Synonyms for xénia or Related words with xénia
Examples of "xénia"
Wanna ViiiP: Candice, Noam, Kévin, Aurélie, Beverly, JP, Alexandre and
Krizsán (born 13 January 1993) is a Hungarian athlete who specialises in the heptathlon.
It Happened in Athens is a 1962 American-Greek romantic-dramedy film released by 20th Century-Fox. It is directed by Andrew Marton and features blonde bombshell Jayne Mansfield, newcomers Trax Colton and Roger Browne in his debut, Maria
, Nico Minardos, and Olympic champion Bob Mathias.
Xenia Kalogeropoulou (born September 11, 1936), also known as Maria
, is a Greek actress, who appeared in both Greek and English-speaking films in her career. With her career, spanning nearly three decades, she has appeared in over forty films and television shows.
At the Salle Favart she took part in the premieres of "Mon Ami Pierrot" by Barlow in 1935 (singing Ninon) and "l'École des Maris" by Bondeville in 1935 (Isabelle) as well as the Paris premieres of Samuel-Rousseau's "Tarass Boulba" (
) and Alfano's "Cyrano de Bergerac" (Roxane). Her last appearance at the Opéra-Comique was in 1953, but she continued to perform throughout France.
Christian had been a member of the anti-Nazi resistance during World War II. She spent seven years in the US. She made her acting career during Argentina's golden age of film and television. She appeared with José Cibrian, Osvaldo Miranda, Angel Magaña, Zulma Faiad, Jorge Larrea, Susana Campos, Amelia Bence, among others. She debuted on television in 1955. She was a pioneer in the French bataclanas style in Argentina, along with May Avril and
Monty. She committed suicide in 1967.
Siska (born 3 November 1957) is a Hungarian track and field athlete who specialised in the 100 metres hurdles. She is her country's best ever female sprint hurdler, holding the Hungarian record in the 100 m hurdles (12.76 seconds), as well as the 60 metres hurdles and 50 metres hurdles. She is also a co-holder of the 4×100 metres relay national record.
Kseniya (also Xeniya, Ksenia, Kseniya, Ksenija or Xena; derived from Greek ξενία "xenia" - "hospitality") is a female name used mainly in Russia, Ukraine and Greece. In Spain, although it started to become more popular during the 1990s, it appears mainly in Galician "Xenia" , and in Catalan "Xènia" where it is a traditional diminutive of "Eugènia". Related names include: "Oksana" (; ), "Axana" (), "Ksenija" (Slovenia, Croatia); "
" (Hungary); "Senja" (Finland), and "Ksenija" (Ксенија) (Serbia, Montenegro and Macedonia)," Аксиния" Bulgaria .
Catalan version premiered in 2004 at the Teatre Tivoli of Barcelona4 led by Coco Comin, Ramon Ribalta and Oleguer Alguersuari.5 and interpreted by
García, Sergio Alcover, Ferran Gonzalez, Rolando Amauri Reinoso, Damaris Martinez, Lucy Lummis and Sonia Callizo. This same assembly, but Spanish, was mounted at the Calderon Theater in Madrid in 2006, where permaenció one year, starting after a tour of Spain that culminated again in Barcelona in 2008, this time at the Apollo Theatre .6 mounting Castilian had something new in the cast as in the case of Dafne Fernandez and Brown Cristina.
Herman goes on to point out "No less important an element in forging the alliance was the exchange of highly specialized category of gifts, designated in our sources as "
" (as distinct from "xenía", the term of the relationship itself) or "dora". It was as important to give such gifts as to receive, and refusal to reciprocate as tantamount to a declaration of hostility. Mutual acceptance of the gifts, on the other hand, was a clear mark of the beginning of friendship." Herman points to the account of Odysseys giving Iphitos a sword and spear after having been given a formidable bow while saying they were "the first token of loving guest-friendship". Herman also shows that Herodotus holds "the conclusion of an alliance and the exchange of gifts appeared as two inseparable acts: Polykrates, having seized the government in Samos, "concluded a pact of "xenia" with Amasis king of Egypt, sending and receiving from him gifts ("dora")". Within the ritual it was important that the return gift be offered immediately after receiving a gift with each commensurate rather than attempting to surpass each other in value. The initial gifts in such an exchange would fall somewhere between being symbolic but useless, and of high use-value but without any special symbolic significance. The initial gifts would serve as both object and symbol. Herman points out that these goods were not viewed as trade or barter, "for the exchange was not an end in itself, but a means to another end." While trade ends with the exchange, the ritual exchange "was meant to symbolize the establishment of obligations which, ideally, would last for ever."
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