until his death in 1887.
He was relatively unknown until, decades after his death, his work was “re-discovered” by surrealist André Breton who was taken by the surrealist aesthetic he saw present in the images – as he writes:
“Lacking any biographical details about the artist, one can only indulge one’s fantasies in imagining the reasons which might have induced this workman from Upper Austria, a dyer by profession, to undertake so zealously between 1832 and 1887 the elaboration of the most sumptuous bestiary ever seen.” (Wikipedia)