ellauri082.html on line 131: JOI also created DMZ as part of an attempt to undo the effects of Hal’s eating mold as a child (recall: DMZ is a mold that grows on a mold). He left it along with the Entertainment (recall: ETA kids find JOI’s personal effects (670: “a bulky old doorless microwave…a load of old TP cartridges…mostly unlabelled”); the tapes and the DMZ are delivered together to the FLQ) which is about this goal (it stars a woman named Madame Psychosis (a street name for DMZ; another is 1st Av.) explaining that the thing that killed you in your last life will give birth to you in the next). The DMZ and the Entertainment were meant to go together for Hal. Now that the Entertainment has escaped, he needs to get Hal the DMZ.
ellauri095.html on line 145: After several years of ill health and bouts of diarrhoea, Hopkins died of typhoid fever in 1889 and was buried in Glasnevin Cemetery, after a funeral in St Francis Xavier Church in Gardiner Street, located in Georgian Dublin. He is thought to have suffered throughout his life from what today might be labelled bipolar disorder or chronic unipolar depression, and battled a deep sense of melancholic anguish. However, his last words on his death bed were, "I am so happy, I am so happy. I loved my life." He was 44 years of age.
ellauri164.html on line 607: A fresh exegetical probe is therefore warranted using a hermeneutical strategy whereby a narrative approach is attempted in order to understand Num. 20:1-13 in the light of Exodus 17:1-7. These narrative analogies are part of a distinctive feature in the Hebrew narrative style labelled Type- scene.
ellauri424.html on line 280: Shame we haven’t got any politicians in power in uk who serve the people. All the recent ones seem terrified of being called racist. What I can not understand is how in the HELL people in the once proud UK. let their country get that bad, once there was a time when the English had a back BONE. Tell me about it, it started with the nanny state stopping you disciplining your children. Then you had things like sports day where they all stop a few metres from Finnish line and hold hands. Political correctness gave them the power to indoctrinate your children into loony leftists because you couldn’t say anything without somehow being labelled as some sort of bigot. But there are some signs some of the youth are waking up will it be enough though? God help us if we have to fight a defensive war, most have been so pussified we will be overrun in a week. WE were “that bad” for the past 4 years! Men in women's sports, boys in girls public bathrooms, drag queen story time for kids, the whole “woke” movement and an invasion at the border. All it takes is to hand your country over to liberal leadership and they'll destroy it in short order. UK has to do the same.
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
xxx/ellauri084.html on line 36: Both Hitler's oratory and Wittgenstein's philosophy of language derive from the hermetic tradition, the key to which is Wittgenstein's "no-ownership" theory of mind, described by P. F. Strawson in his book Individuals (1958). The no-ownership theory is a metaphysical doctrine of the self, labelled by Strawson. It arises from cartesian mind-body dualism (see mind body problem) and maintains that conscious experiences with a subject cannot be said to ‘belong’ to that subject, because “Only those things whose ownership is logically transferable can be owned at all“. Kauppamiesmäistä mind-body kapitalismia. Taas yxi kiemurtelu sielun irrottamisexi ruumiista.
xxx/ellauri179.html on line 788: "Depending on the position of the reader, he was either a great defender of women's rights or, as a critic labelled him in 1916, 'the greatest misogynist since Schopenhauer', 'the country's high-priest of woman-haters.'"
xxx/ellauri387.html on line 499: The ´definiteness´ of a genre classification leads the reader to expect a series of formal stimuli--martial encounters, complex similes, an epic voice--to which his response is more or less automatic; the hardness of the Christian myth predetermines his sympathies; the union of the two allows the assumption of a comfortable reading experience in which conveniently labelled protagonists act out rather simple roles in a succession of familiar situations. The reader is prepared to hiss the devil off the stage and applaud the pronouncements of a partisan and somewhat human deity . . . . But of course this is not the case; no sensitive reading of Paradise Lost tallies with these expectations, and it is my contention that Milton ostentatiously calls them up in order to provide his reader with the shock of their disappointment. This is not to say merely that Milton communicates a part of his meaning by a calculated departure from convention; every poet does that; but that Milton consciously wants to worry his reader, to force him to doubt the correctness of his responses, and to bring him to the realization that his inability to read the poem with any confidence in his own perception is its focus.
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