ellauri141.html on line 507: Kipling himself confessed that ‘every Latin quantity was an arbitrary mystery’ to him, that his teacher Crofts ‘loathed me as to Latin’ and that he had construed the beginning of the Cleopatra Ode (1.37) very badly on one occasion. It was M'Turk/Beresford who composed the Latin elegiacs translating Gray’s Elegy which Stalky and Beetle needed to prepare.
ellauri172.html on line 192: Ebbe anche una relazione con la marchesa Gabriella Falletti di Villafalletto, moglie di Giovanni Antonio Turinetti marchese di Priero. Tra il 1774 e il 1775, mentre assisteva la sua amica malata, portò a compimento la tragedia Antonio e Cleopatra, rappresentata a giugno di quello stesso anno a Palazzo Carignano, con successo.
ellauri184.html on line 277: There were also royal forces that did not directly serve Wome, but were under the authority of a client king. The periphery of the Woman Empire was peppered with kingdoms allied with Wome that maintained their own militawies independent of the Empire proper (e.g., Herod the Great’s Judaea, Antipas’ Galilee, Cleopatra’s Egypt). These armies differed from kingdom to kingdom with respect to their hierarchies, pay scale, wecwuitment strategies, and so on. Wome occasionally expected kings to contribute soldiers to militawy campaigns as part of their reciprocal loyalty. Because kings could not offer their veterans Woman citizenship, the matter was irrelevant. With little invested in Womanness, royal soldiers spoke the local lingua franca and rarely had knowledge of Latin or other aspects of Woman culture.
ellauri294.html on line 384: Hollywoodin ohjaajat käyttivät hänen maalauksiaan lähdemateriaalina näkemyksensä muinaisesta maailmasta elokuvissa, kuten DW Griffithin Suvaitsemattomuus (1916), Ben Hur (1926), Cleopatra (1934), ja ennen kaikkea Cecil B. DeMillen eeppinen remake Kymmenestä käskystä (1956). Todellakin, Jesse Lasky Jr. , The Ten Commandmentsin toinen käsikirjoittaja, kuvaili, kuinka ohjaaja tavallisesti levitti Alma-Tadema-maalausten vedoksia ilmaistakseen lavastussuunnittelijoilleen haluamansa ilmeen. Oscar-palkitun roomalaisen eepos Gladiator suunnittelijat käyttivät Alma-Tademan maalauksia keskeisenä inspiraation lähteenä. Alma-Tademan maalaukset olivat myös inspiraationa Cair Paravelin linnan sisustukseen vuoden 2005 elokuvassa The Chronicles of Narnian: The Lion, the Witch and the Wardrobe . Ei siis mikään turha jäbä!
xxx/ellauri121.html on line 299: She thinks Moby Dick was a great masterpiece. Figures. She got engaged to James "Jay" Ford, a fellow student, in 1963, but by Easter the following year, she also met Jim Polk, a sensitive, witty graduate student from Montana whom she would marry in 1967. Polk’s recollections of Atwood are instructive and often amusing. He recalls one costume party at Harvard where she came disguised as Cleopatra’s breast.
xxx/ellauri157.html on line 109: Vähän siedettävämpi perätarjonta on tämä William Ettyn yritys samasta aiheesta. William Etty (1787–1849), the seventh son of a York baker and miller, had originally been an apprentice printer in Hull, but on completing his seven-year apprenticeship at the age of 18 moved to London to become an artist. Strongly influenced by the works of Titian and Rubens, he submitted a number of paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected outright or drew little attention when exhibited. In 1821 he finally achieved recognition when the Royal Academy accepted and exhibited one of his works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, beating John Constable to the position. Jordaens and Etty both contrasted Nyssia's pale flesh against dark red drapery and showed her in a similar pose. Jordaens's painting has hung in Sweden since the 17th century, and it is unlikely Etty was aware of it. Se tuskin löytyi googlaamalla.
xxx/ellauri165.html on line 40: Papen said: 'I do think we created something Cleopatra would have been proud of.'
xxx/ellauri225.html on line 372: About Shakespeare, however, Bloom is nothing short of reverential: “My religion is the appreciation of high literature. Shakespeare is the summit. Revelation for me is Shakespearean or nothing.” He admits that much about the Bard still bewilders him. In a moment of rare vulnerability, Bloom admits he longs for more life. Bloom explains his theory of “self-otherseeing,” which allows one to glimpse parts of one’s self that are hidden from conscious view. “Self-otherseeing” also describes “the double-consciousness of observing our own actions and offerings as though they belong to others and not to ourselves.” Bloom insists that Shakespeare’s characterizations of Hamlet, Iago, Cleopatra and Falstaff use “self-othering,” and by watching them we inadvertently learn to think more seriously about ourselves. But he doesn’t show us how this has applied to him, only the declaration that it does so. We are left mystified and dubious.
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