ellauri060.html on line 1162: The phrase is also used as the first line of one of the extra cod Latin verses added in 1953 to an unofficial school song at Harvard University, "Ten Thousand Men of Harvard". This most frequently played fight song of the Harvard University Band is, to some extent, a parody of more solemn school songs like "Fair Harvard thy Sons to your Jubilee Throng". (voi helvetti, tää oli tosi paha.) The first verse is a nonsense sequence of Latin clichés:
ellauri072.html on line 495: Maybe you were a bit quick to straighten that miter you now realize you were wearing and, of course, speck-of-sawdust-in-your-brother’s-eye, etc., and also, as Alcoholics Anonymous would put it, Whoever is upsetting me most is my best teacher, and as Wallace put it, in his novel “Infinite Jest,” “It starts to turn out that the vapider the A.A. cliché, the sharper the canines of the real truth it covers.”
ellauri112.html on line 581: It doesn’t help the film that Marlo is a series of clichés. Both she and Drew could have jumped out of the pages of a woman’s magazine or self-help guide.
ellauri112.html on line 608: Drew’s brother Craig (Mark Duplass) only adds to her consternation. Craig and his wife are rich, over-achievers who can’t help but look down at Marlo’s messy mothering. Är dom inte äckliga? Spypåsarna till vänster om dörrarna. Life is not just boring, it is a fucking pile of clichés. You´ve seen one of them, you´ve seen them all. Jussi Snellman, don´t bother with reincarnation!
ellauri112.html on line 616: By avoiding clichés and crafting real personalities Tully becomes an enduring portrait of somepm, sanoo setämies. Yhden cliché on toisen oivallus. One man´s floor is another man´s ceiling, naisista puhumattakaan.
ellauri112.html on line 628: Sin tener muy claro en ningún momento si quiere ser una comedia cáustica o un melodrama reivindicativo, el filme destila feminismo desde el primero hasta el último fotograma y no huye ni siquiera de los clichés más obvios, como ese marido incomprensivo e insolidario que es un patán de tomo y lomo.
ellauri112.html on line 657: What is great but something of a letdown is that the story never tries to turn the two women against each other. Like old vs young, fat vs skinny, a dish vs disgusting, master and slave, rich vs poor, two women and Drew the only man in town. None of that shit. That Hollywood cliché might have helped launch a thriller, but it has no place here. This film is far more boring, feminist and humanist. Yawn.
ellauri112.html on line 694: The same can be said for Cody’s rough around the edges, unsubtle screenplay. This is far from her best work and for once, she seems to have written herself into a corner. Some of the narrative is so contrived that it’s dripping with cliché, crowded with irritating, pithy platitudes dressed up in a bright hipster bow. Worst of all, the film treats serious post-partum depression as a gimmicky afterthought and even tacks on a borderline inappropriate ‘gotcha!’ ending.
ellauri119.html on line 430: In addition to cross-cultural differences in understanding love, ideas about love have also changed greatly over time. Some historians date modern conceptions of romantic love to courtly Europe during or after the Middle Ages, although the prior existence of romantic attachments is attested by ancient love poetry. The complex and abstract nature of love often reduces discourse of love to a thought-terminating cliché. Several common proverbs regard love, from Virgil's "Love conquers all" to The Beatles' "All You Need Is Love". St. Thomas Aquinas, following Aristotle, defines love as "to will the good of another." Bertrand Russell describes love as a condition of "absolute value," as opposed to relative value.[citation needed] Philosopher Gottfried Leibniz said that love is "to be delighted by the happiness of another." Meher Baba stated that in love there is a "feeling of unity" and an "active appreciation of the intrinsic worth of the object of love." But who the fuck is Meher Baba? Biologist Jeremy Griffith defines love as "unconditional selflessness". In Hebrew, אהבה (ahava) is the most commonly used term for both interpersonal love and love between God and God's creations. Chesed, often translated as loving-kindness, is used to describe many forms of love between human beings. In Hebrew, אהבה (ahava) is the most commonly used term for both interpersonal love and love between God and God's creations. Chesed, often translated as loving-kindness, is used to describe many forms of love between human beings. The 20th-century rabbi Eliyahu Eliezer Dessler is frequently quoted as defining love from the Jewish point of view as "giving without expecting to take" (from his Michtav me-Eliyahu, Vol. 1). Rakkaus on siis ekonomisesti sulaa hulluutta!
ellauri147.html on line 259: A reviewer at Sens Critique wrote: "Emily in Paris projects the same twee, unrealistic image of Paris as the film Amélie". RTL.fr wrote: “Rarely had we seen so many clichés on the French capital since the Parisian episodes of Gossip Girl or the end of The Devil Wears Prada.”
ellauri147.html on line 263: For the series, review aggregator Rotten Tomatoes reported an approval rating of 63% based on 55 reviews, with an average rating of 5.81/10. The website´s critics consensus reads, "Though its depiction of France is trés cliché [sic], Emily in Paris is rom-com fantasy at its finest, spectacularly dressed and filled with charming performances." Metacritic gave the series a weighted average score of 60 out of 100 based on 17 reviews, indicating "mixed or average reviews".
ellauri159.html on line 1199: When you strive for eloquence, avoid wasting time polishing an early draft or searching too long for the exact word. Instead, get your ideas down. Don’t be afraid to use clichés—wait until the revision stage to fix problems. There’s no point in perfecting something that may get cut later. Anyway, clichés are fine. We use them all the time.
ellauri191.html on line 1817: "for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clichés and their subjugating power"
ellauri214.html on line 106: But, Rowling's talent is skin deep. I absolutely do not agree that she did a great job in character and/or plot development. Her characters are pretty clichéd (Chosen one and his side kick), her setting is pretty narrow (British boarding school experiences), her plot is pretty predictable, and like all amateur writers, her plot line often meanders for no good reason at all. Her world building is imaginative, but lack planning. Simply put, most part of her world is a whim, it's not coherent, she didn't think it through. And the more you think about it, the bigger the problem it is. Oh and that one character everyone is singing praises about, as if it's the best written character of all time? Stereotypical Byronic hero. I read how people praise Snape being this greatest character of our generation, I couldn't help but wondering, you guys never read Wuthering Heights?! I've never attended an American high school but I'm pretty sure the Great Gatsby is on the required reading list.
ellauri219.html on line 975: Underworld (also released as Paying the Penalty) is a 1927 American silent crime film directed by Josef von Sternberg and starring Clive Brook, Evelyn Brent and George Bankrupt. The film launched Sternberg's eight-year collaboration with Paramount Pictures, with whom he would produce his seven films with actress Marlene Dietrich. Journalist and screenwriter Ben Hecht won an Academy Award for Best Original Story. Time felt the film was realistic in some parts, but disliked the Hollywood cliché of turning an evil character's heart to gold at the end. Filmmaker and surrealist Luis Buñuel named Underworld as his all time favorite film. Critic Andrew Sarris cautions that Underworld does not qualify as "the first gangster film" as Sternberg "showed little interest in the purely gangsterish aspects of the genre" nor the "mechanics of mob power." Film critic Dave Kehr, on the other hand, writing for the Chicago Reader in 2014, rates Underworld as one of the great gangster films of the silent era. "The film established the fundamental elements of the gangster movie: a hoodlum hero; ominous, night-shrouded city streets; floozies; and a blazing finale in which the cops cut down the protagonist."
xxx/ellauri103.html on line 296: The answer is that modern cliché: to keep trying to fail better. Anything but be obliged to designate my every character an ageing five-foot-two smartass, and having to set every novel in North Carolina.
xxx/ellauri173.html on line 173: Il nous eût été si agréable de posséder quelques bonnes épreuves photographiques, (prises au moment même du phénomène,) de Josué arrêtant le soleil, par exemple, ou ramassant la colline des 40K prepuces? ― de quelques Vues du Paradis terrestre prises de l’Entrée aux épées flamboyantes ; de l’Arbre de la Science ; du Serpent ; etc. : ― de quelques vues du Déluge, prises du sommet de l’Ararat (l’industrieux Japhet, aurait, je le parierais, emporté un objectif dans l’arche s’il eût connu ce merveilleux instrument). Plus tard, on eût cliché les Sept Plaies d’Égypte, le Buisson ardent, le Passage de la mer Rouge en video, avant, pendant, et après l’épisode, le Mané, Thécel, Pharès, du festin de Balthazar ; le bûcher d’Assur-banipal, le Labarum, la Tête de Méduse, le Minotaure, etc., ― et nous jouirions, aujourd’hui, des portraits-cartes de Prométhée, des Stymphalides, des Sybilles, des Danaïdes, des Furies, etc., etc.
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/ellauri232.html on line 92: The far Right is moving forward all over the globe: in Putin’s Russia, in the sectarian conflicts of the Middle East, dramatically in India, visible in the success of the BJP (witness the 182-meter statue of Patel!). This occurs as the need for a planned and democratically controlled economy is more pressing than ever, as we face accelerating climate change, and shifting attitudes to nationality, as more and more people across the world are forced to move. Socialism – far beyond the clichés of economism – is needed more urgently than ever.
xxx/ellauri250.html on line 421: Tää homo ei saa sijoitettua pätkää netflix-laatikoihin ja on sixi aivan hukassa. Onko se rom-com, onko se komedia laisinkaan? Missä kohtaa piti nauraa ja missä itkeä? En ymmärrä. "Because Laura and Lhoja (sic!) don’t entirely play out the cliché of tension and anger leading to true love, the film comes off as vague and evasive." Voi helskutti. In an interview, the director says “What really interested me were the feelings that are beyond sexual tension. Romantic love stories are often too narrow, do they fall in love? If so, when do they have sex?” Erittäinkin hyvin sanottu, mutta se menee tämän homse arvostelijan pään yli niin ettei edes tukka heilahda.
xxx/ellauri306.html on line 68: Why is Rand a bad writer? Her writing is simply illogical, incomprehensible and blabbering. Her heroes and heroines are but pastiches, cliché-like cardboard figurines. Her world is black and white; either the character is a hero or a crook, but never anything in-between. Moreover, they fail the reality check; Howard Roark of The Fountainhead would not be the heroic creative mind he is represented; the reality check would be a similar megalomaniac sociopath as Le Corbusier.
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