ellauri078.html on line 103: The earliest known version is found in Christy's Plantation Melodies. No. 2, a songbook published under the authority of Edwin Pearce Christy in Philadelphia in 1853. Christy was the founder of the blackface minstrel show known as the Christy's Minstrels. Like most minstrel songs, the lyrics are written in a cross between a parody of a generic creole dialect historically attributed to African-Americans and standard American English. The song is written in the first person from the perspective of an African-American singer who refers to himself as a "darkey," longing to return to "a yellow girl" (that is, a light-skinned, or bi-racial woman born of African/African-American and European-American progenitors)
ellauri115.html on line 625: Mrs. Pearce, you're a woman...
ellauri159.html on line 1271: Mrs. Pearce: Karpáthy? That dreadful Hungarian? For it all belongs to you!
ellauri188.html on line 415: Josh's other projects included the horror-thriller Child of Darkness, Child of Light, an adaptation of Paterson's novel Virgin, a tale of two Catholic virgin schoolgirls, that folded when they were both found pregnant under mysterious and supernatural circumstances. To avoid being caught red "handed" Lucas relocated to Australia to play the hot "headed" American cousin Luke McGregor opposite Andrew Clarke and Guy Pearce in the first season of the family western Snowy River: The McGregor Saga. Lucas appeared in all 13 episodes of the first season, but claimed in a later interview that despite the friendly reception by Rhonda Byrne, he was homesick for the United States, and his character was killed off in the second episode of season 2.
xxx/ellauri086.html on line 438: Mrs. Pearce: No!
xxx/ellauri086.html on line 473: Mrs. Pearce: Karpáthy? That dreadful Hungarian? For it all belongs to you!
xxx/ellauri455.html on line 519:

Joseph Pearce : katolisuutta vastustava ja agnostinen Britannian kansallisrintaman jäsen; hänestä tuli omistautunut katolinen kirjailija EWTN :ssä julkaistun sarjan myötä
xxx/ellauri482.html on line 182: In their book The Fluent Mundo Leonard and Wharton define at least four schools of interpretation of Wally's poetry, beginning with the prime advocates of Stevens found in the critics Harvey Pearce and Helen Regueiro, who supported the thesis "that Stevens's later poetry denies the value of imagination for the sake of an unobstructed view of the 'things themselves'". The next school of interpretation Leonard and Wharton identify is the Romantic school, led by Vendler, Bloom, James Baird, and Joseph Riddel. A third school of Stevens interpretation that sees Stevens as heavily dependent on 20th-century Continental philosophy includes J. Hillis Miller, Thomas J. Hines, and Richard Macksey. A fourth school sees Stevens as fully Husserlian or Heideggerian in approach and tone and is led by Hines, Macksey, Simon Critchley, Glauco Cambon, and Paul Bove. These four schools offer occasional agreement and disagreement of perspective; for example, Critchley reads Bloom's interpretation of Stevens as in the anti-realist school while seeing Stevens as not in the anti-realist school of poetic interpretation.
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