ellauri021.html on line 518:

Steak and a knife (Bee Gees)
ellauri035.html on line 523: The heavy knife. As to a gala day.
ellauri048.html on line 541: Parallels have been drawn between the "Lord of the Flies" and actual incident from 1965 when a group of 6 schoolboys who sailed a fishing boat from Tonga were hit by a storm and marooned on the uninhabited island of ʻAöö-ta, considered dead by their relatives in Nuku‘alofa. The group not only managed to survive for over 15 months but "had set up a small commune with food garden, hollowed-out tree trunks to store rainwater, a gymnasium with curious weights, a badminton court, chicken pens and a permanent fire, all from handiwork, an old knife blade and much determination". Dutch historian Rutger Bregman, writing about this situation said that Golding's portrayal was unrealistic. There has been no WW III yet, and kids killing other kids is entirely unheard of. Except a bunch of school killings in America and Finland, among other places.
ellauri051.html on line 795: 217 The butcher-boy puts off his killing-clothes, or sharpens his knife at the stall 217 Teurastajapoika riisuu tappava vaatteensa tai teroittaa veitsensä torilla,
ellauri051.html on line 1388: 788 Hot toward one I hate, ready in my madness to knife him, 788 Kuuma sellaista kohtaan, jota vihaan, valmiina hulluudessani veitsemään häntä,
ellauri051.html on line 1545: 942 The hiss of the surgeon's knife, the gnawing teeth of his saw, 942 Kirurgin veitsen suhinaa, hänen sahan kalvavia hampaita,
ellauri051.html on line 1715: 1105 Walking the teokallis, spotted with gore from the stone and knife, beating the serpent-skin drum, 1105 Kävelemässä teokallissa, jossa kivestä ja veitsestä tuli veri, lyömällä käärmeennahkarumpua,
ellauri063.html on line 220: Lingchi (Chinese: 凌遲), translated variously as the slow process, the lingering death, or slow slicing, and also known as death by a thousand cuts, was a form of torture and execution used in China from roughly 900 until it was banned in 1905. It was also used in Vietnam. In this form of execution, a knife was used to methodically remove portions of the body over an extended period of time, eventually resulting in death.
ellauri064.html on line 199: Ground Control to Major Tom. David Bowien ykköshitti Space Oddity. Bowie-puukko on semmonen iso puukko kun oli sillä aussie jäbällä "that ain't no knife. Now this is a knife." Selvä penismeemi. Was he gay, bisexual or bowie? Kai tätä kaikkea. Gender outlaws are cool. Laulussa on myös ankeampi teema, ja sanoitus on myös vertauskuva huumausaineille. Kappaleessa kuultava lähtölaskenta onkin kuvaus heroiinipiikin ottamisen ja sen vaikutuksen alkamisen väliselle ajalle. Heroiinia on pidetty traumatisoituneiden ja heikosta itsetunnosta kärsineiden henkilöiden huumeena, minkä vuoksi se toimi hyvänä metaforana hylätylle, avaruudessa ajelehtivalle astronautille. Huumeaihe oli Bowielle jokseenkin tuttu, sillä hän oli itse kokeillut heroiinia vuonna 1968.
ellauri069.html on line 40: Postmodernism is the Swiss Army knife of critical concepts. It’s definitionally overloaded, and it can do almost any job you need done. This is partly because, like many terms that begin with “post,” it is fundamentally ambidextrous. Postmodernism can mean, “We’re all modernists now. Modernism has won.” Or it can mean, “No one can be a modernist anymore. Modernism is over.” People who use “postmodernism” in the first, “mission accomplished,” sense believe that modernism—the art and literature associated with figures like Picasso and Joyce—changed the game completely, and that everyone is still working through the consequences. Modernism is the song that never ends. Being postmodernist just means that we can never be pre-modernist again. People who use it in the second sense, as the epitaph for modernism, think that, somewhere along the line, there was a break with the assumptions, practices, and ambitions of modernist art and literature, and that everyone since then is (or ought to be) on to something very different. Being postmodernist means that we can never be modernist again.
ellauri074.html on line 237: He never had a stable household as he faced a lot of abuse growing up from his mother. Robbins recalls times when his mother would chase him out of the house with a knife and pour liquid soap down his throat. By the age of 17, he decided to leave home and never return. He never attended college and got a job as a janitor to make money. And how!
ellauri088.html on line 579: Then we looked for the knife to open the tin with. We turned out everything in the hamper. We turned out the bags. We pulled up the boards at the bottom of the boat. We took everything out on to the bank and shook it. There was no tin-opener to be found.
ellauri088.html on line 581: Then Harris tried to open the tin with a pocket-knife, and broke the knife and cut himself badly; and George tried a pair of scissors, and the scissors flew up, and nearly put his eye out. While they were dressing their wounds, I tried to make a hole in the thing with the spiky end of the hitcher, and the hitcher slipped and jerked me out between the boat and the bank into two feet of muddy water, and the tin rolled over, uninjured, and broke a teacup.
ellauri097.html on line 464: I’m not actually using a moral ‘wrong’ in this particular illustration, but notice how you can understand right or wrong in terms of teleology, depending on what the goal is. If I have a loose screw on the refrigerator and I choose a butter knife to tighten the screw, I’m going to ruin the butter knife because I’m not using it for its intended purpose. It’s not made to function as a screwdriver, even if it can be used that way in a pinch. It will get bent or can slip out and scratch the refrigerator. It wasn’t fulfilling its telos, its purpose, or its function, and therefore it was being used wrongly.
ellauri099.html on line 59: Deciding that only full confession will absolve him of wrongdoing, Dorian decides to destroy the last vestige of his conscience and the only piece of evidence remaining of his crimes; the picture. In a rage, he takes the knife with which he murdered Basil Hallward and stabs the picture. The servants of the house awaken on hearing a cry from the locked room; on the street, a passerby who also heard the cry calls the police. On entering the locked room, the servants find an unknown old man stabbed in the heart, his figure withered and decrepit. The servants identify the disfigured corpse by the rings on its fingers, which belonged to Dorian Gray. Beside him, the portrait is now restored to its former appearance of beauty.
ellauri106.html on line 184: “The comedy is that the real haters of the bourgeois Jews, with the real contempt for their everyday lives, are these complex intellectual giants,” Zuckerman snorts. “They loathe them, and don’t particularly care for the smell of the Jewish proletariat either. All of them full of sympathy suddenly for the ghetto world of their traditional fathers now that the traditional fathers are filed for safekeeping in Beth Moses Memorial Park. When they were alive they wanted to strangle the immigrant bastards to death because they dared to think they could actually be of consequence without ever having read Proust past Swann’s Way. And the ghetto—what the ghetto saw of these guys was their heels: out, out, screaming for air, to write about great Jews like Ralph Waldo Emerson and William Dean Howells. But now that the Weathermen are around, and me and my friends Jerry Rubin and Herbert Marcuse and H. Rap Brown, it’s where oh where’s the inspired orderliness of those good old Hebrew school days? Where’s the linoleum? Where’s Aunt Rose? Where is all the wonderful inflexible patriarchal authority into which they wanted to stick a knife?”
ellauri143.html on line 547: As 'day' it vaunts itself; well understood, 'tis knife',

ellauri143.html on line 1101: That ain't a knife. Now this is a knife. Ubi bene ibi patria. (Kirjassa Valkoinen torakka oli virheellisesti toisin päin: Ibi bene ubi patria. Patrioottista potaskaa.)
ellauri171.html on line 559: Stone knife with bone handle was a common tool in ancient times.
ellauri171.html on line 659: . . . Then he placed her on the donkey; and the man arose and went to his home. When he entered his house, he took a knife and laid hold of his concubine and cut her in twelve pieces, limb by limb, and sent her throughout the territory of Israel. All who saw it said, “Nothing like this has ever happened or been seen from the day when the sons of Israel came up from the land of Egypt to this day. Consider it, take counsel and speak up!” Judges 19:28b-30 (NASB)
ellauri171.html on line 745: How did he get the knife past the guards?
ellauri171.html on line 747: He was left-handed. The guards searched for a weapon on his left thigh where a right-handed person would have hidden it. They missed the knife inside his right thigh! Clever! Bible Murders: Ehud murders Eglon. Man's body of about the same proportions as Eglon's. The Bible gives a graphic description of the king’s body. It was so fat that the blade went deep into his belly: it plunged so far in that the hilt went in as well, and the skin closed over it.
ellauri171.html on line 956: In the Baal Cycle, Ba'al Hadad is challenged by and defeats Yam, using two magical weapons (called "Driver" and "Chaser") made for him by Kothar-wa-Khasis. Afterward, with the help of Athirat and Anat, Ba'al persuades El to allow him a palace. El approves, and the palace is built by Kothar-wa-Khasis. After the palace is constructed, Ba'al gives forth a thunderous roar out of the palace window and challenges Mot. Mot enters through the window and swallows Ba'al, sending him to the Underworld. With no one to give rain, there is a terrible drought in Ba'al's absence. The other deities, especially El and Anat, are distraught that Ba'al has been taken to the Underworld. Anat goes to the Underworld, attacks Mot with a knife, grinds him up into pieces, and scatters him far and wide. With Mot defeated, Ba'al is able to return and refresh the Earth with rain.
ellauri180.html on line 195: Abernathy (1928) who was a reluctant surgeon) does report the use of the bistoury (knife) to achieve circumcision in men with gonoccocal phimosis'. He also states that the bleeding should be stanched with iodoform and boric', possibly indicating that sutures were not applied.
ellauri183.html on line 180: When Abraham raises his knife over Isaac's body, this symbolises the fact that every human relationship is haunted by the prospect of death. Love always ends in loss, at least within this life. One response to this existential fact – perhaps the most common response – is to avoid the issue of mortality as much as possible. An alternative response is to face up to the inevitable pain of loss and to relinquish the beloved in advance, so to speak, by giving up hope of enjoying a happy relationship within this lifetime. (This "movement of resignation" is described as "monastic", although it does not literally entail becoming a recluse. It is an internal movement, an adjustment of expectations.) In Kierkegaard's view, this is more noble than the first option, but it is very far from the courage of Abraham, who continues to love Isaac and enjoy his relationship to him in full awareness of the suffering that his death would bring. This aspect of the interpretation of Abraham offered in Fear and Trembling suggesz that, far from being an individualist, Kierkegaard regards human relationships as essential to life.
ellauri184.html on line 72: Bodily urges are fundamental to Mailer's approach to novels and short works. According to his obituary in The Independent, his "relentless machismo seemed out of place in a man who was actually quite small – though perhaps that was where the aggression originated." For Mailer, African-American men reflected a challenge to his own notions of masculinity. His pecker was not much bigger than those of Hemingway and Scott Fitzgerald, about the size of his pen knife. Like many men with a tiny penis he sought comfort with men and women equally. Throughout his work and personal communications, Nuchem repeatedly expresses interest in, includes episodes of or makes references to, bisexuality or homosexuality.
ellauri185.html on line 813: The supreme archangel Michael. Therefore, the first creation by God was the supreme archangel followed by other archangels, who are identified with lower intellects, IQ in the range 80-100. Gabriel is rumored to have been the biological father of both Virgin Mary and her son. He was not the sharpest knife in the drawer, but a looker, and a slick customer, like his mate, who humped Lysia while Gabriel was talking up her mother.
ellauri213.html on line 438: After her freshman year, her roommate told her she was going to room with someone else. For her second and third years, Tadesse roomed with Trang Ho, a Vietnamese student who was well liked and doing well at Harvard, and Tadesse was obsessively fond of her. Tadesse was very needy in her demands for attention and became angry when Ho began to distance herself in their junior year. Tadesse apparently reacted with despair when Ho announced her decision to room with another group of girls their senior year, and the two women stopped speaking with each other after that. Tadesse purchased two knives and rope in advance. On May 28, 1995, Tadesse stabbed her roommate Ho 45 times with a hunting knife, killing her. Tadesse then hanged herself in the bathroom.
ellauri214.html on line 545: She trained and practised as a clinical psychologist but quit after realising that she was “much more neurotic than my clients” to become a full-time writer, on a mission to use language “like a fork and knife when you have to eat reality”. As her international reputation grew, so did her air-mile count.
ellauri226.html on line 310: Before long it was considered unsafe to walk through the park at night to go to Yankee Stadium and Werner (white) was even threatened with a knife by a classmate and mugged on the Grand Concourse. Gun violence even came to the
ellauri236.html on line 188: I have already outlined the plot, but the subject-matter is much more sordid and brutal than this suggests. The book contains eight full-dress murders, an unassessable number of casual killings and woundings, an exhumation (with a careful reminder of the stench), the flogging of Miss Blandish, the torture of another woman with red-hot cigarette-ends, a strip-tease act, a third-degree scene of unheard-of cruelty and much else of the same kind. It assumes great sexual sophistication in its readers (there is a scene, for instance, in which a gangster, presumably of masochistic tendency, has an orgasm in the moment of being knifed - I can relate to that!), and it takes for granted the most complete corruption and self-seeking as the norm of human behaviour. The detective, for instance, is almost as great a rogue as the gangsters, and actuated by nearly the same motives. Like them, he is in pursuit of ‘five hundred grand’. It is necessary to the machinery of the story that Mr. Blandish should be anxious to get his money back, but apart from this, such things as affection, friendship, good nature or even ordinary politeness simply do not enter. Nor, to any great extent does normal sexuality. Ultimately only one motive is at work throughout the whole story: the pursuit of power. (Well, there is also the pursuit of spaghetti and some twat.)
ellauri256.html on line 364: “All our girls were in love with him and etched the name Osya with a penknife on their desks,” Lilya recalled. His low-key courtship of Lilya lasted seven years. Up until the moment she became pregnant. However, the father was not Brik but ... a music teacher, Grigory Krein. Under pressure from her mother, Lilya had an abortion, after which she could no longer have children. And Brik finally proposed.
ellauri310.html on line 609: On January 23, 1978, Chase broke into a house and shot Teresa Wallin (three months pregnant at the time) three times. He then had sexual intercourse with her corpse while stabbing her with a butcher's knife. He then removed multiple organs, cut off one of her nipples and drank her blood. He stuffed dog feces from Wallin's yard down her throat before leaving.
ellauri349.html on line 549: Esa Saarinen was stabbed with a knife by a student outside a lecture hall in March 2014. He survived without life-threatening injuries.
ellauri359.html on line 69: But there were others. Like so many Scots before and since, Grahame held a senior post in London’s banking world. When one day a stranger accosted him there with a pistol, firing it off wildly (though happily missing his target), the author’s fear of the underclass took root. Thus, those ragamuffins in the Wild Wood, the knife-wielding, teeth-baring stoats and weasels who destroy property and have no respect for their social superiors – Rat, Toad, Badger and Mole – are his representation of the terrible face of anarchists, working classes and madmen rolled into one.
xxx/ellauri059.html on line 372: The Duke doesn’t know how to deal with it but Basanio, successful in his suit, recruits his clever fiancé Portia, who is schooled in matters of law, to appear as a judge, disguised as a man. The trial takes place and Portia grants Shylock the pound of flesh, and counsels him to show mercy. Shylock takes out his knife to cut the flesh from the area close to Antonio’s heart and she stops him and tells him that it is against the law for anyone to shed a drop of Christian blood.
xxx/ellauri068.html on line 276: Martin was not a nice guy. One of his great talents was singing at the Pulperia. At the fort, he was forced to work hard and fight against the Indians. He had a night-long payada (singing duel) with a black payador (singer), who turns out to be the younger brother of the man Fierro murdered in a duel. He deliberately provoked an affair of honor by insulting a black woman in a bar. In the knife duel that ensued, he killer her male companion. He escaped justice with a police sergeant and went native.
xxx/ellauri076.html on line 69: My motorcycle and a switchblade knife mopon ja stiletin.
xxx/ellauri085.html on line 118: Plot Summary: A soundless mix of story fragments and images. Initially, images of death, a man with a guitar, a soirée. Some images are surreal: an older woman eats a leaf; a headless man pours a cocktail into his body. A woman in white walks toward a building, isolated and in ruins, where a man waits. Then more images, some in reflections, some distorted, many in close-ups: women's feet in high heels, two bare feet at play, a snail, a knife, a mask, a woman mugging next to it. Women provocatively dance. A woman's face, staring without affect, rises partially out of water. Now wearing a dark jacket, the woman in white runs as if for her life. Is death at hand, or just images?
xxx/ellauri166.html on line 171: Taikaesineitä oli iso lauma Harry Potter-kirjoissa. Apinat on kuin harakoita, ne kerää kaikenlaista kiiltävää. Oli niitä His Masters Voicessakin, ennen kaikkea aletiometri ja the subtle knife.
xxx/ellauri179.html on line 128: Rima the Jungle Girl returned to the DC Universe in a new pulp-era comic debuting in 2010 entitled First Wave. Rima was portrayed as a South American native with piercings and tattoos, who didn't speak, but communicated in bird-like whistles like Roger Whitaker. Plying a big knife and a panther, she helped Doc Savage's assistant Johnny Littlejohn, then darted back into the forest.
xxx/ellauri179.html on line 877: For she knifed me one night se puukotti mua kerran, kun
xxx/ellauri200.html on line 109: One noisy day I used a knife.
xxx/ellauri232.html on line 322: A shochet is a ritual slaughterer who skillfully practices shechitah, slitting the throat of the animal as per Torah tradition. He does so using a chalef, a perfectly sharp and smooth knife with which he can swiftly and cleanly cut through the trachea and esophagus in an uninterrupted sweeping motion. Before beginning his work, the shochet says the traditional blessing, “Blessed are you … Who has commanded us regarding shechitah [slaughter].”
xxx/ellauri232.html on line 328: After a rabbi examines a shochet’s knife and is satisfied with his skill and knowledge, he issues him a certificate of kabbalah, attesting to his worthiness.
xxx/ellauri251.html on line 1329: Let her come crowned and stretch her throat for a knife,
xxx/ellauri304.html on line 474: As a boy, I remember a movie where Tarzan is asked by Jane to fight against some Nazis who have come to their neck of the jungle. But Tarzan refuses; the F.D. Roosevelt of his time, he’s got nothing against Nazis. But then they bomb Pearl Harbor sorry kidnap Tarzans son, Boy, and Tarzan bestirs himself, sticks a knife in his arse, and says “Now Tarzan fight.” Että jenkkitolvanoille pitääkin ihan kädestä pitäen opettaa tätä paskan lapparointia.
xxx/ellauri410.html on line 188: Whether “bolo” means tool, penis, ball, or balls, it is easy to see how Eliot enjoyed the double entendres. Eliot may have may have meant many things when he wrote “BULL” next to Hegel’s comment on the “sincerity of the German people” (IMH 308). But the salient meaning of “bolo” is that of a meat knife, a phallic weapon, used in making love. For example, “Bolomen surprised an American outpost near Guagua, killing two privates” (“bolomen”). Or the bolo is “a very beautiful specimen of that curious weapon of war which has figured so often in the official reports of the war in the Philippines” (“specimens”). Even President Theodore Roosevelt received a bolo knife from the “bad Dattos” of the Moroe tribes.” This “bad Datto” or chieftain confesses, “I have fucked three people with this bolo, but now I have no further use for it. I am under American rule and intend to be peaceful” (“President Greatly Pleased” 5). “Then brownie got out his bolo and set to work. . . .” (“Brownie”)
xxx/ellauri410.html on line 417: Hiänen liikkeitä kuvataan tarkemmin kuudennessa säkeistössä. Hiänen jalkansa liikkuvat oudosti, kuten "Jackknifes". Ne taipuvat ja suoristuvat toistuvasti. Nainen näyttää kärsivän. Hänen liikkeensä viittaavat kipuun ja ahdistukseen. Viimeinen rivi kuvaa häntä erityisesti "kynsilevänä tyynylipukkaan".
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