ellauri096.html on line 229: The conclusion that there are unknowable truths is an affront to various philosophical theories, but not to common sense. If proponents (and opponents) of those theories long overlooked a simple counterexample, that is an embarrassment, not a paradox. (2000, 271)
ellauri107.html on line 84: "With clarity and with crudeness, and a great deal of exuberance, the embryonic writer who was me wrote these stories in his early 20s, while he was a graduate student at the University of Chicago, a soldier stationed in New Jersey and Washington, and a novice English instructor back at Chicago following his Army discharge...In the beginning it amazed him that any literate audience could seriously be interested in his story of tribal secrets, in what he knew, as a child of his neighborhood, about the rites and taboos of his clan—about their aversions, their aspirations, their fears of deviance and defection, their embarrassments and ideas of success."
ellauri244.html on line 178: He worked despite having for 37 years "a state of permanently impossible relations" with his second master (deputy), John Jeudwine, which, according to school historian J.B. Oldham, "embittered both their lives to the detriment of the school, the scandal of the town and the embarrassment of Butler's every action"
ellauri322.html on line 95: Commerce is no other than the traffic of two individuals, multiplied on a scale of numbers; and by the same rule that nature intended for the intercourse of two, she intended that of all. For this purpose she has distributed the materials of manufactures and commerce, in various and distant parts of a nation and of the world; and as they cannot be procured by war so cheaply or so commodiously as by commerce, she has rendered the latter the means of extirpating the former. As the two are nearly the opposite of each other, consequently, the uncivilised state of the European governments is injurious to commerce. Every kind of destruction or embarrassment serves to lessen the quantity, and it matters but little in what part of the commercial world the reduction begins. Like blood, it cannot be taken from any of the parts, without being taken from the whole mass in circulation, and all partake of the loss. When the ability in any nation to buy is destroyed, it equally involves the seller. Could the government of England destroy the commerce of all other nations, she would most effectually ruin her own. It is possible that a nation may be the carrier for the world, but she cannot be the merchant. She cannot be the seller and buyer of her own merchandise. The ability to buy must reside out of herself; and, therefore, the prosperity of any commercial nation is regulated by the prosperity of the rest. If they are poor she cannot be rich, and her condition, be what it may, is an index of the height of the commercial tide in other nations. When, therefore, governments are at war, the attack is made upon a common stock of commerce, and the consequence is the same as if each had attacked his own.
ellauri322.html on line 258: Four months after she had gone to Paris, Mary Wollstonecraft met at the house of a merchant, with whose wife she had become intimate, an American named Gilbert Imlay. He won her affections. That was in April, 1793. He had no means, and she had home embarrassments, for which she was unwilling that he should become in any way responsible. A part of the new dream in some minds then was of a love too pure to need or bear the bondage of authority. The mere forced union of marriage ties implied, it was said, a distrust of fidelity. When Gilbert Imlay would have married Mary Wollstonecraft, she herself refused to bind him ; she would keep him legally exempt from her responsibilities towards the father, sisters, brothers, whom she was supporting. She took his name and called herself his wife, when the French Convention, indignant at the conduct pf the British Government, issued a decree
xxx/ellauri123.html on line 763: Nabokov, a "champion of aesthetic autonomy", was keenly aware of the stakes of publication from 1916, when he had a collection of his poems printed at his own expense. The volume brought him embarrassment; his teacher read the worst lines out to the budding author´s classmates, who roared with laughter.
xxx/ellauri139.html on line 221: Here, Ippolit stops and kind of freaks out from embarrassment a little bit. Everyone tries to get him to stop reading, but no, he goes on throughout the final sections of the chapter:
xxx/ellauri472.html on line 389: "I am C.S." voisi olla viite Robert Gravesin 30-luvulla kynäilemiin änkyttäjä Claudiuxen muistelmiin "I, Claudius".  70-luvun TV-sarja  I, Claudius transcended its paltry production values to become a gold standard for historical dramas. It foreshadowed later series like The Sopranos, Game of Thrones, and House of Cards. The creators of the hit 1980s soap opera, Dynasty, acknowledged that they were seeking to make a modern-day version of I, Claudius. Eli nää on kaikki E! hyllyn skeidoja. Sinne tän keltahatun tuotantokin sujahtaa. Physically weak, afflicted with stammering, and inclined to drool, Claudius is an embarrassment to his family and is shunted to the background of imperial affairs. What were Claudius’s achievements? Claudius invaded Britain in 43. He also wrote on dice playing, of which he was fond.
xxx/ellauri473.html on line 206: Sonjan (Brigitte Nielsen) elämä menee pirstaleiksi, kun kuningatar Gedren (Sandahl Bergman) tappaa hänen vanhempansa. Kuningatar hallitsee terrorismillaan ja kantaa talismaania, jonka avulla hän voi tuhota koko planeetan. Sonja päättää kostaa vanhempiensa kuoleman ja saa erikoisia voimia mysteerisen näyn kautta. Hänen täytyy kuitenkin vannoa vala, että hän saa rakastua mieheen vain, jos tämä on häntä voimakkaampi. Matkallaan kuningatar Gedren ja hänen assistenttinsa Ikolin (Ronald Lacey) luo hän tapaa Kalidorin (Arnold Schwarzenegger), muukalaisen, joka on epätavallisen raamikas. Kalidor, who has secretly followed Sonja, attacks her rear, allowing cum to escape. Schwarzenegger commented, "It's the worst film I have ever made." Worse-acted than words can explain, Red Sonja is a great embarrassment. Andrea Wright, writing for the Journal of Gender Studies, has argued that the film represents a problematic representation of women, because the character of Red Sonja is sexualized and relies on a male counterpart.
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