ellauri062.html on line 433: Ariosofia tarkoittaa arjalaista rotua koskevaa okkulttista aatetta, jonka kehittivät Guido von List ja Jorg Lanz von Liebenfels vuosien 1890 ja 1930 välillä. Termi korvasi Liebenfelsin aiemmin hahmottelemat theozoologian ja ario-kristillisyyden....
ellauri062.html on line 435: Ein weiterer wichtiger Inspirator war Guido von List, dessen Ansichten unter den Bezeichnungen Wotanismus und Armanismus bekannt wurden. Ariosophische Autoren verbanden Vorstellungen einer Überlegenheit der „arischen Rasse“ und Forderungen einer Reinerhaltung dieser vermeintlichen Rasse mit Elementen der Astrologie, der Zahlensymbolik, der Kabbala, der Graphologie und der Handlesekunst.[1] Die wichtigste ariosophische Organisation war der von Lanz gegründete Neutempler-Orden.
ellauri072.html on line 208: This surprising, even shockingly "liberal" view of homosexual love as being the counterpart of the heterosexual kind should cause more notice than it generally does; perhaps even greater surprise should attend the extraordinarily generous gestures made toward the three Florentine homosexual politicians, Iacopo Rusticucci, Guido Guerra, and Tegghiaio Aldobrandi, whom we encounter in Inf. 16. They are presented as being among the most admirable figures in Hell. Let us examine the scene briefly. Virgil, who so often warns Dante when the latter begins to admire or become sympathetic (or overly concerned with) the damned, here is urgent in his approbation of these three sinners: "a costor si vuole esser cortese." This is the only time in Hell in which cortesia is mentioned as a fitting response to the damned except for Beatrice's and Dante's use of "cortese" for Virgil (Inf. 2.58, 2.134). The following tercet only emphasizes the guide's appreciation of their worthiness.
ellauri109.html on line 412: Et c’est là, en Haute Égypte, qu’il découvre son homosexualité. Ei ollut ainoa, näitäkin peräreiän löytöretkeilijöitä on ollut useampia, mm Guido">André Gide.
ellauri115.html on line 1004: Pukille kuolivat preetori C. G., Tigellinus, room. henkivartijakaartin pääll., Ludovico, Guido Gonzales, Mantovan markiisin poka, sekä vielä huonompaa esimerkkiä näyttäen Platonin veljenpoika Speusippos sekä muudan paavimme. Pahemminkin voisi käydä.
ellauri141.html on line 404: The solfege system (Do, Re, Mi), which is the theme of a song by the Von Trapp children, is just a small sample of Horace's all-pervasive influence on western culture, even among people who might never have heard the name Quintus Horatius Flaccus. Horace was not just a superb literary craftsman, but a musician, songwriter and entertainer for the Roman elite, creating a new Latin idiom derived from Greek lyric song. A final chapter, "Horace, Guido and the Do-re-mi Mystery", the result of careful research and detective work, argues that Guido d'Arezzo, an eleventh-century Benedictine choirmaster, used the melody of Horace's Ode to Phyllis (alla) to invent the do-re-mi mnemonic, but applied it to an eighth-century Hymn to John the Baptist ("Ut queant laxis") by Paul the Deacon, keeping the true source secret. A musical comparison of the Horatian melody and Guido's version of "ut-re-mi" is included. Lyons' verse translation of the Odes was named a Financial Times Book of the Year (1996) and was welcomed as 'a wonderful rendering of one of the great, central poets in the European tradition.'
ellauri151.html on line 108: Guido"/>

ellauri151.html on line 109: André Paul Guillaume Gide (French: [ɑ̃dʁe pɔl ɡijom ʒid]; 22 November 1869 – 19 February 1951) was a French author and winner of the Nobel Prize in Literature (in 1947). André was born in Paris on 22 November 1869, into a middle-class Protestant family. His father was a Paris University professor of law who died in 1880, Jean Paul Guillaume Gide, and his mother was Juliette Maria Rondeaux. His uncle was the political economist Charles Gide. His paternal family traced its roots back to Italy, with his ancestors, the Guidos, moving to France and other western and northern European countries after converting to Protestantism during the 16th century, due to persecution.
ellauri210.html on line 718: Annalisa Chirico è una giovane e brillante giornalista dalla lingua schietta. Dietro la sua bella presenza si cela un personaggio preparatissimo, nel suo campo: la scrittura. La giornalista è sempre stata decisa riguardo il suo futuro e suo padre è stato la figura che l’ha spronata maggiormente. Pugliese originaria di Brindisi, a soli diciotto anni, Annalisa sale un pezzo di stivale fino a Roma per frequentare la Luiss Guido Carli, laureandosi in Scienze Politiche.
ellauri258.html on line 529: Venäläinen noita-akka esiintyy paitsi venäläisissä kansantarinoissa, myös niiden innoittamissa kirjoissa, elokuvissa, kuvataiteessa, musiikkiteoksissa ja sarjakuvissa. Modest Musorgski sävelsi osan teoksestaan Näyttelykuvia Viktor Hartmannin piirrokseen Baba Jaga. Eduard Uspenskin lastenkirja Alas taikavirtaa (Vniz po volšebnoi reke 1971, suom. Martti Anhava 1980) perustuu venäläisiin eroottisiin kansantarinoihin ja siinä seikkailee Baba Jagan hahmo, vaikkakin eri nimellä, el Zorron nimellä, plus 17-kesäisiä neitokaisia. Guido Crepax piirsi Baba Yaga -teemaisia Valentina-sarjakuvia, joiden pohjalta Corrado Farina ohjasi vuonna 1973 Baba Yaga -nimisen elokuvan, joka oli täysi floppi. Myös Neil Gaifman on saanut noidasta innoitusta sarjakuviinsa. Baba Jaga esiintyy ainakin Gaifmanin käsikirjoittaman Books of Magic -sarjan kolmannessa osassa, joka on suomeksi julkaistu Magic Fantasy -lehden toisessa numerossa (Egmont-kustannus 2002, ISBN 951-876-928-1). Lisäksi noita esittää sivuosaa Mike Mignolan Hellboy-sarjakuvissa. Baba Jagaan perustuva hahmo esiintyy myös Patricia A. McKillipin romaanissa Serren metsissä. Fantasiakirjailija Naomi Novik on maininnut erääksi innoituksen lähteekseen isoäitinsä kertomat Baba Jaga -tarinat, ja Novikin romaani Uprooted (2015) kirjoittaa Baba Jagan hahmoa uudelleen tuoreesta näkökulmasta. The Witcher -pelisarjassa on Baba Jagaan perustava hahmo. Lumikin ja noin 7 knääpiön noita on ilmetty Baba Jaga.
ellauri323.html on line 106: Hän syntyi Jacopo dei Benedettiksi ja kuului pieneen aatelisperheeseen. Hän opiskeli lakia Bolognassa ja hänestä tuli menestyvä asianajaja . Jossain vaiheessa 20-vuotiaana hän meni naimisiin nuoren aatelisnaisen Vanna di Bernardino di Guidonen kanssa, joka oli joidenkin kertomusten mukaan hurskas ja antelias nainen. Hänen maineensa vuoksi maallisena ja ahneena miehenä hiän otti tehtäväkseen kuolettaa lihaansa sovitukseksi tämän käytöksestä.
xxx/ellauri154.html on line 214: The theme of Salome is one that Moreau returned to time and again. The artist explored the subject in more than one hundred sketches and drawings as well as in numerous paintings—ranging from highly elaborate to sketchily rendered—and even in sculpture (both Salome and The Apparition figured in Moreau’s waxworks). Moreau was not alone in his passion for the theme of Salome, as other famous artists — Lucas Cranach, Caravaggio, Titian, Guido Reni, Artemisia Gentileschi, Aubrey Beardsley, and Nabil Kanso, to name just a few — shared this interest. Selkeästi perverssiä jengiä.
xxx/ellauri167.html on line 49: Sono i protagonisti del Canto V dell'Inferno, posti fra i lussuriosi del II Cerchio. Francesca era figlia di Guido il Vecchio da Polenta, signore di Ravenna, che dopo il 1275 aveva sposato Gianciotto Malatesta, il figlio deforme del signore di Rimini. Paolo era il fratello di Gianciotto e fu capitano del popolo a Firenze nel 1282-83. Secondo il racconto di Dante, di cui però non c'è traccia nelle cronache del tempo, Francesca ebbe una relazione adulterina col cognato Paolo e i due, sorpresi dal marito di lei, furono entrambi trucidati.
xxx/ellauri167.html on line 52: Francesca è presentata come una donna colta, esperta di letteratura amorosa (cita indirettamente lo Stilnovo e Andrea Cappellano, quindi conosce i dettami dell'amor cortese). Attraverso il suo personaggio Dante compie una parziale ritrattazione della sua precedente produzione poetica (stilnovistica e, soprattutto, delle Petrose), che avendo l'amore come argomento poteva spingere il lettore a mettere in pratica gli esempi letterari e cadere nel peccato di lussuria. Francesca è il primo dannato che pronuncia un discorso nell'Inferno dantesco, mentre Guido Guinizelli (citato indirettamente dalla donna) e il trovatore provenzale Arnaut Daniel saranno gli ultimi penitenti a dialogare con Dante nel Purgatorio (Canto XXVI), colpevoli anche loro di lussuria e produttori di quella letteratura amorosa di cui Francesca era stata appassionata lettrice.
xxx/ellauri187.html on line 283: Guido_Reni_-_Saint_Joseph_and_the_Christ_Child_-_Google_Art_Project.jpg" width="50%" />
xxx/ellauri319.html on line 361: Guido Gozzano (1883-1916), Italian poet
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