ellauri099.html on line 44: The remains of Oscar Wilde lie in Père Lachaise Cemetery in Paris. His sleek, modern tomb, designed by the British sculptor Jacob Epstein and commissioned by Wilde’s lover and executor, John Robert "Haj" Ross, is one of the most frequently visited and recognizable graves in a cemetery notable for the many famous writers, artists, and musicians buried there (Balzac, Chopin, Proust, Gertrude Stein, Jim Morrison). The surface of Epstein’s massive monolith is covered with hundreds of lipstick kisses, some ancient and faded, others new and vibrant. (“The madness of kissing” is what Wilde said Lord Alfred Douglas’s “red-roseleaf lips” were made for.)...
ellauri099.html on line 71: Dulness and dirt are the chief features of Lippincott’s this month: The element that is unclean, though undeniably amusing, is furnished by Mr. Oscar Wilde’s story of The Picture of Dorian Gray. It is a tale spawned from the leprous literature of the French decadents—a poisonous book, the atmosphere of which is heavy with the mephitic odours of moral and spiritual putrefaction—a gloating study of the mental and physical corruption of a fresh, fair and golden youth, which might be fascinating but for its effeminate frivolity, its studied insincerity, its theatrical cynicism, its tawdry mysticism, its flippant philosophizings. . . . Mr. Wilde says the book has “a moral.” The “moral,” so far as we can collect it, is that man’s chief end is to develop his nature to the fullest by “always searching for new sensations,” that when the soul gets sick the way to cure it is to deny the senses nothing.
ellauri147.html on line 96: The union of these two lyrical writers is generally seen as a happy and creative time. The partners inspired each other as a couple and as writers. Martti Haavio died in 1973 following a heart attack, and Ale Tyynni-Haavio completed her husband’s unfinished memoirs and it was published as Olen typerä kana: Martti Haavio - P. Mustapää 20-luvun maisemassa (‘I am still distant: Martti Haavio – P. Mustapää in the 1920s countryside’, 1978).
ellauri204.html on line 393: If you thought that a visit to the brothel district was going to be fun and sexy, the “Circe” episode’s opening stage directions quickly dispel you of that notion by establishing the unseemly setting of Joyce’s Nighttown. The tracks are “skeleton,” the signals warn of “danger,” the houses are “grimy,” the men are “stunted,” and the women “squabble” about price. Indeed, Encyclopaedia Britannica in 1885 labeled this part of Dublin “the worst slum in Europe”. Located in east Dublin between Montgomery Street and Tyrone (né Mecklenburgh) Street, Nighttown is an ugly place filled with unsavory people. Moly (ei Molly) yrtti oli luultavasti valkosipuli. Bloomin mielixeen kengittämän hoidon hampaat haisi valkosipulilta.
ellauri210.html on line 367: Cravan’s real name was Fabian Avenarius Lloyd; he adopted myriad pseudonyms and aliases during his short life. He was born in Switzerland, in 1887, to Irish and British parents with whom he had a tumultuous relationship, though he was immensely proud of his aunt Constancez, who was Oscar Wilde’s wife. In his early teens, Cravan came to regard the familial link to the world’s most disreputable genius as proof that he was destined for a life of fabulous infamy.
ellauri257.html on line 423: Pornography is D.H. Lawrence without the penetration, Diary of a Chambermaid with none of the bite and philosophical imagination. A group of Germans inexplicably fuck around in the near distance. Frederic curiously precedes a murderous request by squeezing a young blonde’s breasts like melons. A Jewish family hides under the kitchen’s floorboards, but no explanation is offered for how they got there.
ellauri270.html on line 298: In The Daemon Lover, James (Jamie) Harris, a handsome author, deserts his dowdy 34-year old fiancée. The plot of this short story may be indebted to “The Demon Lover” by Elizabeth Bowen, whom Jackson ranked with Katherine Anne Porter as one of the best contemporary short story writers. When Jamie Harris disappears, he shatters his bride’s dreams of living in a “golden house in-the-country” (DL 12). Her shock of recognition that she will never trade her lonely city apartment for a loving home mirrors the final scenes of “The Lottery” and “The Pillar of Salt” as well as many other stories in which a besieged woman suffers a final and often fatal blow.
ellauri372.html on line 132: militibus sine caede’ dixit sotilailtamme ilman verenhukkaa", sano
xxx/ellauri059.html on line 508: Pääosissa: Daniel Sharman (Lorenzo de’ Medici), Bradley James (Giuliano de’ Medici), Sean Bean (Jacopo Pazzi), Sarah Parish (Lucrezia de’ Medici), Raoul Bova (paavi Sixtus IV), Matteo Martari (Francesco Pazzi), Jacob Fortune Lloyd (Francesco Salviati), Alessandra Mastronardi (Lucrezia Donati), Matilda Lutz (Simonetta Vespucci), Synnøve Karslen (Clarice Orsini), Annabel Scholey (Contessina). Idea ja käsikirjoitus: Frank Spotnitz, Nicholas Meyer. Ohjaus: Sergio Mimica-Gezzan. Musiikki: Paolo Buonvino. Tunnuskappaleen esittäjä: Skin (Ann Deborah Dyer). Tuotanto: Lux Vide, Big Light Productions, Italia, 2018.
xxx/ellauri125.html on line 136: O livro “The Real Lolita”, de Sarah Weinman, resgata a história de duas pessoas cuja história teria colaborado para a formatação do romance “Lolita”, de Vladimir Nabokov. Brian Boyd relata que Vladimir Nabokov leu “notícias sobre acidentes publicadas em jornais, sobre crimes sexuais e assassinatos: ‘um violador de meia idade’ que raptou Sally Horner, uma garota de 15 anos de Nova Jersey, e a manteve em seu poder durante 21 meses, levando-a como ‘escrava’ por todo o país até que a encontraram em um motel do sul da Califórnia”. O nome do homem não é citado. Por que a quase nenhuma importância dada ao caso? Porque, como mostra o biógrafo, o romance de Vladimir Nabokov vai muito além da história de Sally Horner e de seu raptador. Reduzi-lo a isto é reduzir a importância de sua literatura (que nada tem de jornalismo).
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/ellauri202.html on line 200: Martin du Gard posed as a specialist in matters sexual in order to attend interviews with homosexual men at Magnus Hirschfeld’s Institute. He also toured the gay clubs, nominating as his favourites the Hollandais and the lesbian Monocle. Christopher Isherwood was at Hirschfeld’s Institute on the day that Gide was given a guided tour, Gide ‘in full costume as The Great French Novelist, complete with cape’. Retrospectively calling him a ‘Sneering culture-conceited frog!’ from the safety of the mid-1970s – and in doing so sounding like a rather uptight, Francophobic D.H. Lawrence – Isherwood failed to consider that Gide’s pose might have been a way of giving Hirschfeld’s project the serious imprimatur of a symbolic cultural visit, to which the cape and the performed ‘greatness’ were essential embellishments.
xxx/ellauri229.html on line 817: Cosimo di Giovanni de’ Medici (27. syyskuuta 1389 Firenze – 1. elokuuta 1464) oli ensimmäinen Medicien poliittisen suvun jäsen ja Firenzen hallitsija. Häntä sanotaan myös ”vanhemmaksi” (”il Vecchio”) ja isänmaan isäksi (”pater patriae”)
xxx/ellauri229.html on line 818: Cosimo syntyi Firenzessä villakauppiaan ja pankkiirin poikana. Hän peri sekä rikkautensa, varovaisuutensa että liiketoiminnan tajunsa isältään Giovanni di Bicci de’ Mediciltä. Hänellä oli veli Lorenzo, ja hän oli tulevan mahtimiehen Lorenzo de’ Medicin isoisä. Vuonna 1415 hän avusti antipaavi Johannes XXIII:ta Konstanzin kirkolliskokouksessa.
xxx/ellauri251.html on line 2712: ⁠She set her face as a bride’s;
xxx/ellauri298.html on line 275: A lady colleague from Laos (a dainty dish indeed) would invariably talk about not ‘rocking the boat’ and ‘letting things ride’ when
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