ellauri008.html on line 740: Marvellous, he repeated, looking up at me. Look! the beauty! but that is nothing - look at the accuracy, the harmony. And so fragile! And so strong! And so exact! This is nature - the balance of colossal forces. Every star is so - and every blade of grass stands so - and the mighty kosmos in perfect equilibrium produces - this. This wonder; this masterpiece of nature - the great artist.
ellauri026.html on line 510: Froude's Life and Letters illustrates the author's familiar qualities,—his remarkable distinctness of view and his complete indifference to accuracy of detail.
ellauri048.html on line 1897: “If the mainstream media is to be respected by viewers, it cannot recycle old Nazi propaganda,” the Polish embassy statement reads. “We ask that Mr. Cramer apologize for his insensitive comparison and that viewers of Mad Money be made aware of the historical inaccuracy of the statement in question,” the statement concludes.
ellauri067.html on line 458: Neil deGrasse Tyson is speaking up on Christmas 2020, in order to correct a little scientific inaccuracy that Santa Claus has been perpetuating for years. We all know the story of Santa and his reindeer (Dasher, Dancer, Prancer, Vixen, Comet, Cupid, Donner, Blitzen, and of course Rudolph), but [...]
ellauri089.html on line 48: Robert Anson Heinlein (/ˈhaɪnlaɪn/; July 7, 1907 – May 8, 1988) was an American science-fiction author, aeronautical engineer, and Naval officer. Sometimes called the "dean of science fiction writers", he was among the first to emphasize scientific accuracy in his fiction, and was thus a pioneer of the subgenre of hard science fiction. His published works, both fiction and non-fiction, express admiration for competence and emphasize the value of critical thinking. His work continues to have an influence on the science-fiction genre, and on modern culture more generally.
ellauri094.html on line 713: Pay attention: the program cannot take into account all the numerous nuances of poetic technique while analyzing. We make no warranties of any kind, express or implied, about the completeness, accuracy, reliability and suitability with respect to the information.
ellauri096.html on line 53: Typically prophecies like catastrophe warnings are made to serve opposite goals simultaneously. Competition between accuracy and helpfulness makes it possible for a prediction to be self-fulfilling by being self-defeating. Consider a prophet who warns ‘Your godless life will cause fatalities along the sinners’. Because of the warning, spectacle-seekers make a special trip to witness the carnage. They die like flies. The prophet’s announcement succeeds as a prediction by backfiring as a warning, or conversely.
ellauri096.html on line 161: Suppose a psychologist offers you a red box and a blue box (Skyrms 1982). The psychologist can predict which box you will choose with 90% accuracy. He has put one dollar in the box he predicts you will choose and ten dollars in the other box. Should you choose the red box or the blue box? You cannot decide. For any choice becomes a reason to reverse your decision.
ellauri106.html on line 126: A committed atheist, Philip Roth feared only one form of posthumous punishment: being trapped for all eternity in a hostile biography. In 2007, Roth, echoing a similar quip from Oscar Wilde, said, “Biography gives a new dimension of terror to dying.” Roth’s had already been the subject of a harsh and unforgiving portrait in Leaving a Doll’s House (1996), the memoirs of his former wife, the actor Claire Bloom. As John Updike noted in The New York Review of Books, “Claire Bloom, as the wronged ex-wife of Philip Roth, shows him to have been, as their marriage rapidly unraveled, neurasthenic to the point of hospitalization, adulterous, callously selfish, and financially vindictive.” This crisp summary ended Roth’s friendship with Updike, even after Updike made clear he was recapping Bloom’s book and not affirming its accuracy.
ellauri106.html on line 386: A committed atheist, Philip Roth feared only one form of posthumous punishment: being trapped for all eternity in a hostile biography. In 2007, Roth, echoing a similar quip from Oscar Wilde, said, “Biography gives a new dimension of terror to dying.” Roth’s had already been the subject of a harsh and unforgiving portrait in Leaving a Doll’s House (1996), the memoirs of his former wife, the actor Claire Bloom. As John Updike noted in The New York Review of Books, “Claire Bloom, as the wronged ex-wife of Philip Roth, shows him to have been, as their marriage rapidly unraveled, neurasthenic to the point of hospitalization, adulterous, callously selfish, and financially vindictive.” This crisp summary ended Roth’s friendship with Updike, even after Updike made clear he was recapping Bloom’s book and not affirming its accuracy.
ellauri159.html on line 989: Note: I referenced the type descriptions at the Center for Applications of Psychological Type. Author types are based on research and educated guesses. No one can type a person with 100% accuracy except a professional or the person him/herself. If even they.
xxx/ellauri075.html on line 374: Eartha Mae Keith was born on a cotton plantation near the small town of North, South Carolina, or St. Matthews on January 17, 1927. Her mother Annie Mae Keith was of Cherokee and African descent. Though she had little knowledge of her father, it was reported that he was a son of the owner of the farm where she had been born, and that Kitt was conceived by rape. In a 2013 biography, British journalist John Williams claimed that Kitt's father was a white man, a local doctor named Daniel Sturkie. Kitt's daughter, Kitt McDonald, has questioned the accuracy of the claim. Eartha's mother, Annie Mae Keith (later Annie Mae Riley), soon went to live with a black man who refused to accept Eartha because of her relatively pale complexion; she was raised by a relative named Aunt Rosa, in whose household she was abused. After the death of Annie Mae, Eartha was sent to live with another relative named Mamie Kitt (who may, in fact, have been her biological mother) in Harlem, New York City, where she attended the Metropolitan Vocational High School (later renamed the High School of Performing Arts). Diana Ross said that as a member of The Supremes she largely based her look and sound after Kitt's.
xxx/ellauri091.html on line 292: Hauptmann's early dramas reflect the influence of Henrik Ibsen, but the production of Die Weber, a dramatization of the Silesian weavers' revolt of 1844, brought him fame as the leading playwright of his generation. Hauptmann did not only want to give realistic details, but he paid a great deal of attention to historical accuracy, and studied various dialects. His weavers are "flat-chested, coughing creatures of the looms, whose knees are bent with much sitting." The women's clothes are ragged, but some of the young girls are not without charm � they have "delicate figures, large protruding melancholy eyes." Structurally the play, which was at first banned, was innovative � there is no single, individual hero in the cast of more than 70 characters. (Didn't exceed the 80 character limit of first generation mainframe computers.)
xxx/ellauri176.html on line 92: As Philemon highlights, the Solonian brothels provided a service accessible to all, regardless of income. (One obolus is one sixth of one drachma, the daily salary of a public servant at the end of the 5th century BC. By the middle of the 4th century BC, this salary was up to a drachma and a half.) In the same light, Solon used taxes he levied on brothels to build a temple to Aphrodite Pandemos (literally "Aphrodite of all the people"). Even if the historical accuracy of these anecdotes can be doubted, it is clear that classical Athens considered prostitution to be part of its democracy.[citation needed]
xxx/ellauri186.html on line 705: Western writers who, for reasons of the defense of Christianity and Judaism, or for their reasons of their disbelief in any Divine Revelation, have been wont to disparage the Quran as regards to factual, historical accuracy, or have spoken of “Muhammad’s confused knowledge of history” or his “imperfect or deficient knowledge of Judaism” are, in every respect, wide of the mark. To begin with, such observations presume the Prophet’s participation in the compositions of the Quran, which is in no way admissible...Although the stories in the Quran have their historical origins, they undergo a transformation which lifts them out of their former context into a retelling which is not that of a human tongue ...Divine revelation [takes] this “material” and [uses] it for its own purposes; the origins of the story become irrelevant...
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