ellauri107.html on line 42: Among his most popular works are genre paintings conveying an atmosphere of intimacy and veiled eroticism.
ellauri144.html on line 552: Like Poe, Bierce professed to be mainly concerned with the artistry of his work, yet critics find him more intent on conveying his misanthropy and pessimism. His bare, economical style of supernatural horror is usually distinguished from the verbally lavish tales of Poe. In his lifetime, Bierce was famous as a California journalist dedicated to exposing the truth as he understood it, regardless of whose reputations were harmed by his attacks. For his sardonic wit and damning observations on the personalities and events of the day, he became known as "the wickedest man in San Francisco." Tälläisiä löytyy Ambrosen pirun raamatusta:
ellauri159.html on line 1061: Enjoy reading and writing about history or biography! You are less likely to gravitate toward business or technical writing. If you do write about technology, they’re likely to prefer the tried-and-true to the cutting edge. When writing fiction, you can often be quite funny in conveying your observations about the foibles of human nature.
ellauri164.html on line 979: What God wants the people to see is that Moses speaks in performing the miracle at the rock. It is a potentially powerful transitional moment in which Moses’s publicly perceived action would be speech. What he would say would become part of the people’s religious consciousness—part of the repeated narrative of the people—a way of adducing to God a caring relationship with God’s people, and conveying that care to the people. We can imagine the speech Moses might give, performing the quintessential task of a prophet, in bringing God and the people closer together. Instead, he calls them “rebels,” distancing the people from himself and, by association, from God; disdaining their legitimate needs; and losing the opportunity to attribute the provision of water to God.
ellauri321.html on line 189: he is advised and directed, he feels bold, he purchases some land; he gives all the money he has brought over, as well as what he has earned, and trusts to the God of harvests for the discharge of the rest. His good name procures him credit. He is now possessed of the deed, conveying to him and his posterity the fee simple and absolute property of two hundred acres of land, situated on such a shit creek without a paddle. What an epoch in this man's life! He is become a freeholder, from perhaps a Mexican boor—he is now an American, a Pennsylvanian, an English subject.
ellauri389.html on line 239: Crazy or not, it’s a worrying sign for philosophy in the academy. Someone who’s very good at conveying complex philosophical ideas in plain English– a good teacher, in other words – has come to the conclusion that a university is not the best place for him to be. An applied philosopher is not like a real one: Barring ordinary language philosophers, if you ask them direct questions in ordinary language they can’t answer without jargon and mystification. When faced with the need to explain what they’re doing and why it should be of interest to anyone at all outside of that culture, they look like flounders, both eyes on the same side of the skull. Not the best ones, like Quentin Skinner, Philip Pettit, and Peter Singer, who are all praised for their minds and their humanity, as well as the ability to think out of the fly and express themselves lucidly. No Perer Rabbit ainaskin on sertifioitu paska, varmaan siis noi 2 muutakin n.h ja Nigel ize.
xxx/ellauri057.html on line 856: What the novel actually delivers is a narrative of constant progress and growth, without any consideration of potential limits or unintended detrimental side-effects. In Markens grøde, human nature is assumed to create desires that can only be fulfilled through permanent increases in production and consumption, irrespective of any material environmental restraints. In combination with an ideology of human population growth, the novel, instead of conveying »green values«, constitutes a literary expression of precisely the ideas and processes that led to the Great Acceleration and the transition into the Anthropocene.
xxx/ellauri169.html on line 471: Sometimes you can tell from the first shot. In “Compartment No. 6,” the camera follows a young woman at a party as she leaves a bathroom and enters a living room full of gathered friends. That walking, back-of-the-head shot is one of the soggiest conventions of the steadicam era, a facile way of conveying characters’ own fields of vision while anchoring the action on them. The familiarity of this trope suggests both limited imagination and an unwillingness to commit to a clear-cut point of view.
xxx/ellauri199.html on line 135: conveying in his veins the essence, the notes
xxx/ellauri250.html on line 431: Sometimes you can tell from the first shot. In “Compartment No. 6,” the camera follows a young woman at a party as she leaves a bathroom and enters a living room full of gathered friends. That walking, back-of-the-head shot is one of the soggiest conventions of the steadicam era, a facile way of conveying characters’ own fields of vision while anchoring the action on them. The familiarity of this trope suggests both limited imagination and an unwillingness to commit to a clear-cut point of view. When used cannily, it can convey ambiguous neutrality and looming mystery, but, more often, it suggests the merely functional recording of action, which is exactly what’s delivered in “Compartment No. 6,” opening in theatres on Wednesday. The movie sinks, fast and deep, under the weight of dramatic shortcuts, overemphatic details, undercooked possibilities, unconsidered implications. It’s heavy-handed, tendentious, and regressive—and it should come as no surprise that it’s on the fifteen-film shortlist for the Best International Feature Oscar.
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