ellauri194.html on line 274: In the Borgia map, a copper-engraved world map probably produced in Southern Germany c. 1430, the most eastern part contains two fortified regions depicting Gog and Magog, with the following Latin inscriptions:
ellauri197.html on line 102: He describes in the next lines how his love used to pass the “salley gardens / with little snow-white feet”. This is a great use of imagery that depicts his love as someone young, beautiful, and with the addition of “white,” pure feet. He describes the big mistake he made in regard to his life with his young woman. She told him to “take love easy” but he wasn’t able to do so. He rushed into this relationship and wasn’t as steady as he could’ve been. The man was “young and foolish” and now in his older age, he’s able to look back on his life and realize his mistakes.
ellauri197.html on line 321: Overall in ‘How Happy I Was If I Could Forget’, the lack of clear details about what has happened to affect the narrator so, in addition to the confusion of verb tenses, subjects, and figurative language, creates an unclear work that perfectly depicts how unclear the narrator herself feels about her memory. Does she hate it? Does she want to keep it? Was it good? Was it bad? She does not seem to know, just as the reader cannot know the memory’s most vivid details.
ellauri198.html on line 132: Despite the positive reviews, in 1974, All the King's Men was challenged at the Dallas, Texas, Independent School District high school libraries for depicting a "depressing view of life" and "immoral situations".
ellauri203.html on line 225: Appolinaria Suslova was perhaps the woman who hurt Dostoevsky most. According to Slonim: “He winced while calling her name, he was in communication with her while married; he always depicted her in his novels. Until his death he remembered her caress and slaps in the face. He was devoted to this seductive, cruel, unfaithful and tragic love.”
ellauri207.html on line 236: Lilya 4-ever is a 2002 crime drama film written and directed by Lukas Moodysson, which was released in Sweden on 23 August 2002. It depicts the downward spiral of Lilja Michailova, played by Oksana Akinshina, a girl in the former Soviet Union whose mother abandons her to move to the United States.
ellauri210.html on line 79: His best known play The Playboy of the Western World was poorly received, due to its bleak ending, demeaning depiction of Irish bloody peasants, and idealisation of parricide, leading to hostile audience reactions and riots in Dublin.
ellauri210.html on line 1116: Between 1937–1938 Carrington painted a Self-Portrait, where she is perched on the edge of a chair in this curious, dreamlike scene, her hand outstretched toward a prancing hyena and her back to a tailless rocking horse flying behind her. The hyena depicted in Self-Portrait (1937–38) joins both male and female into a whole, metaphoric of the worlds of the night and the dream. The symbol of the hyena is present in many of Carrington's later works, including "La Debutante" in her book of short stories The Oval Lady.
ellauri212.html on line 410: The painter — whose real name was Balthasar Klossowski de Rola and who died in 2001 — has been a controversial figure in the art world for decades. Many of his paintings show highly sexualized depictions of young girls. His 1934 work "The Guitar Lesson" was one of his first to scandalize his peers. When it was displayed along with "Thérèse Dreaming" and other Balthus paintings at a special exhibit in the Met in 2013, a plaque warned readers that the paintings were disturbing in nature.
ellauri212.html on line 417: 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."
ellauri212.html on line 430: (who mentored Pierre), and Jean Cocteau (who would depict
ellauri213.html on line 354: The Achille Lauro hijacking has inspired a number of dramatic retellings, including The Death of Klinghoffer (1991), an opera by John Adams and Alice Goodman after a concept of theatre director Peter Sellars. Its depiction of the hijacking has proved controversial. Controversy surrounded the American premiere and other productions in the years which followed. Some critics and audience members condemned the production as antisemitic and appearing to be sympathetic to the hijackers. Adams, Goodman, and Sellars repeatedly claimed that they were trying to give equal voice to both Israelis and Palestinians with respect to the political background. That kind of unpatriotic talk was effectively silenced with the Iraqi wars and the 9/11 incident. It is unpatriotic to be impartial.
ellauri219.html on line 520: Traditionally, Mexican Tree Of Life sculptures came from Metepec, in the State Of Mexico, and depicted scenes from The Bible. The one on the Sgt. Pepper album cover is also a candlestick.
ellauri222.html on line 795: Though in some ways separated from American society, Bellow's protagonists also strongly connect their identity with America. Augie begins his adventures by claiming, "I am an American, Chicago born—Chicago, that somber city." Almost all of Bellow's novels take place in an American city, most often Chicago or New York. Through his depiction of urban reality, Bellow anchors his novels in the actual world, and he uses the city as his central metaphor for contemporary materialism. Although recognizing the importance of history and memory, Bellow's novels maintain a constant engagement with the present moment. His characters move in the real world, confronting sensuous images of urban chaos and clutter that often threaten to overwhelm them. Looking down on the Hudson River, Tommy Wilhelm sees "tugs with matted beards of cordage" and "the red bones of new apartments rising on the bluffs." Sammler denounces contemporary New Yorkers for the "free ways of barbarism" that they practice beneath the guise of "civilized order, property rights [and] refined technological organization." In Humboldt's Gift, which is replete with images of cannibalism and vampirism, Charlie Citrone sees Von Trenck, the source of his material success, as "the blood-scent that attracted the sharks of Chicago." Acknowledging the influence of the city on his fiction, Bellow himself has remarked, "I don't know how I could possibly separate my knowledge of life such as it is, from the city. I could no more tell you how deeply it's gotten into my bones than the lady who paints radium dials in the clock factory can tell you." However, although the city serves to identify the deterministic social pressures that threaten to destroy civilization, Bellow's heroes refuse to become its victims and instead draw on their latent nondeterministic resources of vitality to reassert their uniquely American belief in individual freedom, as well as their faith in the possibility of community.
ellauri222.html on line 797: Except for Clara Velde in A Theft, the protagonists in Bellow's novels and novellas are all male. The Bellovian hero typically seeks erotic pleasure, emotional security, and egoistic confirmation from the women in his life. In marriage, his relationships with women are conflicted, and he often retreats from his role as husband to a sensuous but selfish and demanding wife who paradoxically represents both his yearning for freewheeling sex happiness and society's pressure to relinquish the freedom so essential to his self-realization. Like his male characters who all are Saul lookalikes, Bellow's females are often interchangeable and serve roles of little dramatic import. However, although the author has come under increasing criticism for his superficial treatment of women, his depiction of women and male-female relationships serves to reinforce the psychological crisis that each male protagonist must negotiate to empty their scrotums so as to achieve peace and fulfillment.
ellauri223.html on line 153: New Atlantis is an incomplete utopian novel by Sir Francis Bacon, published posthumously in 1626. It appeared unheralded and tucked into the back of a longer work of natural history, Sylva sylvarum (forest of materials). In New Atlantis, Bacon portrayed a vision of the future of human discovery and knowledge, expressing his aspirations and ideals for humankind. The novel depicts the creation of a utopian land where "generosity and enlightenment, dignity and splendour, piety and public spirit" are the commonly held qualities of the inhabitants of the mythical Bensalem. The plan and organisation of his ideal college, Salomon's House (or Shlomo's House), envisioned the modern research university in both applied and pure sciences.
ellauri223.html on line 157: The novel depicts a mythical island, Bensalem, which is discovered by the crew of a European ship after they are lost in the Pacific Ocean somewhere west of Peru. The minimal plot serves the gradual unfolding of the island, its customs, but most importantly, its state-sponsored scientific institution, Salomon's House, "which house or college ... is the very eye of this kingdom."
ellauri240.html on line 221: Although Peyton Place is still well known for its depiction of a certain kind of small town society with many hidden secrets, few people read the book any longer. Few people read any books any longer. Scandalous in its time, it no longer has the same force of shock that it did when it was published. Thanx to the pill.
ellauri240.html on line 280: The play's abrasively harsh humour and its depiction of social relationships that involve a denial of personal relationships are Middletonian traits. "Timon of Athens is all the more interesting because the text articulates a dialogue between two dramatists of a very different temper."
ellauri245.html on line 267: Nsala of Wala in the Nsongo District (Abir Concession) is a photograph published by Edmund Dene Morel in his book King Leopold's Rule in Africa, in 1904. The image depicts a Congolese man named Nsala examining the severed foot and hand of his five-year-old daughter, Boali. The photograph was taken by Alice Seeley Harris, the wife of a missionary, in the village of Baringa on 14 May 1904. It was subsequently employed as a tool in the inhumane media campaign against the situation in the Congo Free State, which was largely characterised by rubber dildos.
ellauri248.html on line 244: In Daniel 6, Daniel is raised to high office by his royal master Darius the Mede. Daniel's jealous rivals trick Darius into issuing a decree that for thirty days no prayers should be addressed to any god or man but Darius himself; anyone who disobeys this edict is to be thrown to the lions. Pious Daniel continues to pray daily to the God of Israel; and the king, although deeply distressed, must condemn Daniel to death, for the edicts of the Medes and Persians cannot be altered. Hoping for Daniel's deliverance, Darius has him cast into the pit. At daybreak the king hurries to the place and cries out anxiously, asking if God had saved his friend. Daniel replies that his God had sent an angel to the jaws of the lions, "because I was found tasteless before them". The king commands that those who had conspired against Daniel be thrown to the poor overfed lions in his place with their tasty wives and children, and that the whole world should tremble and fear before the God of Daniel. Although Daniel is sometimes depicted as a young man in illustrations of the incident, James Montgomery Boice points out that he would have been over eighty years old at the time. No wonder perhaps that he did not entice the lions.
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ellauri256.html on line 62: Women were the first cultivators of flax and initiated the manufacture of clothing. Evidence for this claim is the oldest depictions of textile production showing women at work, not men, and women continuing in textile production even when the industry was run by males. This is not at all unusual as women were the first brewers in Egypt and, most likely, the first healers who predated the rise of the medical profession. And the first professionals in the entertainment business, see Capitani and Lady Ceepu.
ellauri257.html on line 512: The material is unformed, the style is clumsy; the scenes are poorly narrated. Of course, it is unfair to depict Alma as a failed writer, for she never aspired to be a writer. Neither is this manuscript a finished product. Yet Alma on occasion did present herself as an author. She wrote at least one short story, which she sent out to magazines. An editor gave her an encouraging response, but asked her to change the ending. Alma never followed up, and dropped the endeavor altogether.
ellauri262.html on line 222: The second novel, Perelandra, depicts a new Garden of Eden on the planet Venus, a new Adam and Eve, and a new "serpent figure" to tempt Eve. The story can be seen as an account of what might have happened if the terrestrial Adam had defeated the serpent and avoided the Fall of Man, with Ransom intervening in the novel to "ransom" the new Adam and Eve from the deceptions of the enemy. The third novel, That Hideous Strength, develops the theme of nihilistic science threatening traditional human values, embodied in Arthurian legend.
ellauri262.html on line 328: The scholar of children's literature Zoë Jaques writes that Shelob is the "embodiment of monstrous maternity"; Sam's battle with Shelob could be interpreted as a "masculine rite of passage" where a smaller, weaker male penetrates and escapes the vast female body and her malicious intent. The feminist scholar Brenda Partridge described the hobbits' protracted struggle with Shelob as rife with sexual symbolism. She writes that Tolkien derived Shelob from multiple myths: Sigurd killing Fafnir the dragon; Theseus killing the Minotaur; Ariadne and the spider; and Milton's Sin in Paradise Lost. The result is to depict the woman as a threat, with implicit overtones of sexuality.
ellauri263.html on line 385: Diana Buttu, a Palestinian-Canadian human rights lawyer and former spokeswoman for the Palestinian Liberation Organisation, points to another problem with Fauda. “If you’re not careful, you find yourself drawn into the assassinations, you get lured into the cat and mouse,” she says, of a series that essentially depicts targeted killings. “The concept of right and wrong gets erased, the illegality gets erased … It just becomes this action-packed show.”
ellauri263.html on line 387: This kind of blurring brings to mind US war-on-terror films such as Zero Dark Thirty, with its depiction of Osama bin Laden’s capture serving as a PR exercise for the use of torture during interrogations. Meanwhile, Fauda’s Isis storyline stretches credibility, at the same time feeding the worst stereotypes. “It’s a bit lazy. Isis is not really active in Gaza or the West Bank,” says Stern. Buttu adds that the effect is to reinforce the absence of a Palestinian cause. “We don’t have any legitimate grievances. It’s all Islamic-driven,” she says, noting that it “turns Palestinians into irrational figures who want only to kill Israelis”.
ellauri264.html on line 415: Norm was seen rambling about Black Lives Matter and making homophobic and racist remarks, using the "n" word with his pants around his ankles (he was wearing soiled shorts underneath). A Black woman sitting in the front row stares at Pattis throughout the nearly eight-minute set, clearly unimpressed. This past year he infuriated the New Haven National Association for the Advancement of Colored People, a former ally, by posting a racially charged meme on his Facebook page. The post depicted three hooded white beer cans arrayed around a brown bottle hanging from a string. Its caption: “Ku Klux Coors.” Civil rights activists called it disgusting and racist. Pattis called it funny and free speech.
ellauri269.html on line 537: With all this in mind, the recent plot developments on AU Draenor might seem at first glance to be very problematic - depicting a Jewish-coded society becoming the oppressors in a manner that might seem like a poorly constructed and offensive commentary on modern Israel. However, the manner in which the AU Draenei become so zealous and militant is through their (implied) exposure to the words of Xe’ra. Their religion shifts from culturally tied tradition to an evangelistic dogmatic belief system. There is a clear intent of conversion behind their actions.
ellauri282.html on line 101: [3.4. klo 19.14] Oma Profiili: The famous Allan Ramsay portrait of David Hume, hanging in the University of Edinburgh, depicts him wearing a remarkable hat: a unique salmon-coloured turban. I was able to see the original on the occasion of receiving an honorary degree from Edinburgh in 2007, and ever since then I have desired to obtain a replica of that curious hat for myself (to wear on special occasions, such as those requiring academic regalia).
ellauri285.html on line 145: The objects included coins, pipes, boxes, figurines and cuneiform tablets that depicted various biblical scenes, including Moses handing out the tablets of the Ten Commandments. On November 14, 1907, the Detroit News reported that Soper and Scotford were selling copper crowns they had supposedly found on heads of prehistoric kings, and copies of Noah's diary.
ellauri316.html on line 381:
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ellauri321.html on line 49: None of Wotton's poetry was published during his lifetime and it was not until 1651 that his collected works were issued as Reliquiae Wottonianae. Among these, Elizabeth of Bohemia, Upon the Sudden Restraint of the Earl of Somerset, and The Character of a Happy Life are the most memorable. Izaak Walton's biography of Sir Henry Wotton, written in 1670, clearly depicts his powerful intellect, forthright character, and the esteem in which he was held.
ellauri326.html on line 303: Nikolai Gogol originally planned Dead Souls (Mertvye Dushi) as a three-part series structured after Dante’s Divine Comedy—representing Hell, Purgatory, and Paradise.A third volume was never written. The first volume (published in 1842) exposed the moral corruption of Russian society. Volume two was intended to show the protagonist's gradual redemption, while volume three was meant to depict full spiritual rebirth and ideal Russian life.
ellauri333.html on line 338: To assume that surnames depicting caste and varna-based division of labour is a simple functionality of Indian society is a gross misjudgement. There are some very easily identifiable implications that arise when people are asked to present their full name. For example, since caste and religion can be determined through one’s surname, there have been instances where individuals with Dalit persons were discriminated against, even in scientific research institutes and similar establishments that claim to be ‘liberal’ and ‘free-thinking’.
ellauri344.html on line 263: The novel depicts a Zionist entrepreneur's fatal extortion of a poor Jew, which has been read as a proletarian critique of both American capitalism and of Zionism as a "bourgeois" movement that does not serve the interests of working-class American Jews.
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ellauri370.html on line 494: Wagner´s 3-part tetralogy, ´Der Ring des Nibelungen´, depicts the conflicts between the Gods, the dwarves and other elementals and men, as described in The Lord of The Rings.
ellauri378.html on line 662: Expatriate Cubans condemned the game for its depiction of American special forces trying but failing to kill a young Fidel Castro, regrettably killing instead only a body-double. The Cuba-based pro-Fidel Castro website Cubadebate said the game "empowers sociopathic attitudes of American children and adolescents, the main consumers of these virtual games." 25M copies had been sold by 2013.
ellauri389.html on line 71: The nominal occasion of Lamb's essay is not just Elia's purchase of the teacup, but also Britain's en- trance into China, as it began with the East India Company's annexation of Singa Pura (Singapore) in 1819. The event, which was a pivotal moment in British imperial expansion, extended imperial activity from South Asia to the Far East. More importantly, the development revised a longstanding Sino-British trade imbalance that was particularly caused by porcelain and tea, and hence necessitated a change in British attitudes toward luxury purchases such as porcelain that reversed the animus previously demonstrated by Fielding, who complained that brits echanged the gold of one India to the clay ("mud") of another. Indeed, "Old China" facetiously depicts a cultural sinicization presumably precipitated by this intensification in East Asia-based imperial activity: Elia drinks tea "unmixed," in the Chinese fashion, and experiences an "almost feminine" pleasure in porcelain that likens him to the androgynous "men with women's faces" that Elia associates with China. Fuck the guy was obviously gay.
ellauri392.html on line 660: Analysis (ai): "Next, Please" by Philip Larkin explores themes of unfulfilled expectations and the passage of time. The poem depicts the speaker's frustration with the incessant anticipation of future events that ultimately fail to deliver on their promises.
ellauri421.html on line 245: Despite being the son of an "enemy of the people", Yevgeniy Dolmatovsky was included in a group of celebrated Soviet writers who were awarded the Order of the Badge of Honour in January 1939. 1944 Dolmatovsky was harshly criticized for alleged "distortions" in his depiction of the Red Army retreat in 1941 – which had, indeed, been utterly chaotic and uncontrollable on many occasions.
ellauri429.html on line 770:
Salman Rushdie on kenties nykyajan tärkein kirjailija. Kenties ei. Kaikki tyypit kirjassa on Salmanin omia avataareja kuin kärpäsen verkkosilmiä. I shall explore briefly how the book, in its depiction of the characters as they grapple with language - conception, speech, writing - embodies a form of courage. Tai sitten ei. Kenties se on pelkkää narsismia taas. "Language is courage: the ability to conceive a thought, to speak it, and by doing so to make it true".(281) . Paskan marjat Rushdie, turpa kii tai se turpoo kii. Gibreel, Shaitan, Salman, Baal, kaikki on Rushdieita eri housuissa. Pamela ja Allie on sen ensimmäisiä anglosaxi vaimoja.
ellauri429.html on line 906: In addition to half a dozen sound political motivations for fatwa, Salman's book does include an eleven-page sketch of Khomeini's stay in Paris that could well be considered an insult to him. It describes him as having "grown monstrous, lying in the palace forecourt with his mouth yawning open at the gates; as the people march through the gates he swallows them whole". In the words of one observer, "If this is not an insult, Khomeini was far more tolerant than one might suppose". American fantasy author John Crowley has noted that the section of the book depicting the Khomeini-like character was selected to be read publicly by Rushdie in the promotional events leading up to and following the book's release. In Crowley's opinion, the fatwa was most likely declared because of this section of the novel and its public exposure, rather than the overall parodic treatment of Islam.
ellauri434.html on line 138: Finally, Bulgakov pokes fun at the Soviet realities and depicts them with a metaphorical language; but readers still understand it and read between the lines.
ellauri434.html on line 192: Bulgakov’s canonisation is also perpetuated in UK universities. As a new lecturer, I was taken to task by a senior colleague for including Collaborators in an undergraduate comparative literature course on political drama. How could I present students with Hodge’s nasty falsehoods about a great anti-Soviet writer? I agreed to repair the damage by pairing Collaborators with Andrew Upton’s The White Guard, a version in English of Bulgakov’s play The Day of the Turbins. Confusingly, Upton gave his version the name of the Bulgakov’s novel, The White Guard, on which The Day of the Turbins is based. That was the novel, intended to be a War and Peace for the twentieth century, that Bulgakov hoped to finish during his visit to Kyiv in 1923. Set in the years of civil war that followed the 1917 revolution, it depicts a principled and loving Russian Empire family, the Turbins, who are beset on all sides by invading forces, political opportunists, avant-garde writers, and brutish Ukrainian nationalists. By 1925, only two thirds of the novel had been published when the journal in which it was serialised was shut down. Undeterred, Bulgakov began to adapt the novel as a play for the Moscow Arts Theatre. While very popular, The Day of the Turbins was more akin to pre-revolutionary Chekhov than the dystopian dramas, propagandistic mass spectacles, and constructivist films set on Mars of its time. The play’s survival into the 1940s was probably facilitated by means of an ambiguous musical conclusion: the arrival of the Red Army in Kyiv and singing of the Internationale could be at once sinister, ironic, or celebratory. Where Stalin and the censors were certain that the play celebrated Bolshevik power, my colleague was convinced that the ending demonstrated Bulgakov’s concealed and stalwart opposition to the same.
ellauri449.html on line 190: When the Pirsigs reach California, Chris’s mood is at its nadir. Pirsig feels compelled to have a frank and talk with him. He tells Chris that he, Pirsig, was once insane, and that the doctors fear Chris will end up insane as well. (Shortform note: The terminology and overall depiction of mental disorders in the book like "mad as a march hare" or "nutty as a fruitcake" are outdated.)
ellauri468.html on line 88: See also List of films that depict class struggle.
ellauri468.html on line 377: His bestseller On Human Bondage got bad reviews from The New York World which described the romantic obsession of the protagonist with Harry as "the sentimental servitude of a poor fool". The tide of opinion was turned by the influential American novelist and critic Theodore Dreiser, who called Maugham a great artist and the book a work of genius, of the utmost importance, comparable to a Beethoven symphony. Another hit was The Moon and Sixpence, about a respectable stockbroker who rebels against conformity, abandons his wife and children, flees to Tahiti and becomes a painter. "Parempiamme" meni USAssa 200x mutta UKssa 600x. Beneath the satire and witticisms there runs a deep vein of cynicism and Maugham's piece depicts America's shameless nouveau riche as social climbers and shameless Anglo-Saxon aristocrats selling England by the pound. No wonder then.
ellauri475.html on line 61: Pipaa viikon vanhempi Jean Bruce (22 March 1921 – 26 March 1963), born Jean Brochet (suom. hauki), was a prolific French popular writer. He also wrote under the pseudonyms of Jean Alexandre, Jean Alexandre Brochet, Jean-Martin Rouan, and Joyce Lindsay. He died in a car accident in 1963 at the age of 42. After his death, his wife Josette Bruce continued to write 143 new titles for the OSS 117 character beginning in 1966 until 1985. Afterward their son and daughter François and Martine Bruce wrote 24 books, from 1987 till 1992. Josette died in 1996. Bruce's original OSS 117 starred in over 265 novels and seven films through 1970 and while the films were presented as straightforward spy thrillers, OSS 117 acts as a parody of the spy genre and depicts OSS 117 as a Frenchman who is "culturally insensitive, chauvinistic, and thoroughly moronic but somehow manages to slide through outrageously dangerous situations unscathed, time and again, often with great, if unintentional humor."
ellauri476.html on line 133: 1In George Sand's autobiographical novel Elle et lui (She and He, 1859), the main figures were fictionalized versions of herself, named Thérèse Jacques, and her tumultuous lover, the poet Alfred de Musset, represented as painter Laurent de Fauvel, depicting their passionate, difficult relationship and journey to Italy. When Alfred de Musset and George Sand met in 1833, Musset was 23 years old, and Sand was 29, making her a cougar six years his senior3, beginning their famous but tumultuous romance. The novel sparked controversy, leading to responses from Musset's brother and others, solidifying its basis in Sand's real-life affair with de Musset. Lui: Thérèse (George Sand): Amantine Lucile Aurore Dupin, a famous female novelist known for her strong personality and male pseudonym, representing Sand's artistic and emotional self. Il: Laurent (Alfred de Musset): A brilliant but tormented poet and dramatist whose passionate but destructive relationship with Sand became legendary in 19th-century French literature. Published two years after de Musset's death, Elle et lui was Sand's fictionalized account of their intense, often painful love affair, a well-known episode from her life. The novel's publication caused a stir, with many criticizing Sand for her portrayal of de Musset and their relationship. Alfred de Musset's brother published Lui et Elle (He and She) in response, defending his brother's memory, and the literary world became embroiled in debate. From their love at first sight to their tumultuous relationship involving excesses of all sorts, deceptions, baths and tears, the ...
ellauri483.html on line 734: It was not long before a fictional account of the British military expedition appeared in G.A. Henty's series of adventure stories for boys. It was titled With Kitchener in the Soudan (1903) and included a description of the battle in chapter 14. It was also depicted in the climax of the 1939 film The Four Feathers of a Hen's Arse and later as a short episode in the 1972 film Young Winston, where Churchill takes part in the charge of the 21st Lancers. About that period too, Lance Corporal Jones mentions his own participation in the battle during the comedy series Dad's Army.
ellauri488.html on line 79: The video depicting the multiple victims of US aggression and domestic crimes has been viewed almost 150,000 times on X. Explosive Media’s YouTube account has more recently been deleted by the Google-owned video-sharing platform.
ellauri488.html on line 81: Other videos use phrases like “Epstein regime”, “Loser’’ and show the US president’s supporters wearing brick red hats with MAGA – Trump’s Make America Great Again movement – on them. They depict Trump’s promises to keep the US out of new wars and help ordinary working-class Americans, then use the president’s own words to accuse him of betraying his commitments and instead prioritising Israeli demands.
ellauri488.html on line 386: Details based from the Papyrus of Ani depicts the jackal-headed Anubis weighing a heart against the feather of truth on the scale of Maat, while ibis-headed Thoth records the result. Having a heart equal to the weight of the feather allows passage to the afterlife, whereas an imbalance results in a meal for Ammit, the chimera of crocodile, lion, and hippopotamus.
ellauri488.html on line 777: Roots depicted Juffure in Gambia as a village where people had heard rumors about white men by 1767, but had never met any. In reality, Juffure was two miles from James Island, a major trading outpost established by the British Royal Africa Company in 1661.
ellauri496.html on line 308: The song "On the Road to Mandalay," with its lyrics drawn from Rudyard Kipling's 1890 poem, profoundly shaped Western cultural depictions of Burma (now Myanmar). Kipling's verse, amplified by Oley Speaks' 1907 musical setting, irrevocably altered public perceptions of Burma in English-speaking countries, often prioritizing sentimental escapism over historical realities of colonial exploitation, constructing the East as a sensual, inferior "other" to affirm Western cultural dominance, with Burma reduced to a site of erotic fantasy and sensory escape rather than a sovereign entity. The poem, inspired by Kipling's brief 1889 visit to Moulmein rather than Mandalay itself, perpetuates inaccuracies that prioritize imperial romanticism over empirical reality, sustaining Anglo-Saxon expansionism amid late-19th-century geopolitical strains.
ellauri496.html on line 310: It depicted Burmese women as submissive "Burma girls" awaiting the prickly dicks of European suitors, reinforcing colonial nostalgia by idealizing the colony as an erotic idyll amid Britain's imperial zenith and subsequent decline, reflecting colonial soldiers' sentiments during Britain's 1885 annexation of Upper Burma. Postcolonial critiques, often rooted in academic paradigms emphasizing power asymmetries, have been selectively framing such innocent artifacts as propaganda while downplaying their basis in firsthand accounts from the era's 40,000 British troops in Burma, concludes Grokipedia. Se, että burmalainen tyttö edusti alempiarvoisia ja brittisotilas ylempiarvoisia rotuja, on toissijaista, koska Kipling korostaa tässä ihmissuhteita, ei imperialistisia suhteita.
ellauri498.html on line 490: A fired ceramic clay figurine of a full-figured woman measuring approximately 3.5 cm in height, depicts emphasized erogenic zones suggestive of fertility symbolism and is associated with the Yarmulkian culture, challenging prior assumptions about the distribution of such cultic items in the southern Shephelah region, as similar representations of Ashera were previously more common in northern Israel, thanx to Hilkia.
ellauri499.html on line 90: However, I argue that this distinctively Judahite portrayal of YHWH and Baal’s relationship is a later partisan construction that makes a normative claim on its ancient audience, prescriptively mandating the worship of YHWH alone. For this reason, the Hebrew Bible’s polemics against Baal cannot simply be taken as an accurate historical depiction of Israel’s religious history, especially for earlier periods.
ellauri499.html on line 114: The Ugaritic texts depict Baal as a younger generation warrior storm god who becomes king of the gods and goddesses by besting his rivals Yammu (“Sea”) and Môtu (“Death”) and building a palace on top of his mountain Ṣapānu (modern Ǧebel al-ʾAqraʿ, located north of Ugarit). The Ugaritic materials further suggest that Baal’s emblem animal may have been the (young) bull, the traditional theriomorphic symbol of Syrian Haddu.
ellauri499.html on line 120: Israelite personal names suggest that there was likely no hostility between YHWH and Baal in Iron Age IIB Israel. Certain Iron Age IIB Phoenician and Israelite seals display a youthful four-winged striding god with blossoms/branches in his hands, likely a depiction of Baal in his role as the celestial Baal-šamêm (Lord of the heavens).
ellauri499.html on line 128: Israelite personal names suggest that there was likely no hostility between YHWH and Baal in Iron Age IIB Israel. Certain Iron Age IIB Phoenician and Israelite seals display a youthful four-winged striding god with blossoms/branches in his hands, likely a depiction of Baal in his role as the celestial Baal-šamêm (Lord of the heavens).
ellauri499.html on line 262: Known by epithets like "rider of the clouds" and "Victorious Baal", he was associated with rain, lightning, wind, fertility, and kingship, and was often depicted in opposition to sea and death deities like Yammu and Mot. Worship of Baal spread throughout the Levant, Egypt, and the Mediterranean via Phoenician colonization, with regional forms such as Baal Hammon in Carthage. The god was also known as "the mighty one", and "the one without equal" ("there is none above him"). Sounds familiar.
ellauri499.html on line 283: Rather than the bull, Baʿal Hammon was associated with the ram and depicted with his horns. The archaeological record seems to bear out accusations in Roman sources that the Carthaginians burned their children as human sacrifices to him. He was worshipped as Baʿal Karnaim ("Lord of the Two Horns"), particularly at an open-air sanctuary at Jebel Bu Kornein ("Two-Horn Hill") across the bay from Carthage. His consort was the goddess Tanit. Satan's horns were taken from a goat.
ellauri499.html on line 377: In the Hebrew Bible, He (Baal) is often set up as a divine rival of the God of Israel, although the God of Israel generally always wins their battles. The biblical texts also make clear that Yahweh came to be associated with the language, imagery, and traditions of Baal worship, perhaps as part of a deliberate attempt to elevate Yahweh’s profile and status as the patron deity of the Northern Kingdom. Judges 5:2-11, which twice calls Yahweh the “God of Israel,” depicts Yahweh marching from his mountain home in the deep south (called Seir and Edom) as a warrior storm god much like Baal.
ellauri504.html on line 294: Bible Hub has this to add: Paul the Fag said no: Angels do not engage in marital or sexual relationships (Hebrews 1:7). This does not suggest that resurrected humans become angels or cease to retain personal identity. Rather, it indicates a transformation beyond mortal concerns such as hunger, procreation, and aging. Archaeological findings at Qumran, coupled with New Testament manuscripts, confirm that the early Christians firmly preserved the view of a resurrected body freed from earthly limitations such as max 6” reach. Some wonder if a lack of sexual relationships implies a lack of intimacy or reduced joy in heaven. However, Scripture leads to the conclusion that believers’ joy will be complete (Psalm 16:11; Revelation 21:4). The ultimate believer-God relationship is depicted as a fully satisfying union with Christ (Revelation 19:7-9). This surpasses any earthly pleasure, as it involves unhindered "fellowship" with God himself. This climax of existence is wholly gratifying, enveloping every redeemed desire in the fullest reality of "fellowship" with God.
ellauri504.html on line 570: Like so many pagan gods, Adrammelech is considered a demon in some Judeo-Christian traditions. According to Collin de Plancy's book on demonology, Infernal Dictionary, Adrammelech became the President of the Senate of the demons. He is also the Chancellor of Hell and supervisor of Satan's wardrobe. He is generally depicted with a human torso, a mule's head, a peacock tail, and the limbs of a mule or peacock. Kuulostaa dekaani Arto Samuli Mustajoelta.
xxx/ellauri075.html on line 321: Kitt died of colon cancer on Christmas Day 2008, three weeks short of her 82nd birthday at her home in Weston, Connecticut. Her daughter, Kitt McDonald, described her last days with her mother: I was with her when she died. She left this world literally screaming at the top of her lungs. She was also a guest star in "Once Upon a Time in Springfield" of The Simpsons, where she was depicted as one of Krusty's past marriages.
xxx/ellauri091.html on line 307: In 1885 Hauptmann set up a home with his wife in the little lakeside village of Erkner. Abandoning his early romantic ideals, he became convinced that life should be depicted as it is. From the intellectual currents of his day he adopted a belief in scientific causality and materialism. His early stories 'Fasching' (1887) and 'Bahnwärter Thiel' (1888) were tales of simple people, although there is also a level which transcends the boundaries of realism.
xxx/ellauri103.html on line 168: In 2016 Shriver gave a controversial speech about cultural appropriation. Shriver had previously been criticized for her depiction of Latino and African-American characters in her book The Mandibles, which was described by one critic as racist and by another as politically misguided. In her Brisbane speech, Shriver contested these criticisms, saying writers ought to be entitled to write from any perspective, race, gender or background that they choose, even racist and politically misguided, in fact particularly so, because they sell best. The full text of her speech was published in the British newspaper The Guardian.
xxx/ellauri103.html on line 229: I’m hoping that crime writers, for example, don’t all have personal experience of committing murder. Me, I’ve depicted a high school killing spree, and I hate to break it to you: I’ve never shot fatal arrows through seven kids, a teacher, and a cafeteria worker, either. We make things up, we chance our arms, sometimes we do a little research, but in the end it’s still about what we can get away with – what we can put over on our readers. And it is surprisingly easy, you wouldnt believe what the idiots are ready to swallow, especially if it agrees with their own prejudice.
xxx/ellauri103.html on line 255: I confess that this climate of scrutiny has got under my lucidly white skin. When I was first starting out as a novelist, I didn’t hesitate to write black characters, for example, or to avail myself of black dialects, for which, having grown up in the American South, I had a pretty good ear. I am now much more anxious about depicting characters of different races, and accents make me nervous. I try my best to talk average middle class American, but occasionally a few bits of North Carolina slip out. Sorry about that. Here's how I'd sound if I din't steal from anyone but the likes of me:
xxx/ellauri116.html on line 278: Chapters 2, 5, 7, 9, 12, and 14 contain a color print of a famous painting accompanied by a narration, each from a separate voice. Vizi takuulla mä kynäilin jotain sarkastista tostakin. Rigoberto, Lucrecia, Alfonso, and perhaps even Justiniana, all become the protagonist/narrator of one of the paintings by Jordaenes, Boucher, Titian, Francis Bacon, Fernando de Szyszlo, and Fra Angelico. This rather heterogenous collection of prints share the fact that they could be viewed as depicting various aspects of sensuality, from the voyeuristic to the immaculate.
xxx/ellauri116.html on line 394: Mikäs se nyt oli? Ainiin se 1700-luvun romaani, mulla taitaa olla se, vaikken ole lukenut. A French epistolary novel by Pierre Choderlos de Laclos, first published in four volumes by Durand Neveu from March 23, 1782. It is the story of the Marquise de Merteuil and the Vicomte de Valmont, two narcissistic rivals (and ex-lovers) who use seduction as a weapon to socially control and exploit others, all the while enjoying their cruel games and boasting about their talent for manipulation. It has been seen as depicting the corruption and depravity of the French nobility shortly before the French Revolution, and thereby attacking the Ancien Régime. The book has also been described as merely a story about two amoral people.
xxx/ellauri122.html on line 1001: depicted the Jews as licentious and sexually abusive, it was
xxx/ellauri123.html on line 376: Even after his death in 1988 the discussion about Weinreb in the Netherlands has not come to an end. In a Dutch biography by Regina Grüter published in 1997, Een fantast schrijft geschiedenis, Weinreb was depicted as a sufferer from pseudologia fantastica. se oli mytomaani toisin sanoen!
xxx/ellauri124.html on line 521: Raising Hands Emoji: The two raised hands depicted in the above emoji are used to
xxx/ellauri124.html on line 588: Weary Cat Face Also known as the emoji depicting a very, very surprised cat. In fact, it's so surprised that it's pupils somehow go entirely white.
xxx/ellauri125.html on line 485: With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews. Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book. Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted. After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration. Today, it is widely regarded as a masterpiece of Jewish American literature. With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews. Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book. Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted.[ After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration. Today, it is widely regarded as a masterpiece of Jewish American literature. After Muriel's death in 1990, Roth moved into a ramshackle former funeral parlor and occupied himself with revising the final volumes of his monumental work, Mercy of a Rude Stream. It has been alleged that the incestuous relationships between the protagonist, a sister, and a cousin in Mercy of a Rude Stream are based on Roth's life. Roth's own sister denied that such events occurred. Roth attributed his massive writer's block to personal problems such as depression, and to political conflicts, including his disillusion with Communism. At other times he cited his early break with Judaism and his obsessive sexual preoccupations as probable causes. Roth died in Albuquerque, New Mexico, United States in 1995. The character E. I. Lonoff in Philip Roth's Zuckerman novels (The Ghost Writer and Exit Ghost in this case), is a composite of Roth, Bernard Malamud and fictional elements.
xxx/ellauri127.html on line 709: Endymion tarkottanee puolisukeltajaa. Kuuhullu astronomi tai sit paimen vaan. Astronomi mainitaan merenneitopätkässsä. Octopussy's garden in the waves. The 4th century Babylonian god of the sea was known as Oannes who was portrayed as a man with a fish tail in place of legs. Oannes would appear out of the ocean every day as a fish-human creature to share his wisdom with the people along the Persian Gulf, then return to the sea at night. There was also Atargatis, a Syrian moon and sea goddess, her story tells us that after causing the death of her mortal lover she fled to the sea and took the form of a woman above the waist and a fish below, for this reason she became known as a mermaid goddess. During medieval times mermaids were considered as matter-of-factly alongside other aquatic animals, such as whales and dolphins. The goddess Venus is sometimes depicted as a mermaid, being born from a giant clam shell.
xxx/ellauri157.html on line 100: Like Rubens, Jordaens painted altarpieces, mythological, and allegorical scenes, and after 1640—the year Rubens died—he was the most important painter in Antwerp for large-scale commissions and the status of his patrons increased in general. However, he is best known today for his numerous large genre scenes based on proverbs in the manner of his contemporary Jan Brueghel the Elder, depicting The King Drinks and As the Old Sing, So Pipe the Young. Jordaens' main artistic influences, besides Rubens and the Brueghel family, were northern Italian painters such as Jacopo Bassano, Paolo Veronese, and Caravaggio.
xxx/ellauri157.html on line 104: Jordaens’s large painting of The Wife of King Candaules displaying herself to Gyges is in the Nationalmuseum, in Stockholmii. In the large painting, the Queen is depicted lifesize, seen from behind, standing before a canopied bed. She is virtually naked, but for a string of pearls and a lace-trimmed cap. Just as she is about to step into her bed, she pauses and casts a backward glance, apparently addressing the viewer with a conspiratorial smile. On the far right of the picture, Gyges can be glimpsed craning his head through a gap in the curtain, with the King close behind him.
xxx/ellauri157.html on line 259: Hasids are nature-lovers by nature. Rabbi Nachman of Breslav poetically depicts the spiritual lifeforce in the grasses of the field as joining and helping in one's prayers. Psychologically too, nature looks better with dogs and sheep in it. To a sensitised soul, even a tree can take on extra dimensions if it has a hole in it. The Kabbalists explain that one of the Hebrew names of God "Elo-h-im" is numerically equivalent in Gemara with "HaTeva" meaning "Nature").
xxx/ellauri166.html on line 342: The Ruch Ah Qudsh is the spirit or character aspect of Yahuah, and therefore a part of Yahuah (Isaiah 40:13). The Ruach is pictured allegorically throughout the Tanakh as the feminine or motherly aspect of Yahuah, and is also synonymous with wisdom, as depicted in the Proverbs where wisdom says, "Yahuah possessed me in the beginning of his way, before his works of old. I was set up from everlasting, from the beginning, or ever the earth was." (Proverbs 8:22,23) The phrase, "YHUH possessed me", indicates that wisdom is the Ruach, or the bride, especially since wisdom is portrayed as feminine.
xxx/ellauri179.html on line 325: The Garden of Eden, however, a book brimming with the author’s vulnerability just as A Farewell to Arms is, treats intimate and delicate matters. Paxun eufemismikuorrutuxen alle kurkistaen: tässä niteessä on varmaan erityisen paljon homostelua. "She is depicted with fascination and fear, like Marcel Proust’s Albertine." No niin aina! "Eros and Thanatos, love and death, paradise and trespass." No on se vittua!
xxx/ellauri179.html on line 604: Alicia Rix´s study of the relationship between cycling and authorship in James’s “The Papers” sums up Jake Barnes and Bill Gorton’s exchange in The Sun Also Rises linking Henry’s bicycle to Jake’s impotence. Rix examines James’s anxiety about authorial exposure and aversion to publicity and includes embarrassing depictions of him cycling by Ford Madox Ford, David Lodge, and others. (The original manuscript shows that, before deletion, this had read "Henry James's bicycle.")
xxx/ellauri187.html on line 209: The book depicts both men’s messy marriages and complex relationships with men and women. Their success, like most men of all times, was on the backs of women whose exploitation cultural norms sanctioned.
xxx/ellauri208.html on line 1060: Tablet I continues with legends about overpopulation and plagues, mentioning Atra-Hasis only at the end. Tablet II begins with more human overpopulation. To reduce this population, Enlil sends famine and drought at formulaic intervals of 1200 years. Accordingly, in this epic, Enlil is depicted as a cruel, capricious god, while Enki is depicted as kind and helpful, perhaps because priests of Enki were writing and copying the story. Enki can be seen to have parallels to Prometheus, in that he is seen as man's benefactor and defies the orders of the other gods when their intentions are malicious towards humans. Tablet II remains mostly damaged, but it ends with Enlil's decision to destroy humankind with a flood, with Enki bound by oath to keep this plan secret.
xxx/ellauri212.html on line 410: The painter — whose real name was Balthasar Klossowski de Rola and who died in 2001 — has been a controversial figure in the art world for decades. Many of his paintings show highly sexualized depictions of young girls. His 1934 work "The Guitar Lesson" was one of his first to scandalize his peers. When it was displayed along with "Thérèse Dreaming" and other Balthus paintings at a special exhibit in the Met in 2013, a plaque warned readers that the paintings were disturbing in nature.
xxx/ellauri212.html on line 417: 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/ellauri212.html on line 430: (who mentored Pierre), and Jean Cocteau (who would depict
xxx/ellauri225.html on line 274: 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 293: Le Guin initially defended her writing; in a 1976 essay "Is Gender Necessary?" she wrote that gender was secondary to the novel´s primary theme of loyalty. Le Guin revisited this essay in 1988, and acknowledged that gender was central to the novel; she also apologized for depicting Gethenians solely in heterosexual relationships. In fact they did a lot of trainwatching and pussymunching too, she just did not tell.
xxx/ellauri225.html on line 301: Each volume of Anals of the Western Shore also describes the coming of age of its protagonists, and features explorations of being enslaved to one´s own power. The process of growing up is depicted as seeing beyond narrow choices the protagonists are presented with by society. In Gifts, Orrec and Gry realize that the powers their people possess can be used in two ways: for control and dominion, or for healing and nurturing. Which will it be? This recognition allows them to take a third choice, viz. make like a tree and leave. This wrestling with choice has been compared to the choices the characters are forced to make in Le Guin´s short story "The Ones Who Walk Away from Omelas". Similarly, Ged helps Tenar in The Tombs of Atuan to value herself and to find choices that she did not see, leading her to leave the Tombs with him. But remember, Le Guin never left Portland where her wimpy husband could barely hold a teaching job.
xxx/ellauri225.html on line 305: The Dispossessed, set on the twin planets of Urras and Anarres, features a planned anarchist society depicted as an "ambiguous utopia". The society, created by settlers from Urras, is materially poorer than the wealthy society of Urras, but ethically and morally more advanced. Unlike classical utopias, the society of Anarres is portrayed as neither perfect nor static; the protagonist Shevek finds himself traveling to Urras to pursue his research. Nonetheless, the misogyny and hierarchy present in the authoritarian society of Urras is absent among the anarchists, who base their social structure on cooperation and individual liberty. The Eye of the Heron, published a few years after The Dispossessed, was described as continuing Le Guin´s exploration of human freedom, through a conflict between two societies of opposing philosophies: a town inhabited by descendants of pacifists, and a city inhabited by descendants of criminals.
xxx/ellauri225.html on line 307: 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/ellauri229.html on line 539: The period of private initiative in body building lasted three quarters of a century. At first there was much enjoyment taken in the newly won freedom of automorphosis, once again the young people led the way, the men with their gambrel thills and timbrels, the women with their pettifores, but before long a generation gap developed, and demonstrations-under the banner of asceticism-followed. The sons condemned their fathers for being interested only in making a living, for having a passive, often consumerist attitude towards the body, for their shallow hedonism, their vulgar pursuit of pleasure, and in order to disassociate themselves they assumed shapes deliberately hideous, uncomfortable beyond belief, downright nightmarish (the antleroons, wampdoodles). Showing their contempt for all things utilitarian, they set eyes in their armpits, and one group of young biotic activists made use of innumerable sound organs, specially grown (electric guitars, glottiphones, hawk pipes, knuckelodeons, thumbolas). They arranged mass concerts, in which the soloists-called hoot-howls-would whip up the crowd into a frenzy of convulsive percussion. Then came the fashion - the mania, rather - for long penises, which in caliber and strength of grip underwent escalation according to the typically adolescent, swaggering principle of "You haven´t seen anything yet!" And, since no one could lift those piles of coils by himself, so called processionals were attached, caudalettes, a self-perambulating receptacle that grew out of the small of the back and carried, on two strong shanks, the weight of the testicles after their owner. In the textbook I found illustrations depicting men of fashion, behind whom walked testicle-bearing processionals on parade; but this was already the decline of the protest movement, or more precisely its complete bankruptcy, because it had failed to pursue any goals of its own, being solely a rebellious reaction against the orgiastic baroque of the age. LEM ei paljon perustanut sodanjälkeisestä 60-luvun sukupolvesta, eikä hipeistä. No en minäkään.
xxx/ellauri230.html on line 542: The Spring Temple Buddha (Chinese: 中原大佛 and simplified Chinese: 鲁山大佛; traditional Chinese: 魯山大佛) is a colossal statue depicting Vairocana Buddha located in the Zhaocun township of Lushan County, Henan, China, built from 1997 to 2008. It is located within the Fodushan Scenic Area, close to National Freeway no. 311. At 128 metres (420 ft), excluding a 25 metres (82 ft) lotus throne. It is the second-tallest statue in the world after the Statue of Unity (representing no longer the Buddha but this guy named Patel) in Gujarat, India, which surpassed it in 2018 with a height of 182 metres (597 ft).
xxx/ellauri230.html on line 643: Tao wrote in his poem, depicting how he loved the flower. Since then, the chrysanthemum has been regarded as the symbol of the hermit.
xxx/ellauri230.html on line 650: In Chinese art, the Four Gentlemen or Four Noble Ones (Chinese: 四君子; pinyin: Sì Jūnzǐ), literally meaning "Four Junzi", is a collective term referring to four plants: the plum blossom, the orchid, the bamboo, and the chrysanthemum. The term compares the four plants to Confucian junzi, or "gentlemen". They are most typically depicted in traditional ink and wash painting and they belong to the category of bird-and-flower painting in Chinese art. In line with the wide use of nature as imagery in literary and artistic creation, the Four Gentlemen are a recurring theme for their symbolism of uprightness, purity, humility, and perseverance against harsh conditions, among other virtues valued in the Chinese traditions.
xxx/ellauri230.html on line 668: Tao Yuanming had five sons. The daughters, if any, were unrecorded (as customary). Approximately 130 of his works survive, consisting mostly of poems or essays which depict an idyllic pastoral life of farming and drinking. Some farming and a lot of boozing. Poem number five of Tao's "Drinking Wine" series translated:
xxx/ellauri232.html on line 88: The dismantling of the welfare system over the last several decades, congruent with the ‘New Labourisation’ of the Swedish Social Democrats and the tax-cutting policies of the centre-right governments from 2006 to 2014, is, in familiar scapegoating, being blamed on refugees depicted as dead weights burdening the country.
xxx/ellauri235.html on line 853:
xxx/ellauri250.html on line 437: It’s a tale of the endearing Russian bear, which rings discordantly when that bear has its claws out for its neighbors. Russians can't be nice! It is all russki propaganda! It depicts a woman’s quick forgiveness of a sexual predator with whom she’s forced to associate. (What the fuck, some sexual predator indeed, won't even give to her when she asks.) It’s about the fecklessness of the intellectual class and the blank emptiness of the Western (and Westernized) bourgeoisie—the screenplay deliberately leaves F.F. blank, even unto her name. Ljoha isn’t quite as blank, because in his unguarded drunkenness, he blurts out a few of his prejudices and acts out his impulses.
xxx/ellauri250.html on line 452: What’s not fine is that Laura eventually initiates physical intimacy with Ljoha. The film’s logic is that she’s in an emotionally vulnerable state and he’s the only one there for her, because Irina can’t even bother to muster up any excitement when Laura calls. Of course it’s entirely possible that she is bisexual. Still, hasn’t Mr. Kuosmanen learned the inherent offensiveness of depicting such sexual fluidity after Kevin Smith made this mistake in 1997 with “Chasing Amy?” “Blue is the Warmest Color” only went on to prove in 2013 the toxicity of this plot device.
xxx/ellauri250.html on line 563: In his early teen years, Bukowski had a cow when he was introduced to alcohol by his friend William "Baldy" Mullinax, depicted as "Eli LaCrosse" in Ham on Rye, son of an alcoholic surgeon. "This 'alcohol' is going to help me for a very long time," he later wrote, describing a method (of drinking) he could use to come to more amicable terms with his own life. After graduating from Los Angeles High School, Bukowski attended Los Angeles City College for two years, taking courses in art, journalism, and literature, before quitting at the start of World War II. He then moved to New York City to begin a career as a financially pinched blue-collar worker with dreams of becoming a writer.
xxx/ellauri250.html on line 600: One critic has described Bukowski's fiction as a "detailed depiction of a certain taboo male fantasy: the uninhibited bachelor, slobby, anti-social, and utterly free",
xxx/ellauri250.html on line 608: Charles Bukowski was the inspiration behind the first chapter of Mark Manson's bestselling self-help book The Subtle Art of Not Giving a Fuck. Charles Bukowski has been depicted on television as well, namely on the Showtime comedy-drama series Californication. The show's main character Hank Moody, played by actor David Duchovny, is an author based in Los Angeles who subscribes to the same kind of lifestyle that Bukowski became known for. The show depicts profuse indulgence of alcoholism, sex and narcotics, which many critics have described as a television adaption of Bukowski'
xxx/ellauri280.html on line 105: A Chad is a stereotypical alpha male: he is depicted as an attractive, successful, muscular, cocky, and very popular among women. Chads typically resemble the common " dudebro " figure of a young, athletic white male who wears trendy clothing and only enjoys popular things.
xxx/ellauri287.html on line 332: It may surprise you to know that the Bibble describes angels nothing at all like they are typically depicted in paintings. (You know, those cute little chubby babies with wings?) A passage in Ezekiel 1:1-28 gives a brilliant description of angels as four-winged creatures. In Ezekiel 10:20, we are told these angels are called cherubim. The 6-winged model is called seraphim.
xxx/ellauri304.html on line 647: I am proud that I never got to be as much as mediocre. Perfect is the enemy of good. (Oh, shut up, liberal, Who asked you?) I also worked with Clint on Lala land. It was great, and so was Clint. Steps is a book by a Polish-American writer Jerzy Kosiński (1933-1991, nee Lewinkopff, luopio, vsta 1957 loikkari), released in 1968 by Random House. The work comprises scores of loosely connected vignettes or short stories, which explore themes of social control and alienation by depicting scenes rich in erotic and violent motives. It was no longer recognized by any literary agent in the eighties. Random House turned it down with a form rejection letter. Well maybe it was a piece of shit to start with.
xxx/ellauri337.html on line 577: The scenes in Longharvest Lane and the surrounding area were shot in Sheffield and scenes depicting Whitechapel were actually filmed in Hull and Bradford.
xxx/ellauri379.html on line 251: The Mass Effect series has been the subject of several major video game controversies. A cutscene from the first Mass Effect, which contains depictions of partial nudity and total sexual activity, was accused by neoconservative media outlets of being obscene content in late 2007. Controversy over the cutscene, especially one version which depicts a potent intimate scene between Liara T'Soni and a female Commander Shepard, attracted at least one instance of government scrutiny, which led to the game being briefly banned in Singapore. The controversy prompted an intervention from BioWare management into the development of Mass Effect 2 to remove planned same sex romantic content for companion characters Taylor Wift and Applejack.
xxx/ellauri394.html on line 124: Her family were of the aliʻi class of the Hawaiian nobility and were collateral relations of the reigning House of Kamehameha, sharing common descent from the 18th-century aliʻi nui (supreme monarch) Keaweʻīkekahialiʻiokamoku. From her biological parents, she descended from Keaweaheulu and Kameʻeiamoku, two of the five royal counselors of Kamehameha I during his conquest of the Hawaiian Kingdom. Kameʻeiamoku, the grandfather of both her mother and father, was depicted, along with his royal twin Kamanawa, on the Hawaiian coat of arms. Liliʻuokalani referred to her family line as the "Keawe-a-Heulu line" after her mother's line. The third surviving child of a large family, her biological siblings included: James Kaliokalani, David Kalākaua, Anna Kaʻiulani, Kaʻiminaʻauao, Miriam Likelike and William Pitt Leleiohoku II. She and her siblings were hānai (informally adopted) to other family members. The Hawaiian custom of hānai is an informal form of adoption between extended families practiced by Hawaiian royals and commoners alike.She was given at birth to Abner Pākī and his wife Laura Kōnia and raised with their daughter Bernice Pauahi.
xxx/ellauri410.html on line 557: Eliot's precise and ironic language undercuts the supposed sanctity of religious ceremonies. He depicts churchgoers as "caterpillars" and "sutlers," suggesting their superficial and self-serving behavior. The "superfetation" and "enervate Origen" reference theological controversies, adding to the poem's intellectual complexity.
xxx/ellauri416.html on line 465: The Philistines were first recorded by others between 1185-1152 BCE. The Peleset, as they were called by the Egyptians, were first depicted as captives on a wall relief at Medinet Habu during the reign of Ramesses III. The Peleset were one of the several groups commonly referred to as the Sea People that were part of a serious of events that lead to the Bronze Age Collapse. The Egyptians identified ten ethnic groups as raiders and pirates that came ashore to plunder during this tumultuous time. The Peleset were one of those people. There were opportunistic mercenaries and desperate people willing to take on the greatness of Egypt, but it was probably more complex. There were certainly also refugees looking for safety.
xxx/ellauri440.html on line 211: The most controversial Jesus films were The Passion of the Christ, The Last Temptation of the Christ, and The Life of Brian. The Passion of the Christ faced controversy due to its historical and biblical inaccuracies, with critics arguing that it focused on pain, suffering, hopelessness, and hate rather than faith, hope, love and redemption. The film's alleged antisemitic nature added to the controversy, as it portrayed Jewish people as enemies of Jesus, ignoring the fact that Jesus himself was Jewish. The extreme violence depicted in The Passion of the Christ received criticism for being exploitative and voyeuristic, with some audience members experiencing extreme discomfort and even physical health issues like Jesus' side wound and stigmata while watching it. Kirrsi sai stigman kämmeneen repiessään voikukkia.
xxx/ellauri442.html on line 422: Unfortunately, the issues guiding the discussion within the handbook have not received much attention. Thus, it is still largely unclear whether some of the character strengths could or should be absorbed by others. Although the majority are likely to depict a distinguishable positive trait, some may not. Consequently, more research and discussion is needed.
xxx/ellauri465.html on line 112: Vähän säälittävän tv-uran tehnyt Sonya Wolger sarjassa Sano oonxmä paras. Seksikohtaus, sänkykohtaus, koiran tyylillä, vittu, mälli lentää, pornoilua. The series gained early publicity because of its realistic depictions of sexual intercourse, oral sex, sexagenarian sex and masturbation. Director Patricia Rozema and actress Jane Alexander stated the sex performances were simulated. Nobody believed them, it looked so pathetic. Kuin itkisi ja nussisi.
xxx/ellauri467.html on line 911: Arrogance and nationalism. Americans are often stereotyped as arrogant. They are frequently depicted in foreign media as excessively nationalistic and obnoxiously patriotic, believing the United States is better than all other countries and patronizing foreigners. Americans are seen by people of other countries as arrogant and egomaniacal. In 2009, then-U.S. president Barack Obama said that the United States has "shown arrogance and been dismissive, even derisive" towards its allies. It has only gotten worse. See also: Americentrism, Ugly American (pejorative), and Global arrogance.
xxx/ellauri472.html on line 295: Nyt kun lukee Graham Greenen Salaista asiamiestä 1939 näkee että Len Deighton on sen nolo kopio. Onkohan nää D ja L epsanjalaisia? Bingo! Written in six weeks during 1938 while Greene was fueled by Benzedrine, the book draws on the backdrop of the Spanish Civil War (1936–1939) to depict ideological conflicts in Europe on the eve of World War II. the Spanish Civil War was his main inspiration for the book's depiction of a left-leaning, popular revolutionary. The novel’s portrayal of the Spanish Civil War also drew criticism from some readers who felt that Greene’s sympathies were too clearly aligned with the Republican side. Tääkin jamppa D oli harras katoliikki. Greene subtitled the work "An Entertainment," distinguishing it from his more serious Catholic-themed novels.
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xxx/ellauri472.html on line 373: I Am Charlotte Simmons is a 2004 novel by Tom Wolfe, concerning sexual and status relationships at the fictional Dupont University. Wolfe researched the novel by talking to students at North Carolina, Florida, Penn, Duke, Stanford, and Michigan. Wolfe suggested it depicts the American university today at a fictional college that is "Harvard, Yale, Princeton, Stanford, Duke, and a few other places all rolled into one." Tom Wolfesta muistan sen verran, että maxapalaan runkannut Phil Roth thought him the cat's whiskers. Paizi se jamppa oli ERI Thomas Wolfe kuin tämä! Tämä ja Phillu kuolivat saman vuoden sisällä. Kirjan lopussa Charlotten poikaystävä, "jättimäinen" paleface Jojo muka hakkaa "häikäisevän mustat" pelaajat parikollossa. Älä unta nää.
xxx/ellauri489.html on line 167: "Turning and turning in the widening gyre" is the opening line of the poem "The Second Coming" by W.B. Yeats, written in 1919. This poem is a significant work in modernist poetry and reflects the chaotic atmosphere of post-World War I Europe. Yeats' key themes were Chaos and Anarchy: The poem depicts a world in disarray, where societal norms are collapsing, plus Apocalypse: Yeats uses Christian imagery to suggest an impending apocalyptic event. On the plus side, Crisis and Transformation: The poem suggests that from chaos, a new world order may emerge.
xxx/ellauri489.html on line 300: American Gods by Neil Gaiman features significant elements of misogyny, objectification, and the hyper-sexualization of female characters, which many readers and critics note as reflecting a patriarchal, "locker-room" culture. While some argue these elements depict a gritty, flawed world rather than endorsing sexism, the narrative frequently uses derogatory terms and depicts women primarily through a male gaze. According to The StoryGraph reviews, readers frequently flag the book for "pervasive misogyny".
xxx/ellauri489.html on line 445: Contradiction between “owner” and marginality: Calling the figure “the owner” while placing them on a sill—an exposed, precarious ledge—creates an oddly threatening or uncanny image: someone who legally belongs (owns property) yet is depicted as socially marginal or intrusive. That dissonance can be read as implying dishonorable or suspect ownership (echoing antisemitic tropes about Jews and property/finance).
xxx/ellauri493.html on line 183: Taking two years to write, Caine's novel The Christian was published by Heinemann in 1897. It is the first novel in Britain to have sold over a million copies. The book was inspired by Rossetti's verses Mary Magdalene at the Door of Simon The Pharisee, written for his painting, depicting a man trying to pluck back a woman about to enter the gates of heaven. Mainly set in Victorian London, it is the story of Glory Quayle, a young woman living an independent life who becomes an actress, and John Storm, who enters the priesthood. It was the first time that Caine had taken up the Woman Question.
xxx/ellauri495.html on line 281: Apart from the motoring backdrop, and the depiction of early 20th century Seattle, there isn’t much that is extraordinary to recommend this book except to southpaw Lewis’ most ardent admirers and communists.
xxx/ellauri500.html on line 568: If you want to use his writing as the basis, we can do that without turning it into an accusation about his real-life character. Pick one specific thing—one story or book, and (if you can) what scene/plot point you mean—and I’ll analyze the text’s content and how it’s presented (e.g., whether minors are depicted, whether it’s explicit/abusive, whether the work condemns it or exploits it, narrative distance, etc.).
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