ellauri078.html on line 157: Particularly annoying were the number of calls expected of the women in the Homestead. Edward Dickinson’s prominence meant a tacit support within the private sphere. The daily rounds of receiving and paying visits were deemed essential to social standing. Not only were visitors to the college welcome at all times in the home, but also members of the Whig Party or the legislators with whom Edward Dickinson worked. Emily Norcross Dickinson’s retreat into poor health in the 1850s may well be understood as one response to such a routine.
ellauri083.html on line 169: The rest of the novel charts the drudgery and the battle for survival of life in Summerhouses, the misery, dreams and rebellions of the inhabitants and what appears to be the curse of Summerhouses taking effect. In the middle of the novel, however, World War I commences and the prices for Icelandic mutton and wool soar, so that even the poorest farmers begin to dream of relief from their poverty. Particularly central is the relationship between Bjartur and Ásta Sóllilja.
ellauri108.html on line 168: As Rastafari developed, popular music became its chief communicative medium. During the 1960s, ska was a popular musical style in Jamaica, and although its protests against social and political conditions were mild, it gave early expression to Rasta socio-political ideology. Particularly prominent in the connection between Rastafari and ska were the musicians Count Ossie and Don Drummond. Ossie was a drummer who believed that black people needed to develop their own style of music; he was heavily influenced by Burru, an Afro-Jamaican drumming style. Ossie subsequently popularised this new Rastafari ritual music by playing at various groundings and groundations around Jamaica, with songs like "Another Moses" and "Babylon Gone" reflecting Rasta influence. Rasta themes also appeared in Drummond's work, with songs such as "Reincarnation" and "Tribute to Marcus Garvey".
ellauri158.html on line 495: It is unclear whether Newton read any of Spinoza´s works. However, two people with whom he was in close contact made substantial efforts to repudiate Spinozism directly: Henry More in The Confutation of Spinoza (More 1991) and Samuel Clarke in A Demonstration of the Being and Attributes of God: More Particularly in Answer to Mr. Hobbs, Spinoza and Their Followers. Sit oli vielä "Ralph" Cudworth ja joku "Colin" McLaughlin, kaikki Cambridgen platonisteja, siis jotain täys idiootteja, presumably, ja kaiken lisäxi varmaan vielä homoja. In the arguments on which I focus, More, Clarke, and Maclaurin aim to establish the existence of an immaterial and intelligent God precisely by showing that Spinoza does not have the resources to adequately explain the origin of motion. Sen jumala ei ollut kunnon priimuskaasulla toimiva käynnistysmoottori, pikemminkin joku auton alusta.
ellauri300.html on line 587: Particularly, the plane crash that killed musicians Buddy Holly, Ritchie Valens, and "The Big Bopper" J. P. Richardson has become known as "The Day the Music Died", the expression by which McLean, a fan of Buddy Holly, dubbed it in the song. Holly's death for him symbolized the "loss of innocence" of the early rock-'n-roll generation.
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