Agora (2009) - Official Trailer


Following "Rome", comes the new historical drama "Agora" (meaning 'market').
Alexandria, 391: Hypatia teaches astronomy, mathematics, and philosophy. Her student Orestes is in love with her as is Davus, her personal slave. As the city's Christians, led by Ammonius and Cyril, gain political power, the great institutions of learning and governance may not survive. Jump ahead 20 years: Orestes, the city's prefect, has an uneasy peace with the Christians, led by Cyril. The Christians enforce public morality; first they see the Jews as their obstacle, then women. Hypatia has no interest in faith; she's concerned about the movement of celestial bodies and the brotherhood of all. What place is there for her?

Directed by: Alejandro Amenábar
Starring: Rachel Weisz, Max Minghella, Oscar Isaac, Michael Lonsdale, Sami Samir

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Ufahamu: A Journal of African Studies

Much has been written on the Nigerian Civil War. However, its impact on some minority groups has been largely neglected. This oversight has affected scholarly treatment of how forces emanating from the war impacted the Anioma people. Though predominantly Igbo-speaking, the Anioma were geographically on the Nigerian side during the war. The dynamics of the war as an ethnic conflict ensured that Aniomaland was a major battlefront. At the end of the war, the Anioma were a distressed group. Houses, homes, careers, dreams, aspirations and individuals lay in ruins. This left the people and their territory in need of major rehabilitation. This article focuses on the rehabilitation and reintegration of the Anioma into the society. It attempts this against the background of the Nigerian government’s policy of rehabilitation and the trumpeted principle of “no victor, no vanquished,” which dominates discourses on the war. Employing primary and secondary sources, the work probes how the Anioma people fared under the post-war rehabilitation program at different levels. It argues that it was difficult for the Nigerian government and society to completely forget the bitterness of the war even while implementing the rehabilitation program. This left the program struggling to manage two diametrically opposed principles, resulting in its merely scratching the surface after promising much.

This paper offers a critique to the present-day biomedical health care system in Equatorial Guinea. It argues that biomedical care represents a failure to meet its people’s needs. A preliminary research study and the collection of published work and data drawn from observations during 2017 and 2018 concluded that the current Equatoguinean dictatorship has negatively influenced the development and success of biomedicine as a model of equitable and accessible medicine, and quality health care for all. Despite the investments of global health organizations and the government’s commitments, the rates of maternal, child, and infant mortality remain high while the prevalence of endemic and epidemic diseases, such as malaria and HIV/AIDS, continues to rise. In addition, biomedical infrastructures lack committed and caring medical personnel, efficient technological environments, accessible and affordable health care programs, and awareness campaigns that reach out to the population. This paper highlights the reasons why biomedical care in Equatorial Guinea fails to meet its people’s needs. Biomedicine was rooted and developed within a social, political, and economic terrain dominated by colonialism and two consecutive dictatorships. All of the institutional mechanisms that sustain the country are controlled by the head of state. Under the reigns of the head of state, international agencies and non-independent medical institutions lead the practice and development of biomedical care. There is real lack of incentive for Equatoguineans to participate in educational and practical enterprises that may lead to a better understanding of the roles that biomedicine can play in daily life. Health care programs and awareness campaigns fail to reach the population due to a lack of full commitment to involve communities. Biomedical care in Equatorial Guinea constitutes a failure on the part of international agencies and non-independent medical institutions to meet people’s needs, due, first and foremost, to the marginalization of the civil society and other healing systems, as well as to unlawful tendencies to fulfill obligations, limited investment, control over non-independent institutional spheres, disparity in care, and medical and educational maldistribution. This paper intends to foment further investigation into the social, economic, and political contexts of the diseases, endemic illnesses, and epidemics that are currently impacting bodies in Equatorial Guinea. This paper encourages further inquiry into the ways in which learning about perceptions, healthcare-seeking trajectories, and health care systems can support solving health and healthcare problems. The goal is to open debate over possible ways in which medical anthropologists can support rising mechanisms for quality health care, inclusivity, community, and freedom of expression.

This article reshapes modernist study through a historical approach. In a move to decenter and decolonize modernism, I focus here on its emergence in decolonizing Nigeria of the 1960s, specifically in the poetry of Christopher Okigbo, contending that modernism is an aesthetic movement that must be understood in its relation to colonialism, imperialism, and coloniality. I sketch out the coloniality of knowledge and being in Nigeria, or the ways in which colonialism has continued to impact Nigerian governance and political life, long after the country’s nominal liberation from British rule. I approach coloniality by examining notions of progress and development and the western standards to which these concepts are bound. Okigbo’s work, and its critical reception, form the centerpiece of my analysis. Like Nigerian economics, Okigbo’s poetry has been overdetermined through neocolonial notions of progress and development. I posit Okigbo’s poetry instead as a modernist negotiation of colonial history and western art, one consistently engaging with an ongoing colonial presence. From this perspective, a modernist study emerges that is comparative but not assimilative. The importance of postcolonial literature for the study of any modern art is thereby demonstrated in a decolonizing move that dwells upon the local rather than the marginal.

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Agora (2009) - Official Trailer - History

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The Great Secret of Life

It has been passed throughout the ages, traveling through centuries… to reach you.

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Running time: 91 mins. Wide-screen format.

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Agora (2009) - Official Trailer - History

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Here are the 10 djent bands who gave the genre its start

Meshuggah may have inspired the genre’s beginnings, but these bands brought it to life.

Djent is a relatively new genre built by many incredible bands. While it’s become a standard part of metal now, it wouldn’t be as common without a handful of acts who pushed it to the mainstream. Sure, the earliest djent bands cite Meshuggah as inspiration for its formation , but without Volumes , Periphery , SikTh and others, it wouldn’t have made its way to becoming one of the most talked about subgenres in metal across the past decade.

Take a look below for 10 bands who gave djent its start.

Read more: Here’s how the majority of Americans feel about attending shows again

Through nü-metal-leaning tendencies for bouncy groove riffs and rapped vocals, Volumes secured their place as a pioneer of djent. Although former guitarist Diego Farias passed shortly after leaving the band, their legacy ensures they’ll live on in metal history.

Born Of Osiris

Born Of Osiris bring together progressive metal and deathcore for a deadly package with robotic tones and machine gun-like riffs . They possess a high level of technicality along with simple punchy grooves that up-and-coming djent acts have used as a blueprint for their material since the band’s inception.


Periphery are arguably one of the first djent bands. Even if you dispute that fact, they managed to push the genre to new heights like no one else. Their debut album made them leaders within the prog-metal movement through tight, catchy riffing along with Spencer Sotelo’s soaring melodies.

Veil Of Maya

Veil Of Maya brought a slightly more extreme take through their influence from melodic death-metal acts that carried over from several members’ previous band Insurrection. Their earliest release still has elements of the genre, including off-kilter rhythms and palm-muted, groovy breakdowns. However, as they aged, they pushed further into the djent sound and became one of the leaders in the movement.

After The Burial

After The Burial have been leaders in djent since the mid-2000s. Their metalcore-leaning approach to the genre has netted them a ton of traction. The band’s dense groove riffs and down-low guitar tones lead to extreme breakdowns, while their technicality and sense of melody are never forgotten along the way.

The Contortionist

The Contortionist bring a spacey vibe matched for djent through influences such as Between The Buried And Me and Deftones . They introduce a good amount of atmospheric melodies in their sound without dropping any of the brutality brought forth through dense, jarring breakdowns and shredding technicality.


Vildhjarta build on fellow Swedes Meshuggah’s stabbing brutality with crushing down-low grooves built to rattle sound systems with bass-heavy tones. While they’ve been relatively silent since their momentous beginnings, the band are back at it. Any fan of the genre should be beyond excited to see these pioneers make their comeback.


Along with Meshuggah, SikTh were initial influences on djent with their tight, plucky mathcore sound. This was picked up on by the majority of early genre acts during the band’s hiatus from 2008 to 2013. Listening to their releases from either their first or second era, it’s evident where many of the standard elements of djent started off, from the wild one moment, structured the next guitar solos to the strange vocal delivery and, of course, the drop-tuned groove-laden instrumentation.


British prog act TesseracT masterfully bring together tight-knit groove elements with a soft, atmospheric metalcore approach. Their bass stand above anyone else’s, even within a bass-driven genre like djent, with these tones popping off underneath everything else, pushing them to a truly unique sound.


Monuments take stabbing off-kilter technicality to new heights with their ridiculously abrasive sound. The band pack in a massive punch coupled with powerful, soaring melodies that quickly earned them recognition, helping push djent further into metal’s collective consciousness at the turn of the 2010s.

Watch the video: Agora 2009 - Official Trailer (January 2022).