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ellauri144.html on line 392: Dylan Marlais Thomas (27 October 1914 – 9 November 1953 = 39v) was a Welsh poet and writer whose works include the poems "Do not go gentle into that good night" (Josta suomenruozalainen leijakirjailija otti "Älä mene yxin yöllä ulos") and "And death shall have no dominion"; the "play for voices" Under Milk Wood; and stories and radio broadcasts such as A Child´s Christmas in Wales and Portrait of the Artist as a Young Dog. He became widely popular in his lifetime and remained so after his death at the age of 39 in New York City. By then he had acquired a reputation, which he had encouraged, as a "roistering, drunken and doomed poet".
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ellauri160.html on line 219: Pound's contribution to poetry began in the early 20th century with his role in developing Imagism, a movement stressing precision and economy of language. Working in London as foreign editor of several American literary magazines, he helped discover and shape the work of contemporaries such as T. S. Eliot, Ernest Hemingway, and James Joyce. He was responsible for the 1914 serialization of Joyce's A Portrait of the Artist as a Young Man, the 1915 publication of Eliot's "The Love Song of J. Alfred Prufrock", and the serialization from 1918 of Joyce's Ulysses. Hemingway wrote in 1932 that, for poets born in the late 19th or early 20th century, not to be influenced by Pound would be "like passing through a great blizzard and not feeling it's cold."
ellauri181.html on line 132: The Theory of Basic Human Values is a theory of cross-cultural psychology and universal values that was developed by a guy called Shalom H. Schwartz. The theory extends previous cross-cultural communication frameworx such as Hofstede's cultural dimensions theory. Schwartz identifies ten basic human values, each distinguished by their underlying motivation or goal, and he explains how people in all cultures recognize them. There are two major methods for measuring these ten basic values: the Schwartz Value Survey and the Portrait Values Questionnaire. A particular value can conflict or align with other values, and these dynamic relationships are typically illustrated using a circular graphic in which opposite poles indicate conflicting values.
ellauri210.html on line 1115: Between 1937–1938 Carrington painted a Self-Portrait, where she is perched on the edge of a chair in this curious, dreamlike scene, her hand outstretched toward a prancing hyena and her back to a tailless rocking horse flying behind her. The hyena depicted in Self-Portrait (1937–38) joins both male and female into a whole, metaphoric of the worlds of the night and the dream. The symbol of the hyena is present in many of Carrington's later works, including "La Debutante" in her book of short stories The Oval Lady.
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ellauri323.html on line 60: Victoria Mary Sackville-West was the only child of Lionel Edward, third Baron of Sackville, and Victoria Josepha Dolores Catalina Sackville-West, his first cousin and the illegitimate daughter of the diplomat Sir Lionel Sackville-West. She was educated privately. As a child she started to write poetry, writing her first ballads at the age of 11. "I don't remember either my father or my mother very vividly at that time, except that Dada used to take me for terribly long walks and talk to me about science, principally Darwin, and I liked him a great deal better than mother, of whose quick temper I was frightened." (from Portrait of a Marriage by Nigel Nicolson, 1973) Vita's mother considered her ugly - she was bony, she had long legs, straight hair, and she wanted to be as boyish as possible.
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ellauri328.html on line 422: Portrait of Ken Howard, wearing a petticoat he stole from Hobby Hall, featuring both Christian and Jewish symbols (taken 2012).
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xxx/ellauri104.html on line 332: POV Portrait of Victor
xxx/ellauri116.html on line 332: García Márquez oli poliittisesti vasemmalla. Hän ystävystyi Fidel Castron kanssa ja vietti pitkiä aikoja Havannassa. Tätä ystävyyttä on analysoitu teoksessa Gabo and Fidel: Portrait of a Friendship. García Márquezin mukaan heidän keskustelunsa ovat liittyneet kirjallisiin aiheisiin, eivät niinkään politiikkaan. Jospa Mario oli vaikka mustasukkainen Fidel Castrosta.
xxx/ellauri157.html on line 458: Portrait of Buber on a lowered area on the left half of the medal, "Martin Buber" in Hebrew and English and below, Buber´s signature, on a raised area on the right half of the medal.

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xxx/ellauri187.html on line 197: But why did aging Rodin in his 60s capture Rilke’s imagination at the turn of the last century? It’s hard to see at first. What made Rodin radical then is no longer radical today. In his “Self-Portrait” (1890), Rodin grimaces amidst rough marks. The picture emblematizes how Rodin heralded raw and unpolished sculptures that were strikingly modern. It was a breath of fresh air since most of early-19th-century sculpture was smooth, neoclassical, and to be harshly honest, predictably dainty. Charles Baudelaire lamented this nadir in 1846 when he wrote his provocative essay “Why Sculpture is Boring.” Rodin went on to prove Baudelaire wrong. He showed how sculpture could be modern with distorted, coarse, rough textures. Rodin knocked the idealized body off its pedestal. And the modern sculptors that came after him saw no reason to put it back.
xxx/ellauri337.html on line 51: Group Portrait with Lady (German: Gruppenbild mit Dame) is a novel by Nobel Prize winning author Heinrich Böll, published in 1971. The novel revolves around a woman named Leni, and her friends, foes, lovers, employers and others and in the end tells the stories of all these people in a small city in western Germany in the 1930s and 1940s. As is usual in Böll's novels, the main focus is the Nazi era, from the perspective of ordinary people. (Wikipedia en)
xxx/ellauri356.html on line 112: Aikalaiset, elinikäiset ystävät ja intellektuellit, Jacques Derrida ja Cixous kasvoivat molemmat ranskalaisina juutalaisina Algeriassa ja jakavat "syrjäytymisen ja kuulumattomuuden muodostaman kuulumisen" – eivät algerialaiset, joita Ranska hylkäsi, heidän juutalaisuutensa oli salattu tai kulttuuroitu. Derridan perheessä "ei koskaan sanottu 'ympärileikkaus' vaan 'kaste', ei 'Bar Mitzvah' vaan 'ehtoollinen'. Katolilaisuuteen verhottu juutalaisuus on yksi esimerkki identiteetin päättämättömyydestä, joka vaikutti ajattelijaan, jota Cixous kutsuu "juutalaiseksi pyhäksi". Hänen kirjansa Portrait of Jacques Derrida as a Young Jewish Saint käsittelee näitä asioita.
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