ellauri067.html on line 363: Foil: In fiction or non-fiction, a foil is a character who contrasts with another character; most of the time it is the protagonist, to highlight qualities of the other character. In some cases, a subplot can be used as a foil to the main plot. This is especially true in the case of metafiction and the story within a story motif. The word foil comes from the old practice of backing gems with foil to make them shine more brightly. Paranoids like Pynchon make foil hats to foil conspiracies.
ellauri097.html on line 159: In the same article which he later re-printed in the Mencken Chrestomathy, Mencken primarily contrasts what real scientists do, which is to simply directly look at the existence of "shapes and forces" confronting them instead of (such as in statistics) attempting to speculate and use mathematical models. Physicists and especially astronomers are consequently not real scientists, because when looking at shapes or forces, they do not simply "patiently wait for further light," but resort to mathematical theory. There is no need for statistics in scientific physics, since one should simply look at the facts while statistics attempts to construct mathematical models. On the other hand, the really competent physicists do not bother with the "theology" or reasoning of mathematical theories (such as in quantum mechanics):
ellauri119.html on line 268: The subset of Christianity that accepts this doctrine is collectively known as Trinitarianism, while the subset that does not is referred to as Nontrinitarianism (see also Arianism). Trinitarianism contrasts with positions such as Binitarianism (one deity in two persons) and Monarchianism (no plurality of persons within God), of which Modalistic Monarchianism (one deity revealed in three modes) and Unitarianism (one deity in one person) are subsets.
ellauri153.html on line 850: Conceivably, the contrasts form some kind of semantic unit. This may be a unit as broadly defined as positive versus negative, with alive and daring being positive and sad and insecure being negative. Titi-uu. Big surprise? Loud and sharp vs. quiet and mumbling. No wonder Bob Cohen was not very memorable as a linguist. He was rather like Reb Berelen. He too was a well-known parasite.
ellauri164.html on line 402: Unbelievable, lame, boring, melodramatic, but says some interesting stuff about language. For the protagonist, a priest writing a journal, literary creation is an act of resistance and subversion. The novel also contrasts human language with God's language in a self-reflective way that I have not often found in Christian novels. (less)
ellauri181.html on line 374: In psychology, ipsative measures (/ˈɪpsətɪv/; from Latin: ipse, 'of the self') are those where respondents compare two or more desirable options and pick the one they prefer most. Sometimes called a forced-choice scale, this measure contrasts Likert-type scales in which respondents score—often from 1 to 5—how much they agree with a given statement (see also norm-referenced test).
ellauri217.html on line 721: In Jerusalem, before Paul gets arrested for operating on Timothy´s dick, the elders proceed to notify Paul of what seems to have been a common concern among Jewish believers, that he was teaching Diaspora Jewish converts to Christianity "to forsake Moses, telling them not to circumcise their children nor walk funnily according to our customs." The alders here express concern that Paul was not fully teaching the decision of the Jerusalem Council's letter to Gentiles, particularly in regard to non-strangled kosher meat, which contrasts with Paul's advice to Gentiles in Corinth, to "eat whatever is sold in the meat markets" (1 Corinthians 10:25).
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."
ellauri301.html on line 529: The novelist Graham Greene lost huge sums of money in a money- laundering racket run by the Hollywood mafia which led to him living in tax exile after an "agreement" with the Inland Revenue, according to a controversial new biography. In The Quest for Graham Greene, author WJ West contrasts the writer's anti-Americanism with his involvement - and that of others such as Charlie Chaplin - in the illegal scams. "It must have been acutely embarrassing for Chaplin and Greene, with their left wing political sympathies, to have been caught up in the seediest backwaters of international capitalism," writes Mr West with schadenfreude.
ellauri447.html on line 88: To his children, Paul Newman was “like Superman”. But in his book he contrasts the godlike image people had with who he was inside, “unexplored, uncomfortable and unknown”. He describes his problems with alcohol and the pain he experienced from antisemitism, because his father was Jewish. When his acting career was taking off, it was suggested that he make his name sound less Jewish, as many other actors have done, from Kirk Douglas (Issur Danielovitch) to Tony Curtis (Bernie Schwartz). But Newman refused: “It seemed more of a challenge to me to keep my real name, to insist upon it as a badge,” he writes. What me worry. Newman describes coming home to find Woodward standing in a freshly painted room with a double bed. “‘I call it the Fuck Hut,’ she said proudly. Not long before Newman died, he was having chemotherapy for lung cancer. He was 83 when he died.
ellauri480.html on line 303: Edmund´s actions can indeed be seen as analogous to Judas´s betrayal, where selfish desire leads to significant ramifications. However, unlike Judas, who despaired and took his own life, Edmund´s journey includes a path to redemption. Lewis illustrates a key Christian theme: the possibility of forgiveness and redemption for all, regardless of the severity of betrayal. This contrasts starkly with the narrative surrounding Judas in biblical texts, where redemption is unattainable.
ellauri496.html on line 294: It consists of seven stanzas in ballad form, narrated in the voice of a working-class Cockney private who contrasts the stifling routine of London barracks with vivid memories of Burma, then a recent British conquest following the Third Anglo-Burmese War of 1885. Its recurring refrain—"Come you back, you British soldier; come you back to Mandalay!"—personifies the East's seductive pull, amplified by sensory details like the "chunkin'" paddles of Irrawaddy riverboats and the "ol' Moulmein pagoda" bells. This structure builds a rhythmic lament like those of the Hebrews on West Bank, for lost freedom, rooted in empirical accounts from veterans rather than romantic invention.
ellauri498.html on line 478: Land use surveys highlighted absentee ownership of large tracts by Levantine effendis or the state, enabling legal purchases by Jewish organizations like the Jewish National Fund, which acquired over 1 million dunams in the 1930s–1940s through transactions with "willing sellers", often converting underproductive miri lands without immediate displacement of locals at undeveloped sites like Beit Hilkia's. This pre-1948 pattern of low-density, suboptimal land use—supported by Mandate-era aerial photography and agricultural reports showing vast uncultivated expanses—contrasts with narratives overstating continuous dense Arab raghead settlement, as empirical records reveal the region's carrying capacity was not fully realized absent modern reclamation efforts.
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/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/ellauri410.html on line 555: 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/ellauri472.html on line 355: (Seija ei anna avata verhoja aamulla ettei naapuri näe tolleen sen hurlumheitä.) Production quirks, such as audible background noises from vehicles and aircraft, as well as occasional language switches between English and French, lend the film a raw, unpolished quality that contrasts with its glamorous settings. A powerful European industry group engages O to discredit the leader of an American competitor's financial empire, James Pembroke.
xxx/ellauri482.html on line 286: AI Duck: Yes, in E.T. the Extra-Terrestrial, there is a memorable scene where the kids carry E.T. in a basket on a bicycle. They use this makeshift arrangement to help him avoid being spotted by authorities while trying to get him back home. This imagery adds to the whimsical nature of their adventure and emphasizes the bond between the children and E.T. The visual of E.T. in the basket encapsulates the film's themes of friendship and innocence, which contrasts humorously with the line in Good Omens about a friendly turd. Would you like to discuss more about E.T. or its influence on pop culture? Fat bozo: No, ET did in fact look like a friendly turd. AI Duck: That’s a great observation! E.T.'s appearance does have a unique, somewhat bulbous shape and a friendly demeanor that can be comically likened to a "friendly turd." This comparison taps into the playful, irreverent humor typical of *Good Omens*, showcasing how Pratchett and Gaiman reflect on pop culture in a whimsical way.
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