ellauri003.html on line 914: (Limboilujen luku XXV)
ellauri014.html on line 375: XXV
ellauri014.html on line 389:
XXVI-XXVII
ellauri014.html on line 393:
XXVIII
ellauri014.html on line 555:
XXIV-XXV
ellauri014.html on line 559:
XXVI
ellauri014.html on line 561:
XXVII
ellauri014.html on line 571:
XXVIII
ellauri014.html on line 736:
XXV-XXVI
ellauri024.html on line 732: Arskakin on lukenut Jevgeni Popovin novellin Nuoruuteni vuosina, missä Jevgeni alkaa kesken ilostelun itkeä. Muttei se komiikka siihen lopu, kato vaikka mun runoelman osasta XXVIII. Voihan sitä ihan hyvin itkeä ja nauraa samalla ajalla. Kettu kylpee, sanoo Seija lainaten äitiänsä Leaa, kun aurinko paistoi sateen lävize.
ellauri036.html on line 1946:
Super Bowl XXXVIII halftime show controversy 2004
ellauri036.html on line 1948: The halftime show at Super Bowl XXXVIII, which was broadcast live on February 1, 2004 from Houston, Texas on the CBS television network, is notable for a moment in which Janet Jackson's breast – adorned with a nipple shield – was exposed by Justin Timberlake to the viewing public for approximately half a second.
ellauri048.html on line 1813: XXV
ellauri048.html on line 1829: XXVI
ellauri048.html on line 1850: XXVII
ellauri048.html on line 1871: This poem is in the public domain. Presented here are the prologue and cantos I - XXVII.
ellauri090.html on line 418: 3. XXXV. Parafrasi
ellauri093.html on line 800: XXV
ellauri093.html on line 808: | XXVI
ellauri093.html on line 816: | XXVII
ellauri093.html on line 824: | XXVIII
ellauri140.html on line 569: XXV
ellauri140.html on line 580: XXVI
ellauri140.html on line 591: XXVII
ellauri140.html on line 602: XXVIII
ellauri140.html on line 689: XXXV
ellauri140.html on line 701: XXXVI
ellauri140.html on line 713: XXXVII
ellauri140.html on line 731: XXXVIII
ellauri145.html on line 262: Le spleen baudelairien désigne une profonde mélancolie née du mal de vivre, que Charles Baudelaire exprime dans plusieurs poèmes de son recueil Les Fleurs du mal. Quoiqu'il l'associe, discrètement, pour qui veut le lire, non pas à un véritable mal mais plutôt à une rage de vivre. Cette frustration colérique d'un Idéal non réalisé, auquel il ne renonce pourtant pas. Il accompagne finalement le titre de l'ouvrage complet : Spleen et Idéal. Ce spleen éveille un espoir, aisément distinguable dans ses textes les plus sombres : « Je suis comme le roi d'un pays pluvieux, riche, mais impuissant » LXXVII.
ellauri150.html on line 457: The phrase originates from the Christian tradition regarding Saint Peter's first words to the risen Christ during their encounter along the Appian Way. According to the unnatural Acts of Peter (Vermicelli Acts XXXV), as Peter flees from crucifixion in Rome at the hands of the government, and along the road outside the city, he meets the risen Jesus. In the Latin translation, Peter asks Jesus, "Quō vādis?" He replies, "Rōmam eō sursum deorsum crucifīgī" ("I am going to Rome to be crucified upside down"). Peter then gains the courage to continue his ministry and returns to the city, where he is martyred by being crucified upside-down. The Church of Domine Quo Vadis in Rome is built upside down where the meeting between Peter and Jesus allegedly took place. The words "quo vadis" as a question also occur at least seven times in the Latin Vulgate.
ellauri150.html on line 606: When we return, it's Anno Domini XXVI - A.D. 26. Messala, a Roman who grew up in Judea but spent most of his life in more traditional Roman enclaves, is accepting an important position in Jerusalem under the new governor of Judea; it's a hard job, since the Jews don't want the Romans there, but he feels up to it. He is visited by his childhood friend, and our hero, Judah Ben-Hur, a very important and influential Jew. They try to pick up the friendship where it left off, but there's one big problem: they no longer have anything in common besides their shared past. They are in denial about this for a while, and Judah agrees to try to get people to accept the Romans.
ellauri162.html on line 523: XXV. THEY WHO FEAR AND WILL NOT BELIEVE. LXIII. THE DAILY WAR.
ellauri162.html on line 524: XXVI. TO THOSE WHO RESIST THE LAW OF CHRIST THE LIVING GOD. LXIV. OF THE ZEAL OF CONCUPISCENCE.
ellauri162.html on line 525: XXVII. O FOOL, THOU DOST NOT DIE TO GOD. LXV. THEY WHO GIVE FROM EVIL.
ellauri162.html on line 526: XXVIII. THE RIGHTEOUS RISE AGAIN. LXVI. OF A DECEITFUL PEACE.
ellauri162.html on line 533: XXXV. OF THE TREE OF LIFE AND DEATH. LXXIV. OF FUNERAL POMP.
ellauri162.html on line 534: XXXVI. OF THE FOOLISHNESS OF THE CROSS. LXXV. TO THE CLERKS.
ellauri162.html on line 535: XXXVII. THE FANATICS WHO JUDAIZE. LXXVI. OF THOSE WHO GOSSIP, AND OF SILENCE.
ellauri162.html on line 536: XXXVIII. TO THE JEWS. LXXVII. TO THE DRUNKARDS.
ellauri162.html on line 537: XXXIX. ALSO TO THE JEWS. LXXVIII. TO THE PASTORS.
ellauri198.html on line 551: XXV.
ellauri198.html on line 559: XXVI.
ellauri198.html on line 567: XXVII.
ellauri198.html on line 575: XXVIII.
ellauri262.html on line 563: Omien näkemyksensä teologiasta Lewis kuvailee ja keskustelee seksistä, rakkaudesta, ylpeydestä, ahneudesta ja sodasta peräkkäisissä kirjeissä. Lewis, itse Oxfordin ja Cambridgen näiden asioiden harras tutkija, paljastaa työssään, että edes intellektuellit eivät ole läpäisemättömiä tällaisten demonien vaikutukselle, etenkään "historiallisen näkökulman" (kirje XXVII) omahyväisen hyväksymisen aikana.
ellauri408.html on line 620: Varhain aamulla Lover nousee ylös, pukeutuu ja lähtee leikkimään maaseudulle. Vaeltuaan sattumanvaraisesti upealla niityllä, jota kaunis joki kastelee, hän alkaa seurata veden kulkua ja yhtäkkiä huomaa kukkulan mutkassa olevansa vastapäätä [s. XXVIII] korkeaa ja laajaa creneloitua muuria, joka ympäröi upeaa hedelmätarhaa. Tälle seinälle ulkona on maalattu hirvittäviä kuvia. Ne ovat ensin Viha, jota reunustavat Felony ja Vilenie, sitten himo rinnakkain ahneuden kanssa ja peräkkäin Kateus, Suru, Vanhuus, Papelardy ja Köyhyys. Rakastaja pohtii näitä kuvia ja haluaa astua nauramaan hedelmätarhaan, joka ei ole kukaan muu kuin Déduitin eli Pleasure of Loven koti. Hetken etsittyään hän löytää pienen portin, ainoan paikan, josta tähän kauniiseen hedelmätarhaan pääsee. Hän koputtaa, ja kaunis Oyseuse tulee avaamaan oven.
xxx/ellauri125.html on line 105: CHAPTER XXXVIII—CONCLUSION
xxx/ellauri139.html on line 612: XXV. XXV.
xxx/ellauri139.html on line 623: XXVI. XXVI.
xxx/ellauri139.html on line 634: XXVII. XXVII.
xxx/ellauri139.html on line 645: XXVIII. XXVIII.
xxx/ellauri139.html on line 722: XXXV. XXXV.
xxx/ellauri139.html on line 732: XXXVI. XXXVI.
xxx/ellauri139.html on line 743: XXXVII. XXXVII.
xxx/ellauri139.html on line 754: XXXVIII. XXXVIII.
xxx/ellauri167.html on line 52: Francesca è presentata come una donna colta, esperta di letteratura amorosa (cita indirettamente lo Stilnovo e Andrea Cappellano, quindi conosce i dettami dell'amor cortese). Attraverso il suo personaggio Dante compie una parziale ritrattazione della sua precedente produzione poetica (stilnovistica e, soprattutto, delle Petrose), che avendo l'amore come argomento poteva spingere il lettore a mettere in pratica gli esempi letterari e cadere nel peccato di lussuria. Francesca è il primo dannato che pronuncia un discorso nell'Inferno dantesco, mentre Guido Guinizelli (citato indirettamente dalla donna) e il trovatore provenzale Arnaut Daniel saranno gli ultimi penitenti a dialogare con Dante nel Purgatorio (Canto XXVI), colpevoli anche loro di lussuria e produttori di quella letteratura amorosa di cui Francesca era stata appassionata lettrice.
xxx/ellauri394.html on line 287: "Liliuokalani's Claim". The Pacific Commercial Advertiser. Vol. XXXVII, no. 6399. Honolulu. February 10, 1903. Image 4, col. 1. Archived from the original on November 25, 2017. Retrieved October 15, 2017.
58 |