ellauri048.html on line 56: Kymmenen päivää, jotka järisyttivät maailmaa (engl. Ten Days that Shook the World) on yhdysvaltalaisen toimittajan ja sosialistin John Reedin kirjoittama kirja Venäjän vuoden 1917 lokakuun vallankumouksesta, jonka hän koki omakohtaisesti. Reed seurasi Venäjällä viettämänään aikana läheltä useita keskeisiä bolševikkijohtajia, erityisesti Grigori Zinovjevia ja Karl Radekia, ja teos onkin kirjoitettu kommunistien näkökulmaa esitellen.
ellauri048.html on line 58: Reed kuoli vuonna 1920 pian kirjan ilmestymisen jälkeen. Hän on Bill Haywoodin ohella ainoa amerikkalainen, joka on haudattu Kremlin muuriin, johon tavallisesti haudattiin vain neuvostojohtajia.
ellauri048.html on line 60: Stalinismin nousun jälkeen Josif Stalin julisti Reedin olleen väärässä monissa kirjassa esittämissään asioissa, etenkin arkkivihollistaan Lev Trotskia koskien. Kymmenen päivää, jotka järisyttivät maailmaa kuvaa Trotskin vallankumouksen sankariksi ja mainitsee Stalinin sen sijaan vain kahdesti. Niinpä Stalin kielsikin Reedin kirjan, samoin kuin Trotskin teokset.
ellauri067.html on line 325: Pynchonin poikasena radiosta seuraaman Fred Allen Shown naispääosahenkilö oli Frankin puoliso, Jasun Martha Nussbaumin kaima. Other dramatis personae included average-American John Doe (played by John Brown), Mrs. Nussbaum (Minerva Pious), pompous poet Falstaff Openshaw (Alan Reed), Titus Moody (Parker Fennelly), and boisterous southern senator Beauregard Claghorn (announcer Kenny Delmar). Texaco ended its sponsorship of the program in 1944.
ellauri069.html on line 711: Ishmael Scott Reed: (born February 22, 1938)
ellauri069.html on line 714: American poet, novelist, essayist, songwriter, playwright, editor and publisher. Known for his satirical works challenging American political culture. Perhaps his best-kĺnown work is Mumbo Jumbo (1972), a sprawling and unorthodox novel set in 1920s New York that has been ranked among the 500 most important books in the Western canon. Reed´s work has often sought to represent neglected African and African-American perspectives; his energy and advocacy have centered more broadly on neglected peoples and perspectives, irrespective of their cultural origins.
ellauri073.html on line 91: Kauko Röyhkä on rooli, jonka hän kehitti 1970-luvulla Lou Reedin Berlin-levyn innoittamana. ”Sillä levyllä tyyppi hakkaa vaimoaan eikä piittaa äidistä, jolta viedään lapset pois.”
ellauri080.html on line 383: That “something higher” is often divine or spiritual in nature. Many achieve self-transcendence through their faith in God, while others may achieve it through recognition of some system of spirituality or idea of the soul. This faith or spirituality can help individuals find the meaning that will fulfill them and propel them to transcendence. Research has even shown that in elderly patients, the caregiver’s own spirituality had a positive impact on the patient’s well-being (Kim, Reed, Hayward, Kang, & Koenig, 2011).
ellauri106.html on line 259: Martinson inspired “The Monkey” (Mary Jane Reed) in novel Portnoy’s Complaint and Maureen Tarnopol in My Life as a Man.
ellauri140.html on line 144: In "The Mathematics of Magic", the second of Fletcher Pratt and L. Sprague de Camp's Harold Shea stories, the modern American adventurers Harold Shea and Reed Chalmers visit the world of The Faerie Queene, where they discover that the greater difficulties faced by Spenser's knights in the later portions of the poem are explained by the evil enchanters of the piece having organized a guild to more effectively oppose them. Juppajju, dominoteoria. Hullut vietnam-veteraanit sekoaa kun pitäs syödä lo meiniä. Kiinattaret tuoxuu tutusti halvalta hajuvedeltä ja herneenpalolta.
ellauri144.html on line 109: I took the Monkey to Italy. Sorry, I haven't mentioned her before. She's the long-legged shiksa model who used to be married to the elderly rich goy that liked to shit on a glass table over a schwartz while she ate a banana. Hence Monkey. Her real name is Mary Jane Reed and she's a thinly-disguised caricature of my alter ego's first wife. Revenge really is best served cold.
ellauri161.html on line 217: Nico tuli tunnetuksi romansseistaan Jim Morrisonin, Lou Reedin, Iggy Popin, Leonard Cohenin ja Alain Delonin kanssa.
ellauri164.html on line 963: But wait. Didn’t we already learn a similar story back in Exodus? In fact, the first story of thirst came very soon after the crossing at the Sea of Reeds (Shemot 17:4). Since that was at the very beginning of the sojourn in the wilderness, before the events that led to God’s decision to delay the Israelites’ entry to the Land—and this story is at the end of the forty years—we can see the two stories as forming a kind of a framework around the whole saga of the wandering. In the first story, the Israelites were the first generation of those who left Egypt. In this story, they are the children and grandchildren of that generation. When we see this kind of framework, we look for the similarities and differences between the bracketing stories. At the same time, we understand that they suggest a theme for the stories between them.
ellauri164.html on line 975: The Israelites had a history of trusting in God because of what they saw. The most famous example, which we repeat in the daily morning service, quotes their experience after the crossing of the Sea of Reeds: “Israel saw the wondrous power which God had wielded against the Egyptians, the people feared God; they had faith in God and in God’s servant, Moses” (Exod. 14:31). They have needed this public, indisputable evidence of their eyes ever since. God knows that what they see is what is most important. And what he wants them to see is Moses speaking—not striking the rock, as he was commanded to do on the former occasion.
ellauri198.html on line 828: Yeats kept his sixth-grader occultist badge away from his poems, which are simple enough to be understood by sixth-graders, unlike Blake and Shelley, but like his rhyming predecessor Keats. Even so, Yeats’s visionary and idealist interests were more closely aligned with those of Blake and Shelley than with those of Keats, and in the 1899 collection The Wind among the Reeds the occult symbolism rears its ugly head in several poems.
ellauri236.html on line 202: In a book like No Orchids one is not, as in the old-style crime story, simply escaping from dull reality into an imaginary world of action. One's escape is essentially into cruelty and sexual perversion. No Orchids is aimed at the power-instinct, which Raffles or the Sherlock Holmes stories are not. At the same time the English attitude towards crime is not so superior to the American as I may have seemed to imply. It too is mixed up with power-worship, and has become more noticeably so in the last twenty years. A writer who is worth examining is Edgar Wallace, especially in such typical books as The Orator and the Mr. J. G. Reeder stories. Wallace was one of the first crime-story writers to break away from the old tradition of the private detective and make his central figure a Scotland Yard official. Sherlock Holmes is an amateur, solving his problems without the help and even, in the earlier stories, against the opposition of the police. Moreover, like Lupin, he is essentially an intellectual, even a scientist. He reasons logically from observed fact, and his intellectuality is constantly contrasted with the routine methods of the police. Wallace objected strongly to this slur, as he considered it, on Scotland Yard, and in several newspaper articles he went out of his way to denounce Holmes by name. His own ideal was the detective-inspector who catches criminals not because he is intellectually brilliant but because he is part of an all-powerful organization. Hence the curious fact that in Wallace's most characteristic stories the ‘clue’ and the ‘deduction’ play no part. The criminal is always defeated by an incredible coincidence, or because in some unexplained manner the police know all about the crime beforehand. The tone of the stories makes it quite clear that Wallace's admiration for the police is pure bully-worship. A Scotland Yard detective is the most powerful kind of being that he can imagine, while the criminal figures in his mind as an outlaw against whom anything is permissible, like the condemned slaves in the Roman arena. His policemen behave much more brutally than British policemen do in real life — they hit people with out provocation, fire revolvers past their ears to terrify them and so on — and some of the stories exhibit a fearful intellectual sadism. (For instance, Wallace likes to arrange things so that the villain is hanged on the same day as the heroine is married.) But it is sadism after the English fashion: that is to say, it is unconscious, there is not overtly any sex in it, and it keeps within the bounds of the law. The British public tolerates a harsh criminal law and gets a kick out of monstrously unfair murder trials: but still that is better, on any account, than tolerating or admiring crime. If one must worship a bully, it is better that he should be a policeman than a gangster. Wallace is still governed to some extent by the concept of ‘not done’. In No Orchids anything is ‘done’ so long as it leads on to power. All the barriers are down, all the motives are out in the open. Chase is a worse symptom than Wallace, to the extent that all-in wrestling is worse than boxing, or Fascism is worse than capitalist democracy.
ellauri278.html on line 90: Harvinaisen muistin omaavana hän pystyi lainaamaan suuria kohtia joistakin teoksista lähes sanatarkasti. Kirjoittajista, kuten olen huomannut, Stalin lainasi useimmiten Saltykov-Shchedriniä, Tšehovia, Gogolia sopivissa tapauksissa. Hän koettiin olevan erittäin lukenut mies. Kerran illallisella hän vertasi hyvin osuvasti ja ironisesti Rabelais'n romaanin "Gargantua ja Pantagruel" - 1500-luvun ranskalaisen kirjallisuuden mestariteoksen - sankareihin joitakin moderneja hahmoja. Stalin puhui hyväksyvästi Mine Reedin, Jules Vernen ja Fenimore Cooperin seikkailuromaaneista. Hän muisti että luki lapsuudessa näiden kirjailijoiden kirjoja. Kun kysyin häneltä, miksi näitä kirjailijoita ei juuri nyt julkaistu maassamme, hän vastasi: "Et voi tehdä hallituksen päätöstä jokaisesta pienestä asiasta. Se tässä suunnitelmataloudessa on ongelma."
ellauri281.html on line 89: Harvinaisen muistin omaavana hän pystyi lainaamaan suuria kohtia joistakin teoksista lähes sanatarkasti. Kirjoittajista, kuten olen huomannut, Stalin lainasi useimmiten Saltykov-Shchedriniä, Tšehovia, Gogolia sopivissa tapauksissa. Hän koettiin olevan erittäin lukenut mies. Kerran illallisella hän vertasi hyvin osuvasti ja ironisesti Rabelais'n romaanin "Gargantua ja Pantagruel" - 1500-luvun ranskalaisen kirjallisuuden mestariteoksen - sankareihin joitakin moderneja hahmoja. Stalin puhui hyväksyvästi Mine Reedin, Jules Vernen ja Fenimore Cooperin seikkailuromaaneista. Hän muisti että luki lapsuudessa näiden kirjailijoiden kirjoja. Kun kysyin häneltä, miksi näitä kirjailijoita ei juuri nyt julkaistu maassamme, hän vastasi: "Et voi tehdä hallituksen päätöstä jokaisesta pienestä asiasta. Se tässä suunnitelmataloudessa on ongelma."
ellauri310.html on line 761: A heavy cigar smoker, Abrams died at age 59, eleven days before his 60th birthday at Walter Reed Army Medical Center in Washington, D.C., from complications of surgery to remove a cancerous lung. He is buried with his wife Julia in Arlington National Cemetery.
ellauri353.html on line 266: Rose Director syntyi Staryi Chortoryiskissä Ukrainassa Director - perheeseen, merkittäviin juutalaisiin. Niinpä tietysti. Hänen uskotaan syntyneen joulukuun 1910 viimeisellä viikolla; syntymätiedot ovat kuitenkin kadonneet. Nuoruudessaan hän kirjoitti artikkeleita kulutuksesta Dorothy Bradyn kanssa. Rose Friedman opiskeli Reed Collegessa ja siirtyi sitten Chicagon yliopistoon, jossa hän sai filosofian kandidaatin tutkinnon. Tämän jälkeen hän alkoi opiskella taloustieteen tohtoriksi Chicagon yliopistossa ja suoritti kaikki tohtorintutkintoon tarvittavat työt väitöskirjan kirjoittamista lukuun ottamatta.
ellauri353.html on line 281: Mrs. FRIEDMAN attended Reed College and studied economics at the University of Chicago. She was on the staff of the National Research and the bureau. A few. Home Economics. She next joined the staff of the Federal Deposit Insurance Corporation where she worked until she married Milton and moved to New York. Since then she has continued home economic research on her own publishing. Individually and coauthoring the three works referred to a few moments ago. She was mostly a producer of the P.B.S. T.V. series free to choose. And in one thousand nine hundred six she received an honorary doctorate from Pepperdine University. The Milton. And Rose de Friedman Foundation which the Freedman's us. Promotes parental choice. Of the schools. Attend. As I mentioned the title of their most recent book is Two lucky people. I'm being told by my parents. That the harder you work the luckier you get. It is no wonder the Friedan consider themselves lucky. They have worked long hard to make the contributions they have made to each other and to our society. We the members and listen. Well are the lucky ones today. To have them share themselves and their insights with us once again. We welcome. (Milton claps his hands to them.)
ellauri381.html on line 451: 1960-1970-luvulla Neuvostoliitossa toteutettiin kampanja Solženitsyniä vastaan, ja Solženitsyniä - "parjaajaa" ja "kirjallista vlasovilaista" - vastaan ​​esitti erityisesti Mihail Šolohov ja Dean Reed sekä Stepan Shchipachev (Literaturnaja Gazetan artikkelin "The End of the Literary Vlasovite" kirjoittaja).
ellauri381.html on line 621: Pääsyyte häntä vastaan ​​on salaliiton järjestäminen "demokraattisen valtiojärjestelmän" kaatamiseksi, joka toteutettiin yhteistyössä Ison-Britannian ja Jugoslavian kanssa. Tätä tarkoitusta varten hän värväsi lukuisia rikoskumppaneita hallinnossa, hyväksyi Bulgarian liittymisen Jugoslaviaan, sabotoi taloutta hallitustehtäviensä kautta, järjesti diktaattori Georgi Dimitrovin pidätyksen ja salamurhan, välitti luottamuksellisia tietoja Britannian tiedustelupalveluille ja auttoi Jugoslavian vakoojia. Syyte mainizee myös Yhdysvaltain täysivaltaisen ministerin Donald Reed Heathin, johon Kostov syytteen mukaan piti yhteyttä maanpetoksellisessa toiminnassaan.
xxx/ellauri208.html on line 975: Etenkin Idströmin kolme jälkimmäistä romaania ammentavat vahvasti psykoanalyyttisesta, freudilais-lacanilais-kristevalaisesta traditiosta. Idström on itse nostanut viimeisen romaaninsa keskeiseksi vaikuttajaksi ruotsalaisen psykoanalyytikon Jürgen Reederin Jacques Lacania käsittelevän teoksen Begär och etik (1990).
xxx/ellauri225.html on line 425: Brian Reed has contributed to a project of critical reintegration of queer criticism with other critical methods, suggesting that an overemphasis on the sexual biography of Crane´s poetry can skew a broader appreciation of his overall work. In one example of Reed´s approach, he published a close reading of Crane´s lyric poem, "Voyages", (a love poem that Crane wrote for his lover Emil Opffer) on the Poetry Foundation website, analyzing the poem based strictly on the content of the text itself and not on outside political or cultural matters. We can faintly hear Harold Bloom clap his hands in the body bag.
xxx/ellauri228.html on line 608: A very drunk Oliver Reed giving a barely coherent interview saying "We were very, very drunk".
xxx/ellauri273.html on line 79: All this changed after the Maya laid siege to and conquered Bacalar, originally the Mayan holy city of Bak Halal ('Decanting Water'). They summarily killed British citizens, along with the entire Yucatec 'Creoles' garrison (Reed 1964).
xxx/ellauri273.html on line 82: The British Government assigned Sir Spenser St. John to disentangle Her Majesty's Government from indigenous free states and the Maya free state in particular. In 1893, the British Government signed the Spenser Mariscal Treaty, which ceded all of the Maya free state's lands to Mexico. Meanwhile, the Creoles on the west side of the Yucatán peninsula had come to realize that their minority-ruled mini-state could not outlast its indigenous neighbor. After the Creoles offered their country to anyone who might consider the defense of their lives and property worth the effort, Mexico finally accepted. With both legal pretext and a convenient staging area in the western side of the Yucatán peninsula, Chan Santa Cruz was occupied by the Mexican army in the early years of the 20th century (Reed 1964).
xxx/ellauri319.html on line 473: John Reed
xxx/ellauri354.html on line 374: In the appendix, each location is carefully catalogued with notes as to placement, location of the sundial, and maker(s) if known. McLemore’s observation that they’re “all sad like that” is hard to argue with: there are a lot of ways to say “remember you will die,” “time is fleeting,” and “seize the day,” and many of them are in Gatty’s book. The motto that S-Town host Brian Reed¹ finds in a mission garden, knowing to look for it because John told him to, does not appear there, but does in another: “Nil boni hodie diam perdidi: I did nothing good today — the day is lost.”
xxx/ellauri354.html on line 415: ¹S-Town was an American investigative journalism podcast hosted by Brian Reed and created by the producers of Serial and This American Life. In 2012, horologist John B. McLemore sent an email to the staff of the show This American Life asking them to investigate an alleged murder in his hometown of Woodstock, Alabama, a place he claimed to despise. There wasn't any.
xxx/ellauri354.html on line 417: Though the podcast was promoted under the name S-Town, Reed reveals in the first episode that this is a euphemism for "Shit-Town", McLemore's derogatory term for Woodstock. McLemore killed himself by drinking potassium cyanide on June 22, 2015, while the podcast was still in production.
xxx/ellauri354.html on line 419: The podcast's critics claimed that the studio took advantage of John's death in order to gain publicity. Crixeo, an online arts monthly, argues that Reed did not have the right to publicly out John as queer.
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