ellauri071.html on line 224: Junior G-Men was part of the larger "war on crime" campaign being waged through the mass media, which included movies, comic books and strips, radio programs, and pulp books, all of which was encouraged by the FBI and especially its director, J. Edgar Hoover prior to World War II. Most of these featured adult "G-Men" even when marketed to children. The difference with the Junior G-Men was that it was designed to give boys a sense of participating in the exciting adult world of crime-fighting. That said, aside from the original radio program, a book, Junior 'G' Men's Own Mystery Stories (by Gilbert A. Lathrop, Edward O'Connor, and Norton Hughs Jonathan) was published in 1936 and a big little book by Morrell Massey and Henry E. Vallely the following year. Eventually they also appeared on the big screen.
ellauri083.html on line 84: We can now add yet another to that list. This week, her estate announced the discovery of a new never-published manuscript called "The Eternal Wonder." And as her son Edgar Walsh tells it, the story of the novel's recovery is a wonder itself.
ellauri083.html on line 88: LYDEN: "The Eternal Wonder" will be published this fall. Edgar Walsh, who manages his mother's literary estate, says he had a complex reaction to the news.
ellauri097.html on line 583: Meillä ei sitä ole – ja julkaista meidän alun perin pitikin! Julkaiseminen on ilmaista ja siksi jaloa. Vaik kyllä niistä palkkioistakin on iloa. Edgar Allan Poe kitkutteli niillä mitenkuten koko elämänsä läpitte.
ellauri098.html on line 483: H.C. Andersen, Frodo Baggins, William Blake, Marlon Brando, Charley Brown, Albert Camus, Johnny Depp, Jane Eyre, Mia Farrow, V.van Gogh, Homeros, P.Johannes, Franz Kafka (taas), Helen Keller, Kermit the Frog, Sören Kierkegaard, Hugh Laurie, John Lennon, Luna Lovegood, P.Luukas, C.S. Lewis (taas), Neizyt Maria, Bob Marley, A.A. Milne, John Milton, Jim Morrison, Edgar Allan Poe, Fred Rogers, Romeo&Juliet, J-J.Rousseau, Antoine de Saint-Exupery, Carlos Santana, William Shakespeare, Bella Swan (Twilight), Luke Skywalker, Amy Tan, Daenerys Targaryen, JRR Tolkien, Vergilius, Andy Warhol, Bill Waterson (Calvin&Hobbes), Virginia Woolf
ellauri101.html on line 440: Sixi brändit ovat niin kalliita. Niiden on oltava, ei ne muuten tehoa. Niinkuin Edgar Allan Poen pyrstön niiden on laahattava maata. Emme elä ainoastaan leivästä, vaan Burger Kingin logosta. Tästä kellosta näkee kuinka köyhä olen.
ellauri106.html on line 69: From 1958 onwards, the couple lived in New York on the Lower East Side of Manhattan, and in 1959 they spent seven months in Italy on a Guggenheim grant. Upon their return, they both settled in Iowa City, where Roth led the Writers' Workshop at the University of Iowa. The experiences in small-town Iowa far away from the American metropolises flowed into Roth's second novel Letting Go (Other People's Worries), which was published in 1962, but in contrast to Roth's previously published volume of short stories Goodbye, Columbus caused mixed reactions from critics. Stanley Edgar Hyman, for example, criticized weaknesses in the narrative structure of the novel, the two narrative parts of which are only superficially connected, but praised what he saw as "the keenest eye for the details of American life since Sinclair Lewis". Letting Go is also the first novel in which Roth, as in numerous later works, made the writings of his literary predecessors an integral part of the narrative, and is therefore often referred to as Roth's first "Henry James novel".
ellauri107.html on line 250: Billy is first the victim of Claggart’s closet, one with similarities to the Roy Cohn and J. Edgar Hoover kinds that project self-loathing onto their targets. Vere’s condition, on the other hand, while containing degrees of benevolence, ultimately emerges as more deadly than Claggart’s. Associating his heart with his hated feminine side, Vere crushes down his capacity for love and compassion with a thoroughly brutal, Night-of-the-Long-Knives sort of intolerance. He, who would never have initiated Billy’s demise, will not permit his own ardor to soften his inflexible judgment, as that would evidently equate with irresolution and weakness. After all, he might rationalize, he is the Captain and the Captain has an image to uphold – right? Forget justice; forget humane treatment; maintaining machismo holds precedence over all! And the tragic result: mindless, meaningless, totally unnecessary suffering and loss on the altar of nothing less than evil itself!
ellauri132.html on line 243: William Goldman (12. elokuuta 1931 – 16. marraskuuta 2018) oli yhdysvaltalainen romaanikirjailija ja elokuvakäsikirjoittaja. Hänet palkittiin kahdella Oscarilla, yhdellä Bafta-palkinnolla ja kahdella Edgarilla. Goldman kasvoi juutalaisessa perheessä Illinoisin Highland Parkissa. Hän valmistui Oberlin Collegesta vuonna 1952 ja Columbian yliopistosta 1956. Muutamia elokuvia, joihin Goldman on antanut panoksensa, ovat Maratoonari (1976), Presidentin miehet (1976), Yksi silta liikaa (1977), Piina (1990), Näkymättömän miehen muistelmat (1992) ja Pedon sydän (2001). Goldman oli naimisissa Ilene Jonesin kanssa, kunnes he erosivat vuonna 1991; parille syntyi kaksi tytärtä. Myös Williamin veli James Goldman (1927–1998) oli käsikirjoittaja. Goldman kuoli 87-vuotiaana keuhkokuumeen ja paksusuolen syövän aiheuttamiin komplikaatioihin.
ellauri144.html on line 546: A prolific and versatile writer, Bierce was regarded as one of the most influential journalists in the United States, and as a pioneering writer of realist fiction. For his horror writing, Michael Dirda ranked him alongside Edgar Allan Poe and H. P. Lovecraft. S. T. Joshi speculates that he may well be the greatest satirist America has ever produced, and in this regard can take his place with such figures as Juvenal, Swift, and Voltaire. His war stories influenced Stephen Crane, Ernest Hemingway, and others, and he was considered an influential and feared literary critic. In recent decades Bierce has gained wider respect as a fabulist and for his poetry.
ellauri145.html on line 179: Edgar Allan Poe: The Angel of the Odd. Oudosti Antero ottaa mukaan toisen spugen Baudelairen ranskannoxesta vaan pätkän tekohauskasti saxaa murtavan bisarrin enkelin puhetta. Onxtää vaan jotain anglosaxeille ja frogeille yhteistä teutonifobiaa?
ellauri145.html on line 246: Le 15 juillet 1848 paraît, dans La Liberté de penser, un texte d´Edgar Allan Poe traduit par Baudelaire : Révélation magnétique. À partir de cette période, Baudelaire ne cessera de proclamer son admiration pour l´écrivain américain, dont il deviendra le traducteur attitré. La connaissance des œuvres de Poe et de Joseph de Maistre atténue définitivement sa « fièvre révolutionnaire ». Plus tard, il partagera la haine de Gustave Flaubert et de Victor Hugo pour Napoléon III, mais sans s´engager outre mesure d´un point de vue littéraire (« L´Émeute, tempêtant vainement à ma vitre / Ne fera pas lever mon front de mon pupitre »).
ellauri146.html on line 400: One of the outstanding features of the Romantic era in France was the re-evaluation of the feminine. It was widely assumed that man's capacity for rational thought and scientific achievement needed to be tempered by woman's capacity for sentiment. Indeed, the beneficial influence of woman's love and compassion was considered a necessary precondition to moral development, both for the individual and for all mankind. Woman thus had redemptive qualities (cash value). Perhaps the purest expression of this constellation of ideas is to be found in the utopian religious sects of the period and in the Romantic epic. Alfred de Vigny's Eloa (1824) may be read in this context. Eloa is the first of a series of angel women appearing in the Romantic epic. She is followed by Rachel in Edgar Quinet's Ahasvérus (1833), Sémida in Alexandre Soumet's La Divine Epopée (1840), Marie in Alphonse Constant's La Mère de Dieu (1844) and Liberté in Victor Hugo's La Fin de Satan (fragments written in 1854 and 1859, published posthumously in 1886). The mission of these quasi-divine female figures is to help put an end to evil.
ellauri146.html on line 632: Edgar Poe hassuttelee
ellauri146.html on line 638: Woodberry (Edgar Allan Poe, 1885, p. 85, and Life, I, 130) pointed out a leading source of part of Poe's story in Bulwer's “Too Handsome for Anything,” one of the “other pieces” in Bulwer's book, Conversations with an Ambitious Student in Ill Health, with Other Pieces (New York: J. & J. Harper, 1832), pp. 189ff. There is a good deal of humorous literature about noses.
ellauri146.html on line 642: The Political Thought of Edgar Allan Poe
ellauri146.html on line 644: Edgar Allan Poe vigorously denounced the Jeffersonian ideal of democracy. He had no sympathy with abstract political notions such as those which had produced liberal republican theory in America and elsewhere. Like Edmund Burke, Poe was highly suspicious of the “well-constructed Republic.”
ellauri146.html on line 646: The opinion has been often stated that Edgar Allan Poe was bizarre and amoral; that he was a lover of morbid beauty only; that he was unrelated to worldly circumstances-aloof from the affairs of the world; that his epitaph might well be: “Out of space-out of time.”
ellauri146.html on line 654: Poe, unlike other great American writers of his time, spent a considerable portion of his childhood in Britain. In 1815, John Allan set out for England, accompanied by his wife, Frances Allan; his sister-in-law, “Aunt Nancy” Valentine; and his six-year-old foster son, Edgar Poe. For a time Edgar attended the small London school of Miss Dubourg (a name which subsequently was to appear in “The Murders in the Rue Morgue”) and later, for a period of three years from 1817 to 1820, was sent to a better school, the Manor House at Stoke Newington near London. Here Poe, in addition to being affected profoundly by the atmosphere of England, studied French, Latin, history and literature. The Manor House School, with its “Dr.” Bransby, Poe later was to transplant bodily to the semi-autobiographical tale “William Wilson” (1840).
ellauri146.html on line 690: Indeed, Poe seems much more the Southerner than the Yankee American, and it is not hard to guess which path he would have chosen had he lived into the 1860’s. One may be very sure that Edgar Poe, though born, almost by accident, in Boston, would have proved one of the Confederacy’s most eloquent and committed partisans. In reviewing the various factors which we may believe shaped Poe’s youthful mind, we would expect to find in Poe, and in re-examining his opinions we do find, a cosmopolitan rather than a parochial outlook. And yet, at the same time, we know Poe was serious when he proclaimed, “I am a Virginian!” We may be justified in looking upon the general influences of his formative years as contributing factors in the development of strong inclinations to Europe, Britain and the American South, rather than to the American Union.
ellauri151.html on line 762: Edgar Jones has manufactured the following comparison of Jesus' and Paul's meaning differences which exposes Paul as a liar and a false prophet who did not know Jesus. Paul's errors and false gospel are obvious to anyone who follows Jesus as teacher and listens carefully to Jesus' words. Read very carefully, your eternal salvation depends on it!
ellauri159.html on line 961: INFPs are the dreamers of the world. They are deeply idealistic and passionate about their beliefs, ideas, and relationships. INFP writers include Jean-Jacques Rousseau, Albert Camus, George Orwell, J.R.R. Tolkien, Virginia Woolf, Antoine de Saint-Exupery, A.A. Milne, Franz Kafka, Edgar Allan Poe, John Milton, William Blake, Hans Christian Anderson, William Shakespeare, Homer, and George R.R. Martin. Learn more about how INFPs write here.
ellauri159.html on line 1425: Samoilla linjoilla liikkuu nyttemmin Leena Krohn, kuten albumissa 103 on jo kerrottu. Entisessä Nuori, nyttemmin vaan Voima-lehdessä sen uusinta tiedotetta aiheesta Mitä en koskaan oppinut (tästä teemasta riittää kerrottavaa) pasuttaa joku Jaana Kivi, ei tosin yhtä unohtumattomasti kuin kaima Alexis. Leena kertoo et joku oli kirjoittanut vessan seinään filosofian: aika on luonnon keino estää kaikkea tapahtumasta heti. Ammattifilosofi Simo Knuuttila oli lukenut vessan seinästä opiskelijana Kielissä: Warum scheissen die Deutschen soviel? Weil sie soviel Kartoffel essen. Kaikki ovat lopulta uhanalaisia. Ihmisen luoma on katoavaista, kuten totesi jo saarnaaja. Krohnin mielestä ylivertaisuutemme perustuu asioille kuten ajattelu ja izetietoisuus. Enemmän ajattelua ja vähemmän izetietoisuutta olisi kylä parempi. Hupenevat luonnonvarat eivät tunnista luokkarajoja. Vizi kyllä tunnistavat, loppupeleissä rikkaat eeku rikastuvat lisää ja köyhät kurjistuvat. Ihmiskunnan Usherin talo, hei sehän on Edgar Allan Poe-alluusio. Hörhökirjailija sekin. Krohnin varsinainen vihan kohde on virzanhajuinen makkaratalo. Aika betonibrutaali se onkin. Sitä paikkaa ei ole helppo rakastaa. Muurahaiset pitävät meitä tavattoman yxinkertaisina olioina. Emme osaa edes omaxua ei-kuluttavaa elämää. Aika kuluttavaa tää mustakin on ollut.
ellauri172.html on line 148: Yxi Jorin diggaamista Edgar Allan Poe-tyyppisistä sekoiluista oli Villiers d'Isle-Adamin noveletta Veera, jonka mottona luki: L’amour est plus fort que la Mort, a dit Salomon : oui, son mystérieux pouvoir est illimité. Paskanjauhantaa. Kuten todettiin hautakirjoitus-albumissa: rakastaminen on elävien askaretta. Kuolleet eivät bylsi eikä juorua. Villiers oli jonkunlainen Hegel-diggari. Tarina ei kaikessa lyhykäisyydessään ollut kummonen:
ellauri189.html on line 465: MLM on pyramidihuijaus 21. vuosisadan kielellä. Plus ca change, plus c'est la meme chose. Esinahkakukkulat ei muutu mixikään. Juutalaiset harrasti pyramidihuijausta jo Egyptissä. Pintselsabad, sutihännät, oli Edgar Walterin virolainen kuvakirja rohutirtsin lisäxi. Siansaparot, karvakärsät, terveisiä luvatusta maasta. Kuolleen meren suolaa naamaan ja mutaa tukkaan, valmistuskustannuxet olemattomat. Levitystä hoitelevat hölmöt toimii maxumiehinä.
ellauri198.html on line 325: The title, "Childe Roland into the Dark Tunnel Came", which forms the last words of the poem, is a line from William Shakespeare's play King Lear (ca. 1607). In the play, Gloucester's son, Edgar, lends credence to his disguise as Tom o' Bedlam by talking nonsense, of which this is a part:
ellauri198.html on line 331: Albumin 340 välipalana lukaisin King Learin uudestaan, se on kyllä tosi onneton. Lyhyesti tiivistäen, king Learilla on kolme tyärtä, joista 2 vanhempaa nuolee ahkerasti kingin pyllyvakoa ja saa isot läänityxet kinkun retardoituessa, Cordelia (henceforth Corzu) ei mielistele, so the king has a cow ja tekee Corzun perinnöttömäxi. Burgundi ei huoli sitä, mutta Ranu ottaa. Sitten isosiskot alkaa kohdella ex-kinkkua kuin halpaa makkaraa. Jotain sivujuonta Glosterin äijästä ja sen 2 pojasta joista äpärä Edmundista tulee pahis ja Edgar ('Tom') esittää yhtä hullua kuin oikeesti hullaantuva ex-kurnupää. Styken päähuvi tulee näistä hulluista ja yhestä muuten vaan narrista. Kohta Glosterin äijää vedetään parrasta ja silmät kaivetaan ulos päästä, mikä on puolestaan pätkän parasta gorea. Konna Oswald [Dies.] Cordelia tulee Ranun kaa miehittämään Britanniaa. Britannia voittaa (tietysti). Corzun tsykologi parantaa Learin psykoosin, mutta liian myöhäistä: isotsiskot nirhaa toisensa, Cordelia epähuomiossa hirtetään, ja Lear kuolee apoplexiaan. Kaikki naiset on nyt tapettu, jälelle jää 2 hyvistä, mitätön Kent ja vetku Edgar. (Kentistä ei tullut mitään sanotuxi, mutta se onkin varsin mitäänsanomaton.)
ellauri214.html on line 210: Serbi Armanskin mielestä lievä kansalaisten vakoilu oli paikallaan, varsinkin kansalaisbolshevistien. Se on sananvapauden turvaamista. USAssa on kaikki paremmin, tai ainakin oli J. Edgar Hooverin aikana. Mitä vetoa ezerbi kohta vuotaa säpölle kuin seula.
ellauri219.html on line 69:
Minkä värinen on lyijynkarvainen Edgar Allan Poen novellissa Usherin talon häviö?