ellauri005.html on line 257: Fear not to touch the best;

ellauri036.html on line 1945: Hizi multa on mennyt paljon ohize, kun en ole vuosikymmeniin seurannut apinalauman toilailuja maailmalla, en uutisia, TV:tä enkä nettiä. Sitä lystimpi on sitä lukea näin jälkeenpäin. Niinkuin tää: (Tästä oikeustapauxesta kirjoittaa Martha Panopuukin filosofisesti kirjassaan inhosta ja häpeästä. Fear and loathing in Las Vegas, sanoisi ehkä gonzo.)
ellauri050.html on line 198: Fear wist not to evade, as Love wist to pursue. pelko ei tajuu väistää, kun lempi jahtaa.
ellauri050.html on line 219: Fear wist not to evade as Love wist to pursue. pelko ei tajuu väistää, kun lempi jahtaa.
ellauri054.html on line 155: Francis Baconin eli Ransu Silavan kuuluisa saarna On Death alkaa näin: Men feare Death, as Children feare to goe in the darke: And as that Natural Feare in Children is increased with Tales, so is the other.
ellauri061.html on line 1628: Song: “Fear no more the heat o’ the sun” Laulu: älä pelkää enää hellettä
ellauri061.html on line 1633: Fear no more the heat o’ the sun, Älä pelkää enää hellettä,
ellauri061.html on line 1640: Fear no more the frown o’ the great; Älä pelkää enää epäsuosiota,
ellauri061.html on line 1647: Fear no more the lightning flash, Älä pelkää enää salamoita,
ellauri061.html on line 1649: Fear not slander, censure rash; Älä pelkää haukkuja ja sensoreita;
ellauri072.html on line 477: What will happen when the age-old economy of scarcity gives way to the Age of Leisure? Professor Gabor, who won the 1971 Nobel Prize for physics offers a futuristic projection based on a static population and GNP, "classless, democratic, and uniformly rich." Fearful that total secruity "will create unbearable boredom and bring out the worst in Irrational Man," Gabor is anxious to retain "effort," "hardship," and the Protestant Ethic -- lest society dissolve in an orgy of anti-social, hedonistic nihilism (viz. the current drug explosion and the spoiled-brat students). To avoid such evils Gabor proposes that work and its attendant moral uplift be divorced from production and the service sector of the economy be vastly enlarged. But this is only the beginning -- enthusiastic about Social Engineering Gabor suggests using it to weed out potential misfits, trouble-makers and "power addicts"; supplementing I.Q. tests with E.Q. (Ethical Quotient) measurements; and modeling elementary and secondary education on the 19th century British public school which knew so well how to inculcate good citizenship, intellectual excellence and pride in achievement. The Third World, still wrestling with pre-industrial material want, is ignored -- since we can't afford any more industrial pollution presumably they will just have to adjust to their misery. Gabor's assessment of "the Nature of Man" shows a woefully naive Anglo-American ethnocentricity and complete ignorance of anthropology and his vision of post-industrial utopia operating on the moral axioms of the 19th century is as elitist as it is improbable.
ellauri077.html on line 444: Fear is the start of wisdom.
ellauri088.html on line 557: Plans discussed.—Pleasures of “camping-out,” on fine nights.—Ditto, wet nights.—Compromise decided on.—Montmorency, first impressions of.—Fears lest he is too good for this world, fears subsequently dismissed as groundless.—Meeting adjourns.
ellauri099.html on line 46: The Picture of Dorian Gray is a Gothic and philosophical novel by Oscar Wilde, first published complete in the July 1890 issue of Lippincott's Monthly Magazine. Fearing the story was indecent, prior to publication the magazine's editor deleted roughly five hundred words without Wilde's knowledge. Despite that censorship, The Picture of Dorian Gray offended the moral sensibilities of British book reviewers, some of whom said that Oscar Wilde merited prosecution for violating the laws guarding public morality. In response, Wilde aggressively defended his novel and art in correspondence with the British press, although he personally made excisions of some of the most controversial material when revising and lengthening the story for book publication the following year.
ellauri112.html on line 654: Critics have been throwing words like “fearless” around when describing Theron’s performance in Tully, because of the extra 50 pounds she carries, the lack of makeup on her face and the unflattering portrait of motherhood she paints. But that’s a backhanded compliment, isn’t it? “Fearless.” They only say “fearless” when they mean “ugly,” and it’s honest because she’s ugly. Iike I’ve said three or four times now, it’s really really honest.
ellauri118.html on line 673: And now, without Respect or Fear, Ja nyt, ilman kunniaa tai pelkoa,
ellauri119.html on line 293: ר֥וּחַ דַּ֖עַת וְיִרְאַ֥ת יְהוָֽה (Ruah daat weyirat YHWH) – Spirit of Knowledge[28] and Fear of YHWH (Isaiah 11:2)[27
ellauri140.html on line 238: Ziehen wir durch Stein und Sand Fearless men who jump and die Pelottomia miehiä jotka hyppäävät ja kuolevat,
ellauri144.html on line 584: Religion. A daughter of Hope and Fear, explaining to Ignorance the nature of the Unknowable.
ellauri153.html on line 292: Isän vastauxesta alkoi meemi, joka tunnetaan nimellä "pitkä unikon oireyhtymä" eli "Jantelagen", jossa epätavallisia ansioita omaavia henkilöitä vastaan asiattomasti hyökätään tai paheksutaan saavutustensa vuoksi. Se saa nimensä Livyn jaksosta, jossa Tarquinin sanotaan ohjeistaneen poikaansa Sextusta heikentämään Gabi Sandun kaupunkia tuhoamalla sen johtavat miehet. Herodotuksesta, jonka historiassa on samanlainen tarina, jossa on mukana vehnän korvat unikon sijasta, on ehkä lainattu aihe, jossa käytetään tahatonta sanansaattajaa tällaisen viestin toimittamiseen metaforan kautta, jossa päät katkaistaan korkeimpien unikkojen leikkaamisesta. Kierkegaardin pelossa ja vapinassa on kohta Livyn versiosta tarinasta. Fear and termbling on vitun suosittua Raamatussa, sitä löytyy sieltä kokonaista 19 sivua. Fear and loathing in Las Vegas raportoi E.Saarisen ihannoima gonzo-kirjailija. Nää on vahvoja meemejä.
ellauri160.html on line 583: Scholars believe the reason Jews in Babylon undertook to draw demons between the 5th and the 7th centuries has to do with a series of relaxations of the strictures, which rabbis gave the Jews as a way of dealing with the challenged posed by the increasing strength of Christianity. Fearing that Jews might prefer the new religion, the rabbis agreed to allow magic that included visual images. The demons Vilozny researched were drawn on “incantation bowls” – simple pottery vessels the insides of which were covered with inscriptions and drawings.
ellauri164.html on line 662: Be Reasonable – Fear God and Repent!

ellauri180.html on line 360: Give Your Character Fears and Flaws. ...
ellauri183.html on line 78: His deep belief that one should live morally crashed into his premise that one should live fully. Yep, I bet he did shag his coeds. Janna Malamud Smith is the author of An Absorbing Errand: How Artisz and Crafzmen Make Their Way to Mastery; A Potent Spell: Mother Love and the Power of Fear; and Private Matters: In Defense of the Personal Life. Her titles have been New York Times Notable Boox and A Potent Spell was a Barnes and Noble "Discover Great New Writers" pick. She has written for the New York Times, the Boston Globe, and the Threepenny Review, among other publications. A practicing psychotherapist, she lives with her husband and two children in Massachusetz.
ellauri183.html on line 162: Kierkegaard predicted that his 1843 work Fear and Trembling would be translated into many different languages, and would secure iz author's place in history. He was right. But Fear and Trembling has also led to an enduring caricature of Kierkegaard as advocating a dangerously irrational and individualistic form of religious faith.
ellauri183.html on line 168: In Fear and Trembling, Kierkegaard follows Kant in emphasising that Abraham's decision is morally repugnant and rationally unintelligible. However, he also shows that one consequence of Kant's view is that, if nothing is higher than human reason, then belief in God becomes dispensable. Unlike both Kant and Luther, Kierkegaard does not promote a particular judgment about Abraham, but rather presenz his readers with a dilemma: either Abraham is no better than a murderer, and there are no grounds for admiring him; or moral duties do not constitute the highest claim on the human being. Fear and Trembling does not resolve this dilemma, and perhaps for a religious person there is no entirely satisfactory way of resolving it.
ellauri183.html on line 172: Kierkegaard's point in Fear and Trembling is not to recommend blind faith in God, but to unsettle his readers' blind faith in themselves. That is to say, he seex to challenge their complacent assumption that they are Christians. Only when this assumption was abandoned, he thought, could people embark on the task of becoming a Christian.
ellauri183.html on line 180: When Abraham raises his knife over Isaac's body, this symbolises the fact that every human relationship is haunted by the prospect of death. Love always ends in loss, at least within this life. One response to this existential fact – perhaps the most common response – is to avoid the issue of mortality as much as possible. An alternative response is to face up to the inevitable pain of loss and to relinquish the beloved in advance, so to speak, by giving up hope of enjoying a happy relationship within this lifetime. (This "movement of resignation" is described as "monastic", although it does not literally entail becoming a recluse. It is an internal movement, an adjustment of expectations.) In Kierkegaard's view, this is more noble than the first option, but it is very far from the courage of Abraham, who continues to love Isaac and enjoy his relationship to him in full awareness of the suffering that his death would bring. This aspect of the interpretation of Abraham offered in Fear and Trembling suggesz that, far from being an individualist, Kierkegaard regards human relationships as essential to life.
ellauri276.html on line 608: Turning over frozen earth in dark January days behind a horse drawn or an ox drawn plough, must have been back breaking labour. The hours were long, pay was poor. A ploughman at the Alnwick Hiring Fair of spring 1819 for instance, was offered merely bed and food as payment for his fee for six months work. In the depression of that year, the ploughman had no choice, yet, these ploughmen appeared to enjoy their job and approached life with a sense of honest reality and humour. Their songs are nearly always cheerful. Cyril Tawney sang The Ploughman in 1974 on the Argo anthology The World of the Countryside. Jon Loomes sang The Ploughman in 2005 on his Fellside CD Fearful Symmetry. He noted:
ellauri310.html on line 579: Thompson luottaa Wolfen kuuluisaan lauseeseen "Fear and Loathing" (The Web and
ellauri341.html on line 509: Katso, miten näyttelijät Fear Street pelaa pelottavan Game of Horror -elokuvan "Would You Rather"
ellauri347.html on line 235: Alkaen hänen ensimmäisestä huipputeoksestaan vuonna 1941, Pako vapaudesta (tunnetaan Isossa-Britanniassa nimellä The Fear of Freedom), Frommin kirjoitukset olivat merkittäviä sosiaalisista ja poliittisista kommenteistaan sekä niiden filosofiset ja psykologiset taustat. Itse asiassa Pako vapaudesta nähdään yhtenä poliittisen psykologian. Hänen toinen tärkeä teoksensa, Ihminen itselleen: Tutkimus etiikan psykologiaan, julkaistiin ensimmäisen kerran vuonna 1947, jatkoi ja rikasti Pako vapaudesta. Yhdessä nämä kirjat hahmottelivat Frommin teorian ihmisluonteesta, joka oli luonnollinen tulos Frommin ihmisluontoteoriasta.
xxx/ellauri134.html on line 206: Fear: chaos, being overthrown
xxx/ellauri134.html on line 225: Fear: to be left out or to stand out from the crowd
xxx/ellauri134.html on line 247: Fear: being bored or boring others
xxx/ellauri134.html on line 268: Fear: selfishness and ingratitude
xxx/ellauri134.html on line 289: Fear: weakness, vulnerability, being a “chicken”
xxx/ellauri134.html on line 310: Fear: being duped, misled—or ignorance.
xxx/ellauri134.html on line 333: Fear: being alone, a wallflower, unwanted, unloved
xxx/ellauri134.html on line 354: Fear: to be powerless or ineffectual
xxx/ellauri134.html on line 386: Fear: getting trapped, conformity, and inner emptiness
xxx/ellauri134.html on line 407: Fear: unintended negative consequences
xxx/ellauri134.html on line 428: Fear: to be punished for doing something bad or wrong
xxx/ellauri134.html on line 450: Fear: mediocre vision or execution
xxx/ellauri139.html on line 719: Fearing to move or speak, she look’d so dreamingly. (Vielä yxi värssy pitää tähän kexiä.)
xxx/ellauri165.html on line 411: Emma Hamilton on australialainen näyttelijä. Televisiossa hän esiintyi sarjapäällikkönä Nine Network -draamitrillerissä Hyde & Seek sekä säännöllisinä rooleina Anne Stanhopeina Showtime -historiallisessa draamassa The Tudors, Rosie Dolly ITV/PBS -aikakauden draamassa Mr Selfridge ja ITV: ssä. Rikos -trilleri Fearless. Wikipedia (englanti)
xxx/ellauri167.html on line 106: Fearless we sprang, as to a blazoned throne, Pelottomasti hyppäsimme etuistuimelle,
xxx/ellauri179.html on line 718: Fear: A chick taken away from its mother will peep in fear – once you place it back with Mama they will be quiet.
xxx/ellauri199.html on line 173: Acrostic • Africa • Alone • America • Angel • Anger • Animal • Anniversary • April • August • Autumn • Baby • Ballad • Beach • Beautiful • Beauty • Believe • Bipolar • Birth • Brother • Butterfly • Candy • Car • Cat • Change • Chicago • Child • Childhood • Christian • Children • Chocolate • Christmas • Cinderella • City • Concrete • Couplet • Courage • Crazy • Culture • Dance • Dark • Dark humor • Daughter • Death • Depression • Despair • Destiny • Discrimination • Dog • Dream • Education • Elegy • Epic • Evil • Fairy • Faith • Family • Farewell • Fate • Father • Fear • Fire • Fish • Fishing • Flower • Fog • Food • Football • Freedom • Friend • Frog • Fun • Funeral • Funny • Future • Girl • LGBTQ • God • Golf • Graduate • Graduation • Greed • Green • Grief • Guitar • Haiku • Hair • Happiness • Happy • Hate • Heart • Heaven • Hero • History • Holocaust • Home • Homework • Honesty • Hope • Horse • House • Howl • Humor • Hunting • Husband • Identity • Innocence • Inspiration • Irony • Isolation • January • Journey • Joy • July • June • Justice • Kiss • Laughter • Life • Light • Limerick • London • Lonely • Loss • Lost • Love • Lust • Lyric • Magic • Marriage • Memory • Mentor • Metaphor • Mirror • Mom • Money • Moon • Mother • Murder • Music • Narrative • Nature • Night • Ocean • October • Ode • Pain • Paris • Passion • Peace • People • Pink • Poem • Poetry • Poverty • Power • Prejudice • Pride • Purple • Lgbtq • Racism • Rain • Rainbow • Rape • Raven • Red • Remember • Respect • Retirement • River • Romance • Romantic • Rose • Running • Sad • School • Sea • September • Shopping • Sick • Silence • Silver • Simile • Sister • Sky • Sleep • Smart • Smile • Snake • Snow • Soccer • Soldier • Solitude • Sometimes • Son • Song • Sonnet • Sorrow • Sorry • Spring • Star • Strength • Success • Suicide • Summer • Sun • Sunset • Sunshine • Swimming • Sympathy • Teacher • Television • Thanks • Tiger • Time • Today • Together • Travel • Tree • Trust • Truth • Valentine • War • Warning • Water • Weather • Wedding • Wind • Winter • Woman • Women • Work • World
xxx/ellauri208.html on line 586: "Beautiful Isle of Somewhere" is a song with words by Jessie Brown Pounds and music by John Sylvester Fearis, written in 1897. The song gained huge popularity when it was used in William McKinley's funeral. It was subsequently a staple at funerals for decades, and there are dozens of recorded versions.
xxx/ellauri235.html on line 687: Of Horror that, and thrilling Fears, Sillä siitä välittämättä kauhusta ja jännittävistä peloista,
xxx/ellauri251.html on line 935: Fear, and give honour, and choose from all the gods.
xxx/ellauri251.html on line 1005: Fear thou the gods and me and thine own heart,
xxx/ellauri251.html on line 1400: Fearful, one eye abase itself; and these
xxx/ellauri251.html on line 2444: Fear died when these were slain; and I am as dead,
xxx/ellauri261.html on line 525: Cornelius, Barnaby and their dates arrive and are unaware that Horace is also at the restaurant. Dolly makes her triumphant return to the restaurant and is greeted in style by the staff. She sits in the now-empty seat at Horace´s table and proceeds to tell him that no matter what he says, she will not marry him. Fearful of being caught, Cornelius confesses to the ladies that he and Barnaby have no money, and Irene, who knew they were pretending all along, offers to pay for the meal. She then realizes that she left her handbag with all her money in it at home. The four try to sneak out during the polka contest, but Horace recognizes them and also spots Ermengarde and Ambrose. In the ensuing confrontation, Vandergelder fires Cornelius and Barnaby, and they are forced to flee as a riot breaks out. Cornelius professes his love for Irene. Horace declares that he would not marry Dolly if she were the last woman in the world. Dolly angrily bids him farewell; while he´s bored and lonely, she will be living the high life.
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