ellauri035.html on line 1031: Butler ”palkittiin” vuonna 1998 ensimmäisellä palkinnolla Philosophy and Literature -lehden ”Bad Writing” -kilpailussa. Palkittu virke kuului::
ellauri051.html on line 1171: 579 Writing and talk do not prove me, 579 Kirjoittaminen ja puhuminen eivät todista minua,
ellauri053.html on line 1243: Tietolaatikko: Writing Style of Walter Pater
ellauri067.html on line 179: 1960-62 Writing PR for Boeing in Seattle, model for Yoyodyne
ellauri074.html on line 144: | 460–375 BC | Writings of Hippocrates. Treatment of hemorrhoids by cautery and excision described. |
ellauri107.html on line 478: Jovially they whooped back—Vergil Gunch, the coal-dealer, Sidney Finkelstein, the ladies'-ready-to-wear buyer for Parcher & Stein's department-store, and Professor Joseph K. Pumphrey, owner of the Riteway Business College and instructor in Public Speaking, Business English, Scenario Writing, and Commercial Law. Though Babbitt admired this savant, and appreciated Sidney Finkelstein as “a mighty smart buyer and a good liberal spender,” it was to Vergil Gunch that he turned with enthusiasm. Mr. Gunch was president of the Boosters' Club, a weekly lunch-club, local chapter of a national organization which promoted sound business and friendliness among Regular Fellows. He was also no less an official than Esteemed Leading Knight in the Benevolent and Protective Order of Elks, and it was rumored that at the next election he would be a candidate for Exalted Ruler. He was a jolly man, given to oratory and to chumminess with the arts.
ellauri117.html on line 376: Writing video game
ellauri132.html on line 166: The Only 7 Writing Rules You’ll Ever Need
ellauri132.html on line 356: Writing a story? I got you, Fam! Guides for plot, conflict, characters, planning, and other things are made up for you to use for FREE.
ellauri145.html on line 112: Fourier was also a supporter of women´s rights in a time period when misogynic influences like Jean-Jacques Rousseau were prevalent. Fourier is credited with having originated the word feminism in 1837. Fourier believed that all important jobs should be open to women on the basis of skill and aptitude rather than closed on account of gender. He spoke of women as individuals, not as half the human couple. Fourier saw that "traditional" marriage could potentially hurt woman´s rights as human beings and thus never married. Writing before the advent of the term ´homosexuality´, Fourier held that both men and women have a wide range of sexual needs and preferences which may change throughout their lives, including same-sex sexuality and androgénité. He argued that all sexual expressions should be enjoyed as long as people are not abused, and that "affirming one´s difference" can actually enhance social integration. Stark raving mad, he was!
ellauri180.html on line 240: Writing POC characters
ellauri180.html on line 268: Tips on Writing Characters that are smarter than you?
ellauri180.html on line 282: Writing Racist Characters is Hard
ellauri180.html on line 335: Tips For Writing Characters Of A Different Heritage
ellauri180.html on line 350: 6 Ways to Avoid Character Cliches in Your Writing
ellauri180.html on line 599: Emma Baldwin graduated from East Carolina University with a BA in English, minor in Creative Writing, BFA in Fine Art, and BA in Art Histories. Literature is one of her greatest passions which she pursues through analyzing poetry on Poem Analysis.
ellauri192.html on line 51: Trubetzkoy also acted as a literary critic. In Writings on Literature, a brief collection of translated articles, he analyzed Russian literature beginning with the Old Russian epic The Tale of Igor's Campaign (the one that contains a first mention the Trubetzkoys) and proceeding to 19th-century Russian poetry and Dostoevsky.
ellauri198.html on line 131: Writing in the New Republic Steel, George Mayberry wrote that the novel was "in the tradition of many classics", comparing the novel favorably with Moby-Dick, The Sun Also Rises, and The Great Gatsby.
ellauri203.html on line 242: Writing in the Los Angeles Times, a professor of Slavic languages praised their Dostoevsky translations, stating "the reason they have succeeded so well in bringing Dostoevsky into English is not just that they have made him sound bumpy or unnatural but that they have managed to capture and differentiate the characters' many bumpy and unnatural voices." A literary critic and essayist, wrote in The Sewanee Review that their Dostoevsky translations "have recaptured the rough and vulgar edge of Dostoevsky's style. This tone of the vulgar that Dostoevsky's writings are full of, so morbidly excessively, they have translated into a vernacular equal to his own." But recently, writing in The New York Review of Books in 2016, a critic argued that Pevear and Volokhonsky have established an industry of taking everything they can get their hands on written in Russian and putting it into flat, awkward English. Other translators have voiced similar criticism, both in Russia and in the English-speaking world. A Slavic studies scholar has written in Commentary that Pevear and Volokhonsky take glorious works and reduce them to awkward and unsightly muddles. Criticism has been focused on the excessive literalness of the couple's translations and the perception that they miss the original tone of the authors.
ellauri210.html on line 601: Marcel Duchamp: aphorisms (also found in The Writings of Marchel Duchamp)
ellauri219.html on line 175: Theleman juhlapäiviä ovat päiväntasausten ja päivänseisausten lisäksi "Juhla Profeetan ja hänen Morsionsa ensi yölle" (The Feast for the First Night of the Prophet and His Bride) elokuun kahdentenatoista, "Juhla Lain Kirjan kirjoittamisen kolmelle päivälle" (The Feast for the Three Days of the Writing of the Book of the Law) 8. – 10. huhtikuuta, sekä "Juhla Ylimmälle Rituaalille" (The Feast for the Supreme Ritual), jolloin kutsutaan Horusta ja joka on thelemiittien uudenvuodenjuhla, maaliskuun 20. päivänä. Tasauksista kevätpäiväntasaus on merkittävin.
ellauri249.html on line 84: Czeslaw Milosz felt that Brodsky’s background allowed him to make a vital contribution to literature. Writing in the New York Review of Books, Milosz stated, “Behind Brodsky’s poetry is the experience of political terror, the experience of the debasement of man and the growth of the totalitarian empire."
ellauri263.html on line 624: 
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ellauri269.html on line 736: Kuvitteellisessa kertomuksessaan Supermanista The Amazing Adventures of Kavalier & Clay, kirjailija Michael Chabon yhdistää myös Golemiin. Hänen päähenkilönsä Josef Kavalier pakenee Prahasta piiloutumalla Golemin arkkuun ja luo samanlaisen hahmon sarjakuviinsa. Tohtori Windy Counsell Petrie kirjoittaa aiheesta "Illumination and Escape: Writing and Regeneration in 21st Century Jewish-American Literature" ("Illumination and Escape: Writing and Regeneration in 21st Century Jewish-American Literature") motiivista: "Golemi merkitsee uskoa taiteellisen luomisen voimaan... Joe Kavalierille maailmankaikkeus, jonka hän luo Sarjakuvien piirtäminen on sellainen, jossa hänellä on valtuudet tehdä jotain natseille… Vaikka Joe ymmärtää, ettei hän voi kirjaimellisesti satuttaa Hitleriä sarjakuvakirjoituksellaan, romaani antaa ymmärtää, että hänen sarjakuvillaan on valtaa vaikuttaa yleiseen mielipiteeseen."
ellauri276.html on line 538: from: Medieval English Political Writings 1996
ellauri368.html on line 333: The following year Perl published Ueber das Wesen der Sekte Chassidim aus ihren eigenen Schriften gezogen (On the Nature of the Sect of the Hasidim, Drawn from Their Own Writings), in which he laid out what he saw as the absurdity of Hasidic beliefs and practices.
ellauri373.html on line 144: The late Walter Rathenau of the Allgemeiner Electricitaets Gesellschaft (AEG, meidän koliseva pesukone oli sen merkkinen! Just goes to show!) has thrown a little light on the subject and doubtless he was in possession of their names, being, in all likelihood, one of the chief leaders himself. Writing in the Wiener Freie Presse, December 24, 1912, he said:
ellauri389.html on line 186: Zimmer kiittää brittiläistä toimittajaa Edward Lucasia siitä, että hän aloitti säännöllisen yleisen käytön sanalle whataboutism putinismista sen ilmestymisen jälkeen blogikirjoituksessa 29. lokakuuta 2007, raportoimalla osana Venäjää koskevaa päiväkirjaa, joka painettiin uudelleen kun Stalin-viittauxet oli vaihdettu Putinixi. The Economistin 2. marraskuuta ilmestyvässä numerossa. 31. tammikuuta 2008 The Economist julkaisi toisen Lucasin artikkelin nimeltä "Whataboutism". Edward Lucas's 2008 Economist article states that "Soviet propagandists during the cold war were trained in a tactic that their western interlocutors nicknamed 'whataboutism'. Writing for Bloomberg News, Leonid Bershidsky called whataboutism a "Russian tradition", while The New Yorker described the technique as "a strategy of false moral equivalences". Myöhemmin Lucas syytti Trumpia whataboutismista, niin että hän "kuulostaa kauheasti Putinilta". Kun juontaja Oh Really kutsui Putinia "tappajaksi", Trump vastasi sanomalla, että myös Yhdysvaltain hallitus syyllistyi ihmisten tappamiseen. Hän vastasi: "Tappajia on paljon. Meillä on paljon tappajia. Mitä luulette - maamme on niin viaton?" Selvää entäilyä!
ellauri389.html on line 202: Writing for National Review , kommentaattori Ben Shapiro kritisoi: "Se on kaikki tyhmää. Ja se tekee meistä kaikista entistä tyhmempiä." Heimoveli Michael J. Koplow Israel Policy Forumista komppasi. Noam Chomsky käytti taktiikkaa lokakuun 2001 puheessaan, joka piti syyskuun 11. päivän hyökkäysten jälkeen ja joka kritisoi Yhdysvaltain ulkopolitiikkaa.
ellauri389.html on line 294: Emma Baldwinin (B.A. English (Minor: Creative Writing), B.F.A. Fine Art, B.A. Art Histories) analyysi runosta on yhtä selkokielinen kuin Nigel Warburtonin filosofia.
xxx/ellauri084.html on line 770: Retrospectively, critical appraisals have become ever more lavish. Writing in the Los Angeles Times in 2000, US film critic Kenneth Turan called it a "monumental" work, and "one of the most potent documentaries ever made".The Arts Desk (UK) called it simply "the greatest documentary ever made about France during the Second World War".
xxx/ellauri103.html on line 250: Thus in the world of identity politics, fiction writers better be careful. If we do choose to import representatives of protected groups, special rules apply. If a character happens to be black, they have to be treated with kid gloves, and never be placed in scenes that, taken out of context, might seem disrespectful. But that’s no way to write. We know that most criminals are black anyway, and many if not most blacks are criminal. Writing to hide that fact would be writing fiction, and we fiction writers have your responsibility toward the white audience. The burden is too great, the self-examination paralysing. The natural result of that kind of criticism in the Post is that next time I don’t use any black characters, lest they do or say anything that is short of perfectly admirable and lovely. (No ei munkaan olis pitänyt alottaa tätä albumia, jossa haukutaan törkimyxiä jotka sattuu olemaan naisia. Äkkiä se kääntyyy naisten haukkumisexi sillä tekosyyllä, että ne sattuu olemaan törkimyxiä. Ehkä se onkin sitä!)
xxx/ellauri103.html on line 262: Writing under the pseudonym Edward Schlosser on Vox, the author of the essay “I’m a Liberal Professor, and My Liberal Students Scare Me” describes higher education’s “current climate of fear” and its “heavily policed discourse of semantic sensitivity” – and I am concerned that this touchy ethos, in which offendedness is used as a weapon, has spread far beyond academia, in part thanks to social media.
xxx/ellauri103.html on line 288: The spirit of good fiction is one of exploration, generosity, curiosity, audacity, and compassion. Writing during the day and reading when I go to bed at night, I find it an enormous relief to escape the confines of my own head. Even if novels and short stories only do so by creating an illusion, fiction helps to fell the exasperating barriers between us, and for a short while allows us to behold the astonishing reality of other people. And it really is astonishing what the other people do, at least the way I see it.
xxx/ellauri127.html on line 124: I would argue that the first real fissure in the adulatory critical wall hailing the “literary giant” came in 1990, in George Steiner’s erudite assessment of the first volume of Brian Boyd’s Nabokov biography, “Vladimir Nabokov: The Russian Years.” Writing in The New Yorker, Steiner perceived, a lack of generosity of spirit in Boyd’s subject: “Nabokov’s case seems to entail a deep-lying inhumanity, or, more precisely, unhumanity,” Steiner wrote. “There is compassion in Nabokov, but it is far outweighed by lofty or morose disdain.”
xxx/ellauri136.html on line 174: Mut hei! Andy on oikeasti wannabe kynäilijä sivutoimena, tai pää-. Studied Creative Writing at University of British Columbia, Okanagan campus (Graduated 2012). Se kysyy Quorassa kyxymyxiä kynäilyn säännöistä ja vastaa niihin ize:
xxx/ellauri137.html on line 583: Playwriting Shakespeare Tourism Literary Poetry Literature Creative Writing Teaching History Courses Fiction Books Art Theatre American Literature English Literature Academic Writing Teaching English as a Second Language Higher Education Short Stories Freelance Writing Teaching Writing Music College Teaching Literary Criticism Grammar Novels Composition.
xxx/ellauri137.html on line 598: Professor of English: Shakespeare, English Literature, World Literature, Bible as Literature, Creative Writing, Composition
xxx/ellauri137.html on line 679: Hearings Legal Writing Criminal Justice Criminal Investigations Private Investigations Law Enforcement Evidence Investigation Criminal Law Firearms Crime Prevention Interrogation Patrol.
xxx/ellauri137.html on line 795: She attended Johns Hopkins University, where she majored in Creative Writing and earned her BA in 1986. After graduating, she interned and was quickly hired as a reporter for the Baltimore Evening Sun. In 1991, she married Tony Massey, her college sweetheart, and the couple moved to Japan. Her husband was almost immediately deployed by the Navy, which left Mrs. Massey to acclimate to the culture alone. She worked as an English teacher while in Japan and began writing. In 1993, her husband’s deployment ended and the couple moved back to the States and settled in Baltimore, where they currently reside.
xxx/ellauri179.html on line 635: Writing to his sister Alice, James characterized Zhukovski as “the same impracticable and indeed ridiculous mixture of Nihilism and bric-à-brac as before.” He adds that Zhukovski always needs to be sheltered by a strong figure: “First he was under Turgenev, then the Princess Urusov, whom he now detests and who despises him, then under H.J. Jr. (!!), then under that of a certain disagreeable Onegin (the original of Turgenev’s Nazhdanov, in Virgin Soil) now under Wagner, and apparently in the near future that of Madame Wagner.” Novick bypasses these letters; he avoids looking at facts that might spoil his case. He does allude to the James remark about Zhukovski’s bric-a-brac, but he seems to misunderstand its irony. He claims that James was “cautious” about this visit because of crime and disease in the Naples area–all this, says Novick, is “out of keeping with the collection of bric-à-brac with which Zhukovski was surrounded.” James may indeed have been referring to the villa’s human bric-a-brac.
xxx/ellauri199.html on line 289: First of all I would like to clarify what poetry is and isn´t. Writing poetry is best described as a composition that uses literary techniques and is not prose. Writing Prose is best described as writing that uses ordinary speech or language, such as a story or letter. However, there is such a thing as prose poetry that does use poetic devices, but it is still written in journal, letter or paragraph or story form. Poetry is written with a certain poetic structure of line breaks and stanzas. We will get more into the structure of poetry later in the course. Now that we have that cleared up, let´s forge ahead.
xxx/ellauri199.html on line 1061: Writing in The Guardian, the political journalist Gaby Hinsliff described Strange Death as "gentrified xenophobia" and "Chapter after chapter circles around the same repetitive themes: migrants raping and murdering and terrorising; paeans to Christianity; long polemics about how Europe is too ´exhausted by history´ and colonial guilt to face another battle, and is thus letting itself be rolled over by invaders fiercely confident in their own beliefs", while also pointing out that Murray offers little definition of the European culture he claims is under threat. Pankaj Mishra´s review in The New York Times described the book as "a handy digest of far-right clichés". In The Intercept, Murtaza Hussain criticized the "relentlessly paranoid tenor" of Murray´s work and said that its claims of mass crime perpetuated by immigrants were "blinkered to the point of being propaganda", while noting the book´s appeal to the far right. In Middle East Eye, Georgetown professor Ian Almond called the book "a staggeringly one-sided flow of statistics, interviews and examples, reflecting a clear decision to make the book a rhetorical claim that Europe is doomed to self-destruction".
xxx/ellauri200.html on line 188: Writing in The New York Review of Books about Naipaul in 1980, Joan Didion offered the following portrayal of the writer:
xxx/ellauri225.html on line 343: Writing about the provocative literary critic Harold Bloom is an intimidating affair. Everything about Bloom is daunting, particularly his noxious public persona. He will occasionally try to conceal it by condescendingly addressing his interviewer as “dear.” He rarely seems to notice whom he is speaking with, or what they are feeling. He can erupt into long passages of Shakespeare, Whitman or Yeats from memory—a circus act of stunning recall as he approaches 90. But unlike critics such as the late Lionel Trilling or Daniel Mendelsohn, for whom literary criticism is a tool to examine the crucial moral, social, and political questions of our time, Bloom insists that literature be studied purely for aesthetics.
xxx/ellauri229.html on line 148: Book Review: Promise and Prayer. I reviewed the book by Anthony Thiselton (FBA), entitled Promise and Prayer: The Biblical Writings in the Light of Speech-Act Theory (Cascade Books, 2020). My short review for Theological Book Review is available here: https://tbronline.edublogs.org/2022/09/14/thiselton-promise-and-prayer/
xxx/ellauri295.html on line 507: Targum on arameankielinen käännös heprealaisesta Raamatusta Tanakista, joka vastaa suunnilleen kristittyjen Vanhaa testamenttia. Tanakh is an acronym, made from the first Hebrew letter of each of the Masoretic Text's three traditional divisions: Torah (literally 'Instruction' or 'Law'), Nevi'im (Prophets), and Ketuvim (Writings)—hence TaNaKh.
xxx/ellauri304.html on line 623: What to read? If you get no checks, read Writer’s Digest. Read the how-to books. If you want to read books on writing, you can’t find much better stuff then Stephen King on Writing, anything by Dean Koontz or Larry Block, a very specific mystery writing manual from Hallie Ephron (*1948), Writing Mysteries from MWA, a collection which includes me and my ex-partner, read my blogs and those about the writer’s soul by Molly Cochran. Read “Trial and Error”by Jack Woodford (+1971), one of the great commercial writing geniuses. And be sure to read my long time personal favorite book by one of my all time, all-star heroes, “Dare to be a Great Writer” by Leonard Bishop, which is not 300 pages of “rah-rah boys, go do it” but is instead 329 specific tips on how to get the trucks out of the garage in the morning. Fabulous. Reading and writing and remembering, are the only two of the three R’s that count. Who the hell cares about ‘rithmetic? Except Chuck Berry, who could count 6/8 time like a genius.
xxx/ellauri320.html on line 266: | John Grisham | USA | 280M | jännäri | Särkelä itte | Writing’s still the most difficult job I’ve ever had – but it’s worth it. |
xxx/ellauri410.html on line 313: Mään oli luultavasti Tompan homppakaveri Verdenal. Siisteissä Quatrainsissa "Sweeny Erect" vangitsee ihmisen sivilisaation monimutkaisen paisuntatilan edistyneen modernin maailman ja suuren sodan tuhojen keskellä. Tämä on Emma Baldwinin analysoima runo (BA englanti sivuaine: Creative Writing, BFA Fine Art, BA Art Histories). Pöljä Emma ei ymmärtänyt puoliakaan Eliotin läpistä.
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