ellauri065.html on line 491: The Day of the Rope (in ruby font, Art of the Deal, bestseller by Donald Trump, in Ruby font Dumped Sperm) is a white supremacist concept taken from The Turner Diaries, a fictionalized blueprint for a white supremacist revolution written in 1978 by neo-Nazi leader William Pierce (under the pseudonym "Andrew Macdonald").
ellauri360.html on line 490: A common illustration is found among Africans who discovered that the great patriarchs were polygamists and cattle sodomists and wondered why the missionaries were so adamant about monogamy and the missionary position. There is something for everybody in the Bible. The West typically reads the didactic and missionary letters of Paul as a key to reading the remainder of the Bible. Africans like Leviticus and squeaky indians go for proverbs. It is frequently noted that, for Pentecostals, the New Testament, with its tongue speaking, healings, demonic encounters, and spiritual warfare, is not strange but the blueprint for how the Christian life is to be lived.
ellauri502.html on line 102: 3 sivustoa You nailed it—the vocabulary here is incredibly confusing because we are using an ancient philosophical word that doesn’t mean what it means in everyday language today. In French, essence is gasoline because it is the "distilled, pure extract" of petroleum. But in philosophy and theology, essence simply means "what kind of thing something is." It is its biological or metaphysical blueprint. Here is how it works without the confusing jargon:
ellauri502.html on line 106: 2. How it Applies to God In the Trinity, the blueprint is "God." There is only one divine blueprint in existence. But according to the Bible, that one blueprint is shared by three distinct individuals: the Father, the Son, and the Holy Spirit. What are they? God (one essence). Who are they? Three distinct persons with their own awareness.
ellauri505.html on line 164: In Finnish, compounding "torpedo" and "arkki" would mean something like a "torpedo sheet" (a blueprint, schematic, or datasheet for a torpedo) or an imaginary "torpedo ark" (a torpedo-carrying vessel).
ellauri505.html on line 242: 2. It Conquers the Fear of Death. When you look at your life sub specie aeternitatis, you stop identifying with your fragile, temporary physical body. You identify with the eternal, logical structure of the universe. Because the greatest part of your mind is occupied by eternal truths, death loses its power to bother you, because you personally are not that fucking important after all. You realize that acting rationally and understanding nature is the highest happiness (Blessedness). A free person desires nothing other than what follows from their own rational nature. The Bound Person fights the gears, gets crushed, and feels angry or terrified because they don't understand why the machine is moving. The Free Person uses Intuitive Knowledge to instantly see the entire blueprint of the machine. They realize they are a necessary, beautiful gear within it. By aligning their mind perfectly with the movement of the whole, they stop suffering and become one with the machine's power.
xxx/ellauri027.html on line 1064: Here’s my suggested blueprint:
xxx/ellauri138.html on line 107: Eker’s writing and speaking often focus on his concept of the "Millionaire Mind," a collection of "mental attitudes that facilitate wealth." This theory proposes that we each possess a "financial blueprint," or an "internal script that dictates how we relate to money," and that by changing this blueprint people can change their ability to accumulate wealth.
xxx/ellauri138.html on line 111: In his book, Eker lists 17 ways in which the financial blueprints of the rich differ from those of the poor and the middle-class. One theme identified in this list is that the rich discard limiting beliefs while the unsuccessful succumb to them. Eker argues that: Rich people believe, "I create my life", while poor people believe, "Life happens to me"; rich people focus on opportunities while poor people focus on obstacles; and rich people admire other rich and successful people whereas poor people resent rich and successful people.
xxx/ellauri183.html on line 262: Despite Malamud's shadings with rabbinical law, then, this is a familiar hopeless-Utopia blueprint. Moreover, the restless treatment here—part downbeat-comic, part liturgical-lyric—never endows the tale with the sort of Biblical fervor which heightens the best of Doris Lessing´s fables. And the result is a disappointing, predictable parable—intentionally funny at times but unintentionally funny too, hollow in most of its lyrical moments, and only occasionally provocative in its eclectic philosophizing.
xxx/ellauri268.html on line 344: Scrooge has influenced many an antisemitic caricature after him. Mr. Potter in “It’s a Wonderful Life” is a twisted, disabled Scrooge of the American Midwest. Dr. Seuss’ Grinch is Scrooge in a fur suit and a vaguely fantasy setting; he’s a scheming outsider who, like his blueprint, has to be converted. The thin, ugly Gollum of J.R.R. Tolkien’s Middle-earth is an amalgam of Scrooge and Alberich, the gold-obsessed antagonist of composer (and notorious antisemite) Richard Wagner’s “Das Rheingold.” From his introduction in “The Hobbit” on, Gollum is motivated by a lust for a magic ring he calls “my precious.”
xxx/ellauri312.html on line 622: Rorty narrates that the West’s first redemptive principle was man’s relationship with God, the guarantor of universal truth, meaning, and salvation. God was eventually dethroned by the Truth of philosophy, as heralded by the Enlightenment and the scientific revolution. Truth’s goal was to decipher reality’s blueprint. At present, the truth is being nudged over by the Imagination. The modern imagination aspires to enlarge our acquaintance with humanity and enrich ethical relations. Rorty argues that a culture of imagination can serve the redemptive purposes previously ministered by religion and truth, only in a manner more suited to a liberal, secular context. He calls this a literary culture, a culture where meaningful human relationships are ‘‘mediated by human artifacts such as books and buildings, paintings and songs’’ (TRR, p. 478). For Rorty, the literary culture may successfully usher a new world motivated by the ideal of human solidarity.
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