佩: to Remember @ Heart
- Lugdunum VI Pierre Corneille St. 24 生 produced (mechanical processing)
- 45.76662088179979, 4.843122826590496
- Lugdunum I Puits Gaillot St. 8 井 separated (tremor processing)
- 45.76802010688251, 4.836219900254732
- Michel Servet Elementary School Lugdunum I Alsace-Lorraine St. 2-6 學「習」formated (integration process)
- 45.77234742942949, 4.83664421877883
- Lugdunum VIII USA St. 45 發「射」launching process
- 45.73645311997846, 4.863243649198607
48°50'49.1"N 2°21'22.8"E
- Antoniacum Général de Gaulle Av. 55, 92160 RU* Jean Zay1
- 48.761866198625945, 2.302349261715959 (48°45′14″N, 2°17′51″E)
- Lutetia Parisiorum V Centre Censier² De Santeuil St. 13
- 48.83991695414951, 2.3538644058969256
- Lutetia Parisiorum V Paris Diderot University (
Paris VII Jussieu Campus) Jussieu Sq. 4 - 48.84697,2.35633
- Lutetia Parisiorum V Gay-Lussac (Stéphane Benedetti's) 35
- 48.843838942755255, 2.342426512277321
25°02'49.1"N 121°53'22.8"E
- 台灣台北市大安區和平東路二段183巷3弄6號
- 25.027071390344783, 121.5336680035907
- 新竹國語學院, 新竹市 nicknamed "The Windy City" for its windy climate.
- 24°48'13.00" N 120°58'7.00" E
- Closing on the Tropic of Cancer3 on June 29th, 1973 @ 新竹 & 台北 "no shadow's birthday celebration"
Lugdunum is a Latinization of the Gaulish *Lugudunon, meaning "Fortress (or hill) of (the god) Lugus" or, alternately "Fortress of the champion" (if *lugus is a common noun cognate with Old Irish lug "warrior, hero, fighter").
The Celtic god Lugus was apparently popular in Ireland and Britain as is found in medieval Irish literature as Lug(h) and in medieval Welsh literature as Lleu (also spelt Llew).
According to Pseudo-Plutarch, Lugdunum takes its name from an otherwise unattested Gaulish word lugos, that he says means "raven" (κόρακα), and the Gaulish word for an eminence or high ground (τοπον έξέχοντα), dunon.
An early interpretation of Gaulish Lugduno as meaning "Desired Mountain" is recorded in a gloss in the 9th-century Endlicher's Glossary, but this may, in fact, reflect a native Frankish speaker's folk-etymological attempt at linking the first element of the name, Lugu- (which, by the time this gloss was composed, would have been pronounced lu'u, the -g- having become silent) with the similar-sounding Germanic word for "love", *luβ.
Another early medieval folk-etymology of the name, found in gloss on the Latin poet Juvenal, connects the element Lugu- to the Latin word for "light", lux (luci- in compounds) and translates the name as "Shining Hill" (lucidus mons).
Roman, then Burgundian (From Late Latin Burgundia, from Late Latin Burgundiones (“highlanders”), from Proto-Germanic *Burgundī, from Proto-Indo-European *bʰérǵʰonts (“high, mighty”<= root: *bʰerǵʰ-).
1 Zay for See (German) <=> living near a body of water (lake, sea, ocean) from Old High German sēo, from Proto-Germanic *saiwiz. Compare Low German See, Dutch zee, English sea, Danish sø.
ز Zāy (en arabe زاي, zāy ou zāī, ou simplement ز) est la 11e lettre de l'alphabet arabe. Sa valeur numérique dans la numération Abjad est 7.
ז Zayin (ז, prononcé /z/) est la septième lettre de l'alphabet phénicien et hébreu. Elle a donné naissance à la lettre grecque Zêta (Ζ, ζ), au Z de l'alphabet latin et à son équivalent cyrillique Ze (З).
Le mot hébreu Zayin signifie une arme, et la forme de cette lettre évoque une épée ou un poignard. En argot israélien, le mot zayin désigne le sexe masculin.
Sa valeur numérique est 7.
² Censier: evaluation centre, Déverbal de censeo (« estimer, évaluer »). De l’indo-européen commun *k̂ens- (« annoncer, proclamer »), peut-être apparentée au radical *cas- de carmen, camoenus. Il est apparenté à l’avestique sąh (« déclarer »), au sanscrit शंसति, śaṃsati (« déclarer »). From Proto-Italic *kensēō, from Proto-Indo-European *ḱn̥s-é-ti, *ḱn̥s-eyé-ti, from *ḱens- (“to announce”). Cognate with Sanskrit शंसति (śáṃsati, “to declare”), Proto-Iranian *cánhati.
* RU University Residency re- + sedeō (“sit, be situated”). From Proto-Italic *sedēō, from Proto-Indo-European *sed-, the same root as sīdō. Cognates include Sanskrit सीदति (sī́dati), Old Church Slavonic сѣдѣти (sěděti), Old English sittan (English sit). Confer sīdo (“I settle, I sink down”).
3 The Tropic of Cancer, an imaginary dividing line between the Earth's northern temperate zone and its central tropic zone, is an essential landmark used for scientific research in such fields as astronomy, geography, biology, soil and climate studies. It passes through 16 countries and regions which are mostly desert areas except for four provinces in China - Yunnan, Guangxi, Guangdong and Taiwan - which have green forests, plentiful rainfall and abundant natural resources. Consequently, this portion of the line is nicknamed 'the magic green region at the Tropic of Cancer'. All over it, on June 21, the sun is directly overhead. It is the longest day, in the northern hemisphere, and it is named the summer solstice. The southern hemisphere, simultaneously, experiences its shortest day, or winter solstice (at the tropic of Capricorn). It is said that on that day 'no shadow of a standing rod' shows because the sun being directly overhead, no standing rod casts any shadow, in any direction. At this latitude (23°27’N) on June 21, the North Pole receives the sunlight during all 24 hours of the day.
Due to the actual tilt angle of the Earth (23.5°), the latitude is fixed, but should the tilt angle of the Earth change, the location of the tropic line would consequently be affected.
The distance between two latitudes being approximately 69 miles or 111 kilometres, the distance between the Equator and the Tropic of Cancer is roughly 2583km.
Its latitude= 23°27’N while the Equator's latitude = 0°0’; the difference between two degrees =23°27’, the distance from the Equator = 23.27 x 111= 2583 km or 1606 miles.
Radius & Circumference of Tropic of Cancer = Radius of the Equator x cosѲ with, Ѳ = degree of latitude. Radius of Equator = 6378 km => Ѳ=23° 27’ => 6378 X cos 23° 27’ = 6378 X 0.921 = 5850 km
The radius of the Tropic of Cancer is approximately 5850km, or 8% smaller than the Equator radius.
The tropic of Cancer's Circumference = 2 x π x r = 2 x π x 5850 = 36.738 km
Importance of the Tropic of Cancer:
Of the five Earth's crucial latitudes (the Equator, the tropic of Cancer, the tropic of Capricorn, the Arctic Circle and the Antarctic Circle) the particulars of Tropic of Cancer is due to the fact that the sun does not move beyond its fixed latitude, towards the north. The locations between the Tropic of Capricorn and the Tropic of Cancer experience perpendicular sunrays only twice in a year.
Geography of the Tropic of Cancer: It passes through sixteen countries, eight of which are within the extended Asian region, six are in Africa and two in North American countries. It does not pass through Europa, South America or Australia.
African Countries: 6 (Algeria, Niger, Libya, Egypt, Mali, Mauritania)
The Middle East & Asian Countries: 8 (Saudi Arabia, The United Arab Emirates, Oman, India, Bangladesh, Myanmar, China, Taiwan)
South American Countries: 2 (Mexico & the Bahamas)
Tropic of Cancer | Symbols
About the Title
The title Tropic of Cancer comes from Henry Miller's interest in astrology. The crab, a constellation representing the sign of Cancer, moves in any direction, much like the novel's protagonist, who lives a nomadic, unconventional life as a writer in search of freedom. Miller also envisioned the word cancer to suggest a world eating itself from within. As he wrote in a letter to his lover and fellow writer Anaïs Nin, "the disease of civilization, the extreme point of realization along the wrong path—[spawns] the necessity to change one's course and begin all over again."
Perspective and Narrator
Tropic of Cancer is narrated in the first person by "Henry Miller," a fictionalized version of the author. To distinguish between Henry Miller, the author, and Henry Miller, the character, the author is referred to by his last name in this study guide: Miller wrote the novel in Paris.
Henry Miller buys a wedding ring for Mona, his wife, after three years of marriage, because they have never had a ring. The ring has orange blossoms on it, and he puts it on his pinky for safekeeping. He waits for her to show up at the train station, but she never does, and even though she keeps saying she's going to come to see him, it never happens. Although it has become clear to Henry that Mona is not coming back to him, he keeps the ring on his pinky anyway. At one point, he loses the ring but gets it back again, and one of the blossoms has fallen off. He never takes off the ring after that, until he tries to pawn it so he can eat, but he won't sell it because no one will give him what he thinks it's worth it. The ring symbolizes both the loss of Henry's relationship with Mona and his hope that someday she might come back to him. The loss of the ring and the fact that blossom has fallen off it symbolize the hopelessness of the situation and the loss of the most important romantic relationship in Henry's life, as well as his inability to resurrect it.
Books
Writers serve as important touchstones for the character of Henry, and likely for Miller, too. These include the 19th-century American poet Walt Whitman, who wrote encyclopedically, ecstatic poems embracing all aspects of American life. Henry does not share Whitman's optimism about America by any means, but he has a similar, all-encompassing style, piling on long lists throughout the novel, including the many sights, sounds, and smells of Paris that Henry experiences as he wanders through the city. He also admires Dostoyevsky, a 19th-century Russian novelist, because "there was no place too low for him to enter, no place too high for him to fear to ascend." This, too, resembles Henry's own approach to life, which ranges from descriptions of the "low" (toilets, brothels, sex with prostitutes, and the black, rotting guts of civilization), to the ecstatic heights of reinventing the world through art.
Henry is writing a book, but he insists it is not really a book, just an insult, "a kick in the pants to God, Man, Destiny, Time, Love, Beauty ... what you will." He finds existing literature tiresome, but he keeps writing anyway. To Henry books and literature symbolize repression. They only include what people are willing to say out loud, but his goal in his writing is to say what no one else is willing to say. In Chapter 13 he tells readers that "my idea in collaborating with myself has been to get off the gold standard of literature." He wants to lift the censorship from literature and speak the unspeakable. At the beginning of the novel, Henry believes words are futile (知者不言，言者不知。道德經 56) — the only writers who are trustworthy are the ones who are not ruled by words but are living their passions. However, in Chapter 13 Henry has an epiphany and comes to realize the power of words to restore humanity and bring joy (a writer's alibi to go on?).
Female Body
In a novel so full of sex it is difficult to find more than one page that doesn't talk about it, the female body functions as a multipurpose symbol. Sometimes Henry describes it as the womb from which he has been ejected and to which he wants to return. At other times he describes it as the cesspool of the world, the repository of all that is bad, and the symbol of trickery and false advertising. At other times he describes the female body as a gateway into the world of imagination and creativity.
Henry has a complicated relationship with the female body. He both loves and hates it, and it serves both as his nemesis and his deepest desire. He views the female body as a mechanism by which to achieve a short-term pleasure that is, in the end, unfulfilling. Henry uses Matisse's representations of the female body to illuminate what Henry believes to be beautiful and full of light in the world, though and says none of Matisse's works could be complete without the spark of the female form the artist uses. Later, when he is with a prostitute, her body, specifically her sex organs, inspire an ecstatic vision in which Henry explores the end of civilization and the role of the artist. The female body itself serves as a symbol of Henry's own state of mind, changing with his moods, becoming beautiful when Henry's life is going well, and terrible, devoid of meaning, when he is angry or destitute.
Paris and New York City
Paris symbolizes excess, good and bad, as well as poverty and squalor for artists who come there to gain inspiration. In Paris, even if you are poor, all vices are on display and are there for the taking. Henry believes Paris gets inside a person and eats them away, but he also thinks that Paris is the one place in the world where artistic types like himself are able to see the world stripped of all its pretences, expanding their creativity. Henry simultaneously sees exuberance and destruction in process in Paris, and his relationship to the city may be his most intimate in the novel, despite the many women in his life.
New York City, in contrast, appears like a treadmill to Henry, where he has to work nonstop in order to stay alive, and still never gets ahead because he and others are always under the thumb of the rich. Unlike Paris, which offers a nonstop stream of physical sensations that provide an immediacy and energy that Henry craves, New York is "cold, glittering, malign." There is no joy for Henry in New York, even though Mona, his wife, has gone back there, and Henry misses her terribly.
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