ellauri037.html on line 272: all doomed sooner or later.
ellauri048.html on line 1106: Arthur Henry Hallam (1 February 1811 – 15 September 1833) was an English poet, best known as the subject of a major work, In Memoriam, by his close friend and fellow poet Alfred Tennyson. Hallam has been described as the jeune homme fatal (French for "doomed young man") of his generation.
ellauri074.html on line 34: Don't worry - the earth is doomed. We're all gonna die.
ellauri080.html on line 787: Like all men who wage a doomed war with their own sexual desires, Gandhi's behaviour around females would eventually become very, very odd. He took to sleeping with naked young women, including his own great-niece, in order to "test" his commitment to celibacy. The habit caused shock and outrage among his supporters. God knows how his wife felt.
ellauri100.html on line 264: Home stretch: Stayed at the think-tank another 18 years. After three years of reviewing reports, seized an opportunity to establish and run the think-tank’s publications department. Promoted a year later to chief financial and administrative officer, with a portfolio consisting of accounting, computer operations, contracting, facility planning and operations, financial management, human resources (a.k.a. personnel), library and technical information services, physical and information security, programming services, and publications. Basically, I ended up doing everything because there were not many people left in that doomed outfit. Became deeply involved in legal matters, including spin-off of the think-tank from parent company, resolution of affirmative-action claims, and complex contract and lease negotiations. Contrived retirement at age 56. Read: that's when they at long last got rid of me because I had sunk the spin-off.
ellauri106.html on line 175: Word has come that Philip Roth died on Tuesday in New York City at the age of 85. He was widely considered the last of the Great American Novelists of the late 20th Century the peer of heavy hitters John Updike and Saul Bellow. Roth himself believed that the novel, which had ruled for a century as the supreme and exalted American literary form, is doomed to becoming a cult niche in the Age of the Internet for a diminishing educated elite, “I think always people will be reading them but it will be a small group of people. Maybe more people than now read Latin poetry, but somewhere in that range…” Ever a realist, Roth was sanguine with the prospect.
ellauri117.html on line 655: Locke was at times not sure about the subject of original sin, so he was accused of Socinianism, Arianism, or Deism. Locke argued that the idea that "all Adam's Posterity are doomed to Eternal Infinite Punishment, for the Transgression of Adam" was "little consistent with the Justice or Goodness of the Great and Infinite God", leading Eric Half-Nelson to associate him with Pelagian ideas. However, he did not deny the reality of evil. Man was capable of waging unjust wars and committing crimes. Criminals had to be punished, even with the death penalty.
ellauri144.html on line 392: Dylan Marlais Thomas (27 October 1914 – 9 November 1953 = 39v) was a Welsh poet and writer whose works include the poems "Do not go gentle into that good night" (Josta suomenruozalainen leijakirjailija otti "Älä mene yxin yöllä ulos") and "And death shall have no dominion"; the "play for voices" Under Milk Wood; and stories and radio broadcasts such as A Child´s Christmas in Wales and Portrait of the Artist as a Young Dog. He became widely popular in his lifetime and remained so after his death at the age of 39 in New York City. By then he had acquired a reputation, which he had encouraged, as a "roistering, drunken and doomed poet".
ellauri155.html on line 936: And doomed to know his aching heart alone. Tuomittuna ize tietämään oma kurja tilansa.
ellauri161.html on line 566: This movie is devoid of hope. There is no optimism in Don’t Look Up. Yes, it deserves comparison to Stanley Kubrick’s Dr. Strangelove, because it pulls laughs out of the fact that the human race is on a crash course with destruction. In Don’t Look Up, the technology has multiplied and advanced, but the message is the same as it was when Slim Pickens rode that bomb to the doomed ground in Strangelove: Humans are messing up big-time, in a manner that is so egregious you just have to laugh at it … to prevent yourself from going insane. The situation is hopeless but not serious.
ellauri164.html on line 873: We would expect the pattern to repeat here. The people have rebelled, so the next part would be God’s wrath and threats of destruction. Instead, however, God merely grants their request for water. No mention of sin or possible annihilation, just grace in providing for Israel’s needs. The fact that this cycle we’ve come to expect changes is designed to highlight an important event; the oddity of the text “awakens us from our narrative slumber,” as one commentator puts it, and forces us to pay attention closely to what’s occurring. Why would God not threaten destruction? To answer that, we have to remember a key aspect of God’s character: He does not change. Hebrews 13:8 says He is the same yesterday and today and forever, “without variation or shifting shadow,” (James 1:17). The purpose of the threats of destruction, and Moses/Aaron’s intercession, was not to actually change God’s mind. God knew exactly what was going to happen in all these instances. God’s threats on Israel are spoken to Moses so that Moses will intercede. They are tests of Moses’ (and Aaron’s) character, just as God’s conversation with Abraham over the fates of Sodom and Gomorrah (Genesis 18) was about testing Abraham’s character rather than the doomed cities. Yet here, in Numbers 20, God does not follow the pattern. Why?
ellauri171.html on line 1050: Although the readers know that God has killed two of Judah’s sons, Judah does not. This is known as dramatic irony. He suspects that Tamar is a “lethal woman,” a woman whose sexual partners are all doomed to die. So, Judah is afraid to give Tamar to his youngest son, Shelah, the inventor of Shelah quantifiers. So doing, Judah wrongs Tamar. According to Near Eastern custom, known from Middle Assyrian laws, if a man has no son over ten years old, he could perform the Levirate marriage (yibbum) obligation himself; if he does not, the woman is declared a “widow,” free to marry again. Judah, who is perhaps afraid of Tamar’s lethal character, could have set her free. But he does not—he sends her to live as “a widow” in her father’s house. Unlike other widows, she cannot remarry and must stay chaste on pain of death. She is in limbo.
ellauri180.html on line 573: All of the people of the earth have been doomed to live in darkness. They burn everything around them, from palaces to huts and eventually religious materials. They are desperate for any kind of light to see by.
ellauri183.html on line 260: Can a decent civilization be made from these creatures? Cohn believes that "if this small community behaved, developed, endured, it might someday—if some chimpy Father Abraham got himself born—produce its own Covenant with God." But such visions of a peaceful society are doomed, of course: envy, hatred, and violence inevitably ensue—and Cohn's mating with Mary Madelyn ("I have kept my virginity for you ever since you expwained the word to me when you first read me Rome and Juwiet") will eventually lead to murder and revolution.
ellauri198.html on line 129: Events convince Jack that dialectical materialism is an insufficient paradigm to explain history. "Though doomed, they had nothing to do with any doom under the godhead of the Great Twitch. They were doomed, but they lived in the agony of will." Huoh. Samanlainen tahtoihminen kuin Belovin Sale. "Minä tahdon!" huusi Riitta ja takoi päätään lattiaan. Lukisivat Rami Tuomelaa.
ellauri198.html on line 794: Roland is not mediated by his precursors; they do not detach him from history so as to free him in the spirit. The Childe's last act of dauntless courage is to will repetition, to accept his place in the company of the ruined. Roland tells us implicitly that the present is not so much negative and finite as it is willed, though this willing is never the work of an individual consciousness acting by itself. It is caught up in a subject-to-subject dialectic, in which the present moment is sacrificed, not to the energies of art, but to the near-solipsist's tragic victory over himself. Roland's negative moment is neither that of renunciation nor of the loss of self in death or error. It is the negativity that is self-knowledge yielding its power to a doomed love of others, in the recognition that those others like Shelley. more grandly had surrendered knowledge and its powers to love, however illusory. Or, mos simply, Childe Roland dies, if be dies, in the magnificence of a belatedness that can accept itself as such. He ends in strengh because his vision has ceased to break and deform the world, and has begun to turn its dangerous strength upon is own defense. Roland is the Kermit modem version of a poet-as-hero, and his sustained courage to weather his own phantasmagoria and emerge into fire is a presage of the continued survival of strong poetry.
ellauri222.html on line 711: The question arises why Voltaire inserts such a character in the novella, and what functions he performs in the story. On the one hand, Lord Pococurante embodies the then French aristocracy, the social class, surfeited with everything. The author attracts the reader’s attention to a very curious paradox: people, who live in luxury, cannot enjoy it. Though it is not explicitly stated by Voltaire, such people are doomed to failure. At this point, we can say with certainty that Voltaire is prophetic in this novella.
xxx/ellauri114.html on line 285: WHAT HAPPENED TO ELAM? There’s no record of a re-emergence of the Elamites since the Persian conquest 2500 years ago. Some say Jeremiah 49:39 is currently being fulfilled through the Iranians. They say this partly because Iran’s primary nuclear facilities are in the area once called Elam. Its recently completed nuclear reactor in Bushehr lies on the eastern shore of the Persian Gulf in the heart of ancient Elam. If that’s the case then God’s restoration of Elam’s fortunes is both brief and haphazard, its stated purpose is opposed to God’s plan for Israel, and it is doomed to end in even more destruction.
xxx/ellauri199.html on line 1061: Writing in The Guardian, the political journalist Gaby Hinsliff described Strange Death as "gentrified xenophobia" and "Chapter after chapter circles around the same repetitive themes: migrants raping and murdering and terrorising; paeans to Christianity; long polemics about how Europe is too ´exhausted by history´ and colonial guilt to face another battle, and is thus letting itself be rolled over by invaders fiercely confident in their own beliefs", while also pointing out that Murray offers little definition of the European culture he claims is under threat. Pankaj Mishra´s review in The New York Times described the book as "a handy digest of far-right clichés". In The Intercept, Murtaza Hussain criticized the "relentlessly paranoid tenor" of Murray´s work and said that its claims of mass crime perpetuated by immigrants were "blinkered to the point of being propaganda", while noting the book´s appeal to the far right. In Middle East Eye, Georgetown professor Ian Almond called the book "a staggeringly one-sided flow of statistics, interviews and examples, reflecting a clear decision to make the book a rhetorical claim that Europe is doomed to self-destruction".
xxx/ellauri329.html on line 97: In 2004, Harper’s magazine published Natasha, a first short story by a promising 31-year-old Jewish Canadian writer, David Bezmozgis. This memorable tale of a doomed teenage love between Mark, a Jewish Toronto slacker, and his troubled (shiksa) Russian cousin by marriage was eventually released in a collection chronicling the lives of a Latvian immigrant family, not unlike the author’s own. Bezmozgis’s debut became a cult sensation with critics drawing literary comparisons to Bernard Malamud and Philip Roth. The story was subsequently reprinted in 15 languages. After penning two more acclaimed novels, then writing and directing his first feature Victoria Day (SFJFF 2010), Bezmozgis finally brings his modern classic to the big screen in a remarkably assured adaptation that’s both highly provocative and deeply poignant. At the heart of this emotional, coming-of-age drama are the extraordinarily measured performances of Alex Ozerov as Mark and newcomer Sasha K. Gordon as the sexually precocious Natasha, the dark star who forever alters Mark’s staid, suburban existence. Fans of the writer’s original source material will not be disappointed in David Bezmozgis’s haunting narrative of forbidden love caught between the old world and the new, further proof of this talented artist’s notable command of both literature and the cinema. —Thomas Logoreci Note: Mature Content. A New Life in the west means a second chance for precocious Latvian jews.
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