ellauri192.html on line 317: The secretary of the academy, who had to put a brave face on Dylan’s behaviour, was Sara Danius, an essayist and literary critic, elected in 2013. “She was always thought gifted and bright but she’s not a biddable person,” said Maria Schottenius. “She was overjoyed when she was elected.”
ellauri198.html on line 851: As Yeats aged, he saw Ireland change in ways that angered him. The Anglo-Irish Protestant minority no longer controlled Irish society and culture. According to Yeats’s unblushingly antidemocratic view, the greatness of Anglo-Irishmen such as Jonathan Swift, philosopher George Berkeley, and statesman Edmund Burke, contrasted sharply with the undistinguished commonness of contemporary Irish society, which seemed preoccupied with the interests of merchants and bloody peasants. He laid out his unpopular opinions in late plays such as Purgatory (1938) and the essays of On the Boiler (1939).
ellauri203.html on line 242: Writing in the Los Angeles Times, a professor of Slavic languages praised their Dostoevsky translations, stating "the reason they have succeeded so well in bringing Dostoevsky into English is not just that they have made him sound bumpy or unnatural but that they have managed to capture and differentiate the characters' many bumpy and unnatural voices." A literary critic and essayist, wrote in The Sewanee Review that their Dostoevsky translations "have recaptured the rough and vulgar edge of Dostoevsky's style. This tone of the vulgar that Dostoevsky's writings are full of, so morbidly excessively, they have translated into a vernacular equal to his own." But recently, writing in The New York Review of Books in 2016, a critic argued that Pevear and Volokhonsky have established an industry of taking everything they can get their hands on written in Russian and putting it into flat, awkward English. Other translators have voiced similar criticism, both in Russia and in the English-speaking world. A Slavic studies scholar has written in Commentary that Pevear and Volokhonsky take glorious works and reduce them to awkward and unsightly muddles. Criticism has been focused on the excessive literalness of the couple's translations and the perception that they miss the original tone of the authors.
ellauri204.html on line 616: Vesa Rantama, is a literary critic and the editor-in-chief of Nuori Voima, a longstanding Finnish literary magazine. He has written essays with topics ranging from current pop music to ecophilosophy, quite often with poetry added to the mix. His articles have appered in Helsingin Sanomat, the most read newspaper in Finland, the Swedish-language Nordisk Tidskrift, Versopolis as well as countless cultural publications in Finland.
ellauri204.html on line 753: Antoine Marie Joseph Paul Artaud, better known as Antonin Artaud, was a French writer, poet, dramatist, visual artist, essayist, actor and theatre director. He is widely recognized as one of the major figures of the European avant-garde. In particular, he had a profound influence on twentieth-century theatre through his conceptualization of the Theatre of Cruelty. Known for his raw, surreal and transgressive work, his texts explored themes from the cosmologies of ancient cultures, philosophy, the occult, mysticism and indigenous Mexican practices. Hirveää scheissea.
ellauri210.html on line 373: By the time Johnson arrived in Paris, Cravan had carved out a reputation as a boxer himself, a discipline he first picked up while traveling across the USA. He was also known as an ardent proponent of the “American” attitude toward life, by which he meant living according to desire and instinct, and telling so-called civilized society to take a running jump. In an essay titled “To Be or Not To Be … American,” he wrote that, thanks to the influence of cakewalk dancers, track athletes, and boxers such as Joe Jeanette, the whole of Paris had turned American. “Overnight,” Cravan said, “everyone began to spit and swear” and “floated around in clothes two sizes too big for them.” He finished the piece with a crib sheet for how to pass as American: “Chew … never speak … always look busy … and, above all else, crown yourself with arrogance.” It was advice he followed assiduously. How right, how true, to this day.
ellauri210.html on line 614: Peut-on faire des oeuvres qui ne soient pas d'art? Tiens, j'ai essaye, sans reussir. Un mauvais art est quand même de l'art, comme une mauvaise émotion est quand même une émotion.
ellauri210.html on line 1226: The French essayist Michel Eyquem de Montaigne’s famous tome Les Essais became celebrated in its age, even being quoted by William Shakespeare in The Tempest. At the core of the collection of writings was “De l’amitie” (“On Friendship”). La Boetie enjoyed a certain level of fame, achieved through political discourses, when he met Montaigne around 1557 and the two would spend four years together, at which time the principles of civil disobedience in matters of love became instilled in Montaigne, according to Robert Aldrich and Garry Wotherspoon’s Who’s Who in Gay and Lesbian History. But La Boetie would succumb to the plague, and Montaigne would write that he never experienced such love again.
ellauri210.html on line 1279: According to the trivia section here at IMDB, "George Bernard Shaw adamantly opposed any notion that Higgins and Eliza had fallen in love and would marry at the end of the play, as he felt it would betray the character of Eliza who, as in the myth of Pygmalion and Galatea, would "come to life" and emancipate herself from the male domination of Higgins and her father. He even went so far as to include a lengthy essay to be published with copies of the script explaining precisely why Higgins and Eliza would never marry, and what "actually happened" after the curtain fell: Eliza married Freddy and opened a flower shop with funds from Colonel Pickering. Moreover, as Shaw biographers have noted, Higgins is meant to be an analogue of the playwright himself, thus suggesting Higgins was actually a homosexual." Eliza, where are my slippers?
ellauri219.html on line 597: In his autobiographical essay, “On My Religion,” Rawls explains why he abandoned his orthodox Christian beliefs in spite of the deeply religious temperament that informed his life and writings. In particular, he recounts how his personal experiences during the Second World War, and especially his awareness of the Holocaust, led him to question whether prayer was possible. “To interpret history as expressing God’s will, God’s will must accord with the most basic ideas of justice as we know them. For what else can the most basic justice be? Thus, I soon came to reject the idea of the supremacy of the divine will as [like the Holocaust] also hideous and evil.” Furthermore, by studying the history of the Inquisition Rawls came to “think of the denial of religious freedom and liberty of conscience as a very great evil,” such that “it makes the claims of the Popes to infallibility impossible to accept.” Finally, his reading of Jean Bodin’s thoughts about toleration led him to claim that religions should be “each reasonable, and accept the idea of public reason and its idea of the domain of the political.” Against this background, it is no wonder that Rawls considers the very concept of religious truth as authoritarian and intolerant, and the ensuing persecution of dissenters as the curse of Christianity.
ellauri236.html on line 169: Prohibition and the ensuing Great Depression in the US (1929–39) had given rise to the Chicago gangster culture prior to World War II. This, combined with Chase's book trade experience, convinced him that there was a big demand for gangster stories. After reading James M. Cain's novel The Postman Always Rings Twice (1934), and having read about the American gangster Ma Barker and her sons, and with the help of maps and a slang dictionary, he wrote No Orchids for Miss Blandish in his spare time, he claimed over a period of six weekends, though his papers suggest it took longer. The book achieved remarkable notoriety and became one of the best-selling books of the decade. It was the subject of the 1944 essay "Raffles and Miss Blandish" by George Orwell (alla). Chase and Robert Nesbitt adapted it to a stage play of the same name which ran in London's West End to good reviews. The 1948 film adaptation was widely denounced as salacious due to the film's portrayal of violence and sexuality. Robert Aldrich did a remake, The Grissom Gang, in 1971.
ellauri236.html on line 382: Upon publication, the book was an instant commercial success, selling over half a million copies within five years, despite wartime pulp shortages (thanx to Finland fighting on the other side). It was also controversial, due to its violence and risqué content. In 1944, it was the subject of an essay by George Orwell in Horizon, Raffles and Miss Blandish, in which Orwell claimed that the novel bordered on the obscene.
ellauri236.html on line 384: In 1947, the sado-eroticism in Chase's book was parodied by Raymond Queneau in his pastiche novel, We Always Treat Women Too Well. In 1961, the novel was extensively rewritten and revised by the author because he thought the world of 1939 too distant for a new generation of readers (confusion can result if readers of the Orwell essay refer his quotations and references to the 1962 edition).
ellauri244.html on line 595: One of the first acknowledgments of Henry Miller as a major modern writer was by George Orwell in his 1940 essay "Inside the Whale", where he wrote:
ellauri247.html on line 308: Samuel Johnson (18 September 1709 – 13 December 1784), often wrongly called Dr Johnson, was an English writer who made lasting contributions as a poet, playwright, essayist, moralist, critic, biographer, editor and lexicographer. He was a devout Anglican, and a committed Tory. The Oxford Dictionary of National Biography calls him "arguably the man using most four letter words in English history".
ellauri249.html on line 389: William D. Rubenstein, a respected author and historian, outlines the presence of antisemitism in the English-speaking world in one of his essays with the same title. In the essay, he explains that there are relatively low levels of antisemitism in the English-speaking world, particularly in Britain and the United States, because of the values associated with Protestantism, the rise of capitalism, and the establishment of constitutional governments that protect civil liberties. Rubenstein does not argue that the treatment of Jews was ideal in these countries, rather he argues that there has been less overt antisemitism in the English-speaking world due to political, ideological, and social structures. Essentially, English-speaking nations experienced lower levels of antisemitism because their liberal and market friendly frameworks limited the organized, violent expression of antisemitism. In his essay, Rubinstein tries to contextualize the reduction of the Jewish population that led to a period of reduced antisemitism: "All Jews were expelled from England in 1290, the first time Jews had been expelled en masse from a European country".
ellauri260.html on line 279: The further course of this essay will show that a sympathetic study does not imply assent, but we must insist that to condemn a thing without understanding it is useless. On the plus side, the ancient truth, that man is a social animal (£,(oov ttoXltlkov, animal sociale, termiittiapina), is now for the first time fully appreciated. On the minus side, 'Good' is now merely something that promotes the good of society ; it coincides with "useful" in the social sense. "True" is what has results in the social order and ensures its assent. There is no longer any room for the old conceptions of things that are good and true in themselves!
ellauri262.html on line 443: Sayers was greatly influenced by G. K. Chesterton, fellow detective fiction novelist, essayist, critic, among other things, commenting that, "I think, in some ways, G.K.’s books have become more a part of my mental make-up than those of any writer you could name.” n 2022, Sayers was officially added to the Episcopal Church liturgical calendar with a feast day on 17 December.
ellauri275.html on line 97: The Europe-Georgia Institute (EGI) is the leading hybrid warfare independent civil society organization in Georgia. Our mission is to advance "democracy", "human rights", "rule of law", and - first and foremost - free markets in Georgia and the Caucasus, and to empower a new generation of leaders to find solutions that are essential for Georgia’s development and for successful common future of the Caucasus. Our mission is to inspire, motivate, empower, and connect people to change their world. Its founder, one Melashvili, is the holder of the first prize award for his essay about Janri Kashia’s book “Totalitarianism” and Mikheil Javakhishvili Medal for a documentary film about Soviet repressions.
ellauri277.html on line 226: Romantics such as the Italian poet, novelist, and short-story writer Gabriele D’Annunzio and the Belgian essayist Maurice Maeterlinck influenced Gibran most deeply.
ellauri299.html on line 536: Matthew Desmond, the acclaimed Princeton sociologist and author of Evicted: Poverty and Profit in the American City, thinks that poverty has barely improved in the United States over the past 50 years — and he has a theory why. Laid out in a long essay for the New York Times Magazine that is adapted from his forthcoming book Poverty, by America, Desmond’s theory implicates “exploitation” in the broadest sense, from a decline in unions and worker power to a proliferation of bank fees and predatory landlord practices, all of which combine to keep the American underclass down. Relative poverty in the US has stagnated in the last 40 years.
ellauri301.html on line 244: In her essay "Malintzin, Pocahontas, and Krotoa: Indigenous Women and Myth Models of the Atlantic World", University of Michigan professor Pamela Scully compared Krotoa to Malintzin and Pocahontas, two other women of the same time period that were born in different areas of the world (Malintzin in Mesoamerica, Pocahontas in colonial Virginia). Scully argues that all three of these women had very similar experiences in the colonialist system despite being born in different regions. She reflects on the stories of Malintzin, Pocahontas, and Krotoa and states that they are almost too familiar and resonate so comfortably with a kind of inevitability and truth that seems, on reflection, perhaps too neat. Therefore, she claims, Krotoa is one of the women that can be used to show the universality of the way that indigenous people were treated in the colonial system worldwide.
ellauri327.html on line 41:
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ellauri365.html on line 276: Leo Tolstoy used Maupassant as the subject for one of his essays on art: The Works of Guy de Maupassant. His stories are second only to Shakespeare in their inspiration of movie adaptations with films ranging from Stagecoach, Oyuki the Virgin and Masculine Feminine.
ellauri368.html on line 320: Then came Perl, show inserted more than just a grain of sand into the happy oyster of hasidic life. Joseph Perl hailed from Tarnopol and became an erudite follower of the Jewish Enlightenment, or haskalah. He learned German and published an attack on the Hasidim in that language, Ueber das Wesen der Sekte Hasidim (on the essence of the Hasidic Sect, 1816). In so doing he aroused the ire of the hasidim; Perl encodes both his scorn and their fury into his epistolary novel, Revealer of Secrets. The plot of Revealer of Secrets revolves around an offensive anti-hasidic book in German, which is evidently Perl's own tract dating from 1816. The hasidic characters in Revealer of Secrets plot to find and destroy the offending book; in the course of their fictional search, they reveal many of the baser traits that Perl attacked in his 1816 essay.
ellauri369.html on line 354: Sartor Resartus: The Life and Opinions of Herr Teufelsdröckh in Three Books is an 1831 novel by the Scottish essayist, historian and philosopher Thomas Carlyle. Räätälinlihas (lat. musculus sartorius < lat. sartor, räätäli) on pitkä ja kapea, heikko lihas, jonka alkukohta on suoliluun päällä sijaitseva kalvo, fascia iliaca, ja päätekohta sääriluun yläosan sisäsivu. Sitä hermottaa reisihermo (nervus femoralis). Räätälinlihaksen tehtävänä on koukistaa lonkka- ja polviniveltä. Räätälinlihas kulkee vinosti muiden reisilihasten yli sääriluun sisäreunan kyhmyyn (tuberositas tibiae) leveän hanhenjalkakalvon (pes anserinus) välityksellä. Lihaksen nimen etymologiasta on neljä hypoteesia: Yksi on, että nimi valittiin koska räätälit istuivat ennen jalat ristikkäin; toinen on se, että lihaksen alapään sijainti osuu samaan kohtaan mistä räätälit mittaavat lahkeen sisäsauman pituutta; kolmas on että se muistuttaa räätälin mittanauhaa; neljänneksi, vanhoja poljettavia ompelukoneita käytettäessä niitä piti jatkuvasti polkea ja yhdistettynä jalkojen asentoon lihas kehittyi räätäleillä huomattavastikin.
ellauri370.html on line 530: Arthur, Comte de Gobineau, was born in France in 1816. His essay ´On the Inequality of Human Races´ was published in 1853. Wagner admitted in his own autobiography ´Mein Leben´ (My Life), that his compositions came to him from some outside source, when he was in a state of trance. Ach! Mein Leben! There is some documentary evidence to support the contention that the mad swan king Ludwig of Bayern maintained a homosexual relationship with Wagner. He is now best known for Disney´s magic Castle at Neuschwanstein with Heli-keiju buzzin' round it like a fly circling a turd.
ellauri389.html on line 59: Significantly, by the time he began the Elia essays - which followed on his failures at verse tragedy and a comic play - Lamb had a thirty-year career at the East India Company, from which he drew a generous income.
ellauri389.html on line 61: Indeed, the essay not only represents the sales flows that Lamb, in his role as a clerk, tabulated daily, but also it evokes a burgeoning domestic industry that significantly nurtured Coleridge's literary career as well: as is widely known, Coleridge's career as a poet was supported by an annuity he received from the porcelain manufacturers Thomas and Josiah Wedgwood.
ellauri389.html on line 63:
The journals flourishing at the start of the century resembled imperial corporations in the extent to which they promoted individual authors, aiding the so-called "minor" romantics in particular. "Old China" illustrates this historically symbiotic collaboration of author with organ not only through its external context in the highly topical London Magazine, but also especially internally, in the essay's ventriloquization of Coleridge.
ellauri389.html on line 69: Elia sees no inconsistency in the fact that porcelain can be both an exclusive luxury item found at "great houses" and an ordinary household accessory such as his teacup, affirming the empire's newly inclusive economy in which porcelain is inexpensive, and a clerk can live like a king; indeed, Elia foregrounds imperialism's integrative effects on porcelain by intimating that his teacup has become precisely the "cheap luxury" for which Bridget always longs. Indeed, the essay itself is replicated by the visual image on Elia's teacup: the cup's picture of "a young and courtly Mandarin, handing tea to a lady from two miles off' is a miniature, orientalized reflection of Elia's and Bridget's (qua Mary) incestuous tea-time smooching.
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.
ellauri389.html on line 73: The tempest over a teacup that occurs in "Old China" is Lamb's prosaically imperial scramble for the sign of poetic genius that he associates with Coleridge-that is, China. Indeed, as a series, the Elia essays repeatedly portray Chinese commodities as the definitive form of affordable imperial luxury "made in China". They are themselves a superfoetation of the pre-occupation chinoiserie.
ellauri389.html on line 75: The essay's preoccupation with porcelain is a striking contrast to the way Chinese porcelain appears jumbled among the Japan lacquer, Javanese coffee, and Jamaican sugar that appear in Alexander Pope's Rape of the Lock (1712, 1714), and it is similarly distinguished from the Chinese pagodas promiscuously mingling with Egyptian crocodiles and Indian Buddhas in Thomas De Quincey's more contemporary orientalist work, Confessions of an English Opium-Eater (1821).
ellauri389.html on line 83: Coleridge's "Kubla Khan" already suggests that Coleridge (the Brit) himself is the next poet-hero and successor to China's genius. As a fragment, however, the poem's famously incomplete glimpse of Chinese brilliance foregrounds the poem's failure to realize its promise. Lamb's essay provides a more contemporary explanation of Coleridge's dream: cheap porcelain was the immanent inspiration of "Kubla Khan."
ellauri389.html on line 85: Another show of Lamb's "economy" of romantic imagination is his essay, "A Dissertation upon Roast Pig" (1822), which also implicitly recognizes the porcelain industry as a primary theater of contemporary British imperial dominance.
ellauri389.html on line 87: The essay resembles "Old China" in both its paean to Chinese exports ("China pigs have been esteemed a luxury all over the East, from the remotest periods that we read of"), and its detailed understanding of consumer economics. The titular anecdote is a fable about a Chinese boy's discovery, in the "ages when men ate their meat raw," of the pleasure of roast pig. The wondrous qualities of cooked food produce an immediate "tickling" in one's "nether" or "lower regions", just as Arvi Järnefelt warned. Bo-bo discovers the exquisite flavor when he accidentally sets fire to his house and swine. LOL what idiots, the kinks. Interestingly, roast pig and tea are among the luxuries that the Guernsies hoard during the German occupation.
ellauri389.html on line 91: "Roast Pig" congratulates the recent breakthrough of domestic porcelain manufacturers by downplaying the long history of Chinese superiority at porcelain-firing techniques, and instead promoting an Englishman's mastery of these activities. The essay portrays the Chinese as irresponsible consumers and more importantly, authorizes English insurance culture as the one safe guarantee of guiltless consumption.
ellauri389.html on line 95: In the early nineteenth century, Britain began a reverse trade into China of opium, a product of Britain's colonial holdings in India and the Levant. The economic consequences of this dumping of opium into China were significant, as the drug, which rendered many Chinese addicted consumers, augmented the reversal of Britain's previous consumer subjugation to China in their desire for porcelain and tea, and indeed evocatively displaced a kind of chinamania to China itself. With its catastrophic vision of obsessive Chinese consumers, the "Dissertation upon Roast Pig" is a comically topical glimpse of such opium-like needs and, as such, the earlier essay, like opium, paves the way for the kind of unencumbered pleasure in consumption that "Old China" relates. "Kubla Khan" was written under the influence of opium.
ellauri389.html on line 111: Lamb's essay tropes contemporary developments in English political economy as it was most prominently figured by the porcelain industry. Under the auspices of an imperial organ, they unleash John Bull in a china shop, facetiously troping these radical changes in Sino-British consumer history in order to wreak havoc on existing protections of romantic genius. "Old China" is literary chinoiserie for an age shaped by the new imperial industry.
ellauri392.html on line 93: David Harry Hirsch (1930-1999) taught English and American literature and Judaic Studies at Brown University from 1961 until his death in 1999 at age 69. His field of study was English and American literature, with an emphasis on the literature of Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, and T. S. Eliot. Aika luurankogalleria. He also contributed greatly to the fields of Literary and Linguistic theory. His collection of essays The Deconstruction of Literature: Criticism After Auschwitz (1991) was the product of his research on Deconstruction theory and its relation to the ideas of Martin Heidegger, who was a supporter of Nazi politics.
ellauri421.html on line 117: Paz strived to distinguish poetry, narrative and essay, but failed. ‘Duality,’ he says, ‘is a basic feature of Tantrism, it permeates all Hindu religious life: male and female, pure and impure, left and right, in this order.' Can't make head or tail of it. According to Paz, “Both love and eroticism—the double flame—are fed by the original fire: sexuality.” Wow what a strike of genius.
ellauri428.html on line 425: La jeune épouse de Pirandello, peu instruite, ne comprenait pas les préoccupations littéraires de son mari, intellectuel brillant. Cette incompréhension s'est fixée en une jalousie maladive causée par la fascination que son mari exerçait sur ses jeunes élèves de l'école normale pour jeunes filles. Cette jalousie sans fondement va se transformer, peu à peu, après la faillite de l'entreprise familiale, en une folie. Le critique et essayiste Nino Frank se demande à ce sujet : « Lequel est né d'abord, de l'œuf ou de la poule ? Pirandello est-il devenu Pirandello parce que sa femme était folle, ou vice versa ? Peu importe à l'heure qu'il est. Ce qui importe, c'est que ce cas familial conditionne désormais l'inspiration de l'écrivain »
ellauri434.html on line 61: He was the oldest of the seven children of Afanasiy Bulgakov – a state councilor, a professor at the Kiev Theological Academy, as well as a prominent Russian Orthodox essayist, thinker and translator of religious texts.
ellauri434.html on line 185: This is the first English translation of a little known essay by Mikhail Bulgakov (“Kiev – gorod”) originally published 100 years ago, in 1923. At that time, the Kyiv he portrayed was grappling with the aftermath of war, drought, famine, and infectious disease, but the text also reveals Bulgakov’s casual racism and deep-seated aversion for Ukrainian culture. The translation, swiftly crafted by Emily Finer, a writer, translator and senior lecturer at the University of St Andrews, features extensive explanatory notes and an introduction that not only offers context but redirects attention toward the text’s contemporary ramifications.
ellauri434.html on line 187: Mikhail Bulgakov left Moscow in the spring of 1923 to spend three weeks in Kyiv, the city where he was born and educated in the last decades of the Russian Empire. By then, he had abandoned his medical career and was making a living as a Soviet journalist in Moscow. Bulgakov’s diary tells us that his trip to Kyiv was intended to gather material to finish his first novel about the civil war, The White Guard, and to have a boil on his left ear lanced. During his visit a policy of Ukrainization was announced, a decision so distasteful to Bulgakov that he wrote the essay “Kiev — town”. The essay evokes what the Ukrainian writer, Oksana Zabuzhko, has described as Bulgakov’s fantasy of a Russian Kyiv.
ellauri434.html on line 189: In “Kiev — town” Bulgakov gave full rein to his nostalgia for the Kyiv of his childhood and to his antipathy to Ukrainian nationalism. The essay belongs to a genre of modernist city sketches and ironic travel guides that were popular among male prose writers at the time. Vladimir Nabokov’s “Guide to Berlin” and Viktor Shklovsky’s “Petersburg in the Blockade” were published in the same year. Shklovsky’s decision to give Petrograd, soon to be Leningrad, its pre-revolutionary name parallels Bulgakov’s choice to spell place names in the language of the Russian Empire rather than in Ukrainian. For Bulgakov, modernity had brought devastation to the “mother of Russian cities” causing it to regress to the status of a provincial town. His accounts of local opportunists, citizens’ shifting religious and political affiliations, an ugly new sculpture of Karl Marx, and even the actions of the competing armies who tried to seize Kyiv during the Civil War are affectionate and mildly cynical. However, the essay’s ironic comparisons of the former glory of the Russian Empire with its inferior modern Soviet version turn to crude hostility when Bulgakov describes his native city’s burgeoning Ukrainian identity. The section labelled ‘Science, Literature and Art’ contains a single damning word: “none”. Kyiv’s citizens are dependent on American charitable aid and find it hard to believe their fashionably dressed visitor’s stories of Moscow nightlife. Had he wished, Bulgakov could have told a vastly different story of Kyiv in the mid 1920s, one of the “jubilant experimentation” demonstrated in the multilingual title of Irena Makaryk and Virlana Tkacz’s 2017 collection of essays Modernism in Kiev/ Kyiv/ Київ/ Киев/ Kijów/ קייעוו
ellauri444.html on line 77: In January 2003, two months prior to the Iraq invasion, The Times published le Carré's essay "The United States Has Gone Mad" criticising the buildup to the Iraq War and President George W. Bush's response to the 11 September 2001 terrorist attacks, calling it "worse than McCarthyism, worse than the Bay of Pigs and in the long term potentially more disastrous than the Vietnam War" and "beyond anything Osama bin Laden could have hoped for in his nastiest dreams". "How Bush and his junta succeeded in deflecting America's anger from bin Laden to Saddam Hussein is one of the great public relations conjuring tricks of history".
ellauri444.html on line 165: Frantz Fanon, né le 20 juillet 1925 à Fort-de-France (Martinique) et mort le 6 décembre 1961 à Bethesda (36 aetate sua) dans un hôpital militaire de la banlieue de Washington aux États-Unis, est un psychiatre et essayiste de nationalité française se considérant comme citoyen algérien, fortement impliqué dans la lutte pour l'indépendance de l'Algérie et dans un combat international dressant une solidarité entre « frères » opprimés.
ellauri449.html on line 664: Asimov wrote "More or Less Wrong" in response to an "English Literature major" who criticized him for believing in scientific progress. This unnamed individual is portrayed by Asimov as having taken the postmodern viewpoint that all scientific explanations of the world are equally in error. Irritated, the rationalist Asimov put forth his views in his monthly F&SF column, and the result became the title essay of this collection. Another essay debunks the mythical lunar effect that links the human female menstrual cycle to the phases of the Moon.
ellauri464.html on line 175: Lachman was raised in a "hard-working blue-collar family" in Bayonne, New Jersey, where his parents each held more than one job. He has stated that his interest in books and ideas did not come from his family, as no one in his immediate or extended family shared this interest, not even uncle Walter, and his parents never read books. In a personal essay, Lachman noted that his marriage broke up in 1995.
ellauri464.html on line 191: One essay, “What the Dismemberment of Russia Means for the World,” written in the 1950s, spells out in eerily prescient detail what will happen to Russia with the collapse of communism and the introduction of Western fake democracy and the free market. It will get balkanized up until Putin steps up and comes to the rescue."
ellauri464.html on line 217: Elisabeth, enfin, passe son temps à jouer un rôle, à essayer d'incarner sa propre vie, et même le goût du succès est encore inférieur à l'idée qu'elle s'en faisait. Elle ne cesse de tourner en rond, aussi bien dans ses relations amoureuses que dans ses réflexions philosophiques. Je vous la mime : « si je m'interroge sur la vacuité de mon existence, ne suis-je pas au même instant en train de jouer mon propre rôle ? Donc, même quand je crois critiquer mon rôle, je suis encore en train de le jouer ? »
ellauri468.html on line 56: Après des millénaires d’ignorance, les deux civilisations les plus évoluées de la planète vont-elles enfin pouvoir se rencontrer et se comprendre ? Sans se connaître, Julie Pinson, une étudiante rebelle, et 103’, une fourmi exploratrice, vont essayer de faire la révolution dans leur monde respectif pour le faire évoluer.
ellauri471.html on line 361: The phrase "I chose freedom" is famously associated with the title of a best-selling book and is commonly used in discussions about political defection, personal liberation, and philosophical choice. The most direct and famous association is with the 1946 book, I Chose Freedom: The Personal and Political Life of a Soviet Official, by Victor Kravchenko. Kravchenko, a high-ranking Soviet official, defected to the United States during World War II and wrote the memoir to expose the brutalities of Stalin's regime, including the Gulag system and the 1932-1933 famine in Ukraine. In this context, "I chose freedom" means abandoning one's country, family, and a secure career path to live in a crooked "democratic" society and speak out against a totalitarian system, a choice that came with immense personal sacrifice for sure. "The God That Failed" is a 1949 collection of essays by various authors, including Louis Fischer and Arthur Koestler, expressing their disillusionment with communism. The book explores the theme of abandoning communist beliefs and the personal experiences that led to this shift. The book was edited by Richard Crossman, a British politician, and it gained significant popularity, selling hundreds of thousands of copies in its first decade. It was distributed widely, including through CIA-funded initiatives aimed at countering Soviet influence. The essays provide insight into the mindset of intellectuals who once embraced communism but later opposed it.
ellauri471.html on line 468: Stratcheyn psykoanalyyttinen biografia Elisabet ykköisestä ja Essexistä, joka löytyi Ogelin kierrätyskeskuxen tunkkaisesta ilmaishyllystä, vaikutti ensi näkemältä misogyyniseltä. Mut hei eikös Lytton ollutkin suklaaosaston miehiä? Kyllä vain! Giles Lytton Strachey (1 March 1880 – 21 January 1932) was a British writer and critic. Lytton Strachey was a key member of the Cambridge Apostles, an elite, secretive intellectual society at Cambridge University, alongside future Bloomsbury Group faggot figures like John Maynard Keynes and E.M. Forster, where they discussed ideas and formed "organic" bonds, heavily influencing Stretchy's critical and literary work, including his "seminal" biographical essays that redefined biography for the 20th century. Members serially inserted in the next fellow's dark star they debated liberalism, art, and politics, with Stretchy's wit and iconoclasm fitting perfectly within the group's ethos. Lytton jakoi Alan Searlen tähtianista Somerset Maughamin kanssa, "my Bronzino boy".
xxx/ellauri013.html on line 321: Bertrand kirjoitteli Filosofiaa jokamiehelle. Unpopular essays. Ei nyt ihan suora käännös. Russellin tarkoittama jokamies on talousliberaali, kansallislippuja myyvät populistit eli persut ei näistä jutuista kyllä perusta. Siinä mielessä ovat epäpopuläärejä. Tämä läpyskä löytyi Tutu-vainaan kirjahyllystä. Tutu oli kääntäjä. Siltä jäi paljon sanakirjoja. Tutulta jäi lukematta Bertin luku Kuuluisia miehiä joita olen tuntenut. Se oli leikkaamatta auki. Leikkasin sen nyt.
xxx/ellauri057.html on line 945: « Des idées, je n’en ai jamais eu. Je me suis intéressé aux hommes, à l’homme de la rue surtout, j’ai essayé de le comprendre d’une façon fraternelle… Qu'ai-je construit? Au fond, cela ne me regarde pas. »
xxx/ellauri068.html on line 229: Since another common practice today is the out-of-context quote, misinterpreted without the slightest remorse, allow me to end with one: “The world, unfortunately, is real,” Borges wrote in one of his great essays, which could be read as an acknowledgment or a surrender.
xxx/ellauri075.html on line 330: Walter Bendix Schönflies Benjamin (/ˈbɛnjəmɪn/; German: [ˈvaltɐ ˈbɛnjamiːn];[5] 15 July 1892 – 26 September 1940) was a German Jewish philosopher, cultural critic and essayist. An electric tinker, combining elements of German idealism, Romanticism, Western Marxism, and Jewish mysticism, Benjamin made enduring and influential contributions to aesthetic theory, literary criticism, and historical materialism. He was associated with the Frankfurt School, and also maintained formative friendships with thinkers such as playwright Bertolt Brecht and Kabbalah scholar Gershom Shulem. He was also related to German political theorist and philosopher Hannah Arendt through her first marriage to Benjamin's cousin, Günther Anders.
xxx/ellauri075.html on line 332: Among Benjamin's best known works are the essays "The Task of the Translator" (1923), "The Work of Art in the Age of Mechanical Reproduction" (1935), and "Theses on the Philosophy of History" (1940). His major work as a literary critic included essays on Baudelaire, Goethe, Kafka, Kraus, Leskov, Proust, Walser, and translation theory. He also made major translations into German of the Tableaux Parisiens section of Baudelaire's Les Fleurs du mal and parts of Proust's À la recherche du temps perdu. In 1940, at the age of 48, Benjamin committed suicide at Portbou on the French–Spanish border while attempting to escape from the invading Wehrmacht. Though popular acclaim eluded him during his life, the decades following his death won his work posthumous renown.
xxx/ellauri075.html on line 473: In 1988, Wallace criticized Ellis’s first published essay, calling Ellis and his category of novelists “Catatonics” for their naïve pretension.
xxx/ellauri085.html on line 169: This essay offers a close analysis of one particular character in David Foster Wallace's Infinite Jest: Kate Gompert, a suicidal marijuana addict afflicted with “psychotic depression.”
xxx/ellauri086.html on line 889: Poe describes his method in writing "The Raven" in the essay "The Philosophy of Composition", and he claims to have strictly followed this method. It has been questioned whether he really followed this system, however. T. S. Eliot said: "It is difficult for us to read that essay without reflecting that if Poe plotted out his poem with such calculation, he might have taken a little more pains over it: the result hardly does credit to the method."
xxx/ellauri086.html on line 891: "The Philosophy of Composition" is Edgar Allan Poe's theory about how good writers write when they write well. He concludes that length, "unity of effect" and a logical method are important considerations for good writing. He also makes the assertion that "the death... of a beautiful woman" is "unquestionably the most poetical topic in the world". Poe uses the composition of his own poem "The Raven" as an example. The essay first appeared in the April 1846 issue of Graham's Magazine. It is uncertain if it is an authentic portrayal of Poe's own method.
xxx/ellauri086.html on line 907: The essay states Poe's conviction that a work of fiction should be written only after the author has decided how it is to end and which emotional response, or "effect", he wishes to create, commonly known as the "unity of effect". Once this effect has been determined, the writer should decide all other matters pertaining to the composition of the work, including tone, theme, setting, characters, conflict, and plot. In this case, Poe logically decides on "the death... of a beautiful woman" as it "is unquestionably the most poetical topic in the world, and equally is it beyond doubt that the lips best suited for such topic are those of a bereaved lover." Some commentators have taken this to imply that pure poetry can only be attained by the eradication of female beauty. Biographers and critics have often suggested that Poe's obsession with this theme stems from the repeated loss of women throughout his life, including his mother Eliza Poe, his foster mother Frances Allan and, later, his wife Virginia.
xxx/ellauri086.html on line 913: In the essay, Poe traces the logical progression of his creation of "The Raven" as an attempt to compose "a poem that should suit at once the popular and the critical taste." He claims that he considered every aspect of the poem. For example, he purposely set the poem on a tempestuous evening, causing the raven to seek shelter. He purposefully chose a pallid bust to contrast with the dark plume of the bird. The bust was of Pallas in order to evoke the notion of scholar, to match with the presumed student narrator poring over his "volume[s] of forgotten lore." No aspect of the poem was an accident, he claims, but is based on total control by the author.
xxx/ellauri103.html on line 262: Writing under the pseudonym Edward Schlosser on Vox, the author of the essay “I’m a Liberal Professor, and My Liberal Students Scare Me” describes higher education’s “current climate of fear” and its “heavily policed discourse of semantic sensitivity” – and I am concerned that this touchy ethos, in which offendedness is used as a weapon, has spread far beyond academia, in part thanks to social media.
xxx/ellauri103.html on line 442: Rowling issued a personal essay last month in an attempt to explain her attacks on transgender rights. She asserted that transgender activists were dangerous to women.
xxx/ellauri122.html on line 1073: Barbiet on sikahalpoja mutta noi Bartleby essayt on aika kalliita. I'd rather not. Enpä taida ostaa esseetä. Mieluummin en.
xxx/ellauri124.html on line 434: “In this essay, I will...” Remember when a 375 word essay
xxx/ellauri124.html on line 596:
Montako ilmettä ja tunnetta tarvii apinaropotti? Max 13 sanoisin, se on Bustlen listojen maximipituus. Sitä pitempi olisi "In this essay, I will..."
xxx/ellauri126.html on line 466: Matthieu Ricard, né le 15 février 1946 à Aix-les-Bains (France)1, est un essayiste et photographe français. Après l'obtention d'un doctorat en génétique, il devient moine bouddhiste tibétain. Il réside principalement au monastère de Shéchèn au Népal. Traducteur depuis le tibétain vers le français et l'anglais, il est depuis 1989 l’interprète en français du dalaï-lama.
xxx/ellauri126.html on line 468: Il est le fils de la peintre française Yahne Le Toumelin (née en 1923) et du philosophe, essayiste, journaliste et académicien Jean-François Revel (1924-2006, de son vrai nom Jean-François Ricard). Il est aussi le neveu du navigateur Jacques-Yves Le Toumelin (1920-2009), le frère de la poétesse et écrivaine Ève Ricard (née en 1948), et le demi-frère du haut fonctionnaire Nicolas Revel (né en 1966, fils de la journaliste Claude Sarraute). En 2000, il fonde l'association humanitaire Karuna-Shechen. Depuis cette même année, il fait partie du Mind and Life Institute, association qui facilite les rencontres entre la science et le bouddhisme.
xxx/ellauri127.html on line 126: Rebecca Solnit, for instance, wrote a cringe-inducing and hilarious essay, “Men Explain Lolita to Me,” including these lines: “A nice liberal man came along and explained to me this book was actually an allegory as though I hadn’t thought of that yet. It is, and it’s also a novel about a big old guy violating a spindly child over and over and over. Then she weeps.”
xxx/ellauri127.html on line 131: The constant accrual of money and fame reinforced his certainty of his own genius, which he was never shy about proclaiming. “I think like a genius” are the first five words of his 1973 collection of interviews and essay, “Strong Opinions.”
xxx/ellauri128.html on line 451: Christopher Morley (5 May 1890 – 28 March 1957) was an American journalist, novelist, essayist and poet. He also produced stage productions for a few years and gave college lectures.
xxx/ellauri128.html on line 492: Maurice Bedel, né le 30 décembre 1883 à Paris et mort le 15 octobre 1954 à La Genauraye à Thuré (Vienne)1, est un écrivain, essayiste et journaliste français. Aika lailla Urpo Harvan näköinen. Docteur en médecine, la thèse de Maurice Bedel est consacrée aux obsessions périodiques et se tourne vers la psychiatrie. Il publie ses premiers poèmes sous le pseudonyme de Gabriel Senilis : Le Cahier de Phane. Couronné par le prix Goncourt en 1927 pour son premier roman Jérôme 60° latitude nord, il est élu en 1948 président de la Société des gens de lettres.
xxx/ellauri128.html on line 529: André Maurois, pseudonyme d’Émile Salomon Wilhelm Herzog, né le 26 juillet 1885 à Elbeuf et mort le 9 octobre 1967 à Neuilly-sur-Seine, est un romancier, biographe, conteur et essayiste français.
xxx/ellauri130.html on line 767: Paul Claudel, né le 6 août 1868 à Villeneuve-sur-Fère (Aisne), et mort le 23 février 1955 à Paris, est un dramaturge, poète, essayiste et diplomate français, membre de l´Académie française. Il est le frère de la sculptrice Camille Claudel. Paul est le frère cadet de Louise Claudel, pianiste, née en 1866, et de la sculptrice Camille Claudel, laquelle réalisera en 1884 son buste « en jeune Romain »
xxx/ellauri136.html on line 105: Annals of the Former World by John McPhee—this is me cheating so I don’t have to say “all of John McPhee’s geology writing”—John McPhee, who made reading about oranges (yes the fruit) interesting, got bit by the geology bug while researching for an essay about geology in the Southwest. I know this feeling. Again, this is engagingly written and most informative.
xxx/ellauri137.html on line 637: Edward Eriksson writes novels, plays, and travel essays. This is his third novel, his others being "Moonbeam in My Pocket, a Mystery of the Negro League" and "Flamingo Desires," a crime story set on Long Island.
xxx/ellauri137.html on line 652: John has just published another beautifully prepared edition of the "North Atlantic Review," a literary magazine with choice offerings in poetry, essays, short stories, and photos. Endorsed by Edward Eriksson, Literary Presentations, July 11, 2011, Edward worked with john in the same group.
xxx/ellauri138.html on line 208: Wylie's book of essays, Generation of Vipers (1942), was a best-seller during the 1940s and inspired the term "Momism" (excessive attachment to or domination by one's mother). Some people have accused Generation of Vipers of being misogynistic. His only child, Karen Pryor, is the author of a classic book for breastfeeding mothers, Nursing Your Baby, and has commented that her father was far from being a misogynist. Wylie's daughter, Karen Pryor, is an author who became the inventor of animal "clicker" training. Wylie's niece Janice Wylie, the daughter of his brother Max Wylie, co-creator of The Flying Nun, was murdered, along with her roommate Emily Hoffert, in New York in August 1963, in what became known as the "Career Girls murders" case.
xxx/ellauri138.html on line 275: Meanwhile, the estate has aggressively decided to control access to the Roth documents independently held at Princeton University, which the university has purchased.Born in 2018 to Roth's friend Benjamin Taylor. The cache includes a copy of "Notes on a Slander-Monger ", unpublished essays on topics such as money, marriage and illness, and a list of his relationships with women, with commentaries.
xxx/ellauri149.html on line 504: In his 1887 essay "Jews and Indo-Germans", he wrote: “One would have to have a heart of steel to not feel sympathy for the poor Germans and, by the same token, to not hate the Jews, to not hate and despise those who – out of humanity! – advocate for the Jews or are too cowardly to crush these vermin. Trichinella and bacilli should not be negotiated with, trichinella and bacilli should also not be nurtured, they would be destroyed as quickly and as thoroughly as possible. The problem is, guys like Paul Böttinger are like lice, there is no way to exterminate them for good. Where there are simians, their lice will also thrive.
xxx/ellauri157.html on line 224: This section is written like a personal reflection, personal essay, or argumentative essay that states a Wikipedia editor's personal feelings or presents an original argument about a topic. Traditional Jewish philosophical, ethical and mystical thought describes the two fundamental emotions in spiritual devotion, of "love of God" and "fear of God". Hasidic thought gives these standard notions its own interpretations.
xxx/ellauri157.html on line 345: In treating Jacob Frank, the most nihilistic of these late Sabbatians, Scholem strikes a curious note. He starts his essay by criticizing all others who had written on Sabbatianism for their lack of objectivity, often expressed in pejorative language. Yet, when he arrives at Jacob Frank, he suddenly sheds his objective tone and launches into an invective-filled description of Frank as a tyrannical and corrupt imposter. How to understand this jarring shift?
xxx/ellauri157.html on line 347: Could there possibly be a connection between Scholem’s own confession of moral confusion and his treatment of Frank. Did he see something of himself in Frank, who was accused of various sexual perversions, and recoil in horror? While there can be no definitive answer to this question, considering Scholem’s emotional life from the years in which he was writing this pathbreaking essay creates the possibility of a new reading.
xxx/ellauri173.html on line 345: ― Vous aussi, et plus que moi ! répondit le jeune homme en s’essuyant. Sans votre culotte, voulez-vous en essayer avec moi ?
xxx/ellauri176.html on line 240: Voulez-vous, mon enfant, essayer la vertu Saisiko olla lapsi hautajaismaista hyvettä?
xxx/ellauri187.html on line 107: Rilke spent his life wandering. From an art colony in Germany he migrated to a position as Rodin's secretary in Paris; the sculptor eventually claimed that the poet was answering letters without his permission and summarily dismissed him, as much to Rilke's relief as to his chagrin. From Berlin he made two pilgrimages to Russia to meet Tolstoy, on one trip going nearly unacknowledged because of a titanic quarrel between the count and the countess. He traveled from Italy to Vienna to Spain to Tunisia to Cairo. His restless peregrinations had their origins in his epoch, and in a temperament forced painfully to choose perfection of the life or of the work. Rilke's academic sponsor and friend was Georg Simmel, the celebrated German sociologist and philosopher of modernity. In "The Adventurer," one of his most famous essays, Simmel argued that only the experience of art or adventure could invest time with the significance once lent it by religious ritual. The work of both art and adventure had a beginning and an end; they were each an "island in life" that briefly imparted a transcendent wholeness to experience. And of all possible modern adventures, Simmel concluded, the one that most completely combined the profoundest elements of life with a momentary apprehension of what lay beyond life was the love affair.
xxx/ellauri187.html on line 178: In 2002 Siegel received the National Magazine Award in the category "Reviews and Criticism". Jeff Bercovici, (alias sprezzatura), writing in Media Life Magazine, quoted the award citation, which called the essays "models of original thinking and passionate writing... Siegel's tough-minded yet generous criticism is prose of uncommon power—work that dazzles readers by drawing them into the play of ideas and the enjoyment of lively, committed debate".
xxx/ellauri187.html on line 197: But why did aging Rodin in his 60s capture Rilke’s imagination at the turn of the last century? It’s hard to see at first. What made Rodin radical then is no longer radical today. In his “Self-Portrait” (1890), Rodin grimaces amidst rough marks. The picture emblematizes how Rodin heralded raw and unpolished sculptures that were strikingly modern. It was a breath of fresh air since most of early-19th-century sculpture was smooth, neoclassical, and to be harshly honest, predictably dainty. Charles Baudelaire lamented this nadir in 1846 when he wrote his provocative essay “Why Sculpture is Boring.” Rodin went on to prove Baudelaire wrong. He showed how sculpture could be modern with distorted, coarse, rough textures. Rodin knocked the idealized body off its pedestal. And the modern sculptors that came after him saw no reason to put it back.
xxx/ellauri193.html on line 404: In addition to those disagreements, Roberts criticises Gordimer's post-apartheid advocacy on behalf of black South Africans, in particular her opposition to the government's handling of the AIDS crisis, as paternalistic and hypocritical white liberalism. The biography also stated that Gordimer's 1954 New Yorker essay, "A South African Childhood", was not wholly biographical and contained some fabricated events.
xxx/ellauri193.html on line 608: Harry Martinson’s Views from a Tuft of Grass is a collection of short essays, mostly on the natural world. I give this a three.
xxx/ellauri193.html on line 637: Views from a Tuft of Grass: Short essays, enlivened by the occasional wacky aside—“The builders of perpetual motion machines seem almost extinct; there were many more letters from them just seven or eight years ago”—but slowed by heady bouts of abstraction. Six.
xxx/ellauri200.html on line 184: Naipaul's fiction and especially his travel writing have been criticised for their allegedly unsympathetic portrayal of the Third World. The novelist Robert Harris has called Naipaul's portrayal of Africa racist and "repulsive," reminiscent of Oswald Mosley's fascism. Edward Said argued that Naipaul "allowed himself quite consciously to be turned into a witness for the Western prosecution", promoting what Said classified as "colonial mythologies about wogs and darkies". Said believed that Naipaul's worldview may be most salient in his book-length essay The Middle Passage (1962), composed following Naipaul's return to the Caribbean after 10 years of exile in England, and the work An Area of Darkness (1964).
xxx/ellauri200.html on line 192: Nissim Ezekiel wrote the 1984 essay "Naipaul's India and Mine" as a reply to Naipaul's An Area of Darkness.
xxx/ellauri208.html on line 529: Influential German philosopher Jürgen Habermas called for European renewal in an essay published in Germany and France over the weekend, and numerous other prominent European thinkers followed suit.
xxx/ellauri208.html on line 540: In an essay he published in the FAZ in mid-April, Habermas condemned the war in Iraq, saying it violated international law. WTF, have you forgotten the burning twin towers of free trade enterprise, or Saddams mass destruction weaponry? Internecine Hammurabi law yields a clear verdict here: strike back, strike hard, kill'em bastards!
xxx/ellauri215.html on line 167: In the best essay ever written on Saul Bellow, Philip Roth wrote that his friend "managed brilliantly to close the gap between Thomas Mann and Damon Runyon". Bellow indeed brought together the teeming, busy world of post-war America, with its wise-guys, money men and "reality instructors", and the high seriousness of old Europe.
xxx/ellauri218.html on line 93: Mary Flannery O'Connor (March 25, 1925 – August 3, 1964) was an American novelist, short story writer and essayist. She wrote two novels and 32 short stories, as well as a number of reviews and commentaries.
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 297: Le Guin explores coming of age, and moral development more broadly, in many of her writings. This is particularly the case in those works written for a younger audience, such as Earthsea and Annals of the Western Shore. Le Guin wrote in a 1973 essay that she chose to explore coming-of-age in Earthsea since she was writing for an adolescent audience: "Coming of age ... is a process that took me many years; I finished it, so far as I ever will, at about age thirty-one; like Ellis Havelock I provably only lost my hymen when I was 27, so I feel rather deeply about it. So do most adolescents. It´s their main occupation, in fact." She also said that fantasy was best suited as a medium for describing coming of age, because exploring the subconscious was difficult using the language of "rational daily life".
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/ellauri250.html on line 627: Peter Albert David Singer AC/DC (born 6 July 1946) is an Australian moral philosopher, currently the Ira W. DeCamp Professor of Bioethics at Princeton University. He specialises in applied ethics and approaches ethical issues from a secular, utilitarian perspective. He is known in particular for his book Animal Liberation (1975), in which he argues in favour of veganism, and his essay "Famine, Affluence, and Morality", in which he argues in favour of donating veggies to help the global poor. For most of his career, he was a preference utilitarian, but he stated in The Point of View of the Universe (2014), coauthored with Katarzyna de Lazari-Radek, that as he became a celeb and started earning bigger bucks, he had become a hedonistic utilitarian, or utilitarian hedonist.
xxx/ellauri265.html on line 401: “The erosion of academic freedom and the ascendancy of an illiberal ‘successor ideology’ known to its critics as wokeism, which manifests itself as career-ending ‘cancelations’ and speaker disinvitations, but less visibly generates a pervasive climate of anxiety and self-censorship,” Ferguson wrote in a November Bloomberg opinion essay.
xxx/ellauri265.html on line 440: But what I argue in my Mid-Atlantic essay is that there is something new, which is the fear of each other. We were not afraid of the person sitting next to us in 2008. Professors were not afraid of their students in 2008. Managers were not afraid of their employees in 2008. Whites were not afraid of blacks in 1808.
xxx/ellauri281.html on line 500: Norman Mailer´s 1973 biography of Marilyn Monroe (usually designated Marilyn: A Biography) was a large-format book of glamor photographs of Monroe for which Mailer supplied the text. Originally hired to write an introduction by Lawrence Schiller, who put the book package together, Mailer expanded the introduction into a long essay. Miller sai Monroelta persettä mutta muuten persnettoa, Mailer kääntäen ei saanut persettä, mutta nettosipa kuitenkin ihan kivasti. Two Jewish boys with sturdy Norman names making hay with Marilyn.
xxx/ellauri304.html on line 596: Status objects. An essay by Tom Wolfe (Bonfire of the Vanities) put this in my head some years ago. A certain kind of person wants to wear shirts that have little alligators on them and another totally different type of person perhaps wants to have a statue of a black jockey on his lawn…or a pink flamingo. My late loving mother, a paragon of taste, once moved into our guest house and put painted plywood cutouts of the backviews of two people, bending over as if planting something in the yard. Naturally, butt cracks were visible because they were the whole point of this architectural and horticultural display. Since my house then was a mansion and a national historic site, I suggested that my mother take her plywood cutouts off the front lawn and put them in her backyard where nobody could see her butt. (I am a long time out of Alabama.)
xxx/ellauri319.html on line 505: Robert Louis Stevenson (1850–1894), Neo-romantic Scottish essayist, novelist and poet, is thought to have suffered from tuberculosis during much of his life. He spent the winter of 1887–1888 recuperating from a presumed bout of tuberculosis at Dr. E.L. Trudeau's Adirondack Cottage Sanitarium in Saranac Lake, New York.
xxx/ellauri380.html on line 458: He "spearheaded" The Holocaust Memorial Museum, which gives the Elie Wiesel Award to "internationally prominent individuals whose essays have advanced the Museum's vision of a world where people confront hatred, prevent genocide, and promote human dignity". Winners include George and Laura Bush and the crook Sarkozy. The Foundation had invested its endowment in money manager Bernard L. Madoff's investment Ponzi scheme, costing the Foundation $15 million and Wiesel and his wife much of their own personal savings. LMAO.
xxx/ellauri400.html on line 225: For all his championing of disinterestedness, Arnold was unable to practise disinterestedness in all his essays. In his essay on Shelley particularly he displayed a lamentable lack of disinterestedness. Shelley's moral views were too much for the Victorian Arnold. In his essay on Keats too Arnold failed to be disinterested. The sentimental letters of Keats to Fanny Brawne were too much for him.
xxx/ellauri400.html on line 227: In spite of their charm, the essays are characterised by egotism and, as Tilotson says, 'the attention is directed, not on his object but on himself and his objects together'.
xxx/ellauri410.html on line 138: This essay assembles the “Bolovian Epic” from the Columbo and Bolo verses and nonsense letters that T.S. Eliot wrote over a period of eighteen years (1910–1928). Such an aggregation is made possible by the publication of excised poems from the “Waste Land” Notebook and Volumes I–IV of The Letters of T.S. Eliot. Rather than seeing individual parts of the epic as simply obscene, I interpret the whole project and its contexts as grounded in his appreciation for the primitive and a critical disdain for the so-called civilized. Eliot invents a composite race of people, the Bolovians, whose influence on modern times includes racy behavior, religious affinities, and bowler hats. Understanding this bawdy, blue, or nonsense material contributes capitally to previous scholarship defaming Eliot's moral and cultural values.
xxx/ellauri410.html on line 188: Tom of New England oli naisten kasvattama mammanpoika kuten Coriolanus Shakespearessa, sen tautta naiset näytti siltä hampaattomilta jättikidoilta. Ihmisenä Tom oli laimea kuin kraanavesi. Perheen vaakuna oli norsun pää kärsineen, as researched by Walter Graeme Eliot in 1887 (W. Eliot 8). Eliot explains himself in his 1923 essay, “The Beating of Meat”: Primitive man beat the meat and then found a reason for it. Modern man has many reasons, but he has lost the meat. Later in The Use of Poetry and the Use of Criticism he states, “Poetry, I dare say, begins with a savage beating meat in the jungle” (95).
xxx/ellauri417.html on line 546: This is a sequel to 2020's The Morning Star, right? I must have asked myself that at least a dozen times during the first several hundred pages of "The Wolves of Eternity," because it's not at all apparent. At 666 pages, "The Morning Star" was stuffed full of characters. "The Wolves of Eternity," at 800 pages, is really only concerned with two, neither of whom was featured in the previous book. It's not until more than 700 pages in — 700! — that the same star appears in the sky, equally befuddling the characters of this second book. Up until that point, though, "The Wolves of Eternity" feels like it exists in an entirely separate universe from that first one. I'm sorry to say, that's not a good thing. This is the eighth work of fiction I've read by Karl Ove Knausgård, who, following the second entry in his "My Struggle" series, quickly became one of my favorite authors. I loved all six books in that series, and I loved the first entry in this one, the aforementioned "Morning Star." But this? This book feels as soggy as that one felt crisp. Insipid and light whereas that book felt meaningful and weighty. The first book is a thriller of the best sort, a Dostoevsky-like work full of moral dilemmas and gothic horror. This one feels meandering and pointless. An incredibly taxing number of words to no real purpose. If this had been the first book in the series, it would have been my last. Only because the first one was so good will I carry on and read the third part when it's released, but I'll do so warily, much less inclined to forgive than I was going into this one. I mentioned that while "The Morning Star" contained a whole plethora of characters, this one contains only two. Or maybe 2 1/2. There's a barely formed writer character who suddenly begins to be featured toward the end. We're even treated to one of her essays, although "treated" would be the wrong word. It's a bore. Otherwise, "The Wolves of Eternity" rotates entirely around two characters. We spend the first 450 or pages with Syvert in Norway, and 250 or so with Alevtina in Russia before flipping back to Syvert and then back again. It takes a good long while — i.e. 600+ pages — before we learn how these characters are connected but it doesn't really matter because neither one is particularly likable. Knausgård's writing around Syvert is better, which makes this part of the book slightly more readable (not that that's saying much) but Syvert still comes off as something of a charmless oaf. Alevtina, meanwhile, is even more unlikable. Prone to making rash emotional decisions, she's one of the more frustrating characters I've come across. I didn't like her part of the story at all, despite its arguably more interesting setting, and I was very eager to leave her behind. Another real axe I have to grind here concerns Martin Aitken's translation. It's terrible. Like, distractingly bad. For whatever reason, Aitken translates the entire book into what feels like British cockney. Why would a book set in Norway and Russia and consisting entirely of Norwegian and Russian characters have those characters — particularly Syvert — speaking like they're from East London? It doesn't make sense and it is never less than enraging. A book by a major literary star that feels like it was translated specifically for those who like their English in cockney? Why? The awful translation undoubtedly colored my view of the book, as I couldn't help but view Syvert as a lost character from Burgess' "Clockwork Orange." How did this milquetoast Alex DeLarge find himself in a Knausgård novel? I'm not sure I made it clear earlier, but I am a massive Knausgård fan. Truly. But this, for me, is a serious misfire. Perhaps, when the series is laid to rest, this second entry will be redeemed by dint of what comes after, but such redemption would be a miraculous turnaround — tantamount to the appearance of a huge new star in the sky. For now, though, I have to condemn this book not for being such a letdown, but simply for being such a massively dull book on its own. Bloated. Tired. Rudderless. A waterlogged corpse of a book.
xxx/ellauri417.html on line 652: So at around page 720 - about 90% of the way through the book - the star shows up. Lots of people being people and doing normal stuff. There is a heavy 100 page scientific essay in the 3rd part of the book if you are into that. But after all that - still no idea what the star is. But might have an idea of what it does. So we got that going for us. Which is nice. It's okay. I'm sticking with it cause of the star. Which probably isn't far from the author's rating for this book. But of you aren't obsessed over tiny details that have nothing to do with the story as a whole - skip it for the love of god.
xxx/ellauri427.html on line 242: Amis eventually moved further to the political right, a development he discussed in the essay "Why Lucky Jim Turned Right" (1967); his conservatism and anti-communism can be seen in works like the dystopian novel Russian Hide and Seek (1980). In 1967, Amis, Robert Conquest, John Braine, and several other authors signed a letter to The Times entitled "Backing for U.S. Policies in Vietnam", supporting the US government in the Vietnam War. He spoke at the Adam Smith Institute, arguing against government subsidy to the arts.
xxx/ellauri442.html on line 69: Cavell established his distinct philosophical identity with Must We Mean What We Say? The answer was no. One of the essays discusses Søren Kierkegaard's work on revelation and authority. Specifically, Cavell argues that film comedies show that the achievement of happiness requires besides the satisfaction of our needs the examination and transformation of those needs. According to Cavell, the emphasis these movies place on remarriage draws attention to the fact that, within a relationship, happiness requires "growing out of" one partner and "growing into" another one. The book also contains extended discussions of Friedrich Nietzsche, Jane Austen, George Eliot, Henry James, and Fred Astaire, as well as familiar Cavellian subjects such as Shakespeare, Emerson, Thoreau, Wittgenstein, and Heidegger.
xxx/ellauri442.html on line 130: The question which seems to me to appear for the first time in this text by Kant is the question of the present, of the contemporary moment. What is happening today (Tuesday)? What is happening now (1798)?’ (Foucault 1986). Kant’s English language essays ‘An Answer to the Question: What is Enlightenment?’ and ‘The Contest of Faculties’ are among the all-time greatest essays of generally understandable philosophy. Had academic philosophy taken them as paradigms, how much better the world would be, how much more generally understandable. Kyseessä oli porvarillista vallankumousta ja Kantin omaa sananvapautta peukuttava poliittinen pefletti.
xxx/ellauri442.html on line 227: His younger brother was Michael Polanyi, a philosopher, eli kyllä kai se on kuiteskin tää pölymatti pikkuveli. His first group of philosophical essays appeared in 1946 under the title Science, Faith and Society (Oxford University Press, Oxford, 1946), followed by Personal Knowledge: Towards a Post-Critical Philosophy (University of Chicago Press, Chicago, 1958), The Tacit Dimension (Doubleday, New York, 1966), and other volumes.
xxx/ellauri450.html on line 52: Jonathan Bate stressed the importance of Eagleton's Roman Catholic background in "Saint Terence", a 1991 review-essay in the London Review of Books before the overt religious turn in Eagleton's later works. Some communist, sells opium to the people. Colin Howard, Howard's homosexual brother, called Eagleton "a little squirt".
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