doom (W3)Engl. "doom" (1600) = dt. "Schicksal", "Untergang", "Vernichtung" geht zurück auf altengl. "dom" = dt. "Gesetz", "Urteil", "Verurteilung". Eines der ältesten englischen Wörter engl. "doom" hatte ursprünglich eine neutrale Bedeutung als dt. "Gesetz" (sowohl im Sinne von Gewohnheitsrecht als auch im Sinne einer Gesetzesregelung, Verordnung, Verfügung). Der Bedeutungswandel verlief über dt. "Beurteilung", "Benachteiligung" zu dt. "ausgesprochene Verurteilung" insbesondere dt. "Verurteilung", "Straferlass". Und eine Verurteilung konnte durchaus die Lebensplanung eines Menschen vernichten. Und heute findet man auch die Konnotation dt. "Schicksal", "Geschick", "Los", "katastrophales Schicksal".
Noch weiter zurück gehend wird germ. "*domaz" und ide. "*dhe-" postuliert.
Über ide. "*dhe-" = dt. "setzen", "stellen", "legen", "bereiten", gehört engl. "doom" zu einer grossen Wortfamilie, zu der z.B. auch russ. "duma" = dt. "gewählte Volksvertretung" (wörtlich dt. "Gedanke", zu got. "dom" = dt. "Ruhm", "Urteil") gehört. Als nahe Verwandte findet man altengl. "dombec" = dt. "Gesetzbuch". Als Adjektiv findet man engl. "doomed" = dt. "verloren", "dem Untergang geweiht".
- engl. "dem Tod geweiht sein" = dt. "be doomed to die"
- engl. "dazu verdammt sein zu" = dt. "be doomed to"
- engl. "jdn. ans Messer liefern" = dt. "send sb. to his doom"
- engl. "Verhängnis" = dt. "doom"
- engl. "verdammend" = dt. "dooming"
- engl. "verdammt" = dt. "doomed"
- engl. "verdammen" = dt. "doom"
"jeremiad": A lamentation with a prophecy of "doom". Jeremiah, the Old Testament prophet of the 6th and 7th centuries BCE who prophesied the "doom" of the Jewish people at the hands of the Babylonians during the reigns of several kings.
Doom | Doom-rings | Doomstead
Doomed to Die (1940)
2006 (218): October (33): Art class of DOOM
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- Living in virtual worlds from the article virtual reality (VR) (computer science)
- Michael Wigglesworth (American theologian and writer)
- Harrison Ford (American actor)
- The 17th century from the article American literature
- William Alexander, 1st earl of Stirling (British statesman)
- Computer Games from the article Computers and Information Systems: Year In Review 2004
- Indiana Jones (fictional character)
- History from the article French Foreign Legion (military organization)
- Indiana Jones and the Temple of Doom (film by Spielberg)
Rootabaga Stories: Four Stories About the Deep Doom of Dark Doorways
"doom" (n.) Old English "dom" "law", "judgment", "condemnation", from Proto-Germanic "*domaz" (cognates: Old Saxon and Old Frisian "dom", Old Norse "domr", Old High German "tuom", Gothic "doms" "judgment", "decree"), from PIE root "*dhe-" (cognates: Sanskrit "dhaman-" "law", Greek "themis" "law", Lithuanian "dome" "attention"), literally "to set", "put" (see "factitious"). A book of laws in Old English was a "dombec". Modern sense of "fate", "ruin", "destruction" is c.1600, from the finality of the Christian Judgment Day.
"doom" (v.) late 14c., from "doom" (n.). Related: "Doomed"; "dooming".
Borrow, George Henry, 1803-1881: Faustus his Life, Death, and Doom (English) (as Translator)
Cromie, Robert, 1856-1907: The Crack of Doom (English) (as Author)
Gaskell, Elizabeth Cleghorn, 1810-1865: Doom of the Griffiths (English) (as Author)
Hickey, H. B., 1916-1987: Daughters of Doom (English) (as Author)
Klinger, Friedrich Maximilian, 1752-1831: Faustus his Life, Death, and Doom (English) (as Author)
Leinster, Murray, 1896-1975: Sand Doom (English) (as Author)
Munro, Neil, 1864-1930: Doom Castle (English) (as Author)
Owen, Wilfred, 1893-1918: Anthem for Doomed Youth (English) (as Author)
Peirce, Earl: Doom of the House of Duryea (English) (as Author)
Sutphen, Van Tassel, 1861-1945: The Doomsman (English) (as Author)
Terry, Bill: Daughters of Doom (English) (as Illustrator)
Vance, Gerald: Equation of Doom (English) (as Author)
Words of Anglo-Saxon Origin
"doom" n. ["dom", "judgement"]
Glitter and Doom: German Portraits from the 1920s at The Met
Doom - Der Film
(E?)(L?) http://www.oedilf.com/db/Lim.php?Word=crack of doom
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Search Results for doom — 30 match(es)
- Uncommercial Traveller Title: The Uncommercial Traveller Author: Charles Dickens Source: Gutenberg Source URL: http://www.gutenberg.org/ebooks/914 THE UNCOMMERCIAL TRAVELLER CHAPTER I-HIS GENERAL LINE OF BUSINESS Allow me to introduce myself-first negatively. No landlord is my friend and brother, no chambermaid loves me, no waiter worships me, no boots admires and envies me. No round of beef or tongue or […]
- Sonnets THE SONNETS by William Shakespeare I From fairest creatures we desire increase, That thereby beauty’s rose might never die, But as the riper should by time decease, His tender heir might bear his memory: But thou contracted to thine own bright eyes, Feed’st thy light’s flame with self-substantial fuel, Making a famine where abundance lies, […]
- Pericles Left out of the First Folio and many early editions, about half of this play is now believed to have been penned by Shakespeare. The work is framed with speeches by ‘Gower’, a representation of the fourteenth-century author John Gower, whose Confessio Amantis - along with Lawrence Twine’s The Pattern of Painful Adventures - gave […]
- Measure for Measure As equivocal and all-encompassing as its title suggests, Measure for Measure is one of Shakespeare’s first forays out of Renaissance pomp and convention into the more complicated sensibilities of the Jacobean era. Probably written while the playhouses were closed between March 1603 and April 1604, Shakespeare takes his audience to a Vienna which seems much […]
- Macbeth Essays on Macbeth: John Boe, The Tragedy of Macbeth Macbeth is one of Shakespeare’s best-known plays, despite being supposedly cursed: in theatrical circles its name is taboo, and it is referred to simply as ‘the Scottish play’. It is also one of the shortest plays, at just over half the length of Hamlet. Drawing on […]
- Romeo and Juliet Probably composed in late 1596, Shakespeare’s version of ‘the greatest love story ever told’ marks a new stage in his writing career. Ever versatile, Shakespeare now creates pathos from the forbidden love plot that he had previously parodied in the play-within-a-play of A Midsummer Night’s Dream. Similarly, the Senecan excesses of Titus Andronicus have been […]
- Love’s Labour’s Lost The Duke of Navarre persuades his three friends to foreswear with him the company of women, and to devote themselves to study. Almost immediately afterwards, the Princess of France arrives with her three female friends. It does not take the men too long to realise, in a three-way eavesdropping scene, each others’ attraction, and, having […]
- King Lear The last word on old age was written in the opening decade of the seventeenth century. Shakespeare’s darkest and wildest play, King Lear draws on the gravity of ancient British myth, to tell the story of a man literally driven to insanity by loneliness and regret after abdicating the English throne on account of his […]
- Antony and Cleopatra Antony and Cleopatra is possibly the grandest of the tragedies and the greatest of Shakespeare’s Classical plays. Offering the playwright’s own slant on Thomas North’s translation of Plutarch’s Life of Markus Antonius, and written probably in 1606-7, its epic sweep covers the fall of Mark Antony, one of the triumvirate of triumvirate of Rome’s leaders […]
- Richard III Outstanding for its violence and striking for its postmodern preoccupation with prophecy and the supernatural, Richard III renders masterfully one of the most disturbing episodes in later medieval English history. Though its main character, Richard, was unlikely ever to achieve a sympathetic memory, this play almost certainly cemented his popular reputation as an evil, egomaniac […]
- Titus Andronicus Titus Andronicus is Shakespeare’s first Classical play, written in the early 1590’s, and his first tragedy. It has obvious classical influences, notably from Ovid’s Metamorphoses, which is discussed onstage, and from Seneca’s graphic tragedies written in Neronian Rome. It has sometimes been criticised as immature and unsubtle, some Victorian critics even dismissing the play as […]
- King John The Life and Death of King John is cited by Francis Meres in 1598 as one of the plays demonstrating Shakespeare’s talent and status as the English Ovid. It was popular throughout Victorian times but has been one of the least-performed plays in more recent years. It is, however, one of the most thrilling history […]
- Henry IV part 1 “So shaken as we are, so wan with care”: so King Henry IV, the former Bolingbroke, begins a play that remains half in the shadow of the regicide at the end of Richard II. The King worries about his son, whom he sees as a prodigal and liable to be supplanted by the far more […]
- Henry V Arguably Shakespeare’s best-known history play, Henry V is actually a highly ambivalent work. Some directors, Kenneth Branagh (1944) famously among them, have seen the play as a celebration of British patriotism, whilst others have emphasised the awful casualties of war, and Henry’s Machiavellian habit of, in Stephen Greenblatt’s words, provoking disorder only to repress it […]
- Julius Caesar First performed in 1599, Julius Caesar is remarkable for being one of the best preserved of Shakespeare’s plays, not to mention one of only a very handful on which we have contemporary comment: Thomas Platter, a Swiss doctor from Basle, went to see an early performance and found it to be “very pleasingly performed” and […]
- Richard II Richard II opens with a dispute between Mowbray and Bolingbroke, which, badly managed by the king, results in banishment for them both. Mowbray’s is the harsher sentence, since his exile will be permanent, and his parting words on how his banishment will mean his “tongue’s is to me no more / Than an unstringed viol […]
- Troilus and Cressida The siege of Troy provides the backdrop for Troilus and Cressida, but - like Chaucer in Troilus and Criseyde - Shakespeare opens by claiming that he “leaps o’er…those broils” of the war itself. But, again like Chaucer, Shakespeare finds some parts of the war unavoidable: the play is just as much about the petty rivalries […]
- Two Gentlemen of Verona The Two Gentlemen of Verona is often euphemistically referred to as one of Shakespeare’s ‘early plays’. This phrase attempts to account for its relative immaturity; aesthetically and dramaturgically it is considered by many to be inferior to the ‘later plays’. The actual date of writing is not certain, but the first record we have of […]
- Cymbeline A play of politics and prophecy, masques and magic, gods and ghosts, nightmares and nationalism, Cymbeline (c. 1609-11) resists categorization. Like The Winter’s Tale it traces a fine line between comedy and tragedy; like Antony and Cleopatra it vacillates between the epic scale of the histories and the intimate focus of the romances. But perhaps […]
- The Rape of Lucrece The story of Lucrece, found in both Ovid and Livy, has inspired scores of famous depictions. Britten, Rembrandt, Chaucer, Titian, Gower, Dante, Raphael and Richardson all used the story in their work, but none as famously as Shakespeare in his long narrative poem, The Rape of Lucrece (1594). The poem shares its theme with Venus […]
- Coriolanus Written about 1608, Coriolanus maintains the mature Shakespeare’s shift in historical settings from the Middle Ages to earlier periods. It is one of Shakespeare’s most relentlessly political plays, with a hero’s personality that seems almost as schematic as Timon of Athens’ (also derived from Shakespeare’s favored source in Plutarch’s Lives). This hero of the early […]
- Henry VI part 1 Henry VI, Part 1 invites controversy. The First Folio prints it chronologically among Shakespeare’s histories, first of three Henry VI plays, diverging from order of composition. Thereby Heminge and Condell imply an intended sequence, but Henry VI, Part 1 may be a ‘prequel’ after The First Part of the Contention betwixt the Two Famous Houses […]
- Henry VI part 2 On March 12, 1594, a quarto play was entered in the Stationers’ Register by bookseller Thomas Millington, and printed by Thomas Creede later that year, under the title The First part of the Contention betwixt the two famous Houses of Yorke and Lancaster, with the death of the good Duke Humphrey: And the banishment and […]
- Henry VI part 3 The quarto edition of this play was printed in 1595 as The True Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixt, with the Whole Contention betweene the two Houses of Lancaster and Yorke, but appears in the highly revised version of the First Folio as The Third Part […]
- The Comedy of Errors This is one of Shakespeare’s earlier plays, following The Taming of the Shrew, the Henry VI cycle and Richard III, but preceding A Midsummer’s Night’s Dream and Romeo and Juliet. It is also one of his funniest, but like all of his comedies there is a dark undertone. The story is deceptively simple. Two sets […]
- The Merry Wives of Windsor This is indeed a merry play, possibly the only one of Shakespeare’s comedies in which all’s more or less well that ends more or less well. Getting there is, except for poor Falstaff and the jealous Master Ford, a wildly funny romp. The Sir John Falstaff we see here is not the same one we […]
- Hamlet Hamlet is probably Shakespeare’s best known play; a tragedy of monumental depth and linguistic brilliance. The play opens to an atmosphere of darkness and confusion. The scene is Elsinore; the royal castle of Denmark, where King Claudius and Queen Gertrude’s recent marriage has followed on the heels of the late King Hamlet’s funeral. In this […]
- Word of the Day: Machiavel There are, according to various counts, approximately four hundred references to Niccolò Machiavelli in Elizabethan literature. Three of them are in plays of Shakespeare; what is interesting is that two of the three are from the lips of Shakespeare’s greatest Machiavel, Richard III (when he was still Duke of Gloucester): Alencon! that notorious Machiavel! It […]
- Introduction: Troilus and Cressida The siege of Troy provides the backdrop for Troilus and Cressida, but - like Chaucer in Troilus and Criseyde - Shakespeare opens by claiming that he “leaps o’er…those broils” of the war itself. But, again like Chaucer, Shakespeare finds some parts of the war unavoidable: the play is just as much about the petty rivalries […]
- Antony and Cleopatra (2)
- As You Like It (1)
- Comedy of Errors (2)
- Coriolanus (1)
- Cymbeline (1)
- Hamlet (2)
- Henry IV, Part I (1)
- Henry V (1)
- Henry VI, Part I (1)
- Henry VI, Part II (3)
- Henry VI, Part III (3)
- King John (2)
- King Lear (1)
- Macbeth (2)
- Measure for Measure (1)
- Merry Wives of Windsor (1)
- Pericles (1)
- Rape of Lucrece (4)
- Richard II (5)
- Richard III (4)
- Romeo and Juliet (6)
- Sonnets (5)
- Titus Andronicus (6)
- Two Gentlemen of Verona (2)
- Comedy of Errors (1)
- Cymbeline (1)
- Hamlet (1)
- King John (1)
- Richard II (1)
- Macbeth (1)
- Pericles (1)
- Romeo and Juliet (2)
The crack of doom
The crack of doom
(E2)(L1) http://dictionary.reference.com/browse/doom and gloom
doom and gloom
(E2)(L1) http://dictionary.reference.com/browse/doom palm
(E2)(L1) http://dictionary.reference.com/browse/gloom and doom
gloom and doom
15.02.2013 doom and gloom
doom | just-dooming
Crack of doom
The Doom Patrol
"crack of doom" (New Testament) day at the end of time following Armageddon when God will decree the fates of all individual humans according to the good and evil of their earthly lives
Abfrage im Google-Corpus mit 15Mio. eingescannter Bücher von 1500 bis heute.
Engl. "doom" taucht in der Literatur um das Jahr 1590 auf.