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").
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/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/ellauri268.html on line 345: 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 610: 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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