ellauri014.html on line 1571: The Cambridge History of Italian Literature thought him to be "one of the greatest Italian poets of all time". He is considered the founder of the school of Marinism, later known as Secentismo (17th century) or Marinismo (19th century), characterised by its use of extravagant and excessive conceits.[2] Marino´s conception of poetry, which exaggerated the artificiality of Mannerism, was based on an extensive use of antithesis and a whole range of wordplay, on lavish descriptions and a sensuous musicality of the verse, and enjoyed immense success in his time, comparable to that of Petrarch before him.
ellauri022.html on line 456: It is sometimes used pejoratively, referring to someone whose optimism is excessive to the point of naïveté or refusing to accept the facts of an unfortunate situation. This pejorative use can be heard in the introduction of the 1930 George and Ira Gershwin song "But Not For Me": "I never want to hear from any cheerful pollyannas/who tell me fate supplies a mate/that´s all bananas." (performed by Judy Garland in the 1943 movie Girl Crazy).
ellauri045.html on line 324: Variety staff wrote that Saroyan’s “initial original screenplay is a brilliant sketch of the basic fundamentals of the American way of life, transferred to the screen with exceptional fidelity.” The New York Times critic Bosley Crowther chided the film for excessive sentimentality, saying it featured "some most maudlin gobs of cinematic goo."
ellauri055.html on line 38: In Greek mythology, Comus (Ancient Greek: Κῶμος) is the god of festivity, revels and nocturnal dalliances. He is a son and a cup-bearer of the god Dionysus. Comus represents anarchy and chaos. His mythology occurs in the later times of antiquity. During his festivals in Ancient Greece, men and women exchanged clothes. He was depicted as a young man on the point of unconsciousness from drink. He had a wreath of flowers on his head and carried a torch that was in the process of being dropped. Unlike the purely carnal Pan or purely intoxicated Dionysos, Comus was a god of excess.
ellauri066.html on line 480: Victoria Pedrick, Steven M. Oberhelman (2005) Literary Criticism: “... where Aristotle exploits the threefold classification of virtues and emotions according to excess, mean, and deficiency, he uses the term epikhairekakia ...”
ellauri077.html on line 460: This study shows that the connection between these works lies in their shared philosophical dimension. On the one hand, they portray excessive self-reflection and endless irony as the two main problems of contemporary Western life. On the other hand, the novels embody an attempt to overcome these problems: sincerity, reality-commitment and community are portrayed as the virtues needed to achieve a meaningful life.
ellauri082.html on line 159: Accusations that DFW is “talking down to” or “intentionally alienating” with his vocabulary I can understand somewhat–I don’t believe he was actually intending to make people feel stupid, but he’s clearly excessive and self-indulgent on occasion.
ellauri083.html on line 336: For all their profusion, these paled in comparison with Sachs's newest display pieces: The Cabinet, 2014, and The Rockeths, 2017. The former was a folding case fashioned from orange-and-white striped barricades and festooned with hundreds of tools, hung in groups and inscribed with the names of individuals who have "inspired, influenced, or frightened" the artist--from Le Corbusier and Louis Kahn to the members of the Wu-Tang Clan--while the latter was less a cabinet than a kind of portable workbench and shelving unit, similarly jam-packed with the tools of the artist's trade, as well as a collection of model rockets, all again labeled to namecheck various figures of personal importance--scientists, musicians, artists; Apollo, Dionysus, Stringer Bell. The fetishistic frisson the assembled materials (pens, pliers, drill bits, tape measures) clearly provoke in Sachs was made even more explicit in McMasterbation, 2016, one of a trio of scale-model space modules arrayed on plinths. Featuring a copy of the legendarily comprehensive McMaster-Carr hardware catalogue spread open like a porn mag centerfold designed for lonely gearheads--alongside a ready supply of Vaseline and a handy tissue dispenser--it was part cathectic confession of objectophilia and part self-derogating indictment of his own work's tendencies toward sometimes masturbatory excess. Smart and stupid, funny and somehow a bit sad, it was classic Sachs: too much information, in every sense of the phrase.
ellauri093.html on line 286: Self neglect includes behaviour such as poor hygiene, excessive quacking and compulsive hoarding. Older people have the right to make their own lifestyle choices, even if those choices put them at risk of harm. Scrooge McDuck has a license for his money bin, though it exposes him to the Beagle Boys.
ellauri094.html on line 654: The body of Algernon Charles Swinburne’s poetry is so vast and varied that it is difficult to generalize about it. Swinburne wrote poetry for more than sixty years, and in that time he treated an enormous variety of subjects and employed many poetic forms and meters. He wrote English and Italian sonnets, elegies, odes, lyrics, dramatic monologues, ballads, and romances; and he experimented with the rondeau, the ballade, and the sestina. Much of this poetry is marked by a strong lyricism and a self-conscious, formal use of such rhetorical devices as alliteration, assonance, repetition, personification, and synecdoche. Swinburne’s brilliant self-parody, “Nephilidia,” hardly exaggerates the excessive rhetoric of some of his earlier poems. The early A Song of Italy would have more effectively conveyed its extreme republican sentiments had it been more restrained. As it is, content is too often lost in verbiage, leading a reviewer for The Athenaeum to remark that “hardly any literary bantling has been shrouded in a thicker veil of indefinite phrases.” A favorite technique of Swinburne is to reiterate a poem’s theme in a profusion of changing images until a clear line of development is lost. “The Triumph of Time” is an example. Here the stanzas can be rearranged without loss of effect. This poem does not so much develop as accrete. Clearly a large part of its greatness rests in its music. As much as any other poet, Swinburne needs to be read aloud. The diffuse lyricism of Swinburne is the opposite of the closely knit structures of John Donne and is akin to the poetry of Walt Whitman.
ellauri101.html on line 643: As a result of cultural ideals, government policy, and modern medicine, there have been severe gender imbalances in China and India. According to the United Nations, in 2018, China and India had a combined 50 million of excess males under the age of 20. Such a discrepancy fuels loneliness epidemics, human trafficking (from elsewhere in Asia, such as Cambodia and Vietnam), and prostitution.
ellauri108.html on line 154: The principal ritual of Rastafari is the smoking of ganja, also known as marijuana or cannabis or pot. Among the names that Rastas give to the plant are callie, Iley, "the herb", "the holy herb", "the grass", and "the weed". Cannabis is usually smoked during groundings, although some practitioners also smoke it informally in other contexts. Some Rastas smoke it almost all of the time, something other practitioners regard as excessive, and many practitioners also ingest cannabis in a tea, as a spice in cooking, and as an ingredient in medicine. However, not all Rastas use ganja; abstainers explain that they have already achieved a higher level of consciousness and thus do not require it.
ellauri119.html on line 537: Manic lovers speak of their partners with possessives and superlatives, and they feel that they "need" their partners. This kind of love is expressed as a means of rescue, or a reinforcement of value. Manic lovers value finding a partner through chance without prior knowledge of their financial status, education, background, or personality traits. Insufficient expression of manic love by one's partner can cause one to perceive the partner as aloof, materialistic and detached. In excess, mania becomes obsession or codependency, and obsessed manic lovers can thus come across as being very possessive and jealous. One example from real life can be found in the unfortunate case of John Hinckley, Jr., a mentally disturbed individual who attempted to assassinate the incumbent US President Ronald Reagan due to a delusion that this would prompt the actress Jodie Foster to finally reciprocate his obsessive love.
ellauri133.html on line 380: Clocking in at a whopping 1138 pages, It is second only to The Stand (which came in at 1153 pages) as King’s longest work to date. It weighs four pounds. Turds in excess of 2 lb must be lowered by hand.
ellauri140.html on line 170: Gluttony (M) – Gluttony is described by Spenser as a "deformed creature" and "more like a monster, than a man". He enters the parade riding a dirty pig, bearing a large stomach and a thin neck. In the poem, Gluttony eats excessively as others starve; this is when gluttony is considered a sin. Muullon se oli A-OK Spenserin aikana. Kaikissa sioissa on pikkuisen likaa, ei siitä pitäs rankasta.
ellauri143.html on line 1316: Explanation: If (food and work are either) excessive or deficient, the three things enumerated by (medical) writers: flatulence, biliousness, and phlegm, will cause disease.
ellauri143.html on line 1620: Too long maintained, ´tis like the salt´s excess.
ellauri144.html on line 97: For Aristotle, youth and age represent extremes of excess and deficiency: the young (neoi) are subject to strong but quick-changing desires; they are hot-tempered, competitive, careless about money, simple, trusting, hopeful, lofty-minded; they have courage and a sense of shame; they enjoy friends and laughter; they live by honor, not advantage; they tend to hybris; in short, their failings are those of vehemence and excess. Whereas older men (presbyteroi) past their prime have the diametrically opposite failings, of deficiency: their experience of life makes them uncertain, suspicious, small-minded, ungenerous, worried about money, fearful, cold-tempered, grasping after life, and selfish; they live by the code of advantage; they are shameless and pessimistic; they live mostly in memory, talk about the past, complain a lot; they are slaves to gain; in short, both their desires and their ability to gratify them are weak.
ellauri151.html on line 1137: Each pays the price – spiritual death and anal dilatation for Michel, bodily death and who knows maybe worse for Alissa. 'Whom can I persuade that this is the twin of The Immoralist?', Andy wrote in his journal, 'that the two subjects grew up together in my mind, the excess of the one finding a secret justification in the excess of the other, so that the two together form an equipoise?'
ellauri153.html on line 827: Nowhere does the Bible approve of David’s state of affairs—just the opposite! God had warned Israel through Moses that any future king “must not take many wives” (Deuteronomy 17:17). Scripture does not say that Abishag’s presence in David’s bed was a good thing, nor does it present David as a good father. His many children by multiple mothers were a cause of great trouble for him and the whole kingdom (2 Samuel 13; 2 Samuel 15; 1 Kings 12:23–25). His own son and successor, Solomon, ignoring God’s clear warning, took his father’s excesses to a shocking extreme with 700 wives and 300 concubines who led him astray and turned his heart after other gods (1 Kings 11:2–4). The kingdom itself was divided and lost by Solomon’s son shortly after his coronation, barely one generation after the glory of King David (1 Kings 12).
ellauri156.html on line 451: A. H. Weiler of The New York Times described the film as "a reverential and sometimes majestic treatment of chronicles that have lived three millennia." He praised Dunno's screenplay and Peck's "authoritative performance" but found that Wayward "seems closer to Hollywood than to the arid Jerusalem of his Bible." Variety wrote, "This is a big picture in every respect. It has scope, pageantry, sex (for all its Biblical background), cast names, color—everything. It's a surefire boxoffice entry, one of the really 'big' pictures of the new selling season." Philip K. Scheuer of the Los Angeles Times wrote that the film "leaves little to be desired" from the standpoint of production values with Peck "ingratiating" as David and Wayward "a seductress with flaming tresses, in or out of the bath, and only her final contrition is a little difficult to believe." Richard L. Coe of The Washington Post wrote, "On the whole, the picture suggests a Reader's Digest story expanded into a master's thesis for the Ecole Copacabana."] Harrison's Reports wrote, "The outstanding thing about the production is the magnificent performance of Gregory Peck as David; he makes the characterization real and human, endowing it with all the shortcomings of a man who lusts for another's wife, but who is seriously penitent and prepared to shoulder his guilt. Susan Wayward, as Bathsheba, is beautiful and sexy, but her performance is of no dramatic consequence." The Monty Python Bulletin commented that the film had been made "with restraint and relative simplicity" compared to other historical epics, "and the playing of Gregory Peck in particular is competent. The whole film, however, is emotionally and stylistically quite unworthy of its subject." Philip Hamburger of The New Yorker wrote that "the accessories notwithstanding, something is ponderously wrong with 'David and Bathsheba.' The fault lies, I suppose, in the attempt to make excessive enlargements of an essentially-simple story." Zanuck the Hot Dog agreed.
ellauri158.html on line 1061: P. 4. prop. 42. Hilaritas excessum habere nequit, sed semper bona est, et contra melancholia semper mala.
ellauri158.html on line 1062: P. 4. prop. 43. Titillatio excessum habere potest et mala esse; dolor autem eatenus potest esse bonus, quatenus titillatio seu laetitia est mala. [in: P. 4. prop. 44., prop. 47., prop. 59.]
ellauri158.html on line 1063: P. 4. prop. 44. Amor et cupiditas excessum habere possunt.
ellauri158.html on line 1113: P. 4. prop. 61. Cupiditas, quae ex ratione oritur, excessum habere nequit. [in: P. 4. prop. 63. coroll., P. 5. prop. 4. schol.]
ellauri159.html on line 1419: The world appears as a pluralism, 264. Elements of unity in the pluralism, 268. Hegel's excessive claims, 273. He makes of negation a bond of union, 273. The principle of totality, 277. Monism and pluralism, 279. The fallacy of accident in Hegel, 280. The good and the bad infinite, 284. Negation, 286. Conclusion, 292.—Note on the Anaesthetic revelation, 294.
ellauri161.html on line 601: General Buck Turgidson knockoff (played by an unsmiling Ron Perlman) illustrates how far wide he misses the mark. By exaggerating certain aspects of human behavior, Don’t Look Up takes cynicism to a level that is not only excessive but doesn’t make for a story that’s either compelling or entertaining. During the course of watching Don’t Look Up, the only emotion I experienced was frustration – frustration that the movie could waste so much talent in the service of something so underwhelming. In other words, I could not laugh at all because the laugh was on me.
ellauri180.html on line 198: By the middle of the 19th century, anaesthesia and antisepsis were rapidly changing surgical practice. The first reported circumcision in the surgical accounts of St Bartholomew's Hospital was in 1865; although this comprised only one of the 417 operations performed that year, it was clearly becoming a more common procedure. Indeed, this was a time when surgical cures were being explored for all ails and in 1878 Curling described circumcision as a cure for impotence in men who also had as associated phimosis. Many other surgeons reported circumcision as being beneficial for a diverse range of sexual problems. Walsham (1903) re-iterates the putative association of phimosis with impotence and suggests that it may also predispose to sterility, priapism, excess masturbation and even venereal disease. Warren (1915) adds epilepsy, nocturnal enuresis, night terrors and precocious sexual unrest' to the list of dangers, and this accepted catalogue of phimotic ills' is extended in American textbooks to include other aspects of sexual erethisms' such as homosexuality.
ellauri180.html on line 200: The turn of the 19th century was also an important time in laying the foundations of surgical technique. Sir Frederick Treves (1903) provides us with a comprehensive account of basic surgical principles that remain today. Like most of his contemporaries, he used scissors to remove the prepuce (fig. 5) and describes ligation of the frenular artery as being mandatory' in the adult. He also warns against the excess removal of skin, as this may lead to chordee.
ellauri180.html on line 224: Literary assaults such as these have served to fuel the debates and even a Medline® search today reveals that in the last year alone, 155 reviews or letters have been published arguing for or against routine circumcision. However, studying the evolution of the medical indications provides us with a pleasing demonstration of how controversy drives scientific enquiry. We have already described how the surgeons of 100 years ago advocated circumcision for a wide variety of conditions, such as impotence, nocturnal enuresis, sterility, excess masturbation, night terrors, epilepsy, etc. There can be no doubt that a large element of surgical self-interest drove these claims. However, most of the contemporary textbooks also included epithelioma (carcinoma) of the penis amidst the morass of complications of phimosis. Although rare, once this observation had been made, it presumably filtered down through the textbooks by rote, rather than scientific study. A few reports had appeared in the early 20th century indicating that carcinoma of the penis was rare in circumcised men, but not until the debate over neonatal circumcision erupted in the medical press in the 1930s that this surgical `mantra' was put to the test. In 1932, the editor of the Lancet challenged Abraham Wolbarst, a New York urologist, to prove his contention (in a previous Lancet editorial), that circumcision prevented penile carcinoma. Wolbarst responded by surveying every skin, cancer and Jewish hospital in the USA, along with 1250 of the largest general hospitals throughout the Union. With this survey, he was able to show that penile cancer virtually never occurred in circumcised men and that the risk related to the timing of the circumcision. Over the years this association has been reaffirmed by many research workers, although general hygiene, demographic and other factors such as human papilloma virus and smoking status are probably just as important. However, Wolbarst established that association through formal scientific enquiry and proponents of the procedure continue to use this as a compelling argument for circumcision at birth.
ellauri181.html on line 127: