Joo olen kyllä Pentin kannalla siinä että nää termiittiapinat on aivan vitun tyhmiä, täysin beyond redemption. Ei ne ole toisilleen hyvänsuopia ellei niillä izellä mene paremmin. Mitä uutta kissimirrit tässä? Ei mitään, samaa paskanjauhantaa.
ellauri222.html on line 771: How does the adjective gay contrast with its synonyms?
ellauri236.html on line 202: In a book like No Orchids one is not, as in the old-style crime story, simply escaping from dull reality into an imaginary world of action. One's escape is essentially into cruelty and sexual perversion. No Orchids is aimed at the power-instinct, which Raffles or the Sherlock Holmes stories are not. At the same time the English attitude towards crime is not so superior to the American as I may have seemed to imply. It too is mixed up with power-worship, and has become more noticeably so in the last twenty years. A writer who is worth examining is Edgar Wallace, especially in such typical books as The Orator and the Mr. J. G. Reeder stories. Wallace was one of the first crime-story writers to break away from the old tradition of the private detective and make his central figure a Scotland Yard official. Sherlock Holmes is an amateur, solving his problems without the help and even, in the earlier stories, against the opposition of the police. Moreover, like Lupin, he is essentially an intellectual, even a scientist. He reasons logically from observed fact, and his intellectuality is constantly contrasted with the routine methods of the police. Wallace objected strongly to this slur, as he considered it, on Scotland Yard, and in several newspaper articles he went out of his way to denounce Holmes by name. His own ideal was the detective-inspector who catches criminals not because he is intellectually brilliant but because he is part of an all-powerful organization. Hence the curious fact that in Wallace's most characteristic stories the ‘clue’ and the ‘deduction’ play no part. The criminal is always defeated by an incredible coincidence, or because in some unexplained manner the police know all about the crime beforehand. The tone of the stories makes it quite clear that Wallace's admiration for the police is pure bully-worship. A Scotland Yard detective is the most powerful kind of being that he can imagine, while the criminal figures in his mind as an outlaw against whom anything is permissible, like the condemned slaves in the Roman arena. His policemen behave much more brutally than British policemen do in real life — they hit people with out provocation, fire revolvers past their ears to terrify them and so on — and some of the stories exhibit a fearful intellectual sadism. (For instance, Wallace likes to arrange things so that the villain is hanged on the same day as the heroine is married.) But it is sadism after the English fashion: that is to say, it is unconscious, there is not overtly any sex in it, and it keeps within the bounds of the law. The British public tolerates a harsh criminal law and gets a kick out of monstrously unfair murder trials: but still that is better, on any account, than tolerating or admiring crime. If one must worship a bully, it is better that he should be a policeman than a gangster. Wallace is still governed to some extent by the concept of ‘not done’. In No Orchids anything is ‘done’ so long as it leads on to power. All the barriers are down, all the motives are out in the open. Chase is a worse symptom than Wallace, to the extent that all-in wrestling is worse than boxing, or Fascism is worse than capitalist democracy.
ellauri241.html on line 47: Fanny's flirtatious personality contrasts with Keats' notably more aloof nature. She begins to pursue him after her siblings Samuel and Toots obtain his book of poetry, "Endymion". Her efforts to interact with the poet are fruitless until he witnesses her grief for the loss of his brother, Tom. Keats begins to open up to her advances while spending Christmas with the Brawne family. He begins giving her poetry lessons, and it becomes apparent that their attraction is mutual. Fanny is nevertheless troubled by his reluctance to pursue her, on which her mother (Kerry Fox) surmises, "Mr. Keats knows he cannot like you, he has no living and no income."
ellauri248.html on line 353: In contrast to the 2.3% of Native land, the Federal Government owns, as National Parks, Forests, BLM, US Ag land, Fish and Wildlife land, military reservations, wildlife refuges and so on, about 28% of the surface area of the US. That is 640 million acres, or 1 million sq miles. That 28% of the US land was and taken by force from tribes, as was all other state lands and privately held lands. If the US people so chose, we could more fairly address the large losses that Native people have had by transferring more of this land to Tribal governments.
ellauri257.html on line 101: The story was initially published in 1835 as part of the Mirgorod collection of short stories, but a much expanded version appeared in 1842 with some differences in the storyline. The 1842 text has been described by Victor Erlich [ru] as a "paragon of civic virtue and a force of patriotic edification", contrasting the rhetoric of the 1835 version with its "distinctly Cossack jingoism".
ellauri262.html on line 423: She praised Roland for being a purely Christian myth, in contrast to such epics as Beowulf in which she found a strong pagan content. (Tästä tuli varmaan nokkapokkaa Tolkienin kaa.)
ellauri270.html on line 373: Mr. Summer’s casual language and camaraderie with the villagers contrast with what is at stake. Tessie’s reaction is the first explicit sign of something horrifying at the heart of the lottery. She is as outspoken in her anger as she was in her humor—although rather too late, and it’s assumed she wouldn’t argue if someone else had been chosen. Bill resignedly accepts the power of the tradition.
ellauri270.html on line 411: “The Lottery” begins with a description of a particular day, the 27th of June, which is marked by beautiful details and a warm tone that strongly contrast with the violent and dark ending of the story. The narrator describes flowers blossoming and children playing, but the details also include foreshadowing of the story’s resolution, as the children are collecting stones and three boys guard their pile against the “raids of the other boys.” These details… read analysis of The Juxtaposition of Peace and Violence.
ellauri275.html on line 460: In his Romantic poems, Chavchavadze dreamed of Georgia's glorious past, when "the breeze of life past" would "breathe sweetness" into his "dry soul." In poems Woe, time, time (ვაჰ, დრონი, დრონი), Listen, listener (ისმინეთ მსმენნო), and Caucasia (კავკასია), the "Golden Age" of medieval Georgia was contrasted with its unremarkable present. As a social activist, however, he remained mostly a "cultural nationalist," defender of the native language, and an advocate of the interest of Georgian aristocratic and intellectual elites. In his letters, Alexander heavily criticized Russian treatment of Georgian national culture and even compared it with the pillaging by Ottomans and Persians who had invaded Georgia in the past. In one of the letters he states: The damage which Russia has inflicted on our nation is disastrous. Even Persians and Turks could not abolish our Monarchy and deprive us of our statehood. We have exchanged one serpent for another.
ellauri285.html on line 651: Bernard Levin wrote critically of Schoenman's influence on Russell, saying that Schoenman was partly responsible for Russell's virulent anti-Americanism, in contrast to his earlier pronouncements against communism. Russell said of Schoenman, "You know he is a rather rash young man, and I have to restrain him."
ellauri301.html on line 236: Circumstantial evidence supports the theory that at the time of the Dutch arrival, the girl was living with her uncle Autshumato (also known as Harry by the Dutch), the circumstantial evidence being that she showed consistent hostility to the !Uriǁ’aekua and, by association, to her own mother, who lived with them. In contrast Krotoa´s fate and fortunes were closely aligned to those of her uncle Autshumato and to his clan known as the !Uriǁ´aeǀona. The ǃUriǁ´aeǀona (rendered in Dutch as "Goringhaicona") people who were sedentary, non-pastoral hunter-gatherers are believed to be one of the first clans to make acquaintance with the Dutch people. Prior to the Dutch´s arrival Autshumato served as a postal agent for passing ships of a number of countries. If the theory of !Oroǀõas having lived with her uncle is true, then her early service to the VOC may not have been as violent a transition as it was made out to be.
ellauri321.html on line 119: This was the Indian; not the red man of actual flesh an and xvii and blood, but the Tenewissa of Crèvecoeur, and the Atala of Chateaubriand. The pressure of the tyrannous centuries drove men to an ideal of extreme liberty. It was the Indian, living in uninterrupted communion with Nature, and within the most flexible of societies, whom they contrasted with the European held in the iron vise of a complex and traditional social order. All the undeniable charm of this ideal of freedom, of simplicity, of a life close to Nature, Crèvecoeur embodied in his book.
ellauri324.html on line 805: Europeans are often surprised by the scale and diversity of the United States when they first visit. The vast geography, with its sprawling cities, long highways, and varied landscapes can be quite different from the more compact countries of Europe. The emphasis on car culture and suburban living rather than public transportation and walkable city centers is also frequently noted. Additionally, the strong individualism and consumerism of American culture can be a stark contrast to the more collectivist norms in many European societies. However, most Europeans also find the vibrancy, energy, and dynamism of the US to be stimulating, even if it takes some adjustment..
ellauri334.html on line 279: This Jewish sounding name is used by anti-Jewish theologians to vilify Israel. They realized the Jews as a group could not be convinced to betray God by following what Jews considered to be a false prophet as well as the pagan elements of Christianity. Romans, who were not monotheist, could buy contrast, be missionized to accept new Christian beliefs.
ellauri360.html on line 501: The church of the Global South is routinely situated in poverty. The designation Third World communicates this observation. It is fair to note that not all people in the Global South are poor, the elite is filthy rich, but struggle with social injustice is the unavoidable context and circumstance of much of the Global South. The sad fact is that rich prople need salvation less. Liberal theologians claim that Jesus sought liberty from oppressive economic systems. That is just stupid communist propaganda put in Jesus' mouth by Dr. Luke. Just concentrate upon the good news of the buying power of Jesus. These two, no three, theories are dominant among the Western church: (1) Jesus bears our individual penalty or debt as sinners. (2) Jesus fixes our incapacity to receive and share love. (3) in the Russian Church, Jesus mends the bondage we experience, last but not least that nasty customer, death. In contrast, people in the Global South do not need an act of the imagination to picture Jesus' enemies. His job is to beat them.
ellauri383.html on line 79: Tässä ei juurikaan painoteta tarinankerrontaa. Variety-arvostelu väitti, että "käsikirjoittaja-ohjaaja Fehér vaatii kieltämään yleisöltä kaiken tyytyväisyyden, keskittyen yksinomaan pakkomielteeseen ja kieltäytyy esittämästä mitään todisteita, jotka johtaisivat tapausta eteenpäin." Arvostelija ehdotti myös, että siitä tulisi täydellinen albumi taiteellisista mustavalkoisista still-kuvista. Siellä ei selvästi yritettykään ymmärtää, mitä Fehér aikoi. “I want to show to what extent the search for justice stands in ridiculous contrast to the eternity of nature. Meanwhile, it is precisely this futile search that I am so fascinated by,” György Fehér said in 1991. Magyar Fehér Bor.
ellauri389.html on line 65: Elia, in contrast to Bridget (qua Mary) speaks for a modern sensibility that is attuned to constant stimulation and that revels in the contemporary industrial and imperial economy of surplus and novelty goods. His teacup is an object of debate because it epitomizes precisely the kind of dangerous indulgence Bridget fears: it is a luxury commodity and, with its fashion-dependent pattern and place in a "set" of companion pieces, it inevitably entails additional purchasing. Elia's dialectical opposition to Bridget thus is underscored by his capacity to "love" one pattern of porcelain, and "if possible, [love another] still more". Indeed, Elia's susceptibility to new-sprung marketing strategies is suggested by his acknowledgment that china jars were "introduced" into his imagination by the recently invented tactics of advertising.
ellauri389.html on line 67: The historical phenomenon transforming porcelain into the flexible economic symbol of "Old China" is imperialism, the recent "favourable circumstances" Elia points out to Bridget, that have enabled them to acquire such "trifles"as his teacup. In discounting the cup as a "trifle," Elia's comment acknowledges both the fall in prices and the rise in Elia's income brought about by the post-Napoleonic expansion of British global commerce, identifying both the general and specific forces that have increased his buying power. In fact, the porcelain trade was a key site of such economic growth spurred by empire and, as the contrasting consumer sentiments in Bridget and Elia's debate attest, is a powerful index to imperialism's recent rehabilitative impact on luxury consumption.
ellauri389.html on line 75: The essay's preoccupation with porcelain is a striking contrast to the way Chinese porcelain appears jumbled among the Japan lacquer, Javanese coffee, and Jamaican sugar that appear in Alexander Pope's Rape of the Lock (1712, 1714), and it is similarly distinguished from the Chinese pagodas promiscuously mingling with Egyptian crocodiles and Indian Buddhas in Thomas De Quincey's more contemporary orientalist work, Confessions of an English Opium-Eater (1821).
ellauri390.html on line 615: contrast%2810%29&version=1553198765" width="60%" />
ellauri393.html on line 292: Although he married three times and raised a family, Rockwell acknowledged that he didn’t pine for women. They made him feel imperiled. He preferred the nearly constant companionship of men whom he perceived as physically strong. It may have represented Rockwell’s solution to the problem of feeling wimpish and small. Rockwell, who was born in New York City in 1894, the son of a textile salesman, attributed much about his life and his work to his underwhelming physique. As a child he felt overshadowed by his older brother, Jarvis, a first-rate student and athlete. Norman, by contrast, was slight and pigeon-toed and squinted at the world through owlish glasses. His grades were barely passing and he struggled with reading and writing—today, he surely would be labeled dyslexic. Growing up in an era when boys were still judged largely by their body type and athletic prowess, he felt, he once wrote, like “a lump, a long skinny nothing, a bean pole without beans.” Assistants looked better than the missus. “Fred is most fetching in his long flannels,” he notes appreciatively.
ellauri405.html on line 236: ¹Analysis (ai): This simple yet profound poem by Robert Louis Stevenson captures the essence of contentment and appreciation. Its concise language belies a depth of meaning that encourages readers to find joy in the abundance of life's offerings. The poem's structure is as straightforward as its message. Two rhyming couplets emphasize the simplicity of Stevenson's message: that the world is full of blessings we often overlook. The repetition of "number" and "things" reinforces the idea of abundance, inviting readers to pause and notice the countless sources of happiness that surround them. This poem stands in stark contrast to the grim realities of Victorian England, where Stevenson lived. The Industrial Revolution had brought both progress and poverty, and many people struggled to find happiness amidst the harsh conditions. Stevenson's message of finding joy in simplicity and gratitude may have been a source of solace during challenging times. Compared to Stevenson's other works, such as "Treasure Island" and "The Strange Case of Dr. Jekyll and Mr. Hyde," this poem is a departure in terms of tone. It is not an adventure story or a psychological thriller but rather a quiet meditation on the beauty of life. However, it shares the same optimistic spirit that permeates much of Stevenson's writing, reminding readers that even in the face of adversity, there is always something to be grateful for.
xxx/ellauri086.html on line 912: In the essay, Poe traces the logical progression of his creation of "The Raven" as an attempt to compose "a poem that should suit at once the popular and the critical taste." He claims that he considered every aspect of the poem. For example, he purposely set the poem on a tempestuous evening, causing the raven to seek shelter. He purposefully chose a pallid bust to contrast with the dark plume of the bird. The bust was of Pallas in order to evoke the notion of scholar, to match with the presumed student narrator poring over his "volume[s] of forgotten lore." No aspect of the poem was an accident, he claims, but is based on total control by the author.
xxx/ellauri091.html on line 329: The word right, in contrast, refers to people or groups that have conservative views. That generally means they are disposed to preserving existing conditions and institutions. Or, they want to restore traditional ones and limit change.
xxx/ellauri104.html on line 667: Critics of the RC scales assert they have deviated too far from the original clinical scales, the implication being that previous research done on the clinical scales will not be relevant to the interpretation of the RC scales. However, researchers on the RC scales assert that the RC scales predict pathology in their designated areas better than their concordant original clinical scales while using significantly fewer items and maintaining equal to higher internal consistency, reliability and validity; further, unlike the original clinical scales, the RC scales are not saturated with the primary factor (demoralization, now captured in RCdem) which frequently produced diffuse elevations and made interpretation of results difficult; finally, the RC scales have lower interscale correlations and, in contrast to the original clinical scales, contain no interscale item overlap.
xxx/ellauri114.html on line 730: One explanation is that it has an original meaning of "lowlands", from a Semitic root knʿ "to be low, humble, depressed", in contrast with Aram, "highlands". An alternative suggestion derives the term from Hurrian Kinahhu, purportedly referring to the colour purple, so that Canaan and Phoenicia would be synonyms ("Land of Purple"), but it is just as common to assume that Kinahhu was simply the Hurrian rendition of the Semitic knʿn.
xxx/ellauri120.html on line 124: Hatred is a master of contrast—between explosions and dead
xxx/ellauri121.html on line 358: Peg on muistavinaan että jonkun nazin morsian olisi ollut keskitysleirin pihalla bikineissä kissalasit päässä. Hmm. Although two-piece bathing suits were being used by women as early as the 1930s, the bikini is commonly dated to July 5, 1946 when, partly due to material rationing after World War II. Cat eye glasses first became popular in the 1950s with their feline inspired style. A huge contrast to the frames that had been in fashion previously, cat eye glasses marked a new era of chic style for women. The glasses were originally created to be worn only with optical lenses, but it was the hugely famous actress Audrey Hepburn that kicked off the trend for cat eye sunglasses after her starring role in 1961 hit film Breakfast at Tiffanys. Eli selkeästi joku anakronismi, sodanjälkeisiä muoteja. Platform shoes oli kyllä muotia 30-40-luvuilla. Mitä vittua on "sen ajan painokuvahatut?" Ei takuulla ollut 40-luvun muotia, mitä sitten ovatkaan. Ja sit toi älytön Nolite te bastardes carborundorum josta on ollut useaankin otteeseen syytä marista.
xxx/ellauri125.html on line 798: In September 1998, Hole released their third studio album, Celebrity Skin, which featured a stark power pop sound that contrasted with their earlier punk influences.She said she was influenced by Neil Young, Fleetwood Mac, and My Bloody Valentine when writing the album. Mullakin oli joku Fleetwood Mac albumi 70-luvulla.
xxx/ellauri139.html on line 1096: Pour contraste, la main coupée Kontrastixi irtileikattu
xxx/ellauri157.html on line 109: Vähän siedettävämpi perätarjonta on tämä William Ettyn yritys samasta aiheesta. William Etty (1787–1849), the seventh son of a York baker and miller, had originally been an apprentice printer in Hull, but on completing his seven-year apprenticeship at the age of 18 moved to London to become an artist. Strongly influenced by the works of Titian and Rubens, he submitted a number of paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected outright or drew little attention when exhibited. In 1821 he finally achieved recognition when the Royal Academy accepted and exhibited one of his works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, beating John Constable to the position. Jordaens and Etty both contrasted Nyssia's pale flesh against dark red drapery and showed her in a similar pose. Jordaens's painting has hung in Sweden since the 17th century, and it is unlikely Etty was aware of it. Se tuskin löytyi googlaamalla.
xxx/ellauri157.html on line 148: A gemara in Horayot (13a) that contrasts the dog's gratitude to its master with the cat's indifference to its master. Those who have pets testify to the difference in feedback owners receive from cats and dogs. If so, the cat symbolizes the ability to forget our Maker. Rav Kook argues that the damaging and demonic aspects of our existence stem from humanity forgetting the Ribbono Shel Olam. If you want to see demons, bring the tail of a first born black cat, that is the daughter of a first born black cat. Burn it in fire, grind it up, fill your eyes with the ashes and then you will see them. (Berakhot 6b)
xxx/ellauri157.html on line 214: Besides contemporary methods established by Lurianic Kabbalah, Ba'al Shem Tov learned and took part in traditional practices of Practical Kabbalah. As a stroke of genius, Ba'al Shem Tov taught that one could remove asceticism from the practice of Judaism. This allowed a larger array of people to become devout within Judaism, and therefore within Hasidism. Moreover, he taught that the letters, in contrast to the words, were the key element of sacred texts. Therefore, intellectual and academic skills were no longer necessary to reach mastery of the sacred texts. Average skills in solving crossword puzzles and sudoku were enough. Another point in favor of hasidism.
xxx/ellauri165.html on line 666: In Christianity, annihilationism (also known as extinctionism or destructionism)[1] is the belief that those who are wicked will perish or cease to exist. It states that after the Last Judgment, all unsaved human beings, all fallen angels (all of the damned) and Satan himself will be totally destroyed so as to not exist, or that their consciousness will be extinguished rather than suffer everlasting torment in Hell (often synonymized with the lake of fire). Annihilationism stands in contrast to both belief in eternal torture and suffering in the lake of fire and the belief that everyone will be saved (universal reconciliation or simply "universalism").
xxx/ellauri173.html on line 445: Mais, l’autre tout soupirs, dis-tu qu’elle contraste

xxx/ellauri176.html on line 170: Et le merveilleux Paradou du roman, ce paradis panthéiste, cet hymne à la nature, à l'amour – ces paysages décrits par Zola perdent toute vibration, toute poésie. On croit voir défiler les pages du catalogue Vilmorin où s'ébattent Serge et une Albine issue du Petit Echo de la Mode. Le film projeté ne montre pas la séquence du grenier, la découvert des toilettes féminines – les nombreux changements de robe d'Albine sont, dès lors, gratuits, irritants. Comme tous les autres acteurs, Gillian Hills (Albine) est mal dirigée, elle n'a aucune grâce, aucun naturel. Francis Huster (Serge), lui, a du charisme mais son dur combat, sa douceur sont hélas surtout perceptibles par le fard qui rantôt ranime, tantôt creuse un visage que des zooms inutiles amènent en gros plan. Et pour avoir voulu donner aux paysages de la Sainte-Baume, du Lubéron, du Parc Floral d'Orléans une certaine unité, on aboutit à des tonalités froides, éteintes. Seules les intérieurs (l'église, la chambre de Serge, la salle à manger de la cure) gardent leurs contrastes, leurs valeurs. Les personnages n'existent guère, aucune vibration n'émane d'eux, ni de la nature cruelle ou triomphante, de ce Paradou, terre-mère bruissante de vie, féconde.
xxx/ellauri179.html on line 637: In a letter written from Sorrento to Grace Norton in Cambridge, he described a group of English persons he visited in Frascati after leaving Posilipo. They were of an “admirable, honest, reasonable, wholesome English nature,” in sharp contrast to the “fantastic immorality and aesthetics of the circle I had left at Naples.”
xxx/ellauri179.html on line 646: Book II comprises a sort of mid-book idyll. The author offers it to us by way of contrast to the Paris scenes that went before. In this novel, Pamplona will serve as a kind of anti-Paris, semi-rural and organic where the City of Light is urban and decadent. The woods outside Burguete where Kake and Bill fish for trout are even more different from Paris, and the sense of tranquility that the fishing trip creates in them and us could not be more different from the freneticism of the novel's opening chapters.
xxx/ellauri193.html on line 832: The age-old African system of lekhota with its restorative roots provides a stark contrast to our current criminal justice system which inter alia controls crime using Apple and Windows, while restorative justice places crime control largely in the hands of the community and Ubuntu.
xxx/ellauri195.html on line 216: If we have been told that, we may miss the mark. I have taken you, in the chapter which I have just read, to Christianity at its source; and there we have seen, “The greatest of these is love.” It is not an oversight. Paul was speaking of faith just a moment before. He says, “If I have all faith, so that I can remove mountains, and have not love, I am nothing. “So far from forgetting, he deliberately contrasts them, “Now abideth Faith, Hope, Love,” and without a moment’s hesitation, the decision falls, “The greatest of these is Love.”And it is not prejudice. A man is apt to recommend to others his own strong love, but he should imitate Paul´s tiny one instead.
xxx/ellauri218.html on line 150: Ralph was the inspiration for the animated character Fred Flintstone. Alice (née Alice Gibson), played in the first nine skits from 1951 to January 1952 by Pert Kelton, and by Audrey Meadows for all remaining episodes, is Ralph's patient but sharp-tongued wife of 14 years. She often finds herself bearing the brunt of Ralph's tantrums and demands, which she returns with biting sarcasm. She is levelheaded, in contrast to Ralph's pattern of inventing various schemes to enhance his wealth or his pride. She sees his schemes' unworkability, but he becomes angry and ignores her advice (and by the end of the episode, her misgivings almost always prove correct). She has grown accustomed to his empty threats—such as "One of these days, POW!!! Right in the kisser!", "BANG, ZOOM!" or "You're going to the Moon!"— to which she usually replies, "Ahhh, shaddap!" Alice runs the finances of the Kramden household, and Ralph frequently has to beg her for money to pay for his lodge dues or crazy schemes. Alice studied to be a secretary before her marriage and works briefly in that capacity when Ralph is laid off. Wilma Flintstone is based on Alice Kramden.
xxx/ellauri218.html on line 408: The northeast blackout of 1965 was a significant disruption in the supply of electricity on Tuesday, November 9, 1965, affecting parts of Ontario in Canada and Connecticut, Delaware, Maryland, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, Rhode Island, and Vermont in the United States. In contrast to the wave of looting and other incidents that took place during the 1977 New York City blackout, only five reports of looting were made in New York City after the 1965 blackout. It was said to be the lowest amount of crime on any night in the city's history since records were first kept. Perhaps thanks to that more than 800,000 looters got trapped in the subway. The blackout that hit New York on July 13, 1977 was to many a metaphor for the gloom that had already settled on the city. An economic decline, coupled with rising crime rates and the panic-provoking (and paranoia-inducing) Son of Sam murders, had combined to make the late 1970s New York’s Dark Ages.
xxx/ellauri225.html on line 273: Philosophical Taoism had a large role in Le Guin´s world view, and the influence of Taoist thought can be seen in many of her stories. Many of Le Guin´s protagonists, including in The Lathe of Heaven, embody the Taoist ideal of leaving things alone. The anthropologists of the Hainish universe try not to meddle with the cultures they encounter, while one of the earliest lessons Ged learns in A Wizard of Earthsea is not to use magic unless it is absolutely necessary. Taoist influence is evident in Le Guin´s depiction of equilibrium in the world of Earthsea: the archipelago is depicted as being based on a delicate balance, which is disrupted by somebody in each of the first three novels. This includes an equilibrium between land and sea, implicit in the name "Earthsea", between people and their natural environment, and a larger cosmic equilibrium, which wizards are tasked with maintaining. Another prominent Taoist idea is the reconciliation of opposites such as light and dark, or good and evil. A number of Hainish novels, The Dispossessed prominent among them, explored such a process of reconciliation. In the Earthsea universe, it is not the dark powers, but the characters´ misunderstanding of the balance of life, that is depicted as evil, in contrast to conventional Western stories in which good and evil are in constant conflict, wearing white and black stezons, respectively. The idea of leaving good enough alone, in particular, is deeply un-American.
xxx/ellauri225.html on line 277: Several of Le Guin´s works have featured stylistic or structural features that were unusual or even subversive. The heterogeneous structure of The Left Hand of Darkness, described as "distinctly post-modern" (eek!), was unusual for the time of its publication. This was in marked contrast to the structure of (primarily male-authored) traditional science fiction, which was straightforward and linear. The novel was framed as part of a report sent to the Ekumen by the protagonist Genly Ai after his time on the planet Gethen, thus suggesting that Ai was selecting and ordering the material, consisting of personal narration, diary extracts, Gethenian myths, and ethnological reports. Earthsea also employed an outlandishly unconventional narrative form described by scholar Mike Cadden (Princeton U Senior Lecturer in Theater) as "free indirect discourse", in which the feelings of the protagonist are not directly separated from the narration, making the narrator seem sympathetic to the characters, and removing the skepticism towards a character´s thoughts and emotions that are a feature of more direct narration. Cadden suggests that this method leads to younger readers sympathizing directly with the characters, making it an effective technique for young-adult literature like Flaubert or Zola.
xxx/ellauri225.html on line 281: A number of Le Guin´s writings, including the Earthsea series, challenged the conventions of epic fantasies and myths. Many of the protagonists in Earthsea were dark-skinned individuals, in comparison to the white-skinned heroes more traditionally used; some of the antagonists, in contrast, were white-skinned, a switching of race roles that has been critically remarked upon by multiple critics. In a 2001 interview, Le Guin attributed the frequent lack of character illustrations on her book covers to her choice of non-white protagonists. LOL haha! She explained this choice, saying: "most people in the world aren't white. Why in the future would we assume they are?" Her 1985 book Always Coming Home, described as "her great experiment", included a story told from the perspective of a young protagonist, but also included poems, rough drawings of plants and animals, myths, and anthropological reports from the matriarchal society of the Kesh, a fictional people living in the Napa valley after a catastrophic global flood.
xxx/ellauri225.html on line 306: Always Coming Home, set in California in the distant future, examines a warlike society, resembling contemporary American society, from the perspective of the Kesh, its pacifist neighbors. The society of the Kesh has been identified by scholars as a feminist utopia, which Le Guin uses to explore the role of technology. Scholar Warren Rochelle stated that it was "neither a matriarchy nor a patriarchy: men and women just are". Ich bin nur. "The Ones Who Walk Away From Omelas", a parable depicting a society in which widespread wealth, happiness, and security, comes at the cost of the continued misery of a single child, has also been read as a critique of contemporary American society. The Word for World is Forest explored the manner in which the structure of society affects the natural environment; in the novel, the natives of the planet of Athshe have adapted their way of life to the ecology of the planet. The colonizing human society, in contrast, is depicted as destructive and uncaring; in depicting it, Le Guin also critiqued colonialism and imperialism, driven partly by her disapproval for U.S. intervention in the Vietnam War.
xxx/ellauri225.html on line 349: Bloom was born in 1930 to a poor Orthodox Jewish household in the East Bronx, one of five children. He lost faith early in the Jewish God when he accidentally stumbled on the poetry of Hart Crane. He fell in love with Crane’s enthusiasm for life, his belief in the possibility of ecstatic pleasure, and his overall exuberance. This was in stark contrast to Bloom’s childhood, which he confesses was a lonely time.
xxx/ellauri225.html on line 359: But Bloom’s insights don’t resonate deeply. He is too obsessed with comparing and contrasting, rather than allowing his responses to touch us deeply. He repeats his theory that poets always wrestle with the work of the poets that have come before them, either unconsciously or consciously, and then struggle to find their own voice in reaction to what has come before. There is something anti-transformative about his assertions, often tangled up with incomprehensible jargon.
xxx/ellauri261.html on line 323: COT. Come, this troublesome day’s work is well over. You have some time had my forgiveness, Harriet; I wish not to say anything unpleasant—but when I contrast your conduct with that of these two excellent young men——

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xxx/ellauri298.html on line 227: contrast, as consultant and employee, I often hear clients and colleagues talk
xxx/ellauri306.html on line 151: Selfishness is being concerned excessively or exclusively, for oneself or one's own advantage, pleasure, or welfare, regardless of others. Selfishness is the opposite of altruism or selflessness; and has also been contrasted (as by C. S. Lewis) with self-centeredness.
xxx/ellauri312.html on line 619: Redemption is also bound up with the sacred, or the locus of a manifestation of something great and holy as opposed to the profane or commonplace. Charles Taylor distinguishes the sacred as non-human forces located in ‘‘certain places (e.g., temples), times (e.g., feast days), actions (e.g., rituals), or people (e.g., priests, victims)’’ in contrast to the ‘‘merely worldly’’ (2011, p. 118).
xxx/ellauri312.html on line 630: From an individual perspective, redemption can also be understood as ‘‘a longing for one’s life to be ‘made good’ by virtue of some kind of participation in the life of some larger, awe-inspiring thing’’ (Smith 2005, p. 82). It is about self-enlargement, or enlargement of one's penis manually in pirsuna pirsunamenti. In contrast to religious edification as spiritual upliftment, Rorty’s version is designed for pseudo intellectual penal enlargement.
xxx/ellauri379.html on line 131: Character Analysis Kurtz's Native Mistress. The Congolese woman that rails against Kurtz's departure is a complete contrast to Kurtz's Intended. As the Intended is innocent and naïve, the native mistress is bold and powerful. Kurtz is a man of many lusts, and she embodies this part of his personality. She frightens the Harlequin because she finds him to be meddling with Kurtz too much; her threats to him eventually scare him into leaving the Inner Station.
xxx/ellauri394.html on line 246: That first night of my imprisonment I found in my handbag a small Book of Common Prayer according to the ritual of the Episcopal Church. It was a great comfort to me, and before retiring to rest Mrs. Clark and I spent a few minutes in the devotions appropriate to the evening. Here, perhaps, I may say, that although I had been a regular attendant on the Presbyterian worship since my childhood, a constant contributor to all the missionary societies, and had helped to build their churches and ornament the walls, giving my time and my musical ability freely to make their meetings attractive to my people, yet none of these pious church members or clergymen remembered me in my prison. Fuck them. To this (Christian ?) conduct I contrast that of the Anglican bishop, Rt. Rev. Alfred Willis, who visited me from time to time in my house, and in whose church I have since been confirmed as a communicant. But he was not allowed to see me at the palace. It just goes to show, doesn´t it?
xxx/ellauri410.html on line 543: Analysis (ai): This poem satirizes religious rituals and the loss of spiritual meaning. It contrasts sharply with Eliot's earlier work, such as "The Love Song of J. Alfred Prufrock," which explored existential angst. The poem reflects the disillusionment and skepticism of the post-World War I era.
xxx/ellauri410.html on line 551: Introduction: The poem is one of the quatrain poems, and is a satire on the decay of religion. Once again the contrast is between then and now.
xxx/ellauri410.html on line 555: These very prolific camp-following merchants of the Lord pass by the windows, before taking up the offering. Eliot goes on to describe a painting of the Baptism of Christ. The lines are full of implications. The simple humanity of the figure still reminds man of the redemption of his offences. In ironic contrast are placed several symbols of ugliness and degradation and complicated parallel between the sterility of the worker bees and that of the "word" of sectarian theological argument. The neuter worker bees at least fertilize the flowers, and so may be said to perform a "blest office" in the scheme of Nature; but the same cannot be said of the "sapient sutlers of the Lord". The "sable presbyters" move like the "religious caterpillars" of the epigraph, who were more interested in getting his "piaculative pence" than in saving his soul. Finally, we have the degrading contrast between Sweeney wallowing in his bath and the figure of the baptized god.
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