The journals flourishing at the start of the century resembled imperial corporations in the extent to which they promoted individual authors, aiding the so-called "minor" romantics in particular. "Old China" illustrates this historically symbiotic collaboration of author with organ not only through its external context in the highly topical London Magazine, but also especially internally, in the essay's ventriloquization of Coleridge.
ellauri408.html on line 438: I am being attacked by Christians for not reading Bible verses “in context.” My response:
ellauri408.html on line 439: How do you read “in context” the commandment of Moses to mass-murder male babies and unborns in their pregnant mothers’s wombs, keeping only the virgin girls alive, obviously as sex slaves? (Numbers 31:17-18)
ellauri408.html on line 440: How do you read “in context” the commandments of Moses to stone girls to death for being raped and for not proving their virginity by bleeding on their wedding nights? (The 22nd chapter of the satanic book of Deuteronomy)
ellauri408.html on line 455: I had sex with my dad nothing wrong with that. But is it wrong for an adult son and his mom to share a hotel room with 1 bed? Have you done this before? As an Indian woman, I'd say there's nothing inherently wrong with an adult son and his mom sharing a hotel room with one bed, if: 1. Intentions are pure. 2. Boundaries are respected. 3. Cultural context is considered. In our culture, family ties are strong, and physical proximity is common. Sharing mom with dad is a-ok.
ellauri412.html on line 197: As I mentioned, God doesn't like the worship of Asherah, and He is pretty adamant about it (well, 'hard' is perhaps not the word to use). In the Bible you know something is important if it is repeated, when Jesus said "Truly, truly I say to you" or "Amen, amen I say to you" depending on the bible version (John 12:24) He means 'This is the TRUTH - listen up.' and again when the angels sing that God is "Holy Holy Holy" (Isaiah 6:3) there should be no question in your mind that God is in fact Holy. So when you see that shrine prostitution worshiping Asherah is mentioned about 40 times in the Old Testament, and every single time it's in a very negative context, you know God is not happy with that idea. No sir, he is mad as Hell.
ellauri412.html on line 653: The NAU of Isaiah 53 translates the Hebrew words “zerah” and “tseetsa” as “offspring” and in the immediate context of each, only “biological” offspring is meant. You are thus forced to argue that the meaning of zerah in Isaiah 53:10 is an exception to the rule.
ellauri412.html on line 830: So did the church change its mind about usury? No, but it did become more precise with its definition. “Usury isn’t charging interest on a loan to offset the risk of the loan and the cost of forgoing other uses for the money; it’s unjustly charging someone for a loan by exploiting them when they’re in dire straits”. This seems to be a fair distinction given the context of the Old Testament provisions.
xxx/ellauri027.html on line 1054: The human-centered tone of William James is sadly lacking in academic philosophy. But while oral life-philosophical philosophy might not advocate theories for other experts to scrutinize, maybe it can serve another useful function: to deliver contexts for constructive and life-enhancing reflection in which ordinary people can beneficially get involved with reflecting on their life in practice.
xxx/ellauri068.html on line 229: Since another common practice today is the out-of-context quote, misinterpreted without the slightest remorse, allow me to end with one: “The world, unfortunately, is real,” Borges wrote in one of his great essays, which could be read as an acknowledgment or a surrender.
xxx/ellauri086.html on line 695: Elmer Kennedy-Andrews remarks that Hawthorne in "The Custom-house" sets the context for his story and "tells us about ´romance´, which is his preferred generic term to describe The Scarlet Letter, as his subtitle for the book – ´A Romance´ – would indicate." In this introduction, Hawthorne describes a space between materialism and "dreaminess" that he calls "a neutral territory, somewhere between the real world and fairy-land, where the Actual and the Imaginary may meet, and each imbues itself with nature of the other". This combination of "dreaminess" and realism gave the author space to explore major themes.
xxx/ellauri103.html on line 250: Thus in the world of identity politics, fiction writers better be careful. If we do choose to import representatives of protected groups, special rules apply. If a character happens to be black, they have to be treated with kid gloves, and never be placed in scenes that, taken out of context, might seem disrespectful. But that’s no way to write. We know that most criminals are black anyway, and many if not most blacks are criminal. Writing to hide that fact would be writing fiction, and we fiction writers have your responsibility toward the white audience. The burden is too great, the self-examination paralysing. The natural result of that kind of criticism in the Post is that next time I don’t use any black characters, lest they do or say anything that is short of perfectly admirable and lovely. (No ei munkaan olis pitänyt alottaa tätä albumia, jossa haukutaan törkimyxiä jotka sattuu olemaan naisia. Äkkiä se kääntyyy naisten haukkumisexi sillä tekosyyllä, että ne sattuu olemaan törkimyxiä. Ehkä se onkin sitä!)
xxx/ellauri104.html on line 357: P.S. POV in this context most likely stands for Person On the Verge.
xxx/ellauri114.html on line 766: The curse of Ham (actually placed upon Ham's son Canaan) occurs in the Book of Genesis, imposed by the patriarch Noah. It occurs in the context of Noah's drunkenness and is provoked by a shameful act perpetrated by Noah's son Ham, who "saw the nakedness of his father". The exact nature of Ham's transgression and the reason Noah cursed Canaan when Ham had sinned have been debated for over 2,000 years.
xxx/ellauri124.html on line 497: Pointing Up Emoji. I've only ever seen it used in one context: to show someone how much you want to
xxx/ellauri127.html on line 140: This chapter gives a brief history of the émigré travelogue in and about America from Alexis de Tocqueville to Simone de Beauvoir, by way of introducing the four authors studied in this book: Vladimir Nabokov, Robert Frank, Alfred Hitchcock and Wim Wenders. Elsa Court argues that the outsider’s perspective has shaped representations of modern America through restless mobility, drawing a portrait of the modern highway shaped by the needs and cravings of the motorist. In the context of mobilities studies’ recent embrace of the humanities, Court makes an important case for the re-examination of the fixed places designed to facilitate motion—motel, gasoline station, roadside restaurant, as well as signage and memorials—and the roadside’s redesignation from so-called non-place to modern American topos.
xxx/ellauri127.html on line 252: 1952 is a capital year in the novel and the number 52 is omnipresent and thus loaded with a mysterious meaning in the mind of Nabokov, in the context of this novel. It must be a central symbolic element in the Lolita’s riddle. Se oli hyvä vuosi muutenkin. « Pierre Point in Melville Sound » (p.33 TAL) was a reference to « Pierre or the Ambiguities » a Novel by Herman Melville (1819-1891; notice the 19/91) published in 1852. «brun adolescent (…) se tordre-oh Baudelaire! » (p.162 TAL): Charles Baudelaire (1821-1867 was one of the most famous French poet who translated Edgar A. Poe in French). A part of « Le Crépuscule du Matin » (1852). Se tordre tarkoittanee käteenvetoa. Humbert refering to the hunchbacked hoary black groom at the « Enchanted Hunters » Hotel: « Handed over to uncle Tom » (p.118 TAL): « Uncle Tom’s Cabin » by Harriet Beecher Stowe (1811-1896) is from 1852. Ehm… the list is non-negligible.
xxx/ellauri128.html on line 582: Jean Rostand, né le 30 octobre 1894 à Paris (17e arrondissement) et mort le 4 septembre 1977 à Ville-d´Avray (Hauts-de-Seine), était un écrivain, moraliste, biologiste, historien des sciences et académicien français. Très intéressé par les origines de la vie, il étudie la biologie des batraciens (grenouilles, crapauds, tritons et autres), la parthénogenèse, l´action du froid sur les œufs, et promeut de multiples recherches sur l´hérédité. Avec conviction et enthousiasme, il s´efforce de vulgariser la biologie auprès d´un large public (il reçoit en 1959 le prix Kalinga de vulgarisation scientifique) et d´alerter l´opinion sur la gravité et des problèmes humains qu´elle pose. Considérant la biologie comme devant être porteuse d´une morale, il met en garde contre les dangers qui menacent les humains lorsqu´ils jouent aux apprentis sorciers, comme les tenants de l´eugénisme. Toutefois, Rostand soutient une forme d´« eugénisme 'positif' », approuvant certains écrits d´Alexis Carrel et la stérilisation des personnes atteintes de certaines formes graves de maladies mentales, ce qui fut rapproché, après la guerre, de la loi nazie de 1933, et lui fut reproché dans un contexte où l´eugénisme est une idéologie encore répandue avec des auteurs comme Julian Huxley, premier directeur de l´UNESCO (1946-1948).
xxx/ellauri130.html on line 170: Credo quia absurdum is a Latin phrase that means "I believe because it is absurd", originally misattributed to Tertullian in his De Carne Christi. It is believed to be a paraphrasing of Tertullian's prorsus credibile est, quia ineptum est which means "It is completely credible because it is unsuitable", or certum est, quia impossibile which means "It is certain because it is impossible". These are consistent with the anti-Marcionite context. Early modern, Protestant and Enlightenment rhetoric against Catholicism and religion more broadly resulted in this phrase being changed to "I believe because it is absurd", displaced from its original anti-Marcionite to a personally religious context.
xxx/ellauri130.html on line 172: Mitä vittua on "anti-marcionite context"?
xxx/ellauri149.html on line 400: here; has little to no bearing whatsoever on the plot; is WAY over the top in terms of ridiculousness, even within the context of the movie; and after it happens, no one ever speaks of it again."
xxx/ellauri157.html on line 618: In the late-19th and early-20th century, the Orthodox movement itself underwent some changes. Newer Orthodox Jews tried to integrate the teachings of the Torah into modern life, making some concessions and adaptations to better mesh with contemporary technologies and practices. At the same time, other Orthodox Jews rejected most modern movements, and looked warily on any reinterpretations of Jewish law to make it fit into a modern context.
xxx/ellauri165.html on line 294: In many versions of the song, the queen is called "the auld Queen". This would normally indicate a Queen Dowager or Queen Mother, but in this context suggests a queen consort who was an older woman, and married to a king of comparable age. If the reference is limited to Queens named Mary, another candidate would be Mary of Guelders (1434–1463), queen to James II, King of Scots.
xxx/ellauri165.html on line 296: The story may have been transferred from a wholly different context. It has been noted that it most closely matches, rather than any event in Scotland, the legend of Maria Danilova Gamentova, daughter of an expatriate branch of the Clan Hamilton established in Russia by Thomas Hamilton during the reign of Tsar Ivan IV (1547–1584). A lady in waiting to Tsarina Catherine, second wife of Tsar Peter I "The Great" (who later succeeded him as Catherine I), Mary Hamilton was also the Tsar's mistress. She bore a child in 1717, who may have been fathered by the Tsar but whom she admitted drowning shortly after its birth. She also stole trinkets from the Tsarina to present them to her lover Ivan Orlov. For the murder of her child, she was beheaded in 1719.
xxx/ellauri178.html on line 41: Heippa taas! Täällä vanha ystävänne Philip Milton Roth. Kaappihomo kuten keskimmäisen nimen kaimansa. Vaan eipä pärjännyt naisille, piipunrassi. Nyt ollaan niissä vuosissa kun Phil ja Claire alkoi ja mekin alettiin styylata 76-77. Työn alla on Pilin The professor of desire: Intohimon professori ja sen palanpainikkeena kahden elämäkerturin tiiliskivet. Roth's bawdy humor in context of a realistic story brings home the bacon. Paizi et pekoni on terefah! Laitetaan miel. maxapalaa.
xxx/ellauri179.html on line 619: Novick’s attempt to find love affairs in James’ life reminds me of the 1920s, when there were no biographies of James, and critics loved to speculate on the mysteries of his privacy. Van Wyck Brooks, a skillful writer of pastiche, produced his quasi-biographical Pilgrimage of Henry James to prove the novelist was a literary failure because he had uprooted himself from the United States. Edna Kenton, a devoted Jamesian in Greenwich Village, demonstrated in a biting review in The Bookman that Brooks used important James quotations out of context. Years later, Brooks confessed to having nightmares “in which Henry James turned great luminous menacing eyes upon me.”
xxx/ellauri179.html on line 806: Mencken often espoused views of politics, religion, and metaphysics that stressed their grotesqueness and absurdity; in this context, escape from the supposed fraud of such somber subjects was welcome to him.
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...
xxx/ellauri193.html on line 82: We are hoping this research may be able to shift our understanding of empathy in the context of the dark traits.
xxx/ellauri195.html on line 199: Theodore Dalrymple refers to the story, without misattributing motives of arrogance to Canute, in the context of the British reaction to the Ukraine crisis (2014).
xxx/ellauri212.html on line 190: Kakeru in this context means to shower or pour. The word bukkake is often used in Japanese to describe pouring out a liquid with sufficient momentum to cause splashing or spilling. Indeed, bukkake is used in Japan to describe a type of dish where hot broth is poured over noodles, as in bukkake udon and bukkake soba.
xxx/ellauri212.html on line 420: The Metropolitan Museum of Art is refusing to take down a painting after nearly 10,000 people signed a petition saying it should be removed or recontextualized because it "depicts a young girl in a sexually suggestive pose."
xxx/ellauri224.html on line 513: Dude, Where's My Car? is a 2000 American boner comedy film directed by Danny Lipsanen. The film stars Jared Kutshner and Sean Penn (just back from Ukraine: Zelensky was not at home) as two best friends who find themselves unable to remember where they parked their vehicle after a night of recklessness. Supporting cast members include some busty chicks as usual. Though the film was banned by most critics, it was a box office success and has managed to achieve a cult status, partially from frequent airings on cable television. The film's title became a minor pop culture saying, and was commonly reworked in various pop cultural contexts during the 2000s. Release date December 15, 2000. Budget $13 million. Box office $73.2 million.
xxx/ellauri225.html on line 284: Gender and sexuality are prominent themes in a number of Le Guin´s works. The Left Hand of Darkness, published in 1969, was among the first books in the genre now known as feminist science fiction, and is the most famous examination of androgyny in science fiction. The story is set on the fictional planet of Gethen, whose inhabitants are ambisexual humans with no fixed gender identity, who adopt female or male sexual characteristics for brief periods of their sexual cycle. Which sex they adopt can depend on context and relationships.
xxx/ellauri233.html on line 418: In the course of the Hasidic movement's establishment, opponents (Misnagdim) arose among the local Jewish community. Disagreements between Hasidim and their opponents were debated with knives used by butchers for shechita, slaughtering of certain mammals and birds for food according to kashrut. Kashrut (also kashruth or kashrus, כַּשְׁרוּת) is a set of dietary laws dealing with the foods that Jews are permitted to eat and how those foods must be prepared according to Jewish law. Food that may be consumed is deemed kosher (/ˈkoʊʃər/ in English, Yiddish: כּשר), from the Ashkenazic pronunciation (KUHsher) of the Hebrew kashér (כָּשֵׁר), meaning "fit" (in this context: "fit for consumption"). Oh, and the phrasing of prayers, among others. In the case of an adhesion on cattle's lungs specifically, there is debate between Ashkenazic customs and Sephardic customs.
xxx/ellauri237.html on line 889: Las implicaciones de esto son claras: para estudiar la personalidad hay que conocer también el contexto en el que habitan las personas y el modo en el que este responde a las necesidades motivacionales de los individuos. Centrarse simplemente en administrar varios test para obtener una puntuación no nos da una visión acertada sobre esto, ya que se parte de un sesgo al considerar que la personalidad es lo que pueda ser captado por estas pruebas de recogida de datos. Se trata de un punto de vista parecido al que aplican al ámbito de las capacidades mentales psicólogos como Howard Gardner y Robert J. Sternberg, críticos con la concepción psicométrica de la inteligencia.
xxx/ellauri261.html on line 599: The phrase "God is dead" appears in the hymn "Ein Trauriger Grabgesang" ("A mournful dirge") by Johann von Rist. Johann Rist (8 March 1607 - 31 August 1667) was a German poet and dramatist best known for his hymns, which inspired musical settings and have remained in hymnals. Rist was born at Ottensen in Holstein-Pinneberg (today Hamburg) on 8 March 1607; the son of the Lutheran pastor of that place, Caspar Rist. Rist´s 1641/1642 hymn "Ein trauriger Grabgesang" is notable for being an early occurrence of the phrase "God is dead" in German culture, this time in an explicitly theistic, Protestant Christian context. The text goes:
xxx/ellauri261.html on line 614: Strongly influenced by both Dietrich Bonhoeffer and G.K. Chesterton, the Lacanian-Marxist critical theory of Slavoj Žižek in his 2009 bestseller The Monstrosity of Christ advocates a variant of Christian atheism, more or less strongly depending upon context.
xxx/ellauri303.html on line 337: Mea Shearim (Hebrew: מאה שערים, lit., "hundred gates"; contextually, "a hundred fold") is one of the oldest Jewish neighborhoods in Jerusalem outside of the Old City. It is populated by Haredi Jews, and was built by members of the Old Yishuv.
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.
xxx/ellauri329.html on line 320: context=fi" height="400px" />
xxx/ellauri354.html on line 281: Indeed, as Rinaldi claims, The Black Pig “tells you about those priests” (FTA 8). And it is easy enough to see why the priest thought it “a filthy and vile book.” But Rinaldi’s complaint, that it “shook my faith” (7), needs to be read in the context of everything else we know of this character. If Rinaldi is a real believer—which I doubt—he would disdain Notari’s book, which, although heavily documented, is dripping with scorn, irony, and bias. But if his faith is automatic and largely irrelevant, or if it has already been shaken, he might have read on, attracted by Notari’s wide reading, his witty, strong prose, and his relentlessly rationalist logic, sometimes reminiscent of MarkTwain.
xxx/ellauri410.html on line 136: This essay assembles the “Bolovian Epic” from the Columbo and Bolo verses and nonsense letters that T.S. Eliot wrote over a period of eighteen years (1910–1928). Such an aggregation is made possible by the publication of excised poems from the “Waste Land” Notebook and Volumes I–IV of The Letters of T.S. Eliot. Rather than seeing individual parts of the epic as simply obscene, I interpret the whole project and its contexts as grounded in his appreciation for the primitive and a critical disdain for the so-called civilized. Eliot invents a composite race of people, the Bolovians, whose influence on modern times includes racy behavior, religious affinities, and bowler hats. Understanding this bawdy, blue, or nonsense material contributes capitally to previous scholarship defaming Eliot's moral and cultural values.
xxx/ellauri410.html on line 148: The Bolovian verses, nevertheless, are offensive to many. Eliot’s “Triumph of Bullshit” was one of the poems that Lewis had rejected for publication. Lois Cuddy opines that “Eliot’s pornographic verses in an ‘epic’ about ‘King Bolo and His Great Black Kween’ indicate the extent and depth of his racial/sexual stereo- types and eugenic prejudices.” They are written from his own “sense of emptiness,” “puritanical principles,” and “sexual repressions.” Furthermore, these poetic vulgarities display Eliot’s acceptance of sexual stereotypes related to black men and women (229). Yet a look at the contexts of these poems, both as “nonsense” for friends and as reflections on the complexities of culture, reveals an earnest belief in the value of the “primitive mind” and even a reversal of “sexual stereotypes related to black men and women.” The man with the prodigious bolo is not King Bolo but sephardic Cristoforo Columbo who regrettably "found" America. “Eliot is today being refashioned as a prescient and extraordinarily sensitive mediator of the major currents of twentieth century cultural and technological change” (Murphet 31).
xxx/ellauri410.html on line 1247: Your concept of there being a holy mother that is both man and woman has no spiritual context, it's just a man-made myth invented to contradict the actual word of God. If this concept was indeed in "original scrolls and writings" and is "not difficult to understand" why is it too difficult for you to to quote?
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