ellauri063.html on line 210: mogwai is the transliteration of the Cantonese word 魔鬼 (Jyutping: mo1 gwai2; Standard Mandarin: 魔鬼; pinyin: móguǐ) meaning "monster", "evil spirit", "devil" or "demon". The term "mo" derives from the Sanskrit "Mara", meaning "evil beings" (literally "death"). In Hinduism and Buddhism, Mara determines fates of death and desire that tether people to an unending cycle of reincarnation and suffering. He leads people to sin, misdeeds, and self-destruction. Meanwhile, "gui" does not necessarily mean "evil" or demonic spirits. Classically, it simply means deceased spirits or souls of the dead.
ellauri096.html on line 775: In the dialogue Protagoras, Socrates attests that akrasia does not exist, claiming "No one goes willingly toward the bad" (358d). If a person examines a situation and decides to act in the way he determines to be best, he will pursue this action, as the best course is also the good course, i.e. man's natural goal. An all-things-considered assessment of the situation will bring full knowledge of a decision's outcome and worth linked to well-developed principles of the good. A person, according to Socrates, never chooses to act poorly or against his better judgment; and, therefore, actions that go against what is best are simply a product of being ignorant of facts or knowledge of what is best or good.
ellauri147.html on line 870: A 2006 "hot" or "not" style study, involving 264 women and 18 men, at the Washington University School of Medicine, as published online in the journal Brain Research, indicates that a person´s brain determines whether an image is erotically appealing long before the viewer is even aware they are seeing the picture. Moreover, according to these researchers, one of the basic functions of the brain is to classify images into a hot or not type categorization. The study´s researchers also discovered that sexy shots induce a uniquely powerful reaction in the brain, equal in effect for both men and women, and that erotic images produced a strong reaction in the hypothalamus.
ellauri383.html on line 316: He determines the number of the stars; he gives to all of them their names.
ellauri389.html on line 302: Just as the Christian God determines what is right and wrong for many if not all monkeys around the world, Nature serves this purpose for the narrator. He is, in this tender moment, directing his monologue not to her but to his sister, Dorothy. They are extraordinarily close and he wishes to share with her his adoration for Nature. He is searching for a way to make his sister understand that placing your heart within the hands of Nature is without risk. She should feel the “mountain-winds” on her skin and not resist them.
ellauri392.html on line 705: Recent disputations in Jewish Knesset about who can be called a Jew summarize all the questions of Jewish origins and the question of all questions – what essentially determines the essence of Jewish identity in relation to other nations? These questions relate to their birth, language, living in accordance with Torah. The answers, in accordance with the rabid imagination of the rabbis, vary from one conclusion to the other.
xxx/ellauri086.html on line 610: A month later, the prefect returns, still unsuccessful in his search. He is motivated to continue his fruitless search by the promise of a large reward, recently doubled, upon the letter's safe return, and he will pay 50,000 francs to anyone who can help him. Dupin asks him to write that check now and he will give him the letter. The prefect is astonished, but knows that Dupin is not joking. He writes the check, and Dupin produces the letter. The prefect determines that it is genuine and races to deliver it to the queen.
xxx/ellauri149.html on line 407: King Herod is a genocidal king, one who ordered the mass-slaughter of Jewish babies, which is why Jesus was born in stable to refugee parents. He also is the one who determines Jesus is a fraud and sends him back to Pilate. Yet his song number is a bouncy plea for Jesus to perform miracles while bopping around. The 2012 version turns him into a talk show host, where he asks the viewers to vote if Jesus is a miracle worker or a fraud. He gets a round of applause after his song, despite the audience knowing that he sealed Jesus's fate and that he's set the ball rolling for the climactic crucifixion.
xxx/ellauri387.html on line 499: The ´definiteness´ of a genre classification leads the reader to expect a series of formal stimuli--martial encounters, complex similes, an epic voice--to which his response is more or less automatic; the hardness of the Christian myth predetermines his sympathies; the union of the two allows the assumption of a comfortable reading experience in which conveniently labelled protagonists act out rather simple roles in a succession of familiar situations. The reader is prepared to hiss the devil off the stage and applaud the pronouncements of a partisan and somewhat human deity . . . . But of course this is not the case; no sensitive reading of Paradise Lost tallies with these expectations, and it is my contention that Milton ostentatiously calls them up in order to provide his reader with the shock of their disappointment. This is not to say merely that Milton communicates a part of his meaning by a calculated departure from convention; every poet does that; but that Milton consciously wants to worry his reader, to force him to doubt the correctness of his responses, and to bring him to the realization that his inability to read the poem with any confidence in his own perception is its focus.
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