ellauri011.html on line 568: The grotesque climax of this portrait comes at a formal dinner which has no bearing on the plot (but then padding can become second nature). Some of the guests give him a smile of recognition, 'others merely smile and don't recognise me at all, but pretend to know who I am, because to admit otherwise would be to accept that the world they're living in doesn't exist, and that they are failing to keep up with the things that matter'. People can be so shallow sometimes.

ellauri065.html on line 202: The Human Centipede has its moments, but they're largely obscured by umpteen holes in the plot as well as by reams of exposition. It was an ultimately underwhelming affair that's neither sick or repellent enough to garner the cult status it so craves. Whether the film was a commentary on Nazi atrocities or a literal expression of filmmaking politics, the grotesque fusion at least silences the female leads, both of whose voices could strip paint.
ellauri145.html on line 355: Du bouffon favori la grotesque ballade Mielinarrin törkyrenkutuxesta
ellauri161.html on line 631: I’ve seen some people criticise Don’t Look Up for lacking subtlety. I’m not bothered by this. I don’t necessarily need or want the communications about climate change to be subtle. The issue itself certainly is not subtle. We are heading towards—and, again, already are in the midst of—unprecedented death and destruction. Our systems and rulers are not just woefully ill-equipped to deal with this or to prevent the worst of it, they are actively complicit in bringing it about. Those communities around the world that are the most vulnerable and that have had the least part to play in causing the crisis will be the ones to suffer the first and the worst. This isn’t subtle sh*t! This is horrifying, grotesque, psychologically debilitating stuff to ponder—if you even have the privilege to ponder in the first place! I don’t necessarily need subtlety here. Sometimes, to fight propaganda, you need to go loud and bold. But you still have to be effective. We are fighting an almightily powerful enemy. Competence is a necessary minimum. Regrettably, Don’t Look Up does not meet those standards. Its central metaphor doesn’t even make sense! Yes, capitalism is responding as dreadfully to climate change in real life as it does to the comet in the film—the key difference is that capitalism didn’t cause that comet to come hurtling out of the sky in the first place.
ellauri198.html on line 467: Seldom went such grotesqueness with such woe; Harvoin nähty noin paskaa koskaan lie,
ellauri222.html on line 741: Certainly, some of the previously mentioned can be very tiresome, but this character assumes such an attitude towards everything. The lord can be characterized by perfectionism; he demands excellence from everyone and everything surrounding him. Overall, perfectionism is a positive quality because it stimulates a person to improve oneself but in his case, it becomes grotesque, because Lord Pococurante rejects everything that allegedly does not meet his standards.
ellauri243.html on line 169: There may be no other organ on the human body that profits from such creativity in nicknaming by the larger populace. Not even clam, or twat. Below is a list of 100+ slang words for penis—from the common (prick) to the more grotesque (fuckpole) and the awesomely ridiculous (pork sword). Next time you need a synonym for penis, comb through this definitive list for a bunch of fun ideas!
ellauri243.html on line 182: There may be no other organ on the human body that profits from such creativity in nicknaming by the larger populace. Except penis. Below is a list of 60+ slang words for vagina —from the common (pussy) to the more grotesque (cunt) and the awesomely ridiculous (fishmarket). Next time you need a synonym for vulva, comb through this definitive list for a bunch of fun ideas!
ellauri247.html on line 302: To sturdy and true-born patriots, such as Hogarth and Smollett, reciprocal politeness towards the frogs appeared as grotesque as an exchange of amenities would be between a cormorant and an ape. Persut rotinkaiset britit on tässä merimezoja ja ranut apinoita jotka laukoo vetisiä apoftegmoja eikä tälläsiä brittityylisiä witty repartees.
ellauri254.html on line 387: Alexander Blok was a routine visitor. These years were some of the young Blok’s most prolific, marked by bursts of creative energy as he worked on two lyrical dramas – Balaganchik (‘The Puppet Show‘), featuring the ‘grotesquely luckless’ Pierrot, which was staged in 1906 by Vsevolod Meyerhold at the Komissarzhevskaya Theatre; and The Stranger – and the poetry cycle The Snow Mask, which he completed in little over a week at the beginning of 1907. The actress Valentina Verigina often accompanied Blok, and recounted of these visits to and from Sologub’s apartment:
ellauri269.html on line 594: Oh PS. Jewish =/= Israel. One is a religion and a people spread accross the world and the other is a country with many strengths and weakenesses. Please do not compare Israel’s actions or critism as somehow representative of all jewish people. That is grotesquely anti-semetic; the jewish people are not some sort of hive mind monolith represented by Israel. Stop this silliness.
ellauri321.html on line 220: Set in the year before the Wall Street crash, Juan in America is a classic evocation of the final mania of prohibition, as seen through equally maniacal British eyes. The character Eric Linklater devised to be his unreliable explorer was one capable of absorbing the enormity of the American experience without being overwhelmed by its incongruities. A blithe, bastard descendent of Byron(tm)s Don Juan, Linklater´s Juan is an anti-hero with a taste for the grotesque and the ridiculous, at once both dirty and deity whose response when faced either with sudden catastrophe or miraculous survival is simply to laugh. A novel in the mode of the picaresque, this is a story of erotic discovery in the sense, as Juan puts it, that, eh, your trousers hide not only your willy but your kinship to the clown. A nation emerging as a great power is exalting in absurdist energies. In its last spasms before the great depression, America is revealed through a series of unlikely accidents as Juan stumbles from state to state, somehow evading consequences as he goes. On his first day, he falls for the daughter of a gangster, witnesses a murder in a speakeasy and watches a woman leap to her death in a New York street. He thrills to the bizarreness of each spectacle and moves on to the next in a galloping mood that is part medieval romance, part running commentary on what was still, in the 1920s, the new world.
ellauri365.html on line 209: ja yhtäkkiä groteskin arkuuden valtaamana Et, prises tout à coup de tendresses grotesques,
xxx/ellauri123.html on line 1036: grotesque, the decadent, and the erotic. He was a leading figure in the aesthetic
xxx/ellauri179.html on line 806: Mencken often espoused views of politics, religion, and metaphysics that stressed their grotesqueness and absurdity; in this context, escape from the supposed fraud of such somber subjects was welcome to him.
xxx/ellauri193.html on line 804: The wo/man’s spiral (sorry, spinal) cord will rupture at the point where it enters the skull, electrochemical discharges will send his/her limbs flailing in a grotesque dance, eyes and tongues will start from the facial apertures under the assault of the rope and his/her bowels and bladder may simultaneously void themselves to soil the legs and drip onto the floor.
xxx/ellauri218.html on line 92: She was a Southern writer who often wrote in a sardonic Southern Gothic style and relied heavily on regional settings and grotesque characters, often in violent situations. Her writing reflected her Roman Catholic faith and frequently examined questions of morality and ethics. Kauhua. Perhaps, in an indirect way, cinema allowed Lillo to become a writer.
xxx/ellauri229.html on line 546: At the height of the baroque, sex went out of style; only two small parties kept it going-the integrationalists and the separatists. The separatists, averse to all debauchery, felt that it was improper to eat sauerkraut with the same mouth one used to kiss one´s sweetheart. For this a separate, "platonic" mouth was needed, and better yet, a complete set of them, variously designated (for relatives, for friends, and for that special person). The valuing utility above all else, worked in reverse, combining whatever was combinable to simplify the organism and life. The decline of the baroque, typically tending to the extravagant and the grotesque, produced such curious forms as the stoolmaid and the hexus, which resembled a centaur, except that instead of hoofs it had four bare feet with the toes all facing one another: they also called it a syncopant, after a dance in which energetic stamping was the basic step. But the market now was glutted, exhausted. It was hard to come up with a startling new body; people used their natural horns for ear flaps; flap ears-diaphanous and with stigmatic scenes-fanned with their pale pinkness the cheeks of ladies of distinction; there were attempts to walk on supple pseudopodia; meanwhile SOPSYPLABD out of sheer inertia made more and more designs available, though everyone felt that all of this was drawing to a close.
xxx/ellauri268.html on line 349: Many argue that the pervasive nature of antisemitic tropes means the Gringotts goblins and their ilk do no harm. Most children watching the “Harry Potter” films wouldn’t have picked up on the reference. The British charity Campaign Against Antisemitism, for example, tweeted a statement arguing that there are “centuries of association of Jews with grotesque and malevolent creatures in folklore” and that “those who continue to use such representations are often not thinking of Jews at all” but are innocently thinking “of how readers or viewers will imagine goblins to look.”
xxx/ellauri410.html on line 241: That his bawdy verse was not published anywhere was a continuous joke in Eliotʼs correspondence. When they were finally available to the public in 1996, they received diverse labels: “scatological,” “scabrous,” “obscene,” “pornographic” and “x-rated,” “politically incorrect,” “racist” and “misogynist,” tending towards “coprophilia,” and “grotesquely graphic. In their childish and sordid sexuality these poems have little to do with one of the root meanings of ribald, which is amorous. Instead, they are "descriptions of huge penises, defecations, buggeries and group masturbations." Twenty years later, Eliot was writing Cats, and forgive me, I prefer the kink.
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