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ellauri132.html on line 200: Here, Vonnegut is influenced by his early work as a journalist. His sentences are short and easily understood so as to be largely accessible. A dystopian setting enhances his social and political critique by imagining a future world founded on absolute equality through handicaps assigned to various above-average people to counter their natural advantages. A similar subject can be found in L. P. Hartley's dystopian novel Facial Justice from the previous year of 1960.
ellauri132.html on line 438: Google AdSense is a program run by Google through which website publishers in the Google Network of content sites serve text, images, video, or interactive media advertisements that are targeted to the site content and audience. These advertisements are administered, sorted, and maintained by Google. They can generate revenue on either a per-click or per-impression basis. Google beta-tested a cost-per-action service, but discontinued it in October 2008 in favor of a DoubleClick offering (also owned by Google). In Q1 2014, Google earned US$3.4 billion ($13.6 billion annualized), or 22% of total revenue, through Google AdSense. AdSense is a participant in the AdChoices program, so AdSense ads typically include the triangle-shaped AdChoices icon. This program also operates on HTTP cookies. In 2021, over 38.3 million websites use AdSense.
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Dreams. You know how bored you get when your friends tell you about their dreams? Now imagine a stranger is doing it. This person has a baseball player's brain. Most likely wearing a baseball player's cap with a hair tuft sticking out in the back.

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Interesting fact: the average reader will give up on a boring book by page seventeen. If you’ve wasted any of your precious first pages on boring stuff, you’re likely to join the Page Seventeen club too. TLDR, huh? Your kind better buy Marvel comic magazines. They got a lot of pics to help with the ALL CAPS text in the bubbles, and not much more pages than those 17.

ellauri133.html on line 217: Siis tää Nipsun ja Wallun kaliiperin nide on myynyt aivan helvetisti kaikkialla ja niillä rahoilla on sanoinkuvaamattoman ruman näköinen pieninenänreikäinen Teppo ostanut perheelleen täyspitkän sisäuima-altaan. Tää nide on omistettu sen herkkuperse lapsille, tälläsellä motolla et "lapset! Teiltä opin olla vapaa! Muistakaa et magiaa on oikeesti olemassa, ja PAHAA!" Niin ja rahaa. Eipä paha!
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ellauri135.html on line 210: After the Crimean War ended, Nikolai Vasilyevich went to the Caucasus where he witnessed the capture and arrest of Imam Shamil. He then traveled to Italy as a correspondent of The Russian Messenger to report on the progress of Giuseppe Garibaldi's army. He spent 1860-1862 traveling through Syria, Palestine, and Egypt. As the January Uprising in Poland began Nikolai Vasilyevich went to Warsaw as a correspondent for the Saint Petersburg magazine Vedomosti and stayed there for the rest of his life, teaching Russian language and literature at Warsaw University beginning in 1868, then editing the newspaper The Warsaw Diary (Varshavsky Dnevnik) from 1874 to 1877.
ellauri135.html on line 212: Participated in the Crimean war of 1853-1856. As the correspondent of magazine "Russian Herald", was with Garibaldi. During the Polish uprising of 1861-1863 years he was in Poland, the correspondent of the newspaper "St. Petersburg Vedomosti".. Graf F. F. Berg asked him to gather material for the history of the Polish uprising.
ellauri135.html on line 233: In the last decade of his life he published his work in the "Russian antiquities" and the "Historical journal". Of the things placed in the first magazine, the most curious is the biographical sketch of "Graf F. F. Berg (1881, vol. XXXI).
ellauri135.html on line 400: Somnambula is an evil witch whose powers are stronger when she is younger. She has an canary named Kyrie whom she holds prisoner. She makes Kyrie sing to attract the ponies in a trance. As soon as Somnambula was younger she creates a magical circus and leads the ponies to it. She takes away the youth of the Earth and pegasus ponies to make her younger and the youth of the unicorn ponies to make her powers stronger and stores them in a crystal.
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ellauri140.html on line 78: Archipelago M-, an evil sorcerer who is sent to stop the knights in the service of the Faerie Queene. Of the knights, Archimago hates Redcrosse most of all, hence he is symbolically the nemesis of England.
ellauri140.html on line 88: Brit-o-mart F+, a female knight, the embodiment and champion of Chastity. She is young and beautiful, and falls in love with Artefact upon first seeing his face in her father's magic mirror. Though there is no interaction between them, she travels to find him again, dressed as a knight and accompanied by her nurse, Glauce. Britomart carries an enchanted spear that allows her to defeat every knight she encounters, until she loses to a knight who turns out to be her beloved Artefact. (Parallel figure in Ariosto: Bradamante.) Britomart is one of the most important knights in the story. She searches the world, including a pilgrimage to the shrine of Isis, and a visit with Merlin the magician. She rescues Artefact, and several other knights, from the evil slave-mistress Radigund. Furthermore, Britomart accepts Amoret at a tournament, refusing the false Florimell.
ellauri140.html on line 115: Tsiou M+, the Knight of Temperature, the hero of Book II. He is the leader of the Knights of Maidenhead and carries the image of Gloriana on his shield. According to the Golden Legend, St. George´s name shares etymology with Guyon, which specifically means "the holy wrestler".
ellauri140.html on line 159: Tollasta kylmää muuria oli Perun inkoilla, ja Herodexen temppeli Saramagolla. Monoliittiä on myös Stonehengessä. Menoliiniä söi Max pienenä. Seija lähetti aluxi pääsiäissaaren pazas emojeja luullen niitä hepoixi. Enää se ei tee erehdyxiä, se on taitavampi somettaja kuin mä.
ellauri140.html on line 166: Pride (F) – Lucifera, whose name derives from Lucifer, is ruler of the six counselors in he Faerie Queene. She represents pride because she takes pride in her name, which can be seen as paying homage to Satan. Ylpeä pelaa vastapuolen tiimissä.
ellauri140.html on line 800: Hither (quoth he) me Archimago sent, Tänne mut lähetti hra Arkipelago,
ellauri140.html on line 1052: But subtill Archimago, when his guests Sofistikoitu suurmufti, kun vieraansa
ellauri141.html on line 103: mage/1777765/a29d2cb6-4944-45c8-bd93-01cb5072172b/280x420" height="200px" />
ellauri141.html on line 237: Thracio bacchante magis sub inter- Traakit kun juhlivat uudella kuulla
ellauri141.html on line 246: gaudeat pulla magis atque myrto, Enempi meikää ja vireä myrtti,
ellauri141.html on line 262: esto beata, funus atque imagines May you be blessed with wealth! May effigies
ellauri141.html on line 333: ne foret aequalis inter conviva, magis quem you, making you the best-dressed of your drinking buddies,
ellauri141.html on line 369: Art Beck is a San Francisco poet and translator who has published three books of original poetry — most recently Summer With All Its Clothes Off (Gravida, 2005). (magazine.com/34/beck-horace.shtml">http://jacketmagazine.com/34/beck-horace.shtml)
ellauri141.html on line 533: The spoof book of late Horace (it refers to contemporary politicians such as Lloyd George, gas masks, land girls, daylight saving, spiritualism, canteens and so on) which came out in 1920, was inspired by a long tradition in English literature and by Kipling’s early imitation odes and Charles Graves’s Hawarden Horace (1894) and More Hawarden Horace (1896, with a delightful introduction by T. E. Page), where felicitous modernising English versions of the Odes (and an Epode) are put in the mouth of Gladstone (251) . A[lfred] D[enis] Godley, for one, had often imagined Greek and Roman authors as still alive and commenting on nineteenth- and twentieth-century Oxford and England. (252) Kipling delighted in humorous verse. In 1917 he had enjoyed Maurice Baring’s Translations (found in a commonplace book) (253) .
ellauri141.html on line 671: Käsitykseni Huntuvuoren Turku-kuvan merkityksestä ja siten kiinnostavuudesta perustuu historioitsija Derek Fewsterin unohdetussa väitöskirjassaan esittämiin tulkintoihin siitä, kuinka historian käyttö kansallisen identiteetin muodostuksessa 1900-luvun alun Suomessa nojasi vahvasti arkipäiväiseen toistoon ja ’’alemman tason mielikuvanluojien” (lesser image-makers) kuten toimittajien, opettajien, kuvittajien ja nuortenkirjailijoiden työhön. Tämä ruohonjuuritason työ vaikutti
ellauri141.html on line 676: Jos Huntuvuoren merkitystä arvioi Fewsterin lesser image-maker -käsitteen kautta, kertoo suosio opettajaseminaarilaisten parissa tuntuvasta vaikutuksesta tai ainakin vaikutuksen mahdollisuudesta. Professori Gunnar Suolahti piti romaanin
ellauri141.html on line 755: Alexis Leger (pronounced [ləʒe]; 31 May 1887 – 20 September 1975), better known by his pseudonym Saint-John Perse (French: [pɛʁs]; also Saint-Leger Leger),[1] was a French poet-diplomat, awarded the Nobel Prize in Literature in 1960 "for the soaring flight and evocative imagery of his poetry." He was a major French diplomat from 1914 to 1940, after which he lived primarily in the United States until 1967.
ellauri141.html on line 761: In 1904, he met the poet Francis Jammes at Orthez, who became a close friend. He frequented cultural clubs, and met Paul Claudel, Odilon Redon, Valery Larbaud and André Gide. Paha merkki, todellakin! He wrote short poems inspired by the story of Robinson Crusoe (Images à Crusoe) and undertook a translation of Pindar. He published his first book of poetry, Éloges, in 1911.
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ellauri142.html on line 91: Prize motivation: "in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author." As a poet, short story writer, journalist and novelist, Rudyard Kipling described the British colonial empire in positive terms, which made his poetry popular in the British Army. Contemporary Great Britain appreciated him for his depictions of the British colony of India. The Jungle Book (1894) has made him known and loved by children throughout the world, especially thanks to Disney’s 1967 film adaptation.
ellauri142.html on line 170: The secret Freemason handshakes are not so secret anymore. You can google them and see a fascinating little list with images, noting their respective nuances.
ellauri142.html on line 184: Today, you can join the Freemasons for between $150 and $500 in annual dues. You won’t be involved in too many secret missions or controversies, though. You’ll mostly network with small business owners and help a charity or two. If you’re really into it, you’ll climb the magic ladder and achieve its highest title of Master Mason. At that point, you are eligible to become a Shriner.
ellauri142.html on line 563: ruokaa. (Ei sitä ambrosiaa, se on kreikkalaisten pahaa pöperöä.) Sihijuomaa juodaan silloin kun sielu on jättänyt kaiken maallisen, siis muistonkin siitä. ”Nälkäisen himo tulee jumalan sanassa lihaksi, taivaalliseksi, yliluonnolliseksi lihaksi ja tämä liha on todellinen jumalan uhri, jossa jumala ottaa asuntonsa, mutta ei eläimellisessä, kuolevaisessa ihmisessä.” (J. Böhme, Myst. magn.27, 44.) Paizi lihaa ei pie syödä, se on syntiä. Aijoo sehän oli vaan jainilaisten humpuukia, ammennä vaan se kotletti, ota vielä tästä lampaanlapapalapataa, ja sihijuomaa palan painikkeexi.
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ellauri142.html on line 1022: Lévi vieraili 1854 Englannissa, jossa hän tapasi kirjailija Edward Bulwer-Lyttonin, joka oli kiinnostunut ruusuristiläisyydestä ja oli pienen ruusuristiläisloosin johtaja. Bulwer-Lyttonilta Lévi sai vinkin kirjoittaa kirjan magian harrastamisesta. Kirja julkaistiin 1855 nimellä Dogme et Rituel de la Haute Magie, ja käännettiin englanniksi nimellä Transcendental Magic, its Doctrine and Ritual. Sen kuuluisat aloitussanat esittävät okkultismiin yhden olennaisen teeman, ja antavat hieman makua tulevasta:
ellauri142.html on line 1045: Smail wrote several books on the subject of psychotherapy, emphasizing the extent to which society is often responsible for personal distress. Critical of the claims made by psychotherapy, he suggests that it only works to the extent that the therapist becomes a friend of the patient, providing encouragement and support. Much distress, he says, results from current conflicts, not past ones, and in any case, damage done probably cannot be undone, though we may learn to live with it. He doubts whether 'catharsis', the process whereby it is supposed that understanding past events makes them less painful, really works. The assumption that depression, or any other form of mental distress, is caused by something within the person that can be fixed, is he argued, without foundation. He could thus be regarded as part of the 'anti-psychiatry' movement, along with R.D. Laing and Thomas Szasz, but where Laing emphasised family nexus as making psychosis understandable, Smail emphasises 'Interest' and power in relation to more everyday distress. These are integral to Western society, and, he suggests, considered out of bounds by most psychotherapists, who are themselves both constrained and complicit in protecting their own interests.
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ellauri144.html on line 482: Let Us Now Praise Famous Men is a book with text by American writer James Agee and photographs by American photographer Walker Evans, first published in 1941 in the American United States. The work documents the lives of impoverished tenant farmers during the Great Depression. Although it is in keeping with Evans´s work with the Farm Security Administration, the project was initiated not by the FSA, but by Fortune magazine. The title derives from a passage in the Wisdom of Sirach (44:1) that begins, "Let us now praise famous men, and our fathers that begat us".
ellauri144.html on line 671: 2359 Homosexual persons are called to chastity. By the virtues of self-mastery that teach them inner freedom, at times by the support of disinterested friendship, by prayer and sacramental grace, they can and should gradually and resolutely approach Christian perfection. The rest of us can fuck to our hearts´ content as soon as the priest has said the magic word.
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ellauri145.html on line 246: Le 15 juillet 1848 paraît, dans La Liberté de penser, un texte d´Edgar Allan Poe traduit par Baudelaire : Révélation magnétique. À partir de cette période, Baudelaire ne cessera de proclamer son admiration pour l´écrivain américain, dont il deviendra le traducteur attitré. La connaissance des œuvres de Poe et de Joseph de Maistre atténue définitivement sa « fièvre révolutionnaire ». Plus tard, il partagera la haine de Gustave Flaubert et de Victor Hugo pour Napoléon III, mais sans s´engager outre mesure d´un point de vue littéraire (« L´Émeute, tempêtant vainement à ma vitre / Ne fera pas lever mon front de mon pupitre »).
ellauri145.html on line 425: Car l´indifférence est le seul hommage Sillä välinpitämättömyys on ainut kunnia
ellauri145.html on line 522: We have to bestow blame on one particular Nazi named Martin Heidegger. Martin Heidegger’s magnum opus Being and Time was in large part an attempt to create a systematic understanding of metaphysics and human condition building from Nietzsche’s work. Heidegger became the Nazi rector for the entire German university system, which gave the Nazi party a huge bolster of academic legitimacy, and he promoted the Nazi party and their agenda from his classroom, often sporting the Brown Shirt. When the Nazi’s really began to take power, Hitler kicked out Heidegger as University Rector.
ellauri145.html on line 533: Nietzsche is popular among teenagers for the same reason that Stephen Hawking is well-known among people who aren’t scientists: image.
ellauri145.html on line 535: Intellectuals very often have an image the same way rock stars and movie directors do. There’s the real person, and there’s the body of work they create, and then there’s the image, the popular conception of that person. Most people don’t understand theoretical physics and are not interested in learning the math to do so, and most people probably wouldn’t understand anything in the papers that Hawking has authored or co-authored. But most of us know who Hawking was, not only because he wrote popular books but because he was paralyzed and sat in a wheelchair and had a robot voice. The idea of a theoretical physicist who does all his work with his brain even though his body is destroyed and speaks through a machine is almost like a comic book character, and the popular imagination loves that.
ellauri145.html on line 537: Nietzsche’s image, through no more fault of his own than Hawking´s (LOL), has grown in a similar way to that of Hawking. We all have a vague notion of what the Ubermensch is, we’ve all heard “God is dead,” and we all know Nietzsche was a crazy philosopher with a giant mustache who wrote really hard books and scared his contemporaries and was apparently a favorite of the Nazis. There are little quips and quotes from him around the internet that sound awfully cryptic and enigmatic. And the publishing industry plays on this image, too: I have a copy of Beyond Good And Evil with a black cover and the title text printed in red and white, and the color scheme looks a little sinister. I strongly suspect that, if Nietzsche did not have a popular image as a crazy nihilist Nazi Ubermensch from the 1800s, the publisher would not have made the decision to print his books with a black and red color scheme. A cursory look at Amazon’s book listing also shows copies of Thus Spake Zarathustra with a picture of a panther’s eyes on the cover, glowering at the reader. Because… “Nietzsche was that crazy German writer or philosopher or whatever, right? And he was, like, an anarchist or nihilist or Nazi or something, right? Didn’t he kill God or something like that? Yeah.”
ellauri145.html on line 541: Now, this is perhaps not quite fair to all the teenagers who read Nietzsche. Some of them may actually understand him, at least partially, including the long-haired leather jacket-wearing ones. And there really is a little blood and thunder in Nietzsche’s philosophy, a little punk rock. Regardless, the popular image is probably a bigger driver for book sales of Nietzsche’s work than anything he actually said or any point he actually made.
ellauri146.html on line 75: RATTENGIFT (sitzt an einem Tische und will dichten). Ach, die Gedanken! Reime sind da, aber die Gedanken, die Gedanken! Da sitze ich, trinke Kaffee, kaue Federn, schreibe hin, streiche aus, und kann keinen Gedanken finden, keinen Gedanken! – Ha, wie ergreife ichs nun? Halt, halt! was geht mir da für eine Idee auf? – Herrlich! göttlich! eben über den Gedanken, daß ich keinen Gedanken finden kann, will ich ein Sonett machen, und wahrhaftig dieser Gedanke über die Gedankenlosigkeit, ist der genialste Gedanke, der mir nur einfallen konnte! Ich mache gleichsam eben darüber, daß ich nicht zu dichten vermag, ein Gedicht! Wie pikant! wie originell! (Er läuft schnell vor den Spiegel.) Auf Ehre, ich sehe doch recht genial aus! (Er setzt sich an einen Tisch.) Nun will ich anfangen! (Er schreibt.)
ellauri146.html on line 150: RATTENGIFT. Der Teufel mag – (sich korrigierend, mit einer Verbeugung) Der Herr Teufel mögen mich holen, wenn mir nicht vor Staunen und Verwunderung der Atem stehenbleibt! Doch, reden Sie fort! Was machen die Dichter selber? Schiller, Shakspeare, Calderon, Dante, Ariost, Horaz, was tun, was treiben sie?
ellauri146.html on line 692: The Imaginative Conservative is sponsored by The Free Enterprise Institute (a U.S. 501(c)3 tax exempt organization).
ellauri146.html on line 801: It seems to me that however delicate and profound the relations Wardi draws, the cost is too high. Contrary to the "echo interpretation" Wardi suggests, I would argue for the poet's acknowledgment of the arrow of time, which leaves both childhood (even if it was not exhausted when he was a child), and the imaginative reunion with it now at 30, lost and unreachable.
ellauri147.html on line 259: A reviewer at Sens Critique wrote: "Emily in Paris projects the same twee, unrealistic image of Paris as the film Amélie". RTL.fr wrote: “Rarely had we seen so many clichés on the French capital since the Parisian episodes of Gossip Girl or the end of The Devil Wears Prada.”
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ellauri147.html on line 551: Instagram on vielä etevämpi selänraaputin kuin Fasebook. Ole oman meediasi julkimo, ota mallia Gretasta ja Kardashianeista. Kerää soiraajia sylikoirista kuin Wolfram Roth. Et tarvii ystäviä kun sulla on jo yleisö. Mitä kavereista, paljon mageempi on kazomo. Ota selfieitä varrella tai ilman, selviit ilman Dorian Grayn ja Narkissoxen peiliä. Ole ize oman elämäsi influensseri. Näytät yhtä ihanalta omassa ankkalammikossasi kuin sammakkosuinen Emily in Paris.
ellauri147.html on line 582: Auch nicht die verfallstheoretischen Diagnosen, die daran den Verlust von Scham, die Auflösung des Überich oder gar das Verschwinden des Subjekts meinen ablesen zu können. Dem notorischen Verachtungsdiskurs mag ich mich schon deshalb nicht anschließen, weil er von Autoren geführt wird, die sich selbst gerne im Rampenlicht der Öffentlichkeit sehen und um Aufmerksamkeit ringen, also partizipieren am medialen Spiel um Bedeutung, das sie zugleich so angewidert diagnostizieren. In der öffentlichen Anerkennung, nicht im stillen Kämmerlein, erweist sich geradezu ihre Identität als Intellektuelle – auch sie wollen schließlich gesehen, gehört, beachtet und schließlich anerkannt werden. Dazu müssen sie einen Markt finden, der ihre Produkte abnimmt, und am medialen Wettbewerb teilnehmen, ob sie das wollen oder nicht.-->
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ellauri147.html on line 688: Narsismi sijaitsee välituotteessa, joka yhdistää itsensä toiseen. Narsismissa koemme itsemme ympäristömme väliaineessa. Narsismissa esiintyvä erikoinen itsesuhde on intersubjektiivisesti "saastunut". Muut ovat peili, jossa saamme refleksiivisesti itsekuvamme ja säätelemme itsetuntoamme, niitä pidetään tiedostamattomana näkymänä kaiun tai peilivaikutuksen odotuksessa. Se on sivuttain katsova maailmankuva, jossa on hiljainen kysymys siitä, mitä imagoa maailma meistä tekee. Narsismissa katsomme salaa toista, kun hän katsoo meitä ja reagoi siihen, mitä näemme, epäilemme tai fantasioimme.
ellauri147.html on line 859: In 2005, as an example of using image morphing methods to study the effects of averageness, imaging researcher Pierre Tourigny created a composite of about 30
ellauri147.html on line 860: faces to find out the current standard of good looks on the Internet. On the Hot or Not web site, people rate others' attractiveness on a scale of 1 to 10. An average score based on hundreds or even thousands of individual ratings takes only a few days to emerge. To make this hot or not palette of morphed images, photos from the site were sorted by rank and used SquirlzMorph to create multi-morph composites from them. Unlike projects like Face of Tomorrow, where the subjects are posed for the purpose, the portraits are blurry because the source images are of low resolution with differences in variables such as posture, hair styles and glasses, so that in this instance images could use only 36 control points for the morphs. A similar study was done with Miss Universe contestants, as shown in the averageness article, as well as one for age, as shown in the youthfulness article.
ellauri147.html on line 862: In physical attractiveness studies, averageness describes the physical beauty that results from averaging the facial features of people of the same gender and approximately the same age. The majority of averageness studies have focused on photographic overlay studies of human faces, in which images are morphed together. The term "average" is used strictly to denote the technical definition of the mathematical mean. An averaged face is not unremarkable, but is, in fact, quite good looking. Nor is it typical in the sense of common or frequently occurring in the population, though it appears familiar, and is typical in the sense that it is a good example of a face that is representative of the category of faces.
ellauri147.html on line 866: The effect was first described in 1878 by Francis Galton. He had devised a technique called composite photography, which he believed could be used to identify 'types' by appearance, which he hoped would aid medical diagnosis, and even criminology through the identification of typical criminal faces. Galton's hypothesis was that certain groups of people may have common facial characteristics. To test the hypothesis, he created photographic composite images of the faces of vegetarians and criminals to see if there was a typical facial appearance for each. Galton overlaid multiple images of faces onto a single photographic plate so that each individual face contributed roughly equally to a final composite face. The resultant "averaged" faces did little to allow the a priori identification of either criminals or vegetarians, failing Galton's hypothesis. However, unexpectedly Galton observed that the composite image was more attractive than the component faces. Galton published this finding in 1878, and also described his composite photography technique in detail in Inquiries in Human Faculty and its Development. He subsequently sold the invention to an early erotic photography firm.
ellauri147.html on line 870: A 2006 "hot" or "not" style study, involving 264 women and 18 men, at the Washington University School of Medicine, as published online in the journal Brain Research, indicates that a person´s brain determines whether an image is erotically appealing long before the viewer is even aware they are seeing the picture. Moreover, according to these researchers, one of the basic functions of the brain is to classify images into a hot or not type categorization. The study´s researchers also discovered that sexy shots induce a uniquely powerful reaction in the brain, equal in effect for both men and women, and that erotic images produced a strong reaction in the hypothalamus.
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ellauri150.html on line 382: Jyrki Lehtola (s. 29. lokakuuta 1963 Tampere) on suomalainen kolumnisti, joka tunnetaan ajankohtaisilmiöitä ja julkisuuden henkilöitä käsittelevistä kolumneistaan. Hän on kirjoittanut kolumneja muun muassa Aamulehteen, Iltalehteen, Ilta-Sanomiin, Imageen, Long Play -lehteen ja Tietoviikkoon. Hän on Suomen ilkeimmäksi luonnehdittu kolumnisti.
ellauri150.html on line 434: Cyrano de Bergerac oli todennäköisesti homo, vaikka Rostand ei sitä tiennyt, tai ei kertonut. Pitkäköhän nenä sillä oli jäykkänä? Le fait que le personnage historique, Savinien de Cyrano de Bergerac, aurait été homosexuel, et les rapports ambigus qu'entretiennent les trois personnages, permettent d'imaginer que le personnage de Cyrano éprouve des sentiments amoureux pour Christian. Jérôme Savary évoque cette éventualité parmi d'autres. Jean-François Gautier signale que l'on trouve de tout dans les interprétations dont celle de la psychanalyse de l'homosexualité. Cette question est aussi soulevée par Patrick Besnier. Ce sont tous pédé.
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ellauri150.html on line 482: Over the 57 years that have followed, a few things have contributed to granting the film untouchable status, the foremost being the fact that it won 11 Academy Awards, still the most Oscars any film has ever won. (That total was later matched by Titanic and Lord of the Rings: The Return of the King.) But while the Oscars, the prestige, and the fact that the plot of the film deals directly (if obliquely) with the life and death of Jesus Christ, all contribute to a certain image of Ben-Hur, there have always been alternate views of the film. One of the most famous came from the mouth of one of its own screenwriters.
ellauri150.html on line 693: The Pope reminds us that the Church teaches that we all have "freedom of choice" (free will); that our lives are not pre-determined. So in a real sense we have the power to choose our destinies - to choose between right and wrong. And this is because we are made in the image of God and as such we are able to determine "what is true and good".
ellauri150.html on line 705: And now comes a bit of papal humor, "Were this the case, it would follow that to become free we must be deprived of reason." Pretty funny, huh? Ok, I see you're not laughing, but instead are scratching your head. Alright, let me paint a picture for you. Imagine a 60s hippy high on LSD, dancing wildly, and shouting out, "I'm free! I'm free!" Yes, this is one of the messages that is often repeated like a mantra in today's society, "If you want to free yourself, you have to stop thinking and just let yourself go." In 1888, Pope Leo XIII rejected this notion and even ridiculed it.
ellauri150.html on line 730: The Church sets a very high bar when it comes to morality. You would need to be a saint to be fully faithful, and even then many saints were sinners before they got sainted. By the way, I wrote a piece on Mary Magdalene imagining what her life might have been like, but I decided not to post it because I thought it might be heretical.
ellauri150.html on line 746: I have been thinking that the lives of the saints would be great material for Hollywood. We have the technology now to make supernatural events come to life in a realistic way on the movie screen. I was thinking of St. Bernadette who saw Our Lady at Lourdes. She always complained that the paintings and statues of Our Lady never portrayed her full beauty. But imagine if she had been able to describe her vision to a modern movie director working in 3D Imax format. The image could actually be made to float in space in front of the viewer and emanate a holy glow. A little like princess Leia in the hologram (though I thought the hologram was rather too small.) If the viewer tried to touch this image, his hand would pass through it. (I've experienced this with images in Imax movies. I'm thinking specifically of the floating seeds/"jelly fish" in Avatar.)
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ellauri151.html on line 125: It is impermissible under any circumstances for morals to sink as low as communism has done. No one can begin to imagine the tragedy of humanity, of morality, of religion and of freedoms in the land of communism, where man has been debased beyond belief.
ellauri151.html on line 137: Wilde took a key out of his pocket and showed me into a tiny apartment of two rooms… The youths followed him, each of them wrapped in a burnous that hid his face. Then the guide left us and Wilde sent me into the further room with little Mohammed and shut himself up in the other with the [other boy]. Every time since then that I have sought after pleasure, it is the memory of that night I have pursued. […] My joy was unbounded, and I cannot imagine it greater, even if love had been added. How should there have been any question of love? How should I have allowed desire to dispose of my heart? No scruple clouded my pleasure and no remorse followed it. But what name then am I to give the rapture I felt as I clasped in my naked arms that perfect little body, so wild, so ardent, so sombrely lascivious? For a long time after Mohammed had left me, I remained in a state of passionate jubilation, and though I had already achieved pleasure five times with him, I renewed my ecstasy again and again, and when I got back to my room in the hotel, I prolonged its echoes by hand until morning. What´s love got to do with it?
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ellauri151.html on line 266: The finest virtues can become deformed with age. The precise mind becomes finicky; the thrifty man, miserly; the cautious man, timorous; the man of imagination, fanciful. Even perseverance ends up in a sort of stupidity. Moi, je sais.
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ellauri151.html on line 451: Let us assume that we invited an unknown person to a game of cards. If this person answered us, “I don’t play,” we would either interpret this to mean that he did not understand the game, or that he had an aversion to it which arose from economic, ethical, or other reasons. Let us imagine, however, that an honorable man, who was known to possess every possible skill in the game, and who was well versed in its rules and its forbidden tricks, but who could like a game and participate in it only when it was an innocent pastime, were invited into a company of clever swindlers, who were known as good players and to whom he was equal on both scores, to join them in a game. If he said, “I do not play,” we would have to join him in looking the people with whom he was talking straight in the face, and would be able to supplement his words as follows: “I don’t play, that is, with people such as you, who break the rules of the game, and rob it of its pleasure. If you offer to play a game, our mutual agreement, then, is that we recognize the capriciousness of chance as our master; and you call the science of your nimble fingers chance, and I must accept it as such, it I will, or run the risk of insulting you or choose the shame of imitating you.” … The opinion of Socrates can be summarized in these blunt words, when he said to the Sophists, the leaned men of his time, “I know nothing.” Help! TLDR!
ellauri151.html on line 679: Munz (2000) discusses Wittgenstein’s reply to Frazer at length. Frazer argues that magic is based on loose associations that lead to erroneous views on causation. According to Munz, Wittgenstein holds that the distinction between beliefs and practices cannot be made, as language is at its core mythological.
ellauri152.html on line 344: Alexis kivexineen tulee nähtävästi kuvaan vasta Virgilillä, josta Voltaire ei perustanut. En minäkään. Se lie käynyt selväxi. Jungin asteikolla Virgil on INFP, eli Idiosyncratic dreamer with strong imagination. Androidi digas Virgiliä, varmaan just tää sämple on se 1 paikka joka sitä innosti.
ellauri152.html on line 373: iudice te metuam, si numquam fallit imago. vaixä tuomaroisit, ellei imageni yhtään petä.
ellauri152.html on line 379: instituit; Pan curat ovis oviumque magistros. Pan panee junaan määkijät ja niiden omaishoitajat.
ellauri152.html on line 551: In Rabbinic tradition, Haman is considered to be an archetype of evil and persecutor of the Jews. Having attempted to exterminate the Jews of Persia, and rendering himself thereby their worst enemy, Haman naturally became the center of many Talmudic legends. Being at one time extremely poor, he sold himself as a slave to Mordecai. He was a barber at Kefar Karzum for the space of twenty-two years. Haman had an idolatrous image of Esther's arse embroidered on his garments, so that those who bowed to him at command of the king bowed also to the image.
ellauri152.html on line 574: Ce mythe, qui paraît fort ancien et dont certains érudits vont chercher l'origine jusque dans l'Inde bouddhique, se précise à partir du xiiie siècle dans l'Historia major du bénédictin anglais Matthieu Pâris. sous diverses formes. C'est dans les pays de langue allemande que la figure d'Ahasvérus connaît la plus grande faveur, à la suite d'une version de la légende due à Chrysostomus Dudulaeus qui présente l'aventure du « Juif éternel » (1602) comme un récit quasiment autobiographique. La traduction française de ce livre imposera l'expression « Juif errant » (1609). Dès lors, la légende se répand par l'imagerie populaire et les estampes, les complaintes, dont la plus célèbre est celle d'Isaac Laquedem. Le Juif errant, qui personnifie le destin du peuple juif depuis le christianisme, a inspiré de nombreux écrivains : Wordsworth, Goethe, Eugène Sue, Apollinaire. Cette figure légendaire n'a cessé d'alimenter, à l'encontre des Juifs, une dangereuse satire sociale. Elle est, pour une part, responsable de la genèse de l'agitation antisémite des temps modernes. Pour en savoir plus, voir l'article antisémitisme.
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ellauri155.html on line 187: Rahvas, laahus, rupusakki, rotinkaiset, hoi polloi, paariat, vastaantulijat, kumikaulat, penkkiurheilijat, tavixet, doldixet, sohvaperunat, kotikazomo, suuri yleisö, the great unwashed, followers, kouluttamattomat, persut, maahanmuuttajat, Nakke Nakuttajat, värivammaiset, liberté egalité fraternité, demokratia, demagogia, kommunismi, Jante-laki, progressiivinen verotus, kosto, kateus.
ellauri155.html on line 679:

Rom. 8:29

“For whom He foreknew, He also predestined to become conformed to the image of His Son, that He might be the firstborn among many brethren;

ellauri156.html on line 74: Before we begin to look carefully at verses 1-4 of chapter 11, allow me to make a couple of comments about this event as portrayed in these two chapters of 2 Samuel. First, I want you to notice the “law of proportion” in this text. Only three verses describe David's sin of adultery with Bathsheba. Second, the author pulls no punches in describing the wickedness of this sin. History is not written in a way that makes David look good. Third, the sin of David and Bathsheba is dealt with historically, but not in a Hollywood fashion. Hollywood filmmakers would perform a remake of this account to dwell on the sensual elements. Nothing in this text is intended to inspire unclean thoughts or actions. Indeed, this story is written in a way that causes us to shudder at the thought of such things. I know it is something of a letdown, but at least myself, I was totally capable of imagining the rest. (I got 5 streetwalking girls and a wife, for God's sake.) If you need help with unclean thoughts here, please consult Gonorrhé Ballsack's Comtes Droolatiques.
ellauri156.html on line 143: In Mojo magazine in October 2008, McCartney acknowledged that the style of the song is a pastiche, saying: "I was basically spoofing the folksinger." Lennon attributed the song to McCartney, saying: "Couldn't you guess? Would I have gone to all that trouble about Gideon's Bible and all that stuff?"
ellauri156.html on line 305: It is very clear in Samuel that the tragedies which take place in David's household are the consequence of his sin, just as Nathan indicates (12:10-12). Thus, when Amnon rapes Tamar, the sister of Absalom, it is a case of the “chickens coming home to roost.” Or is it a case of "Rooster coming into the chicks?" Note that it is at David's command or summons that Tamar is called to the palace, and then to Amnon's bedside. There is not so much as a hint that when Tamar is raped, it is all of Amnon's doing. Should this not strongly indicate that the same is true in Bathsheba's case, of which this second incident is a kind of mirror image? (Fucking crooky noses, raping and ravaging their kinky haired ladies right and left.)
ellauri156.html on line 388: The story of David and Uriah reminds me of the story of the “Sorcerer's Apprentice.” It has been awhile, but as I remember the plot (probably the Walt Disney version), the sorcerer goes away, leaving his apprentice behind to do his chores. The apprentice gets the bright idea that the work would be a whole lot easier if he used his master's magical arts so he could sit back and watch other powers at work. The problem was that he didn't know how to stop what he started, and so more and more helpers came on the scene as the apprentice tried to reverse the process. The worst was when Mickey tried to cleave the broom with an axe, and got instead a million of smaller brooms.
ellauri156.html on line 447: The musical score was by Alfred Newman (the funny looking kid on the cover of Mad magazine), who, for the bucolic scene with the shepherd boy, used a solo oboe in the Lydian mode, drawing on long established conventions linking the solo oboe with pastoral scenes and the shepherd's pipe. To underscore David's guilt-ridden turmoil in the Mount Gilboa scene, Newman resorted to a vibraphone, which Miklós Rózsa used in scoring Peck's popular 1945 Spellbound, in which he played a no less disturbed patient suffering from amnesia, viz. prophet Nathan Zuckerman.
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.
ellauri156.html on line 457: One notable TV airing of the movie was on the American network NBC during The NBC Monday Movie on September 7, 1964 (which was Labor day that year). During one of the commercial breaks was the one and only official airing of the Daisy political advertisement by the Lyndon B. Johnson presidential campaign in the run-up to the 1964 United States presidential election. The commercial aired at 9:50 p.m. EST. It was a family film though most children living in the EST time-zone were gone to bed by then, leaving the children's parents to watch the commercial. The commercial stars a little girl (played by Monique Luiz) who is shown counting petals of a daisy which was then followed by an ominous male voice counting down to zero. During the countdown, the screen zoomed up the girl's eye in such a way whereby the parents would imagine their children there instead of the girl. The next scene was a nuclear explosion with the voice of Johnson asking for peace.
ellauri156.html on line 459: The commercial ended with a message for viewers to vote for Johnson in the election. The commercial implied that if Johnson's opponent, Barry Goldwater won the election, Goldwater would recklessly start a nuclear war that would kill the girl (and by extension, the viewer's own children) although Goldwater's name was not mentioned, his voice in not heard and his image was not shown during any point of the commercial. This commercial and its airing was a major factor in Johnson's landslide victory over Goldwater, with Johnson receiving 486 electoral votes to Goldwater's 52.
ellauri156.html on line 509: It must be an agonizing night for David, seeing that even drunk Uriah is a better man than he. But not a better pecker! And so in the morning, David acts. He writes a letter to Joab, which will serve as Uriah's death warrant. In this letter David clearly orders Joab to murder Uriah for him. He even tells him how to do so in a way that might conceal the truth of the matter. In so doing, David can honor Uriah as a war hero, and magnanimously take on the duty of being a husband to Uriah's wife, also taking care of the child she is soon to bear. Joab is to put Uriah on the front lines of battle, at the fiercest place of battle, no surprise for a man of his military skills and courage. Joab is to attack and then retreat in such a way as to make Uriah an easy target for the Ammonites, thus assuring his death. There is no mistaking David's orders to Uriah: he wants Uriah killed in a way which makes it look like a simple casualty of war. Joab complies completely with David's orders (why? Is Uriah a creep?), and Uriah is eliminated, no longer an obstacle to David's plans. In giving this order to Joab, David makes him a part of this conspiracy, making him share the guilt for the spilled blood of Uriah. David's sin continues to encompass more and more people, leading to greater and greater sin.
ellauri156.html on line 645: When Bathsheba's mourning is complete, David sends for her and brings her to himself as his wife. Wait, was little David born as yet, or did he start fucking her with her belly full? I do not see him bending down on his knees, proposing. I do not see him courting her, sending her roses. I see him “taking” her once again. And again. In fact, this is my favourite part. The question in my mind is, “Why?” Why does David take Bathsheba into his house as one of his wives? I do not think he is any longer trying to “cover up” his sin; it is far too late for that. She must be “showing” her pregnancy by now, and it is hard to imagine how all Israel cannot know what has been going on. It appears that at this point, David is not trying to conceal his sin, but to legitimize it. Whatever David's reasons may be, they are hardly spiritual, and they are most certainly self-serving.
ellauri156.html on line 705: Some of you cannot even imagine what this is like. It is a horrifying thought to you. How could anyone treat an animal that way? I have only one response: Obviously you haven't been to our house lately to be greeted by two cats (who, to the dismay of my wife, can be found around -- and sometimes on -- the table) and four dogs (none of them are ours, technically). I say nothing about my petlamb, even Jennifer doesn't quite approve.
ellauri156.html on line 816: He bore ours sins on the cross! And by trusting in His death, burial, and resurrection, we die to sin (or sin to die, pick your choice, like David from Nathan's deck of bottom cards) and are raised to novelty products of eternal life, in Christ. The Gospel must first bring us to a recognition of the magnitude of our sin, and of our guilt, and then it takes us to the magnitude of God's grace in Jesus Christ, by which our sins can be forgiven. Have you come to see how great your sins are before a holy God? Then I urge you to experience how great a salvation is yours, brought about by this same God, through the death, burial, and resurrection of Lord Jesus Christ. What a Relief! Plop plop fizz fizz, oh what a relief it is.
ellauri158.html on line 57: Jonnekin on Pentiltä hukkunut jako jaollisiin ja jaottomiin asioihin, josta Parmenides paljon paasasi, ja minäkin TMAD-manuskriptissa. On se väähän sääli että se kässäri jäi pöytälaatikkoon, oikeastaan se oli mun tuotantoni opus magnum. Ellei sitten nämä paasauxet kisko edelle!
ellauri158.html on line 505: -------- defin. Cum corpora aliquot eiusdem aut diversae magnitudinis a reliquis ita coercentur, ut invicem incumbant, vel si eodem aut diversis celeritatis gradibus moventur, ut motus suos invicem certa quadam ratione communicent, illa corpora invicem unita dicemus, et omnia simul unum corpus, sive individuum componere, quod a reliquis per hanc corporum unionem distinguitur. [in: P. 2. lem. 4., lem. 7., prop. 24., P. 4. prop. 39.]
ellauri158.html on line 509: -------- axiom. 3. Quo partes individui vel corporis compositi secundum maiores vel minores superficies sibi invicem incumbunt, eo difficilius vel facilius cogi possunt, ut situm suum mutent, et consequenter eo difficilius vel facilius effici potest, ut ipsum individuum aliam figuram induat. Atque hinc corpora, quorum partes secundum magnas superficies invicem incumbunt, dura, quorum autem partes secundum parvas, mollia, et quorum denique partes inter se moventur, fluida vocabo.
ellauri158.html on line 571: -- P. 2. prop. 16. coroll. 2. Sequitur secundo, quod ideae, quas corporum externorum habemus, magis nostri corporis constitutionem, quam corporum externorum naturam indicant. [in: P. 2. prop. 17. schol., P. 3. prop. 14., prop. 18., gener. aff. defin., P. 4. prop. 1. schol., P. 4. prop. 9., P. 5. prop. 34.]
ellauri158.html on line 583: -- P. 2. prop. 17. schol. Mentis imaginationes. [in: P. 2. prop. 26. coroll., prop. 35. schol., prop. 40. schol. 1., prop. 49. schol., P. 3. postul. 2., prop. 11. schol., prop. 12., prop. 27., prop. 51. schol., prop. 56., P. 4. prop. 9., P. 5. prop. 21., prop. 34.]
ellauri158.html on line 587: P. 2. prop. 18. Si corpus humanum a duobus, vel pluribus corporibus simul affectum fuerit semel, ubi mens postea eorum aliquod imaginabitur, statim et aliorum recordabitur. [in: P. 2. prop. 40. schol. 1., prop. 44. schol., P. 3. prop. 11. schol., prop. 14., prop. 52., P. 4. prop. 13., P. 5. prop. 1., prop. 10. schol., prop. 12., prop. 13.]
ellauri158.html on line 631: -- P. 2. prop. 26. coroll. Quatenus mens humana corpus externum imaginatur, eatenus adaequatam eius cognitionem non habet.
ellauri158.html on line 730: -- P. 2. prop. 44. coroll. 1. Hinc sequitur, a sola imaginatione pendere, quod res tam respectu praeteriti, quam futuri, ut contingentes contemplemur.
ellauri158.html on line 765: P. 3. postul. 2. Corpus humanum multas pati potest mutationes, et nihilominus retinere obiectorum impressiones seu vestigia et consequenter easdem rerum imagines.
ellauri158.html on line 783: P. 3. prop. 12. Mens quantum potest, ea imaginari conatur, quae corporis agendi potentiam augent vel iuvant. [in: P. 3. prop. 13., prop. 15. coroll., prop. 19., prop. 25., prop. 28., prop. 33., prop. 42., prop. 52. schol., P. 4. prop. 60.]
ellauri158.html on line 784: P. 3. prop. 13. Cum mens ea imaginatur, quae corporis agendi potentiam minuunt vel coercent, conatur, quantum potest, rerum recordari, quae horum existentiam secludunt. [in: P. 3. prop. 20., prop. 23., prop. 25., prop. 27. coroll. 3., prop. 28., aff. defin. 29.]
ellauri158.html on line 785: -- P. 3. prop. 13. coroll. Hinc sequitur quod mens ea imaginari aversatur, quae ipsius et corporis potentiam minuunt vel coercent. [in: P. 3. prop. 15. coroll., prop. 38.]
ellauri158.html on line 791: P. 3. prop. 16. Ex eo solo, quod rem aliquam aliquid habere imaginamur simile obiecto, quod mentem laetitia vel tristitia afficere solet, quamvis id, in quo res obiecto est similis, non sit horum affectuum efficiens causa, eam tamen amabimus vel odio habebimus. [in: P. 3. prop. 15. schol., prop. 17., prop. 41., prop. 46., P. 4. prop. 34.]
ellauri158.html on line 792: P. 3. prop. 17. Si rem, quae nos tristitiae affectu afficere solet, aliquid habere imaginamur simile alteri, quae nos aeque magno laetitiae affectu solet afficere, eandem odio habebimus et simul amabimus. [in: prop. 17. schol.]
ellauri158.html on line 794: P. 3. prop. 18. Homo ex imagine rei praeteritae aut futurae eodem laetitiae et tristitiae affectu afficitur, ac ex imagine rei praesentis. [in: P. 3. aff. defin. 14., aff. defin. 15., P. 4. prop. 9. schol., prop. 12.]
ellauri158.html on line 797: P. 3. prop. 19. Qui id quod amat destrui imaginatur, contristabitur; si contra autem conservari, laetabitur. [in: P. 3. prop. 21., prop. 36. coroll., prop. 42., aff. defin. 12., aff. defin. 13., P. 5. prop. 19.]
ellauri158.html on line 798: P. 3. prop. 20. Qui id quod odio habet destrui imaginatur, laetabitur. [in: P. 3. prop. 23., prop. 28., aff. defin. 11., aff. defin. 12., aff. defin. 13.]
ellauri158.html on line 799: P. 3. prop. 21. Qui id quod amat laetitia vel tristitia affectum imaginatur, laetitia etiam vel tristitia afficietur; et uterque hic affectus maior aut minor erit in amante, prout uterque maior aut minor est in re amata. [in: P. 3. prop. 22., prop. 22. schol., prop. 25., prop. 26., prop. 27. coroll. 1., prop. 38., prop. 45.]
ellauri158.html on line 800: P. 3. prop. 22. Si aliquem imaginamur laetitia afficere rem, quam amamus, amore erga eum afficiemur. Si contra eundem imaginamur tristitia eandem afficere, contra odio etiam contra ipsum afficiemur. [in: P. 3. prop. 24., prop. 27. coroll. 1.]
ellauri158.html on line 802: P. 3. prop. 23. Qui id quod odio habet tristitia affectum imaginatur, laetabitur; si contra idem laetitia affectum esse imaginetur, contristabitur; et uterque hic affectus maior aut minor erit, prout eius contrarius maior aut minor est in eo, quod odio habet. [in: P. 3. prop. 26., prop. 27., prop. 27. coroll. 2., prop. 35., prop. 38.]
ellauri158.html on line 804: P. 3. prop. 24. Si aliquem imaginamur laetitia afficere rem, quam odio habemus, odio etiam erga eum afficiemur. Si contra eundem imaginamur tristitia eandem rem afficere, amore erga ipsum afficiemur. [in: P. 3. prop. 35. schol.]
ellauri158.html on line 806: P. 3. prop. 25. Id omne de nobis deque re amata affirmare conamur, quod nos vel rem amatam laetitia afficere imaginamur; et contra id omne negare, quod nos vel rem amatam tristitia afficere imaginamur. [in: P. 3. prop. 26., prop. 30. schol., prop. 40. schol., prop. 41. schol., prop. 50. schol., P. 4. prop. 49.]
ellauri158.html on line 808: P. 3. prop. 26. Id omne de re, quam odio habemus, affirmare conamur, quod ipsam tristitia afficere imaginamur, et id contra negare, quod ipsam laetitia afficere imaginamur. [in: prop. 40. coroll. 2., prop. 43.]
ellauri158.html on line 810: P. 3. prop. 27. Ex eo, quod rem nobis similem et quam nullo affectu prosecuti sumus, aliquo affectu affici imaginamur, eo ipso simili affectu afficimur. [in: P. 3. prop. 22. schol., prop. 23. schol., prop. 27. coroll. 1., prop. 27. coroll. 3., prop. 29., prop. 30., prop. 31., prop. 32., prop. 40., prop. 47., prop. 49. schol., prop. 52. schol., prop. 53. coroll., aff. defin. 33., aff. defin. 44., P. 4. prop. 50. schol., prop. 68. schol.]
ellauri158.html on line 812: -- P. 3. prop. 27. coroll. 1. Si aliquem, quem nullo affectu prosecuti sumus, imaginamur laetitia afficere rem nobis similem, amore erga eundem afficiemur. Si contra eundem imaginamur eandem tristitia afficere, odio erga ipsum afficiemur. [in: P. 3. prop. 32., aff. defin. 19., aff. defin. 20.]
ellauri158.html on line 816: P. 3. prop. 28. Id omne, quod ad laetitiam conducere imaginamur, conamur promovere, ut fiat; quod vero eidem repugnare sive ad tristitiam conducere imaginamur, amovere vel destruere conamur. [in: P. 3. prop. 29., prop. 31. coroll., prop. 32., prop. 35., prop. 36., prop. 38., prop. 39., prop. 39. schol., prop. 50. schol., prop. 51. schol., prop. 55. schol., P. 4. prop. 19., prop. 37. schol. 2., P. 5. prop. 19.]
ellauri158.html on line 817: P. 3. prop. 29. Nos id omne etiam agere conabimur, quod homines cum laetitia aspicere imaginamur, et contra id agere aversabimur, quod homines aversari imaginamur. [in: P. 3. prop. 33., prop. 43., etiam in: TP cap. 7. art. 6.]
ellauri158.html on line 819: P. 3. prop. 30. Si quis aliquid egit, quod reliquos laetitia afficere imaginatur, is laetitia concomitante idea sui, tanquam causa, afficietur, sive se ipsum cum laetitia contemplabitur. Si contra aliquid egit, quod reliquos tristitia afficere imaginatur, se ipsum cum tristitia contra contemplabitur. [in: P. 3. prop. 34., prop. 40. schol., prop. 41. schol., prop. 43.]
ellauri158.html on line 821: P. 3. prop. 31. Si aliquem imaginamur amare vel cupere vel odio habere aliquid, quod ipsi amamus, cupimus vel odio habemus, eo ipso rem constantius amabimus etc. Si autem id, quod amamus, eum aversari imaginamur, vel contra, tum animi fluctuationem patiemur. [in: P. 3. prop. 35., aff. defin. 44., P. 4. prop. 34. schol., prop. 37., P. 5. prop. 20.]
ellauri158.html on line 824: P. 3. prop. 32. Si aliquem re aliqua, qua unus solus potiri potest, gaudere imaginamur, conabimur efficere, ne ille illa re potiatur. [in: P. 3. prop. 32. schol., aff. defin. 33., P. 4. prop. 34.]
ellauri158.html on line 827: P. 3. prop. 34. Quo maiore affectu rem amatam erga nos affectam esse imaginamur, eo magis gloriabimur. [in: P. 3. prop. 35., prop. 42., prop. 49. schol.]
ellauri158.html on line 828: P. 3. prop. 35. Si quis imaginatur rem amatam eodem vel arctiore vinculo amicitiae, quo ipse eadem solus potiebatur, alium sibi iungere, odio erga ipsam rem amatam afficietur, et illi alteri invidebit.
ellauri158.html on line 837: P. 3. prop. 40. Qui se odio haberi ab aliquo imaginatur, nec se ullam odii causam illi dedisse credit, eundem odio contra habebit. [in: P. 3. prop. 40. coroll. 1., prop. 40. coroll. 2., prop. 41., prop. 43., prop. 45., prop. 49. schol., P. 4. prop. 34.]
ellauri158.html on line 839: -- P. 3. prop. 40. coroll. 1. Qui, quem amat, odio erga se affectum imaginatur, odio et amore simul conflictabitur. [in: P. 3. prop. 41. coroll.]
ellauri158.html on line 840: -- P. 3. prop. 40. coroll. 2. Si aliquis imaginatur, ab aliquo, quem antea nullo affectu prosecutus est, malum aliquod prae odio sibi illatum esse, statim idem malum eidem referre conabitur. [in: P. 3. aff. defin. 37., P. 4. prop. 37. schol. 2.]
ellauri158.html on line 842: P. 3. prop. 41. Si quis ab aliquo se amari imaginatur, nec se ullam ad id causam dedisse credit, eundem contra amabit. [in: P. 3. prop. 43.]
ellauri158.html on line 844: -- P. 3. prop. 41. coroll. Qui ab eo, quem odio habet, se amari imaginatur, odio et amore simul conflictabitur.
ellauri158.html on line 850: P. 3. prop. 45. Si quis aliquem sibi similem odio in rem sibi similem, quam amat, affectum esse imaginatur, eum odio habebit.
ellauri158.html on line 852: P. 3. prop. 47. Laetitia, quae ex eo oritur, quod scilicet rem, quam odimus, destrui aut alio malo affici imaginamur, non oritur absque ulla animi tristitia.
ellauri158.html on line 854: P. 3. prop. 48. Amor et odium ex. gr. erga Petrum destruitur, si tristitia, quam hoc, et laetitia, quam ille involvit, ideae alterius causae iungatur; et eatenus uterque diminuitur, quatenus imaginamur Petrum non solum fuisse alterutrius causam. [in: P. 3. prop. 49. , P. 5. prop. 6., prop. 9.]
ellauri158.html on line 855: P. 3. prop. 49. Amor et odium erga rem, quam liberam esse imaginamur, maior ex pari causa uterque debet esse, quam erga necessariam. [in: P. 3. prop. 51. schol., P. 5. prop. 5.]
ellauri158.html on line 862: P. 3. prop. 52. Obiectum quod simul cum aliis antea vidimus, vel quod nihil habere imaginamur, nisi quod commune est pluribus, non tamdiu contemplabimur, ac illud, quod aliquid singulare habere imaginamur. [in: P. 3. prop. 55. coroll. 2. schol., aff. defin. 4., aff. defin. 10.]
ellauri158.html on line 864: P. 3. prop. 53. Cum mens se ipsam suamque agendi potentiam contemplatur, laetatur; et eo magis, quo se suamque agendi potentiam distinctius imaginatur. [in: P. 3. prop. 55. schol., prop. 58., aff. defin. 25., P. 5. prop. 15.]
ellauri158.html on line 865: -- P. 3. prop. 53. coroll. Haec laetitia magis magisque fovetur, quo magis homo se ab aliis laudari imaginatur. [in: P. 3. prop. 55. coroll. 1., P. 4. prop. 52. schol.]
ellauri158.html on line 866: P. 3. prop. 54. Mens ea tantum imaginari conatur, quae ipsius agendi potentiam ponunt. [in: P. 3. prop. 55., aff. defin. 25., aff. defin. 29.]
ellauri158.html on line 867: P. 3. prop. 55. Cum mens suam impotentiam imaginatur, eo ipso contristatur. [in: P. 3. aff. defin. 26., P. 4. prop. 53.]
ellauri158.html on line 868: -- P. 3. prop. 55. coroll. 1. Haec tristitia magis ac magis fovetur, si se ab aliis vituperari imaginatur. [in: P. 4. prop. 52. schol.]
ellauri158.html on line 935: P. 3. aff. defin. 4. Admiratio est rei alicuius imaginatio, in qua mens defixa propterea manet, quia haec singularis imaginatio nullam cum reliquis habet connexionem. [in: P. 4. prop. 59.]
ellauri158.html on line 936: P. 3. aff. defin. 5. Contemptus est rei alicuius imaginatio, quae mentem adeo parum tangit, ut ipsa mens ex rei praesentia magis moveatur ad ea imaginandum, quae in ipsa re non sunt, quam quae in ipsa sunt.
ellauri158.html on line 942: P. 3. aff. defin. 11. Irrisio est laetitia orta ex eo, quod aliquid, quod contemnimus in re, quam odimus, inesse imaginamur.
ellauri158.html on line 949: P. 3. aff. defin. 18. Commiseratio est tristitia concomitante idea mali, quod alteri, quem nobis similem esse imaginamur, evenit. [in: P. 4. prop. 50.]
ellauri158.html on line 961: P. 3. aff. defin. 30. Gloria est laetitia concomitante idea alicuius nostrae actionis, quam alios laudare imaginamur. [in: P. 4. prop. 49., prop. 58., P. 5. prop. 36. schol.]
ellauri158.html on line 962: P. 3. aff. defin. 31. Pudor est tristitia concomitante idea alicuius actionis, quam alios vituperare imaginamur.
ellauri158.html on line 965: nobis ingeneratur ex eo, quod alios eandem cupiditatem habere imaginamur.
ellauri158.html on line 1008: P. 4. prop. 9. Affectus, cuius causam in praesenti nobis adesse imaginamur, fortior est, quam si eandem non adesse imaginaremur. [in: P. 4. prop. 10., prop. 11., prop. 13
ellauri158.html on line 1011: -- P. 4. prop. 9. coroll. Imago rei futurae vel praeteritae, hoc est, rei, quam cum relatione ad tempus futurum vel praeteritum secluso praesenti contemplamur, ceteris paribus debilior est imagine rei praesentis, et consequenter affectus erga rem futuram vel praeteritam, ceteris paribus remissior est affectu erga rem praesentem. [in: P. 4. prop. 12. coroll., prop. 16., prop. 60. schol.]
ellauri158.html on line 1012: P. 4. prop. 10. Erga rem futuramm, quam cito affuturam imaginamur, intensius afficimur quam si eius existendi tempus longius a praesenti distare imaginaremur; et memoria rei, quam non diu praeteriisse imaginamur, intensius etiam afficimur, quam si eandem diu praeteriisse imaginaremur. [in: P. 4. prop. 12. coroll.]
ellauri158.html on line 1014: P. 4. prop. 11. Affectus erga rem, quam ut necessariam imaginamur, ceteris paribus intensior est, quam erga possibilem vel contingentem, sive non necessariam. [in: P. 5. prop. 5.]
ellauri158.html on line 1015: P. 4. prop. 12. Affectus erga rem, quam scimus in praesenti non existere et quam ut possibilem imaginamur, ceteris paribus intensior est, quam erga contingentem. [in: P. 4. prop. 12. coroll.]
ellauri158.html on line 1016: -- P. 4. prop. 12. coroll. Affectus erga rem, quam scimus in praesenti non existere et quam ut contingentem imaginamur, multo remissior est, quam si rem in praesenti nobis adesse imaginaremur. [in: P. 4. prop. 17.]
ellauri158.html on line 1022: -- P. 4. prop. 17. schol. Cur homines opinione magis, quam vera ratione commoveantur. [in: P. 4. prop. 37. schol. 2.]
ellauri158.html on line 1026: P. 4. prop. 20. Quo magis unusquisque suum utile quaerere, hoc est, suum esse conservare conatur et potest, eo magis virtute praeditus est; et contra, quatenus unusquisque suum utile, hoc est, suum esse conservare negligit, eatenus est impotens. [in: P. 4. prop. 35. coroll. 2., prop. 37. schol. 2.]
ellauri158.html on line 1041: -- P. 4. prop. 31. coroll. Hinc sequitur, quod quo res aliqua magis cum nostra natura convenit, eo nobis est utilior seu magis bona, et contra quo res aliqua nobis est utilior, eatenus cum nostra natura magis convenit. [in: P. 4. prop. 35., prop. 35. coroll. 1., prop. 72.]
ellauri158.html on line 1053: P. 4. prop. 37. Bonum, quod unusquisque, qui sectatur virtutem, sibi appetit, reliquis hominibus etiam cupiet, et eo magis, quo maiorem Dei habuerit cognitionem. [in: P. 4. prop. 45., prop. 45. coroll. 1., prop. 46., prop. 50., prop. 51., prop. 68. schol., prop. 70., prop. 71., prop. 73., prop. 73. schol., P. 5. prop. 4. schol., prop. 20.]
ellauri158.html on line 1130: P. 4. prop. 69. Hominis liberi virtus aeque magna cernitur in declinandis, quam in superandis periculis.
ellauri158.html on line 1131: -- P. 4. prop. 69. coroll. Homini igitur libero aeque magnae animositati fuga in tempore, ac pugna ducitur; sive homo liber eadem animositate seu animi praesentia, qua certamen, fugam eligit.
ellauri158.html on line 1139: P. 4. prop. 73. Homo, qui ratione ducitur, magis in civitate, ubi ex communi decreto vivit, quam in solitudine, ubi sibi soli obtemperat, liber est.
ellauri158.html on line 1152: P. 5. prop. 1. Prout cogitationes rerumque ideae ordinantur et concatenantur in mente, ita corporis affectiones seu rerum imagines ad amussim ordinantur et concatenantur in corpore. [in: P. 5. prop. 10.]
ellauri158.html on line 1155: -- P. 5. prop. 3. coroll. Affectus igitur eo magis in nostra potestate est et mens ab eo minus patitur quo nobis est notior. [in: P. 5. prop. 42.]
ellauri158.html on line 1159: P. 5. prop. 5. Affectus erga rem, quam simpliciter et non ut necessariam neque ut possibilem, neque ut contingentem imaginamur, ceteris paribus omnium est maximus. [in: P. 5. prop. 6.]
ellauri158.html on line 1165: P. 5. prop. 9. Affectus, qui ad plures et diversas causas refertur, quas mens cum ipso affectu simul contemplatur, minus noxius est, et minus per ipsum patimur, et erga unamquamque causam minus afficimur, quam alius aeque magnus affectus, qui ad unam solam vel pauciores causas refertur. [in: P. 5. prop. 20. schol.]
ellauri158.html on line 1168: P. 5. prop. 11. Quo imago aliqua ad plures res refertur, eo frequentior est seu saepius viget, et mentem magis occupat. [in: P. 5. prop. 12., prop. 16., prop. 20. schol.]
ellauri158.html on line 1169: P. 5. prop. 12. Rerum imagines facilius imaginibus, quae ad res referuntur, quas clare et distincte intelligimus, iunguntur, quam aliis. [in: P. 5. prop. 20. schol.]
ellauri158.html on line 1170: P. 5. prop. 13. Quo imago aliqua pluribus aliis iuncta est, eo saepius viget. [in: P. 5. prop. 20. schol.]
ellauri158.html on line 1171: P. 5. prop. 14. Mens efficere potest, ut omnes corporis affectiones seu rerum imagines ad Dei ideam referantur. [in: P. 5. prop. 15., prop. 16., prop. 20. schol., prop. 39.]
ellauri158.html on line 1172: P. 5. prop. 15. Qui se suosque affectus clare et distincte intelligit, Deum amat, et eo magis, quo se suosque affectus magis intelligit. [in: P. 5. prop. 16., prop. 20. schol., prop. 39.]
ellauri158.html on line 1183: P. 5. prop. 20. Hic erga Deum amor neque invidiae neque zelotypiae affectu inquinari potest; sed eo magis fovetur, quo plures homines eodem amoris vinculo cum Deo iunctos imaginamur.
ellauri158.html on line 1185: P. 5. prop. 21. Mens nihil imaginari potest, neque rerum praeteritarum recordari, nisi durante corpore. [in: P. 5. prop. 29., prop. 31., prop. 34., prop. 38. schol., prop. 40. coroll.]
ellauri158.html on line 1189: P. 5. prop. 24. Quo magis res singulares intelligimus, eo magis Deum intelligimus. [in: P. 5. prop. 25., prop. 27.]
ellauri158.html on line 1192: P. 5. prop. 26. Quo mens aptior est ad res tertio cognitionis genere intelligendum, eo magis cupit, res eodem hoc cognitionis genere intelligere.
ellauri158.html on line 1217: -- P. 5. prop. 38. schol. Mors eo minus est noxia, quo mes magis Deum amat. [in: P. 5. prop. 39. schol.]
ellauri158.html on line 1220: P. 5. prop. 40. Quo unaquaeque res plus perfectionis habet, eo magis agit et minus patitur, et contra quo magis agit, eo perfectior est. [in: P. 5. prop. 40. coroll.]
ellauri159.html on line 150: mage" title="Thou shalt not make unto thee any graven image">Thou shalt not make unto thee any graven image
ellauri159.html on line 415:

L: Lutherans follow Luther's Large Catechism, which follows Augustine but subordinates the prohibition of images to the sovereignty of God in the First Commandment and uses the word order of Exodus 20:17 rather than Deuteronomy 5:21 for the ninth and tenth commandments.

ellauri159.html on line 418:

C: Catechism of the Catholic Church, largely follows Augustine. Combines the Exodus language prohibiting images of God with the command to have no other gods but the Lord, as the first commandment. Changes "the sabbath" into "the lord's day". Divides Exodus 20:17, prohibiting covetousness, into two commandments.

ellauri159.html on line 438: Adore no images save those
ellauri159.html on line 565: There is no single document about the knightly code that lists all the virtues like this. It’s a modern interpretation of several documents that outline some kind of behavioral code for knights. Between 1170 and 1220 there were several documents outlining a code of conduct for knights but there wasn’t a decision made to use a single one. The overarching idea of these virtues was “chivalry”. Chivalry originated in the Holy Roman Empire from the idealization of the cavalryman. Military bravery, individual training, and service to others—especially in Francia, among horse soldiers in Charlemagne’s cavalry.
ellauri159.html on line 1167: It´s OK to postpone starting a project if the topic doesn’t grab you. When at a deadline, use your prolific imagination to find an angle that interests you. Free-write or cluster to generate ideas. Look to newspapers, magazines, or the internet for inspiration. Write a strong opening paragraph to get your creativity flowing.
ellauri159.html on line 1181: Naturally you adopt a preceptorial conversational tone in your writing. You often use imaginative and hyperbolic language to illustrate a point like 'smoking kills'. You have a talent for seizing on subtleties and choosing the exact word to convey a not so subtle idea. You always consider how your writing affects their audience. You notice if your audience is passing notes behind your back.
ellauri159.html on line 1197: You dislike writing according to a predetermined structure. You want control over their own creative process. You are drawn to original pictures and imaginative symbols. When revising a draft, search for a central, unifying theme, and articulate it for your reader. At the same time, avoid trying too hard to be unique. Instead, aim for authenticity, remember to mention the sources of the pictures.
ellauri159.html on line 1201: You enjoy colorful and figurative language, and like to infuse your work with images of your personal underware. At the same time, however, your writing may be too abstract for their readers, they want to see you inside them. During revision, add concrete details. In creative writing, appeal to the five senses and the 9 mortal sins. In freelance writing, include specifics like percentages and dollar amounts to get the audience´s attention. In technical writing, find out whether the customer needs to use a flat-head or a cross-head screwdriver (our dishwasher installer guys did not have a flathead anymore, I had to loan them one), and what the recommended torque is. These may be boring details to you, but they’re essential for your male reader. Wrong head, no screw.
ellauri159.html on line 1213: Perhaps this is what draws me to writing women’s fiction. I can create relationship problems, which I can then go about solving, without hurting anyone but my fictional characters in the process. Real life, unfortunately, doesn’t work that way. The INFJs’ search for perfection can damage otherwise good relationships. So I propose a revised Serenity Prayer for INFJs: God grant me the serenity to accept the things I cannot change. Period. Oh, I got my period.
ellauri159.html on line 1221: You have a keen insight into the nature of things. Your prose often conveys startling images of mood or atmosphere rather than objects. Maybe you should consider poetry, or rap. You enjoy complexity and can patiently unravel dense material like a terrier. You are able to see many sides of an argument and so may have difficulty reaching a conclusion, or even reaching a period, like Pynchon. During the writing process, you may often pause to consider alternatives or to seek seeming connections between obviously disparate things. That´s a paranoid feature, so you may be an asthenic person. Consult Krezmer´s typology.
ellauri159.html on line 1277: You tend to be good at organizing ideas and weeding out logical inconsistency. You have a natural propensity for clarifying the complex. But you will likely need to make a conscious effort to include the personal dimensions of a topic. (Well I do, no two ways about that!) During revision, look for places where you can add examples or anecdotes, if appropriate, to illustrate the facts. This engages the reader and brings theoretical principles to life. (I do this too, lotsa images and anecdotes and all!)
ellauri159.html on line 1335: Pure-blood supremacy was the belief that wizards and witches whose family had not married any Muggles or Muggle-borns were inherently biologically superior to wizards and witches who had done so. Proponents of this ideology typically regarded Muggle-born wizards as impure, unworthy of possessing magical ability, and often actively discriminated against them.
ellauri160.html on line 141: Mornings might be spent in the British Museum Reading Room, followed by lunch at the Vienna Café on Oxford Street, where Pound first met Wyndham Lewis in 1910. "There were mysterious figures / that emerged from recondite recesses / and ate at the WIENER CAFÉ". Ford Madox Ford described Pound as "approaching with the step of a dancer, making passes with a cane at an imaginary opponent":
ellauri160.html on line 149: London found Pound amusing. The newspapers interviewed him, and he was mentioned in Punch magazine, which on 23 June 1909 described "Mr. Ezekiel Ton" as "the most remarkable thing in poetry since Robert Browning ... blending the imagery of the unfettered West, the vocabulary of Wardour Street, and the sinister abandon of Borgiac Italy". The phrase "Wardour Street English" denotes the use of near-obsolete words for effect, such as anent; this derives from the once great number of antique shops in the area. anent means about, concerning. Did you know?
ellauri160.html on line 162: Imagisme oli Ezran ja Eliza Doolittlen kexintö in the spring or early summer of 1912. They agreed, Pound wrote in 1918, on three principles:
ellauri160.html on line 171: Poetry published Pound's "A Few Don'ts by an Imagist" in March 1913. Superfluous words, particularly adjectives, should be avoided (Ahha! This is where Stephen King comes in) as well as expressions like "dim lands of peace". He wrote: "It dulls the image. It mixes an abstraction with the concrete. It comes from the writer's not realizing that the natural object is always the adequate symbol. Just say 'lands'." Poets should "go in fear of abstractions". He wanted Imagisme "to stand for hard light, clear edges", he wrote later to Amy Lowell.
ellauri160.html on line 173: The New England poet Amy Lowell, who was to win the Pulitzer Prize for Poetry in 1926, was apparently unhappy that only one of her poems had appeared in Des Imagistes. Ford Madox Hueffer announced that he had been an Imagiste long before Lowell and Pound, and that he doubted their qualifications.
ellauri160.html on line 176: H.D. and Aldington were moving away from Pound's understanding of Imagisme anyway, as he aligned himself with Lewis's ideas. Lowell agreed to finance an annual anthology of Imagiste poets, but she insisted on democracy; according to Aldington, she "proposed a Boston Tea Party for Ezra" and an end to his despotic rule. Upset at Lowell, Pound began to call Imagisme "Amygism"; he declared the movement dead and asked the group not to call themselves Imagistes. Not accepting that it was Pound's invention, they refused and Anglicized the term.
ellauri160.html on line 192: Pound käänsi Li Bain runoja japanilaisten avulla. Ei niitä monta tullut, ennenkin se ehti riitaantua apujapanilaisten kaa. Michael Alexander saw Cathay as the most attractive of Pound's work. There is a debate about whether the poems should be viewed primarily as translations or as contributions to Imagism and the modernization of English poetry. English professor Steven Yao argued that Cathay shows that translation does not need a thorough knowledge of the source language.
ellauri160.html on line 219: Pound's contribution to poetry began in the early 20th century with his role in developing Imagism, a movement stressing precision and economy of language. Working in London as foreign editor of several American literary magazines, he helped discover and shape the work of contemporaries such as T. S. Eliot, Ernest Hemingway, and James Joyce. He was responsible for the 1914 serialization of Joyce's A Portrait of the Artist as a Young Man, the 1915 publication of Eliot's "The Love Song of J. Alfred Prufrock", and the serialization from 1918 of Joyce's Ulysses. Hemingway wrote in 1932 that, for poets born in the late 19th or early 20th century, not to be influenced by Pound would be "like passing through a great blizzard and not feeling it's cold."
ellauri160.html on line 583: Scholars believe the reason Jews in Babylon undertook to draw demons between the 5th and the 7th centuries has to do with a series of relaxations of the strictures, which rabbis gave the Jews as a way of dealing with the challenged posed by the increasing strength of Christianity. Fearing that Jews might prefer the new religion, the rabbis agreed to allow magic that included visual images. The demons Vilozny researched were drawn on “incantation bowls” – simple pottery vessels the insides of which were covered with inscriptions and drawings.
ellauri160.html on line 587: Lilith is often depicted naked and with longer hair and frequently in a seductive dance pose like Ardit-Lili. (Eli se on toi joka seisoo jalat harallaan pillu ärvöllään.) In the inscriptions surrounding the images she is described as a female demon who strangles babies at their hour of birth. Mabhalta, her usual companion, is described on one of the bowls as “the great destroyer of fire.”
ellauri160.html on line 631: The North West Angle of the Circle of the Twelve is described as a scorpion which stands upright and composed of putrefying water, gigantic in size. With this demon comes the “unnameable” one, Abaddon, his image is black, huge and covered in whirling wheels and blades, within his hand a wheel which has a multitude of cat-like demons upon it. Behind Abaddon is Maamah or Naamah, a crouching demon like woman, who is of Az – Jeh the Mother of Harlots, she has an animal’s body and eats the earth while crawling.
ellauri160.html on line 643: ²In the rabbinic literature of Yalḳuṭ Ḥadash, on the eves of Wednesday and Saturday, she is "the dancing roof-demon" who haunts the air with her chariot and her train of 18 messengers/angels of spiritual destruction. She dances while her mother, or possibly grandmother, Lilith howls. She is also "the mistress of the sorceresses" who communicated magic secrets to Amemar, a Jewish sage.
ellauri160.html on line 654: “What, actually, is magic? It is man’s belief in his ability, by taking active measures, to control his fate and in a certain sense this circumvents God. It doesn’t contradict faith but it does help God to help me. That’s why I love it, because it’s very human, especially in an era that is scientific.
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ellauri161.html on line 119: Frankford Synod (AD 794) -- was called by Charlemagne and at it, ADOPTIONISM was condemned.
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ellauri161.html on line 603: When it comes to apocalyptic asteroid/comet collision movies, Armageddon and Deep Impact were more entertaining while being no less absurd.
ellauri161.html on line 614: and overly alarmist but nothing that the film places on the table can be dismissed as a figment of a fevered imagination running away from the facts on the ground.
ellauri161.html on line 625: This might be less damaging if those cartoons were funny, or if the overall story was compelling, but neither is the case.
ellauri161.html on line 701: No idea what they were trying to do here. Couldn't even get through it. Basically had the plot of Armageddon but wasn't a spoof, guess they were going for a comedy but it wasn't funny at all. Just very Hollywood and very odd. Don't waste your time.
ellauri161.html on line 761: Loved it and i have to laugh at some of the review bombing from the maga crowd.
ellauri161.html on line 876: Sivu 345 - Quant à saint Jérôme, il a créé le magnifique idiome dans lequel il a parlé. Tacite et Juvénal sont les balbutiements humains de la langue que saint Jérôme a parlée divinement.‎
ellauri161.html on line 892: Le comte Joseph de Maistre [ ʒozɛf də mɛstʁ] (Chambéry, 1er avril 1753 - Turin, 26 février 1821) est un homme politique, philosophe, magistrat et écrivain savoyard, sujet du royaume de Sardaigne.
ellauri161.html on line 929: Pour Joseph de Maistre, le corps politique étant constitué à l'image d'un organisme vivant, il peut quelquefois être malade, et quand il est malade, l'estomac n' aura rien de manger. Le sacrifice des individus est un mal nécessaire pour la sauvegarde du corps social, et Joseph de Maistre, dans ses formulations les plus imagées, n'hésite pas à évoquer le sang que réclame la terre pour rendre la justice, et qu'elle obtient par la guerre que se font les Hommes.
ellauri161.html on line 1100: The chief of his mystical writings are, The Ornament of Spiritual Marriage (Lat. by Gerh. Groot, Ornatus Spiritualis Desponsionis, MS. at Strasburg; by another translator, and published by Faber Stapulensis [Paris, 1512], De Ornatu Spirit. Nuptiarum, etc.; also in French, Toulouse, 1619; and in Flemish, ´J Cieraet der gheestclyeke Bruyloft, Brussels, 1624, Hengelliset häät): — Speculum AEternae Salutis: — De Calculo, an interpretation of the calculus candidus, Re 2:17: — Samuel, sive de Alta Contemplatione. The other works of Ruysbroeck contain but little more than repetitions of the thoughts expressed in those here mentioned. (Esim. 7 hengellisen rakkauden askelmasta.) He wrote in his native language, and rendered to that dialect the same service which accrued to the High German from its use by the mystics of the section where it prevailed. He is still regarded in Holland as "the best prose writer of the Netherlands in the Middle Ages." His style is characterized by great precision of statement, which becomes impaired, however, whenever his imagination soars, as it often does, to transcendental regions too sublimated for language to describe. His works were accessible until lately only in Latin editions (by Surius, Cologne, 1549, 1552, 1609 [the best], 1692, fol.), or in manuscripts scattered through different libraries in Belgium and Holland. Four of the more important works were published in their original tongue, with prefaces by Ullmann (Hanover, 1848). No complete edition has as yet been undertaken (see Moll, )e Boekerij van het S. Barbara-Klooster te Delft [Amst. 1857, 4to], p. 41).
ellauri161.html on line 1102: Ruysbroeck´s mysticism begins with God, descends to man, and returns to God again, in the aim to make man one with God. God is a simple unity, the essence above all being, the immovable, and yet the moving, cause of all existences. The Son is the wisdom, the uncreated image of the Father; the Holy Spirit the love which proceeds from both the Father and the Son, and unites them to each other. Creatures preexisted in God, in thought; and, as being in God, were God to that extent. Fallen man can only be restored through grace, which elevates him above the conditions of nature. Three stages are to be distinguished: the active, or operative; the subjective, or emotional; and the contemplative life. The first proceeds to conquer sin, and draw near to God through good works; the second consists in introspection, to which ascetic practices may be an aid, and which becomes indifferent to all that is not God. The soul is embraced and penetrated by the Spirit of God, and revels in visions and ecstasies. Higher still is the contemplative state (vita vitalis), which is an immediate knowing and possessing of God, leaving no remains of individuality in the consciousness, and concentrating every energy on the contemplation of the eternal and absolute Being. This life is still the gift of grace, and has its essence in the unifying of the soul with God, so that he alone shall work. The soul is led on from glory to glory, until it becomes conscious of its essential unity in God.
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ellauri162.html on line 148: L´évolution de son antisémitisme est toujours débattue. Bernanos rend hommage à Édouard Drumont, avec lequel il partage sa détestation de la bourgeoisie, mais aussi l´association des juifs à la finance, aux banques, au pouvoir de l’argent au détriment du peuple, un thème qui fait florès dans la France de cette époque et qui suscite des propos antisémites de l´écrivain. Bernanos, qui a fait la guerre de 1914-1918, fustige aussi un patriotisme perverti qui humilie l´ennemi allemand dans la défaite au lieu de le respecter, trahissant ainsi l´honneur de ceux qui ont combattu et hypothéquant l´avenir. Täähän kuulostaa suorastaan Ezra Poundilta. «Les juifs traînent nonchalamment sur les colonnes de chiffres et les cotes un regard de biche en amour » ou « ces bonshommes étranges qui parlent avec leurs mains comme des singes ». J’aimerais mieux être fouetté par le rabbin d’Alger que faire souffrir une femme ou un enfant juif ». Juutalaiset kiistelevat vieläkin oliko Ykä hyvis vaiko pahis.
ellauri162.html on line 155: La honte que lui inspire la faiblesse des hommes politiques français face à l´Allemagne de Hitler le conduit à s´exiler en Amérique du Sud. Il y reçoit entre autres l´écrivain autrichien Stefan Zweig, peu avant le suicide de ce dernier.
ellauri162.html on line 266: En 1949, le ministère de l'Éducation nationale fit savoir à Marcel Aymé qu'il allait être inscrit sur la liste de la prochaine promotion de la Légion d'honneur. Il se souvint alors du « blâme sans affichage » auquel il avait été condamné en 1946 pour avoir vendu sous l'occupation un scénario à la Continental film et refusa. En outre, l'année suivante, il déclina la proposition faite publiquement par François Mauriac de présenter sa candidature à l'Académie française : « Combien d'écrivains auront refusé presque simultanément l'Académie française et la Légion d'honneur ? s'est interrogée Gabrielle Rollin dans le magazine Lire.
ellauri162.html on line 599: Teoksessaan Philosophie des Als Ob Vaihinger katsoi, etteivät ihmisolennot voi koskaan tuntea maailman todellista pohjarakennetta, vaan he rakentavat ajatusjärjestelmiä ja olettavat niiden vastaavan todellisuutta: he toimivat "ikään kuin" maailma vastaisi malleja. Tämän havainnollistamiseksi hän käytti esimerkkejä luonnontieteistä, kuten protoneja, elektroneja ja sähkömagneettista säteilyä. Mitään näistä ei voida havaita suoraan, mutta tiede teeskentelee niiden olevan olemassa (niinkuin liito-oravienkin joita kukaan ei ole nähnyt) ja käyttää näihin oletuksiin perustuvia havaintoja uusien ja parempien rakennelmien luomiseen. Oppia kutsutaan fiktionalismiksi
ellauri162.html on line 697: People have become accustomed to working for their own needs. Working enables people to earn an honorable livelihood, but using employees as mere objects is wrong. Workers and the rich are dependent upon each other. The worker ought to complete the tasks that they freely agree to, never destroy an employer´s property, never use violence for their cause, never take part in riots or disorder, and not associate with those who encourage them to act unethically. (As Pope John Paul II would later emphasize in Laborem Exercens, work ought to be seen as a privileged expression of human activity. Work, including cultural production, is an example of human creation in the image of the creator.)
ellauri162.html on line 701: The relationship between worker and employer ought to be shaped by the bonds of friendship and brotherly love. Both are children of God and created in His image. The Church desires that the poor better their situation and has a role to speak out on their behalf and to seek relief of poverty.
ellauri162.html on line 772: No. 6 James (“The Amazing”) Randi (b. 1928) Born in Canada, Randi has had a long career as a stage magician, TV personality, and prolific author. However, the most distinctive feature of his career has been “debunking”—showing how his own and others’ magic tricks are done. Most recently, he has become an outspoken atheist and critic of religion.
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ellauri163.html on line 337: Paizi Jooseppihan oli pelkkä aisankannattaja, Jepen isäpuoli. Höh, Marianhan sukupuuta tässä pitäis seurata, sillä oli 50% samat geenit kuin Jee-suxella. Loput oli pyhältä hengeltä (tai Gabrielilta jos Saramagon gospeliin on luottamista). Jonka sukupuu on lyhkönen.
ellauri163.html on line 354: And the homage of peoples be his.
ellauri163.html on line 361: to imply a king of the line of Judah forever, but Israel currently has no king, nor do our democratic rulers have staffs. Does this imply that "he has come to Shiloh" (JPS) or that "Shiloh has come" (KJV)? Please explain. Why does King Jimmy think the homage of the people will be Shiloh's whereas JPS says it is Judah's? Who or what is this Shiloh and why is he/it so important that the scepter will not depart from Judah till then?
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ellauri163.html on line 695: Keltaisen vakoilulasin alussa Lyran on kidnapannut hänen äitinsä, rouva Coulter magisteriumin agentti, joka on saanut tietää ennustuksesta, joka tunnistaa Lyran seuraavaksi herrojen Eevaxi. Enkelparven tie, homoenkelit Balthamos ja Baruch, kertovat Willille, että hänen on matkustettava heidän kanssaan antaakseen hienovaraisen veitsen Lyran isälle, lordi Asrielille, aseena auktoriteettia vastaan. Will ei välitä enkeleistä, ne valehtelevat; Paikallisen tytön nimeltä Ama, Karhukuningas Iorek Byrnison ja comic reliefinä lordi Asrielin gallivespian vakoojat, Chevalier Tialys ja Lady Salmiakia, hän pelastaa Lyran luolasta, jossa hänen äitinsä on piilottanut hänet magisteriumista, joka on päättänyt tappaa hänet ennen kuin hän antautuu kiusaukselle ja synnille, kuten alkuperäinen Aatto. Hetkinen! Eikös tässä juonessa ole enemmänkin ainexia siitä hirmupitkästä runoelmasta, annas nyt, Dispenserin Dragge Qveene? Eikös kukaan ole pannut tätä merkille? No ei koska ilmeisesti sen seuraava trilogia on vielä selvemmin Edmundin apteekin hyllyltä:
ellauri163.html on line 752: These studies are correlational, so researchers can´t say for sure whether an inability to imagine other minds actually leads to atheism or agnosticism or whether the link is caused by God. The researchers did control for religious service attendance, assuming that the socially inept might be less likely to flex their mentalizing muscles by mingling at church each week. That analysis showed that religious service attendance could not explain the link between autismlike traits and belief. Those with sedentary mental behavior were just as apt to have a will to believe as not.
ellauri163.html on line 763: Second, descriptions of how participants absorb into “imaginary realities” suggest that such mental states are desirable due to qualities that facilitate social cognition: While the empirical world comes through as fragmented and incoherent, imaginary worlds offer predictability, emotional coherence, and benevolent minds. These results do not conform to popular expectations that autistic minds are less adapted to experience supernatural agents, and it is instead argued that imaginative, autistic individuals may embrace religious and fictive agents in search for socially and emotionally comprehensible interaction.
ellauri163.html on line 765: Some of the primary symptoms of Alzheimer´s disease are: memory problems, mood swings, emotional outbursts, brain stem damage which impairs function in the heart, lungs plus causes disruption of various other bodily processes. In irreligious/nonreligious regions, there is a significant amount of Alzheimer´s disease (see: Irreligious/nonreligious geographic regions and Alzheimer´s disease). Irreligion/nonreligious regions have populations with significant problems when it comes to engaging in sedentary behavior (see: Irreligion/nonreligious regions and sedentary behavior). Thing is, gods, like dogs, require more exercise, even genuflection to pick up the turds.
ellauri163.html on line 829: There is also a scene where Mouchette is wet, working in the bar, and then gets some coins as payment. Later, in his hut, she is wet, and Arsene pays her some coins to go along with his story regarding Mathieu’s presumed death. What this does is not only link divergent scenes in a strictly visual and cinematic way, but it emphasises the elliptical and cyclical nature of the film, where recurring images and motifs abound. Yet, all of them are slightly askew, and the camera always seems to look at its lead character’s life slightly askance, as if it was somehow recapitulating the clearly warped view of life Mouchette owns.
ellauri163.html on line 868: Cette éducation lui permet de s´inscrire dans une double tradition culturelle, judaïque et classique. Il devient professeur et est notamment chargé des cours de pédagogie et de sciences sociales à l´université Bordeaux en 1887 puis il devient professeur de cette université en 1896. Jeune agrégé, il est envoyé en Allemagne, où il est marqué par le fonctionnement des universités allemandes, et par des philosophes sociaux qui s´intéressent au rôle de l´État moderne. Il devient docteur ès lettres en 1893. Molemmat kilpahakijat oli siis maaseutuyliopistomiehiä.
ellauri164.html on line 88: Tais-toi, mais tais-toi !… C’est la honte, le reproche, ici : Satan qui dit que le feu est ignoble, que ma colère est affreusement sotte. — Assez !… Des erreurs qu’on me souffle, magies, parfums faux, musiques puériles. — Et dire que je tiens la vérité, que je vois la justice : j’ai un jugement sain et arrêté, je suis prêt pour la perfection… Orgueil. — La peau de ma tête se dessèche. Pitié ! Seigneur, j’ai peur. J’ai soif, si soif ! Ah ! l’enfance, l’herbe, la pluie, le lac sur les pierres, le clair de lune quand le clocher sonnait douze… le diable est au clocher, à cette heure. Marie ! Sainte-Vierge !… — Horreur de ma bêtise.
ellauri164.html on line 98: Je vais dévoiler tous les mystères : mystères religieux ou naturels, mort, naissance, avenir, passé, cosmogonie, néant. Je suis maître en fantasmagories.
ellauri164.html on line 110: Bah ! faisons toutes les grimaces imaginables.
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ellauri164.html on line 248: Jeff Veatch is a successful entrepreneur, businessman, community leader, and philanthropist. Over the course of his career, Jeff co-founded the IT staffing services firm Apex Systems, has been recognized as the Entrepreneur of the year by Ernst and Young, selected to the Philanthropic 50 by Washington Life magazine, served on the Board of Directors for ASGN Incorporated, sits on Board of Visitors for Virginia Tech, was a founding member of the effort to bring the Olympics to Washington DC, holds Board positions with Inova Health System, as well as other leadership and board positions throughout his community. Also, as an active philanthropic investor, he formed the Veatch Charities, which focuses on education, healthcare, and his community. Mr. Veatch is a 1993 graduate of Virginia Polytechnic Institute and State University, earning a BS in Finance.
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ellauri164.html on line 570: Here Moses sinned. He became wearied with the continual murmurings of the people against him, and the continual murmuring to stupid rocks. At the commandment of the Lord, took the rod, and, instead of speaking to the rock, as God commanded him, he smote it with the rod twice, after saying, "Must we fetch you water out of this rock?" He here spoke unadvisedly with his lips. He did not say, God will now show you another evidence of His power and bring you water out of this rock. He did not ascribe the power and glory to God for causing water to again flow from the flinty rock, and therefore did not magnify Him before the people. For this failure on the part of Moses, God would not permit him to lead the people to the Promised Land.
ellauri164.html on line 579: The Heavy Penalty. The Lord would remove this impression forever from their minds, by forbidding Moses to enter the Promised Land. The Lord had highly exalted Moses. He had revealed to him His great glory. He had taken him into a sacred nearness with Himself upon the mount, and had condescended to talk with him as a man speaketh with a friend. He had communicated to Moses, and through him to the people, His will, His statutes, and His laws. His being thus exalted and honored of God made his error of greater magnitude. Moses repented of his sin and humbled himself greatly before God. He related to all Israel his sorrow for his sin. The result of his sin he did not conceal, but told them that for thus failing to ascribe glory to God, he could not lead them to the Promised Land. He then asked them, if this error upon his part was so great as to be thus corrected of God, how God would regard their repeated murmurings in charging him (Moses) with the uncommon visitations of God because of their sins.
ellauri164.html on line 581: For this single instance, Moses had allowed the impression to be entertained that he had brought them water out of the rock, when he should have magnified the name of the Lord among His people. The Lord would now settle the matter with His people, that Moses was merely a man, following the guidance and direction of a mightier than he, even the Son of God. In this He would leave them without doubt. Where much is given, much is required. Moses had been highly favored with special views of God's majesty. The light and glory of God had been imparted to him in rich abundance. His face had reflected upon the people the glory that the Lord had let shine upon him. All will be judged according to the privileges they have had, and the light and benefits bestowed.
ellauri164.html on line 883: The third mention is in Deuteronomy 4:21-23, where Moses has moved past the historical recounting and is now warning Israel of the danger of idolatry. He says ““Now the Lord was angry with me on your account, and swore that I would not cross the Jordan, and that I would not enter the good land which the Lord your God is giving you as an inheritance. For I will die in this land, I shall not cross the Jordan, but you shall cross and take possession of this good land. So watch yourselves, that you do not forget the covenant of the Lord your God which He made with you, and make for yourselves a graven image in the form of anything against which the Lord your God has commanded you.” Now Moses uses his own tragic story as an illustration on the importance of avoiding idolatry in the Promised Land. So Moses’ failure to enter the Promised Land was related to the continuous rebellion of Israel, and was an illustration of the dangers of violating the covenant promises.
ellauri164.html on line 923: Moses’ sin occurred in the final years of his life. After faithfully leading Israel out of Egypt, and after their rebellion in the matter of the 12 spies, he also faithfully led them during the forty years of wandering in the wilderness. Yet near the very end of that wandering, in a moment of anger and a lapse of judgment, Moses sinned, and God recorded that it led Him to refuse to allow Moses to enter the promised land. It is difficult to imagine the anguish and remorse Moses must have felt when God revealed this punishment. His failure to give God the proper respect and reverence, though provoked by the wicked rebellion and faithless murmurings of Israel, was a public sin and God chose to publicly and openly punish him for it.
ellauri164.html on line 977: God seems to be trying to wean the Israelites from one kind of perception to another: from dependence on the visible and tangible to reliance on speech in connecting with God. At Sinai, all their senses were engaged, but the revelation itself was auditory. When Moses retells and reframes the story (Deut. 4:12), he reminds the people, “The sound of words you did hear, but no image did you see except the sound.” There is a grave danger in relying on the visible. The word forimage in the verse above is temunah—the same word that is used in the Ten Commandments in the warning against idolatry (Exod. 20:4).
ellauri164.html on line 979: What God wants the people to see is that Moses speaks in performing the miracle at the rock. It is a potentially powerful transitional moment in which Moses’s publicly perceived action would be speech. What he would say would become part of the people’s religious consciousness—part of the repeated narrative of the people—a way of adducing to God a caring relationship with God’s people, and conveying that care to the people. We can imagine the speech Moses might give, performing the quintessential task of a prophet, in bringing God and the people closer together. Instead, he calls them “rebels,” distancing the people from himself and, by association, from God; disdaining their legitimate needs; and losing the opportunity to attribute the provision of water to God.
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ellauri171.html on line 805: Ahabin dynastia omridit eli kuningas Omrin porukat oli jotain kananiittejä. Israel Finkelstein's The Bible Unearthed presents a very different picture of the Omrides than the circumcision handbook, making them responsible for the great empire, magnificent palaces, wealth, and peace in Israel and Judah that the Bible credits to the much earlier kings David and Solomon. According to Finkelstein, the reason for this discrepancy is the religious bias of the Biblical authors against the Omrides for their polytheism, and in particular their support for elements of the Canaanite religion.
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ellauri171.html on line 930: My father, behold, the enemy's ships came; my cities(?) were burned, and they did evil things in my country. Does not my father know that all my troops and chariots(?) are in the Land of Hatti, and all my ships are in the Land of Lukka? ... Thus, the country is abandoned to itself. May my father know it: the seven ships of the enemy that came here inflicted much damage upon us.
ellauri171.html on line 951: In Canaanite mythology there were twin mountains Targhizizi and Tharumagi which hold the firmament up above the earth-circling ocean, thereby bounding the earth. W. F. Albright, for example, says that El Shaddai is a derivation of a Semitic stem that appears in the Akkadian shadû ("mountain") and shaddā'û or shaddû'a ("mountain-dweller"), one of the names of Amurru. Philo of Byblos states that Atlas was one of the Elohim, which would clearly fit into the story of El Shaddai as "God of the Mountain(s)". Harriet Lutzky has presented evidence that Shaddai was an attribute of a Semitic goddess, linking the epithet with Hebrew šad "breast" as "the one of the Breast". The idea of two mountains being associated here as the breasts of the Earth, fits into the Canaanite mythology quite well. The ideas of pairs of mountains seem to be quite common in Canaanite mythology (similar to Horeb and Sinai in the Bible). The late period of this cosmology makes it difficult to tell what influences (Roman, Greek, or Hebrew) may have informed Philo's writings.
ellauri171.html on line 953: 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.
ellauri171.html on line 1056: Judah, a man of honor (buahahaha) tries to pay. His friend Hirah goes looking for her, asking around for the kedeshah in the road (Gen 38:21.). The NRSV translates this as “temple prostitute,” but a kedeshah was not a sacred prostitute; she was a public woman, who might be found along the roadway (as virgins and married women should not be). She could engage in sex, but might also be sought out for lactation, midwifery, and other female concerns. By looking for a kedeshah, Hirah can look for a public woman without revealing Judah’s private life. The woman, of course, is nowhere to be found. Judah, mindful of his public image, calls off the search rather than became a laughingstock. BRUAAHAHAHA!
ellauri172.html on line 130: Mitä tulee Sombrevaleen, sitä ei löytynyt ainuttakaan luuta kiinnittäessään sitä muotokuvaan, mikä sai alueen talonpojat sanomaan, että Paholainen, jolla on pitkä käsivarsi, oli kuljettanut sen joen mudan läpi. hänen luokseen, jaloista, naimisissa oleva pappi! Vittu nää viihdejutut on sitten SAMANLAISIA. Niin ne oli jo roomalaisten Acta Diurnassa, ja varmasti myös cro magnonien leirillä. EAT FUCK KILL. Ei tässä huutomerkkejä enää kaivata. Juonessa ei ole mitään paljastettavaa. Sappivaivaista paasaajaa alkaa tosiaan jo kovaa väsyttää.
ellauri172.html on line 163: «Nella città di Asti, in Piemonte, il 17 gennaio dell'anno 1749, io nacqui di nobili, agiati ed onesti parenti». Così Alfieri presenta se stesso nella Vita scritta da esso, autobiografia stesa, per la maggior parte, intorno al 1790, ma completata solo nel 1803. Alfieri ebbe un'attività letteraria breve ma prolifica e intensa; il suo carattere tormentato, oltre a delineare la sua vita in senso avventuroso, fece di lui un precursore delle inquietudini romantiche.
ellauri172.html on line 188: A Lisbona incontrò l'abate piemontese Tommaso Valperga di Caluso, che lo spronò a proseguire la sua carriera letteraria. Nel 1772 cominciò il viaggio di ritorno. Arrivò a Torino il 5 maggio 1772, indebolito e ammalato (forse di una patologia venerea da cui poi guarì).
ellauri172.html on line 190: Ritrovò i suoi vecchi compagni di Accademia militare e di gioventù. Con loro istituì una piccola società che si riuniva settimanalmente in casa sua per «banchettare e ragionare su ogni cosa», la "Societé des Sansguignon", in questo periodo scrisse «cose miste di filosofia e d'impertinenza», per la maggior parte in lingua francese, tra cui l'Esquisse de Jugement Universél, ispirato agli scritti di Voltaire. Guignon on paha silmä.
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ellauri172.html on line 654: « — Tenez ! — dit-elle, insolemment provocante, — voilà votre image ! C’était brûlant il n’y a qu’une seconde, et c’est froid.
ellauri172.html on line 658: « Faut-il que je le répète jusqu’à satiété ? Certes ! je n’étais pas jaloux de cette femme : mais nous sommes tous les mêmes. Malgré moi, je voulus voir à qui elle écrivait, et, pour cela, ne m’étant pas assis encore, je m’inclinai par-dessus sa tête ; mais mon regard fut intercepté par l’entre-deux de ses épaules, par cette fente enivrante et duvetée où j’avais fait ruisseler tant de baisers, et, ma foi ! magnétisé par cette vue, j’en fis tomber un de plus dans ce ruisseau d’amour, et cette sensation l’empêcha d’écrire… Elle releva sa tête de la table où elle était penchée, comme si on lui eût piqué les reins d’une pointe de feu, se cambrant sur le dossier de son fauteuil, la tête renversée ; elle me regardait, dans ce mélange de désir et de confusion qui était son charme, les yeux en l’air et tournés vers moi, qui étais derrière elle, et qui fis descendre dans la rose mouillée de sa bouche entr’ouverte ce que je venais de faire tomber dans l’entre-deux de ses épaules.
ellauri172.html on line 672: « J’imaginai ce qui dut se passer dans les yeux verts du major, en entendant son miaulement étranglé de chat sauvage. Il poussa un juron à fendre le ciel. — Et de qui est-il ? garce maudite ! — demanda-t-il, avec quelque chose qui n’était plus une voix.
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ellauri180.html on line 304: If James Cameron had spent some time reading things written by Native people about Pocahontas and what that storyline means to their people and how offensive and damaging the sexualization of native women is, he might have reconsidered that romantic subplot. If he had started to read and then balked at all the vicious hatred and anger, it is as if he never even tried.
ellauri180.html on line 447: In summary: a man speaks to some unidentified (and possibly imaginary) auditor, telling us how, on a dark and stormy (or rainy and windy) night, he waited in his cottage for his lover, Porphyria, to arrive. When she turns up, it’s clear Porphyria is of a higher social class than the male speaker: he’s punching above his weight, as they say. Note how she glides in as if she owns the place, and as if she walks on air rather than on the ground like us mere mortals. She wears a hat, cloak, and shawl, and her gloves are soiled, suggesting that they are not used to slumming it in a common man’s cottage and attending to his fire and grate. The fact that she also takes the lead – suggesting she is perhaps used to ordering servants to do her bidding – further hints at her highborn status: she calls to the speaker, and she takes his arm and puts it around her waist. Then, the clincher (in more ways than one): we are told "she Too weak, for all her heart’s endeavour,
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ellauri181.html on line 380: Comparison between two Ipsative measures may be more useful for evaluating traits within an individual, whereas Likert-type scales are more useful for evaluating traits across individuals. That is: at best, ipsative tests can be used for observing direction (but not magnitude) of change per individual.
ellauri182.html on line 185: Amitābha is the principal buddha in Pure Land Buddhism, a branch of East Asian Buddhism. In Vajrayana Buddhism, Amitābha is known for his longevity attribute, magnetising Western attributes of discernment, pure perception and purification of the aggregates with a deep awareness of emptiness of all phenomena. According to these scriptures, Amitābha possesses infinite merit resulting from good deeds over countless past lives as a bodhisattva named Dharmākara. Amitābha means "Infinite Light", and Amitāyus means "Infinite Life" so Amitābha is also called "The Buddha of Immeasurable Light and Life". Kuulostaa ihan määzhik kortilta.
ellauri182.html on line 191: Many Pure Land Buddhist schools in the time of Shinran felt that birth in the Pure Land was a literal rebirth that occurred only upon death, and only after certain preliminary rituals. Elaborate rituals were used to guarantee rebirth in the Pure Land, including a common practice wherein the fingers were tied by strings to a painting or image of Amida Buddha. From the perspective of Jōdo Shinshū such rituals actually betray a lack of trust in Amida Buddha, relying on jiriki ("self-power"), rather than the tariki or "other-power" of Amida Buddha. Such rituals also favor those who could afford the time and energy to practice them or possess the necessary ritual objects—another obstacle for lower-class individuals. For Shinran Shonin, who closely followed the thought of the Chinese monk Tan-luan, the Pure Land is synonymous with nirvana.
ellauri183.html on line 96: As a reward for winning the feud, U.S. President Barack Obama presented the 2010 National Lizardities Medal to novelist Philip Roth during a ceremony in the East Room of the White House, on March 2, 2011 in Washington, DC. Getty Images.
ellauri183.html on line 298: I've seen some images and gifs on r/imgoingtohellforthis and what not showing Jews as miserly people. What's all this about?
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ellauri183.html on line 492: Josef Saramago syyllistyi pyhän hengen pilkkaan, samaan anteexiantamattomaan rikoxeen kuin Ananias ja Safira, ja rangaistuxexi kuolikin vaikka ehti kyllä ensin pokata noobelin Portugalin kirkollisten piirien vastalauseista välittämättä.
ellauri183.html on line 493: Saramagon evankeliumissa on kosolti asiavirheitä. Enkeli on ryysyläinen, se ei työnny Mariaan vaan Joosef, Joosef on tumpelo koleerinen nuorukainen, Ananias on Joosefin vittuileva naapuri. Sitä ei löydy minun Raamatustani, sanon kuin Kiven Juhani.
ellauri183.html on line 527: Aika törkeetä! Vanhuxet antoi hyvän hyvyyttään omastaan Pezkun porukoille ja siinä kiitos! Saramagon ilosanoma on aika hapanta textiä, varsinkin mitä tulee naisten kohteluun. Portugalin merkittävimmän nykytysharjan haastava - jonkun mielestä ehkä rienaavakin - tulkinta evankeelisten kertomasta.
ellauri183.html on line 568: Jose Saramago ei voi olla irvistelemättä Jeesuxen esinahasta. Nahka oli tallella vielä 1983 pyhäinjäännöxenä Italiassa uskovaisten varmemmaxi vakuudexi ja epäuskoisten riemuxi, kuten Jose hihittäen selvittää. Sehän on samalla lailla heikko ihminen kuin "Tissi" Rothin dekaani, joka ei saanut sanaa suusta tirskunnalta nähtyään ex-suojattinsa valtavana tissinä.
ellauri183.html on line 619: Saramagon mukaan Jeshuan pienet sisarukset olivat: Jakob, Lydia, Joosef jr, Juudas, Simon, Lydia, Justus, Samuel ym mahd muita. 7 poikaa ja 2 tytärtä, Keren-Happukilla pääsi Jopi joholle.
ellauri183.html on line 630: Jose Saramagon peruspakanuus näkyy siinä ezen mielestä hra Seebaot on (ja oli Jeesuxenkin suhteen) melko raukkamainen kusipää. Jos on uskovainen, tälläinen röyhkeys ei tule kysymyxeen. Jumala, vaikka kuinka raukkis, on aina oikeassa, sillä oikeus on vahvimman oikeutta, ja jumala on maailman vahvin nalle, kaikkivoipainen. Tapahtukoon sinun tahtosi, olkoon minun sanani mitätöin ja sinun mitään tekemätöin. Minun tehtäväni ei ole kysellä vaan totella.
ellauri183.html on line 702: On muuten helvetin hölmö ja narsistinen kysymys Saramagolta: mixi olen tässä nyt. Mixi et. Mitä se ylipäänsä sulle kuuluu häh. Etpä sitäpaizi ole enää, hah.
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ellauri184.html on line 44: Mailer was raised in Brooklyn, first in Flatbush on Cortelyou Rd and later in Crown Heights at the corner of Albany and Crown Streets. Mailer graduated from Boys High School and entered Harvard College in 1939, when he was 16 years old. As an undergraduate, he was a member of the Signet Society. Mousiken poiei kai ergazou, tee musaa ja duunaa. At Harvard, he majored in engineering sciences, but took writing courses as electives. He published his first story, "The Greatest Thing in the World," at the age of 18, winning Story magazine's college contest in 1941.
ellauri184.html on line 78: Mailer wrote his fourth novel, An American Dream, as a serial in Esquire magazine over eight months (January to August 1964), publishing the first chapter two months after he wrote it. In March 1965, Dial Press published a revised version. The novel generally received mixed reviews, but was a best seller. Joan Didion praised it in a review in National Review (April 20, 1965) and John W. Aldridge did the same in Life (March 19, 1965), while Elizabeth Hardwick panned it in Partisan Review (spring 1965).
ellauri184.html on line 90: His final novel, The Castle in the Forest, which focused on Hitler's childhood, reached number five on the Times best-seller list after publication in January 2007. It received reviews that were more positive than any of his books since The Executioner's Song. Castle was intended to be the first volume of a trilogy, but Mailer died several months after it was completed. The Castle in the Forest received a laudatory 6,200-word front-page review by Lee Siegel in the New York Times Book Review, as well as a Bad Sex in Fiction Award by the Literary Review magazine.
ellauri184.html on line 213: Bethlehem (/ˈbɛθlɪhɛm/; Arabic: بيت لحم audio speaker iconBayt Laḥm, "House of Meat"; Hebrew: בֵּית לֶחֶם Bet Leḥem, Hebrew pronunciation: [bet ˈleχem], "House of Bread"; Ancient Greek: Βηθλεέμ Greek pronunciation: [bɛːtʰle.ém]; Latin: Bethleem; initially named after Canaanite fertility god Laḫmu) is a city in the central West Bank, Palestine, about 10 km (6.2 miles) south of Jerusalem. Its population is approximately 25,000, and it is the capital of the Bethlehem Governorate. The economy is primarily tourist-driven, peaking during the Christmas season, when Christians make pilgrimage to the Church of the Nativity. The important holy site of Rachel's Tomb is at the northern entrance of Bethlehem, though not freely accessible to the city's own inhabitants and in general Palestinians living in the occupied West Bank due to the Israeli West Bank barrier.
ellauri184.html on line 265: Thanks in large part to Jesus-movies and swords-and-sandals cinematic epics (e.g., Ben-Hur, Masada, Spartacus, Life of Brian), there is a widespread perception that distinctively Woman soldiers infested Palestine during the life of Jesus – often signaled in such films by highbwow Bwitish accents in contrast with the unpretentious American dialect spoken by Jews. As deeply engrained as this image is in the popular consciousness, it is not entirely accurate. There were several different types of soldiers in the Woman East during the New Testament period and the differences between these soldiers were significant; the languages they spoke, the government they worked for, their relationship to the civilians they encountered, their pay, and many other specifics differed considerably.
ellauri184.html on line 267: This image of identifiably Woman soldiers occupying the land of Palestine operates on the assumption that biblical soldiers were all legionawies. Legionawies differed from other soldiers of the early Woman period in several wespects. First, legionawies were employed directly by Wome. Their allegiances were to the empewow and whichever genewal they served, not to any particular king, weligious group, or province. All troops swore an oath of allegiance, the sacwamentum, to the empewow himself. Unlike most other soldiers, legionawies were Woman citizens before they were wecwuited.
ellauri184.html on line 610: Minkä takia Jepu käski ottaa miekat mukaan kun ei Pezku sitten saanut edes korvaa irrottaa ilman sotakorvauxia? Oliko se taas vaan imagonhallintaa? Vodka on hyvää mutta pihvi sitkeää. Gileadin guardianit nappaa Kepun ja vie sen Kaipparin pakeille. Vähän syljeskelivät sitä naamaan pihalla.
ellauri184.html on line 640: We do not know whether Jesus routinely called himself the Messiah, Son of Man, or King of the Jews (though the evangelists sure make it appear so). Nevertheless, these logos were ascribed to him, and he did not sufficiently distance himself from them. Even worse, he presented himself as an outsider by caring for outcasts and thus broke social taboos. What is more, through healings, exorcisms, and commensality with the disdained, he deliberately distanced himself from societal norms, added to his image as an outsider in a performative way, and thereby metaphorically conveyed a message that his opponents understood very well.
ellauri184.html on line 648: Matthew and Mark make it clear that some people – including the politically and legally decisive Roman magistrate – could have perceived him as such a political activist (titulus crucis!). Again, we see that it is not necessarily Jesus’s concrete behavior, but rather the perception that counts.
ellauri184.html on line 651: To the average inhabitant of the Roman Empire, the manifold itinerant groups of magicians, sophists, cynics, other philosophers, astrologers, prophets, and eventually also Christians, must have appeared basically the same. These oscillating and enigmatic figures were simultaneously admired and despised for their "otherness". Why was Jesus able to appear as a radical itinerant preacher? He did not call for a political upheaval. Nevertheless, his messianic “program” was radical in its postulation of a proximity to God that had hitherto been unheard of and was based on the deliberate breaking of taboos and social conventions.
ellauri184.html on line 653: In the end, Jesus represented several different images of a bogeyman and became an outsider par excellence. He put off many of his adherents through his negligence of politics (i.e. he did not yield to their pressure to exert violence for political reasons), and he drew the attention of the authorities upon himself and made them suspicious through his eccentric speeches. Finally, Jesus was between the stools: There was no one left to speak in his favor. In the end, perceptions prevailed beyond all else.
ellauri184.html on line 698: The word his in brackets is uncertain because of damage to the text but is repeated later in the text, so the reconstruction is likely correct. However, there is no record of Jesus having a sister named Mary.
ellauri184.html on line 767: Mailer is considering a God of Action, something of a Hemingway in deistic form who must prove himself with creative acts, a deity in the trenches, making mistakes, failing, succeeding, learning from his mistakes, constantly evolving.The God that interests Mailer is one guided by intuition no less than we, His creations whom we are said to resemble. Nuchem´s own self image to a jot.
ellauri184.html on line 769:

Saramago's version

ellauri184.html on line 771: Aargh there's another contender: The Gospel According to Jesus Christ by José Saramago!
ellauri184.html on line 773: Jose Saramago is an atheist. This should be enough warning for everyone that desires to read the book. It is very explicit and so religion it’s exposed at its weakest and God as a character is revealed. I come from a Roman-Catholic background but I still wanted to read it, ever since the Gnostic gospel where Jesus childhood is revealed and he changes from a mischievous badly behaved kid to the Jesus from the new testament I wanted to see Saramago’s take on it. Saramago is such a master of words that he makes every bit of faith look totally illogical.
ellauri184.html on line 775: It does not take long for us to find out that Saramago is extremely sharp at finding all contradictions on roman-catholic religion. In the novel God seems to be the greediest of all gods, the vainest, the most detached from his people. Detached even from his son as he appeared to him in different shapes, only in the meeting at the lake did he appear to him as a man. God does not command, he orders, he tricks his own son into following his plan to the end. Ultimately Jesus’s betrayal was his last act of martyrdom.
ellauri184.html on line 779: José Saramago, therefore, gives us his vision of this unknown Jesus while reinterpreting in his sauce some biblical subjects. The result is probably not very canonical since we see a Jesus first educated by the Devil, then discovering sexuality in the arms of Mary Magdalene, a prostitute with whom he falls in love. However, I did not see any desire to satire: on the contrary, we discover a character torn by the codes of the society of his time, the gradual discovery of his identity, and above all, the feeling of being a toy of fate.
ellauri184.html on line 781: The characters in the book are fascinating; my Jesuits friends and I laughed and enjoy this book. There were no doubts in our head by the end of the book. We did not feel like it shook our religion or affected the way we perceived God. This book was after all under fiction so everyone that is easily offended stay away from this book and stop complaining about blasphemy and crying around like little kids. Saramago is a Nobel price winner and foremost a grown man that is entitled to his own opinions. This one of his finest, if not the best, of his book in my opinion, a must read. Of course he is dead by now.
ellauri184.html on line 783: Jesus having sex with Mary Magdalene in the whorehouse without the blessing of marriage. The demon asking Jesus to use a sheep for sexual release. An angel posing as a beggar during the Annunciation scene. The same beggar-angel walking with Mary to Bethlehem provoking jealousy to the doubting Joseph. Three shepherds instead of 3 kings visiting the family in the Bethlehem. Joseph crucified and dying on the cross mistaken as a zealot. Jesus seeing God in the desert. Jesus riding on the boat with the God and the Devil. These are some of the shocking deviations from the story that Saramago imagined and incorporated to come up with an “irreverent, profound, skeptical, funny, heretical, deeply philosophical, provocative and compelling work.” (Source: Harold Robbin who says that this is his favorite work of Saramago. So far, I agree).
ellauri184.html on line 785: This is a bold fearless work and definitely not for the faint of heart. I am not surprised that when this was originally published in 1991, it created lots of controversies with the Catholic Church condemning Jose Saramago for harboring anti-religious vision and his own Portuguese government asking the European Literary Prize to remove this from its shortlist because of the book’s offensive content to religion. Despite this book’s existence, Saramago won the 1998 Nobel Prize for Literature.
ellauri185.html on line 123: At this point, David offers a majestic eulogy, where he praises the bravery and magnificence of both his friend Jonathan and King Saul.
ellauri185.html on line 440: Nää neronleimauxet oli saxittu brittien New Scientist-kuvalehden keskiaukeamalta. Syyskuussa 2006 New Scientistia arvosteli tieteiskirjailija Greg Egan, joka kirjoitti, että "sensaatiohakuinen suuntaus ja kirjoittajien perustietojen puute" tekivät lehden raportoinnista niin epäluotettavaa että se "muodostaa todellisen uhan tieteen julkiselle ymmärrykselle". Erityisesti Egan tyrmistyi lehden raportoinnin "tieteellisen lukutaidottomuuden tasosta" Roger Shawyerin "sähkömagneettisesta moottorin" kuvauxessa, jossa New Scientist salli "merkityksettömän läpätyxen" julkaisemisen, jonka tarkoituksena oli ohittaa kohtalokas vastaväite Shawyerin ehdotetulle avaruusmoottorille, nimittäin että se rikkoo liikemäärän säilymisen lakia. Egan kehotti muita kirjoittamaan New Scientistille ja painostamaan lehteä nostamaan tasoaan sen sijaan, että "tuhlaisi lehden levikin ja arvostuksen tarjoamat mahdollisuudet".
ellauri185.html on line 472: Uskonto on ja se tulee olemaan järjettömän apinan ja sen järjettömän toiminnan elinehto. Eikä mikä tahansa uskonto, vaan todellinen alkuperäinen väärentämätön ja vetistämätön kristinusko. Tolstoi luulee virheellisesti löytävänsä sen vuorisaarnasta, vaikka kaikki tietävät etteivät sen reportterit edes olleet paikalla. Kannattaisi mieluummin konsultoida Naahum Mailerin ja Jose Saramagon autobiografioita. Jeesus sentään tiettävästi oli läsnä, jos ylipäänsä kukaan.
ellauri188.html on line 80: Although Polynesia tends to be associated with images of lush tropical vegetation, and the Marquesas lie within the tropics, they are remarkably dry.
ellauri188.html on line 457: Peleissä on hyvä luoda mainetta. Vangin dilemmassa pitää olla epäluuloisen ja kostonhimoisen mainetta, jotta naapuri ei petkuta. Sukupuolten taistelussa on hyvä olla narsistin imago, jotta siippa tietää antaa perixi. Luottavuus ja kiltteys on mainehaittoja.
ellauri189.html on line 84: scenery, especially the so-called Dzikie Pola (“Waste Fields”), a vast area in the South-West of the Ukraine, bordered by the rivers Dnieper and Dniester, where the Russian tanks now sit stuck in the mud. In the seventeenth century it was scarcely populated and continually raided by the Tartars from the Crimea. The Cossacks, who defended this borderland, were originally allies of Poland. However, they resented their disdainful treatment by the szlachta (the Polish gentry) and particularly the magnates, who owned large manors with serfs.
ellauri189.html on line 109: more important than its very Byronic plot, of which I will give only a short outline. The son of a wealthy magnate has fallen in love with the daughter of a petty nobleman (miecznik, the “sword-bearer”, a purely nominal provincial
ellauri189.html on line 422: Dead Sea is the lowest point on the planet and one of the most unique environments around the world. It lies on the borders of Jordan, the West Bank and Israel. Known for its high-density waters and mineral rich soils, the Dead Sea is visited by a large number of tourists from all over the world. Its soils contain minerals such as potassium, magnesium, calcium, and salt.These minerals are used in cosmetics, chemical products such as industrial salts and are even used in table salts for home use.
ellauri190.html on line 249: mages/3/3c/Vladimirin_jumalanaiti.jpg" width="15%" style="float:left;padding:1em" />
ellauri190.html on line 255: Vladimirin äidin ikoni liittyy läheisesti lukuisiin ihmeisiin, joita tapahtui Venäjällä muun muassa mongolivallan aikana. Ikonin ansioksi luetaan myös se, että Moskova säästyi mongolijoukkojen hävitykseltä mutta Kiova ei. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480. The image was brought from Vladimir to Moscow in 1395, during Tamerlane's invasion.
ellauri190.html on line 257: In a traditional account the horses transporting the icon had stopped near Vladimir and refused to go further. Accordingly, many people of Rus interpreted this as a sign that the Theotokos wanted the icon to stay there. The place was named Bogolyubovo, or "the one loved by God". Andrey placed it in his Bogolyubovo residence and built the Assumption Cathedral to legitimize his claim that Vladimir had replaced Kiev as the principal city of Rus. However, its presence did not prevent the sack and burning of the city of Vladimir by the Mongols in 1238, when the icon was damaged in the fire. You win some, you lose some.
ellauri190.html on line 259: In the late 12th and the 13th century, the center of Rus-Ukraine moved from Kyiv to what is now northwest and west of the country, the regions of Volyn and Halychyna (Galitzia). A mighty ruler called Prince (or Duke) Danylo Romanovych, even though an Eastern Orthodox by faith, was crowned King Danylo of Rus by a Pope’s Legate. King Danylo’s capital was the city of Kholm (now Chełm, Poland). He built a magnificent city of Lviv (“The Lion’s”) for his son, Lev (Leo). Lviviä pommitetaan paraikaa rankasti.
ellauri190.html on line 427: Charlemagne, Charles I the Great
ellauri190.html on line 428: Charlemagne, meaning Charles the Great, was King of the Franks from 768 and Emperor of the Romans (Imperator Romanorum) from 800 to his death in 814. He expanded the Frankish kingdom into an empire that incorporated much of Western and Cent...
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ellauri191.html on line 129: "as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit"
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ellauri191.html on line 211: "in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration that characterize the creations of this world-famous author"
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ellauri191.html on line 276: "in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations"
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ellauri191.html on line 785: "for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style"
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ellauri191.html on line 1044: "for the soaring flight and the evocative imagery of his poetry, which in a visionary fashion reflects the conditions of our time"
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ellauri191.html on line 1451: "for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts"
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ellauri191.html on line 1484: "for his poetry, which endowed with freshness, and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man"
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ellauri191.html on line 1600: "who through her magnificent epic writing has – in the words of Alfred Nobel – been of very great benefit to humanity"
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ellauri191.html on line 1649: "who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today"
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ellauri191.html on line 1705: mago,_Jos%C3%A9_(1922)-2.jpg" class="image">mago, José (1922)-2.jpg" src="https://upload.wikimedia.org/wikipedia/commons/thumb/8/82/Saramago%2C_Jos%C3%A9_%281922%29-2.jpg/75px-Saramago%2C_Jos%C3%A9_%281922%29-2.jpg" decoding="async" width="75" height="106" srcset="https://upload.wikimedia.org/wikipedia/commons/thumb/8/82/Saramago%2C_Jos%C3%A9_%281922%29-2.jpg/113px-Saramago%2C_Jos%C3%A9_%281922%29-2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/82/Saramago%2C_Jos%C3%A9_%281922%29-2.jpg/150px-Saramago%2C_Jos%C3%A9_%281922%29-2.jpg 2x" data-file-width="273" data-file-height="386" />
ellauri191.html on line 1707: mago" title="José Saramago">José Saramago
ellauri191.html on line 1714: "who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality"
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ellauri191.html on line 2043: "for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life"
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ellauri191.html on line 2145: From 1901 to 1912, the committee, headed by the conservative Carl David af Wirsén, weighed the literary quality of a work against its contribution towards humanity's struggle 'toward the ideal'. Leo Tolstoy, Henrik Ibsen, Émile Zola, and Mark Twain were rejected in favour of authors little read today. The choice of philosopher Rudolf Eucken as Nobel laureate in 1908 is widely considered to be one of the worst mistakes in the history of the Nobel Prize in Literature. The main candidates for the prize that year were poet Algernon Swinburne and author Selma Lagerlöf, but the Academy were divided between the candidates and, as a compromise, Eucken, representative of the Academy's interpretation of Nobel's "ideal direction", was launched as an alternative candidate that could be agreed upon. Solzhenitsyn did not accept the award and prize money until 10 December 1974, after he was deported from the Soviet Union. Swedish Academy member Artur Lundkvist had argued that the Nobel Prize in Literature should not become a political prize and questioned the artistic value of Solzhenitsyn's work. The award to Camilo José Cela was controversial as he had moved voluntarily from Madrid to Galicia during the Spanish Civil War in order to join Franco's rebel forces there as a volunteer.A member of the Swedish Academy, Knut Ahnlund, who had not played an important role in the Academy since 1996, protested against the choice of the 2004 laureate, Elfriede Jelinek; Ahnlund resigned, alleging that selecting Jelinek had caused "irreparable damage" to the reputation of the award.
ellauri192.html on line 255: The Nobel Prize in Literature 1984 was awarded to Jaroslav Seifert "for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man."
ellauri192.html on line 261: There is no objective measure, no slide rule for magnitude in literature. Balzac was convinced that Mrs. Ann Radcliffe, the purveyor of Gothic terror, was a finer writer than Stendhal, whom he admired. Tolstoy, one of the two writers who have freely refused the Prize - Sartre in 1964 was the other (Bob Dylan meant to be the 3rd until the Swedes upped the ante) - found Shakespeare's ''King Lear'' to be a puerile mess ''beneath serious criticism.'' (mitä se kieltämättä onkin, tai oikeammin setämiehen keitos). The only major fiction to come out of the American experience of World War II, James Gould Cozzens' fiction ''Guard of Honor,'' has fallen into oblivion, deservedly.
ellauri192.html on line 279: After this, explanation becomes speculative. Significant literature is inseparable from ideology and political feelings. There are more than hints that political considerations were implicit in the omission of Pound, Claudel, Malraux and Brecht. Too right, too right, too right, too left. The thoroughly embarrassing preference of Heinrich B"oll in 1972 over that far greater writer G"unter Grass was wholly typical of the Swedish Academy's bias towards the middle ground of urbane and liberal decencies. (Look! We tried to do the umlauts and almost did! But these are Germans, and Günther is an ex nazi too.) The great imaginings of terror and utopia, be they of the left or of the right, are not welcome. The 1957 choice of the young Camus haloed a literary persona and style of vision emblematic of the Stockholm ideal.
ellauri192.html on line 281: When political-ideological risks are taken, as in the selection of Neruda, of Pasternak, of Sholokhov, the system appears to be one of almost immediate apology and compensation: the suspect Sholokhov was chosen to repair the storm damage done by the brave resignation of Pasternak. The relatively risky award to Garcia Marquez in 1983 will, it is rumored, soon be counter-balanced by the choice of a much ''safer'' Latin American voice. And lo it was, with the Argentine right-wing goon Llosa! The Muses of Stockholm prize civility
ellauri192.html on line 635: Born in Žižkov, a suburb of Prague in what was then part of Austria-Hungary, Seifert's first collection of poems was published in 1921. He was a member of the Communist Party of Czechoslovakia (KSČ), the editor of a number of communist newspapers and magazines – Rovnost, Sršatec, and Reflektor – and the employee of a communist publishing house.
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ellauri192.html on line 890: One-storied America (Одноэтажная Америка) is a 1937 book based on a published travelogue across the United States by two Soviet authors, Ilf and Petrov. The book, divided into eleven chapters and in the uninhibited humorous style typical of Ilf and Petrov, paints a multi-faceted picture of the US. America´s entrepreneurial skills and economic achievements are praised, the oppression of the blacks, the life of the Indians in the reservations and the oppression of workers are denounced. The title of the book refers to their impression that the cities of America consist mainly of one- and two-story buildings, in complete contrast to the popular image of America as the land of skyscrapers. Based on this sentence:
ellauri194.html on line 51: Harmageddon ei tuhoa ihmiskuntaa vaan pelastaa sen, sillä "suuri joukko" Jumalaa palvelevia ihmisiä säilyy elossa (Ilmestys 7:9, 14; Psalmit 37:34). Maapallon lisäksi sana "maailma" tarkoittaa Raamatussa joskus myös Jumalaa vastustavaa pahaa ihmisyhteiskuntaa. Kootut paasauxet ovat osoittaneet vailla mitään epäilystä että Harmageddonilla alkaa olla kiire. Tämän konnamaisen apinaköörin täydellinen tuho on ihan ykkös ympäristötavoite.
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ellauri194.html on line 55: Harmageddonin taistelu on Ilmestyskirjan mukaan aikojen lopulla käytävä viimeinen suuri taistelu, johon Google ja Microsoft sekä muut Jumalan viholliset kerääntyvät Pedon kanssa. Punapukuinen kunkku joukon kärjessä on Messias vihdoinkin asiallisessa rooliasussa.
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ellauri194.html on line 255: After the Khazars came the Mongols, seen as a mysterious and invincible horde from the east who destroyed Muslim empires and kingdoms in the early 13th century; kings and popes took them for the legendary Prester John, marching to save Christians from the Muslim Saracens, but when they entered Poland and Hungary and annihilated Christian armies a terrified Europe concluded that they were "Magogoli", the offspring of Gog and Magog, released from the prison Alexander had constructed for them and heralding Armageddon.
ellauri194.html on line 257: Europeans in Medieval China reported findings from their travels to the Mongol Empire. Some accounts and maps began to place the "Caspian Mountains", and Gog and Magog, just outside the Great Wall of China. The Tartar Relation, an obscure account of Friar Carpini's 1240s journey to Mongolia, is unique in alleging that these Caspian Mountains in Mongolia, "where the Jews called Gog and Magog by their fellow countrymen are said to have been shut in by Alexander", were moreover purported by the Tartars to be magnetic, causing all iron equipment and weapons to fly off toward the mountains on approach. In 1251, the French friar André de Longjumeau informed his king that the Mongols originated from a desert further east, and an apocalyptic Gog and Magog ("Got and Margoth") people dwelled further beyond, confined by the mountains. In the map of Sharif Idrisi, the land of Gog and Magog is drawn in the northeast corner (beyond Northeast Asia) and enclosed. Some medieval European world maps also show the location of the lands of Gog and Magog in the far northeast of Asia (and the northeast corner of the world).
ellauri194.html on line 281: Magog in istis duabus sunt gentes magni et gigantes pleni omnium malorum morum. Quos iudeos artaxersex collexit de omnibus partibus persarum.
ellauri194.html on line 289: Some post-Cold War millenarians still identify Gog with Russia, but they now tend to stress its allies among Islamic nations, especially Iran. For the most fervent, the countdown to Armageddon began with the return of the Jews to Israel, followed quickly by further signs pointing to the nearness of the final battle – nuclear weapons, European integration, Israel's reunification of Jerusalem in the Six Day War in 1967, and America's wars in Afghanistan and the Persian Gulf. According to an unconfirmed report, US President George W. Bush, in the prelude to the 2003 Invasion of Iraq, told French President Jacques Chirac, "Gog and Magog are at work in the Middle East." Bush is said to have continued, "This confrontation is willed by God, who wants to use this conflict to erase His people's enemies before a new age begins." Officials from the Bush Administration claim there is no record of this conversation and that making such references, "doesn't sound at all like Bush", and French officials on the call have similarly claimed to have not heard any such remarks.
ellauri194.html on line 293: Taitaa kaikki sapiensit olla kolonialisteja paizi Lucy ja sen tytär Aahrikassa. Mongoloidit löytyivät Siperian Denisovan luolasta, Australiassa on pelkkiä erivärisiä mamuja, Euroopassa punatukkaisia kohteliaita suomenruozalaisia neandertaaleja ja röyhkeitä joskin jo haalenneita cro magnoneja.
ellauri194.html on line 314: Sedgwick' died of breast cancer in 2009 aged 58,. She deploys erudite and playful readings of texts by Oscar Wilde, Henry James and Marcel Proust to interrogate assumptions about the stability of sexual identity and how language works to define a homo/heterosexual binary. She writes: "An understanding of virtually any aspect of modern western culture must be not merely incomplete but damaged in its central substance to the degree that it does not incorporate a critical analysis of modern homo/heterosexual definition."
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ellauri196.html on line 53: Ioannes Piscator (natus die 27 Martii 1546 Argentorati - obiit die 26 Iulii 1625 Herbornae in Provincia Giessa) fuit magister artium, professor ac theologus Germanicus. A piscatore habemus opus: Aphorismi doctrinae christianae (Herborn 1619).
ellauri196.html on line 67: Ramus war ein Gegner der aristotelisch-scholastischen Philosophie; schon der Titel seiner Magisterthese von 1536 hatte angeblich (Freigius zufolge) gelautet: „Quecumque ab Aristotele dicta essent, commentita esse“ („Was immer Aristoteles gesagt haben mag, sei erlogen“). Er entwickelte stattdessen eine neue, nichtaristotelische Logik. Darin ersetzte er (in den Institutiones dialecticae) den aristotelischen Syllogismus durch ein System von Dichotomien (vgl. Ramismus) in der Tradition des spätmittelalterlichen Logikers Rudolf Agricola (1444–1485).
ellauri196.html on line 675: Brando was ranked by the American Film Institute as the fourth-greatest movie star among male movie stars whose screen debuts occurred in or before 1950. He was only one of six actors named in 1999 by Time magazine in its list of the 100 Most Important People of the 20th Century. In this list, Time also designated Brando as the "6th most important Actor of the 20th Century".
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ellauri196.html on line 805: Non so immaginare come la tua giovinezza En voi kuvitellakaan, miten nuoruutesi
ellauri197.html on line 102: He describes in the next lines how his love used to pass the “salley gardens / with little snow-white feet”. This is a great use of imagery that depicts his love as someone young, beautiful, and with the addition of “white,” pure feet. He describes the big mistake he made in regard to his life with his young woman. She told him to “take love easy” but he wasn’t able to do so. He rushed into this relationship and wasn’t as steady as he could’ve been. The man was “young and foolish” and now in his older age, he’s able to look back on his life and realize his mistakes.
ellauri197.html on line 151: - This poem appears in a section entitled "A Woman Old and New". Yeats is obviously writing from the perspective of a female, not in his own voice. Thus the poem does not reveal homosexuality, but is rather an imaginative recreation of that woman's musings.
ellauri197.html on line 153: - Yeats was all his life passionately devoted to a woman named Maud Gonne :D She had an affair with him which meant everything to him, and wrote many poems in her honor, but she refused to marry him. She married someone else, and so he had to marry someone else as well, but he always cherished her above all. She was "THE" woman to him. It may be for her sake that he imagined love from HER point of view. Meanwhile he and his second-choice wife had a son and a daughter, whom he loved dearly. That's sad... For all parties involved.
ellauri197.html on line 172: In 1938 he instructed his chauffeur to drive him from Preston to Lytham without stopping (at threat of being sacked), not even at the gates of his property, so smashed through the gates, damaging the car.
ellauri197.html on line 203: Delight to imagine them seated there; On kiva ajatella niitä perillä;
ellauri197.html on line 291: ‘How Happy I Was If I Could Forget’ by Emily Dickinson contains a narrator’s confused thoughts and experiences. She uses complex transformational generative grammar and imagery to convey it further.
ellauri197.html on line 295: The shift in verb tenses is remarkable in this first stanza to address the narrator’s unclear thoughts that are connected to whatever memory she wishes to “forget.” Within the first two lines of ‘How Happy I Was If I Could Forget’, the reader encounters past tense in “was” and the subjunctive imagined prospect of “if I could forget.” This “if” indicates that this is only a wish the narrator has, meaning it is not past, present, or future because it has not happened and will not definitively ever happen. From there, the narrator turns to the present tense by saying, “how sad I am.” There is no clear way that all of these verb tenses senspibly link up, and this grammatic confusion mirrors how uncertain and shaken the narrator is from this memory’s lingering presence.
ellauri197.html on line 505: Sharon Thompson's research has demonstrated how the gold digger stereotype or image has been used against women in the negotiation of alimony cases. The gold digger stereotype was also deployed in public discussions about "heartbalm" legislation during the 1930s, particularly breach of promise cases. The popularity of the gold digger image was a contributing factor to the nationwide push to outlaw heart balm laws in the middle and late-1930s in the United States.
ellauri197.html on line 651: In March 1833, "Pauline, a Fragment of a Confession" was published anonymously by Saunders and Otley at the expense of the author, Robert Browning, who received the money from his aunt, Mrs Silverthorne. It is a long poem composed in homage to the poet Shelley and somewhat in his style. Originally Browning considered Pauline as the first of a series written by different aspects of himself, but he soon abandoned this idea. The press noticed the publication. However, it sold no copies. Mill oli oikeassa, narsistista jaaritusta.
ellauri198.html on line 127: 1950-luvulta alkaen hän kirjoitti lähinnä lyriikkaa. Kaikki kuninkaan miehet on muokattu elokuvaksi kahteen otteeseen, vuonna 1949 ja vuonna 2006. Its title is drawn from the nursery rhyme "Humpty Dumpty". Se kertoo poliitikko Wille Rydmanin etenemisestä urallaan ja samanaikaisesta muuttumisesta entistä pahemmaxi ihmisenä. Willem esikuva Huey Pierce Long Jr. (30. elokuuta 1893 – 10. syyskuuta 1935), usein paremmin tunnettuna lempinimellä "Kingfish" oli yhdysvaltalainen demokraattisen puolueen poliitikko. Hän toimi Louisianan kuvernöörinä vuosina 1928–1932 ja Yhdysvaltain senaatin jäsenenä vuosina 1932–1935. Long tunnettiin radikaalina ja menestyksekkäänä vasemmistopopulistina, joka ajoi kuvernöörinä voimakkaita sosiaalisia reformeja ja perusti suuren laman aikana kunnianhimoisia julkiseen rahoitukseen perustuvia ohjelmia. Vastustajat arvostelivat häntä demagogiasta ja itsevaltaisesta vallankäytöstä. Longin lempinimi, "Kingfish" tuli hänen väittämästään "I'm a small fish here in Washington. But I am a kingfish to the folks down in Louisiana."
ellauri198.html on line 260: Esim Roland was the name of a real-life medieval military leader under Charlemagne who, more importantly, was the subject of the oldest surviving major work of French literature: an epic poem titled The Song of Roland. Roland was a loyal and trusting knight who was told to bring up the rear guard and burst his own temples open while sounding a horn too vigorously. What a way to go! In 1855, Robert Browning made the warrior the subject of his poem “Childe Roland to the Dark Tower Came,” which leads us back to Stephen King, of all the U.S. turds. It’s a bit incongruous to think of Dorff’s Roland West—an uncouth man who refers to “Saigon trim” and is eager to start a fight.
ellauri198.html on line 286: He put them where they are, and there we see them: in our imagination.
ellauri198.html on line 691: In March 1833, "Pauline, a Fragment of a Confession" was published anonymously by Saunders and Otley at the expense of the author, Robert Browning, who received the money from his aunt, Mrs Silverthorne. It is a long poem composed in homage to the poet Shelley and somewhat in his style. Originally Browning considered Pauline as the first of a series written by different aspects of himself, but he soon abandoned this idea. John Stuart Mill, however, wrote that the author suffered from an "intense and morbid self-consciousness". Later Browning was rather embarrassed by the work.
ellauri198.html on line 693: In 1838, he visited Italy looking for background for Sordello, a long poem in heroic couplets, presented as the imaginary biography of the Mantuan bard spoken of by Dante in the Divine Comedy, canto 6 of Purgatory, set against a background of hate and conflict during the Guelph-Ghibelline wars. This was published in 1840 and met with widespread derision, gaining him the reputation of wanton carelessness and obscurity. Tennyson commented that he only understood the first and last lines and Carlyle wrote that his wife had read the poem through and could not tell whether Sordello was a man, a city or a book. Ai tän mä taisinkin jo kertoa albumissa 54.
ellauri198.html on line 710: The series was chiefly inspired by the poem "Childe Roland to the Dark Tower Came" by Robert Browning, whose full text was included in the final volume's appendix. In the preface to the revised 2003 edition of The Gunslinger, King also identifies The Lord of the Rings, Arthurian legend, and The Good, the Bad and the Ugly as inspirations. He identifies Clint Eastwood's "Man with No Name" character as one of the major inspirations for the protagonist, Roland Deschain. King's style of location names in the series, such as Mid-World, and his development of a unique language abstract to our own [clarification needed] (High Speech), are also influenced by J. R. R. Tolkien's work. The series is referred to on King's website as his magnum opus.
ellauri198.html on line 712: Bill Sheehan of The Washington Post called the series "a humane, visionary epic and a true magnum opus" that stands as an "imposing example of pure storytelling," "filled with brilliantly rendered set pieces... cataclysmic encounters and moments of desolating tragedy." Erica Noonan of the Boston Globe said, "There's a fascinating world to be discovered in the series" but noted that its epic nature keeps it from being user-friendly.
ellauri198.html on line 734: The story then shifts to Susannah coming through the magic door to an alternate 1980s New York, where Gary Hart is president. Susannah throws away Roland's gun (which does not function on this side of the door), rejecting the life of a gunslinger, and starts a new life with alternate versions of Eddie and Jake, who in this world are brothers with the surname Toren. They have only very vague memories of their previous journey with Susannah, whose own memories of Mid-World are already beginning to fade. It is implied that an alternate version of Oy, the billy-bumbler, will also join them.
ellauri198.html on line 794: Roland is not mediated by his precursors; they do not detach him from history so as to free him in the spirit. The Childe's last act of dauntless courage is to will repetition, to accept his place in the company of the ruined. Roland tells us implicitly that the present is not so much negative and finite as it is willed, though this willing is never the work of an individual consciousness acting by itself. It is caught up in a subject-to-subject dialectic, in which the present moment is sacrificed, not to the energies of art, but to the near-solipsist's tragic victory over himself. Roland's negative moment is neither that of renunciation nor of the loss of self in death or error. It is the negativity that is self-knowledge yielding its power to a doomed love of others, in the recognition that those others like Shelley. more grandly had surrendered knowledge and its powers to love, however illusory. Or, mos simply, Childe Roland dies, if be dies, in the magnificence of a belatedness that can accept itself as such. He ends in strengh because his vision has ceased to break and deform the world, and has begun to turn its dangerous strength upon is own defense. Roland is the Kermit modem version of a poet-as-hero, and his sustained courage to weather his own phantasmagoria and emerge into fire is a presage of the continued survival of strong poetry.
ellauri198.html on line 821: William Butler Yeats is widely considered to be one of the greatest poets of the 20th century. He belonged to the Protestant, Anglo-Irish minority that had controlled the economic, political, social, and cultural life of Ireland since at least the end of the 17th century. Most members of this minority considered themselves English people who happened to have been born in Ireland, but Yeats staunchly flagged his fake Irish nationality. Although he lived in London for 14 years of his childhood (and kept a permanent home there for 30 years), Yeats magnified his cultural roots, featuring Irish legends and heroes in many of his poems and plays.
ellauri198.html on line 824: He was equally firm in adhering to his self-image as an artist. This conviction led many to accuse him of elitism, but conscious and undaunted image building also unquestionably contributed to his greatness.
ellauri198.html on line 826: Gonne shared Yeats’s interest in occultism and spiritualism. Yeats had been a theosophist, but in 1890 he turned from its sweeping mystical insights and joined the Golden Dawn, a secret society that actually practiced ritual magic. Yeats remained an active member of the Golden Dawn for 32 years, becoming involved in its direction at the turn of the century and achieving the coveted sixth grade of membership in 1914, the same year that his surrogate wife, Georgiana Hyde-Lees, also joined the society.
ellauri198.html on line 848: Another important element of poems in both these collections and other volumes is Yeats’s keen awareness of old age. Even his romantic poems from the late 1890s often mention gray hair and weariness, though those poems were written while he was still a young man. But when Yeats was nearly 60, his health began to fail and he was faced with real, rather than imaginary, “bodily decrepitude” (a phrase from “After Long Silence”) and nearness to death. Despite the author’s often keen awareness of his physical decline, the last 15 years of his life were marked by extraordinary vitality and an appetite for life, including young boys and girls.
ellauri198.html on line 856: Poetic ingredients of the sort Yeats described in “The Dark Tower”: “Poet’s imaginings / And memories of love, / Memories of young men and women, / All those things whereof / Man makes a superhuman / Mirror-resembling dream.”
ellauri198.html on line 866: Convinced that the "second coming" must be at hand, for the condition of the culture is unsustainable, Yeats sees "a vast image out of Spiritus Mundi, " or the "world spirit," a version of the anima mundi that is a central concept in Yeats's esoteric philosophy.
ellauri198.html on line 874: There are two realities, the terrestrial and the condition of fire. 1 All power is from the terrestrial condition, for there all opposites meet and there only is the extreme of choice possible, full freedom. [This seems inaccurate slightly, the terrestrial or earthly condition contains the condition of fire, water, and air; the mental, the material, and mental-material interaction respectively. How to distinctly separate water and earth is an issue going back at least to the Corpus Hermeticum.] And there the heterogeneous is, evil, for evil is the strain one upon another of opposites; but in the condition of fire is all music and rest. [Compare this with interpretations of Manichean or Gnostic dualism that there is a pure and impure world; castor and pollux.] Between is the condition of air where images have but a borrowed life, that of memory or that reflected upon them when they symbolise colours and intensities of fire; the place of shades who are 'in the whirl of those who are fading,' and who cry like those amorous shades in the Japanese play:-- Huoh, ei jaxa. Tää kaverihan oli täysin tärähtänyt:
ellauri198.html on line 876: I assert that the symbols which William Butler Yeats includes on the island — specifically the nine bean-rows — are meant to be examined in the light of the Kabbalism, numerology, and tarot cards to which these societies looked for inspiration in their occult practices. Through his inclusion of these symbols, William Butler Yeats is demonstrating mastery over the Hermetic Order of the Golden Dawn’s basic tenants (sic), a mastery which he perhaps hoped would help him advance in rank in the society to seventh grade and further his studies of magic.
ellauri198.html on line 889: The poem as usually printed breaks off at this point, in mid-line, with the word "celestial". Keats's friend Richard Woodhouse, transcribing this poem, completed this line as "Celestial Glory dawn'd: he was a god!" Ox, nyet! nyet! The language of Hyperion is very similar to Milton's, in metre and style. However, his characters are quite different. Although Apollo falls into the image of the "Son" from Paradise Lost and of "Jesus" from Paradise Regained, he does not directly confront Hyperion as Satan is confronted. Also, the roles are reversed, and Apollo is deemed as the "challenger" to the throne, who wins it by being more "true" and thus, more "beautiful." Double yawn.
ellauri198.html on line 910: Chained hoary anarch, demagogue & sage
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ellauri203.html on line 229: Anna Snitkina, who was 25 years Dostoevsky’s junior, was his stenographer during his work on The Gambler. The process of completing the novel engrossed both of them so much that they could not imagine life without each other, marrying in 1867. This particular novel was where Dostoevsky’s three great loves intersected: Appolinaria Suslova formed the basis for its protagonist, it was written as his first wife, Maria Isaeva, passed away, and stenographed by his future wife, Anna Snitkina.
ellauri203.html on line 310: "The bestseller book also created the idea, particularly in the West, that I was a political writer. This was a misunderstanding because my poetry was unknown. I have never been a political writer and I worked hard to destroy this image of myself." Kovasta yrittämisestä huolimatta kukaan ei taida lukea sen runoja. Vitun lällyjä ne ovatkin, täytyy vähän terävöittää suomennoxessa:
ellauri203.html on line 473: It was published first in 1866 in the first episode of the new literary magazine Epoch that was launched by Dostoevsky and his brother Mikhail. As we know Turgenev and Dostoevsky were not the best of friends. Turgenev had sent the story to Dostoevsky when he was in Baden Baden. Dostoevsky, however, was too busy playing roulette and returned the story without having read it. Mikhail told him in a letter that that had been a big mistake, because their magazine was sure to be a success if they could have a new Turgenev in the first episode. Dostoevsky proceeded to write an apologetic letter to Turgenev and managed to secure Phantoms for the magazine.
ellauri203.html on line 535: Novellissa on 3 osaa ja 2 hautakirjoitusta, ote Pushkinin runosta "Riivaajat" ja toinen Luukaxesta 8:32-36, se Saramagonkin kertoma kasku missä Jee-sus riivaa pakanoiden sikalauman ja aiheuttaa niille huomattavia taloudellisia menetyxiä.
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ellauri203.html on line 675: After smoking a magical strain of marijuana and falling asleep for 50 years, this adult animated series follows the three Freak Brothers and their sardonic cat as they adjust to life in 2020.
ellauri204.html on line 56: Nun trug es sich einmal zu, daß die goldene Kugel der Königstochter nicht in ihr Händchen fiel, das sie in die Höhe gehalten hatte, sondern vorbei auf die Erde schlug und geradezu ins Wasser hineinrollte. Die Königstochter folgte ihr mit den Augen nach, aber die Kugel verschwand, und der Brunnen war tief, so tief, daß man keinen Grund sah. Da fing sie an zu weinen und weinte immer lauter und konnte sich gar nicht trösten. Und wie sie so klagte, rief ihr jemand zu: "Was hast du vor, Königstochter, du schreist ja, daß sich ein Stein erbarmen möchte." Sie sah sich um, woher die Stimme käme, da erblickte sie einen Frosch, der seinen dicken, häßlichen Kopf aus dem Wasser streckte. "Ach, du bist's, alter Wasserpatscher," sagte sie, "ich weine über meine goldene Kugel, die mir in den Brunnen hinabgefallen ist." - "Sei still und weine nicht," antwortete der Frosch, "ich kann wohl Rat schaffen, aber was gibst du mir, wenn ich dein Spielwerk wieder heraufhole?" - "Was du haben willst, lieber Frosch," sagte sie; "meine Kleider, meine Perlen und Edelsteine, auch noch die goldene Krone, die ich trage." Der Frosch antwortete: "Deine Kleider, deine Perlen und Edelsteine und deine goldene Krone, die mag ich nicht: aber wenn du mich liebhaben willst, und ich soll dein Geselle und Spielkamerad sein, an deinem Tischlein neben dir sitzen, von deinem goldenen Tellerlein essen, aus deinem Becherlein trinken, in deinem Bettlein schlafen: wenn du mir das versprichst, so will ich hinuntersteigen und dir die goldene Kugel wieder heraufholen." - "Ach ja," sagte sie, "ich verspreche dir alles, was du willst, wenn du mir nur die Kugel wieder bringst." Sie dachte aber: Was der einfältige Frosch schwätzt! Der sitzt im Wasser bei seinesgleichen und quakt und kann keines Menschen Geselle sein.
ellauri204.html on line 340: In The Odyssey, Odysseus and his crew land on Aeaea, and a team of scouts discover the palace of Circe, a witch goddess. Circe invites Odysseus’s men inside for a drink and then magically turns them into pigs. One man escapes to tell Odysseus about their comrades’ fate and Circe’s trickery. Odysseus bravely hopes to rescue his men from Circe’s enchantment; on the way to her house, Odysseus receives help from Hermes, who offers him a plan and equips him with moly, a magical herb that will protect him from Circe’s witchcraft. The plan works: the moly counters Circe’s magic, she swoons for Odysseus and transforms his crew from pigs back into men. Odysseus and Circe then make love. For a year. Finally, some of Odysseus’s crew shake him from the madness of his long Circean interlude and compel him to resume the journey home to Ithaca.
ellauri204.html on line 353: With an emphasis on physical wellbeing – as well as the emotional, mental and spiritual – the mythopoetic employs movement, meditation and breathwork, often combining storytelling with music and dance. These activities can be seen as an extension to a form of reimagined shamanism (or neo-shamanism) popularised by Michael Harner, whose book The Way of the Shaman also appeared in 1990, the same year as Iron John and Women Who Run with the Wolves.
ellauri204.html on line 397: Omaa avioliittoani tuhosivat addiktioni ja niiden aiheuttama epäluotettavuus. Kesän alussa käytökseni poltti kumppanini kärsivällisyyden loppuun. Avioero näytti varmalta, Korhonen kirjoittaa Imagessa.
ellauri204.html on line 400: – En tiennyt raitistumisen voivan olla niin hienoa, syveneviä rauhan, hyvinvoinnin ja olemassaolon kokemuksia, Korhonen kirjoittaa Imagessa.
ellauri204.html on line 430: Esa Mäkijärvi Imagesta oli aivan eri mieltä.
ellauri204.html on line 567: 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 682: Sexton later studied with Robert Lowell at Boston University alongside poets Sylvia Plath and George Starbuck. Sexton later paid homage to her friendship with Plath in the 1963 poem "Sylvia's Death".
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ellauri205.html on line 166: Presque toute l'Iliade se passe loin des bains chauds. Quel dommage. Moi, j'aime les bains chauds. Presque toute la vie humaine s’est toujours passée loin des bains chauds.
ellauri206.html on line 61: Show, don't tell is a technique used in various kinds of texts to allow the reader to experience the story through actions, words, thoughts, senses, and feelings rather than through the author's exposition, summarization, and description. It avoids adjectives describing the author's analysis, but instead describes the scene in such a way that readers can draw their own conclusions. The technique applies equally to nonfiction and all forms of fiction, literature including haiku and Imagism poetry in particular, speech, movie making, and playwriting.
ellauri206.html on line 454: Selon le témoignage de ses contemporains, Gassendi se levait régulièrement à trois heures du matin, jamais plus tard que quatre heures, et quelquefois à deux. Il étudiait jusqu'à onze heures, à moins de recevoir une visite et se remettait à l'étude vers deux ou trois heures après midi jusqu'à huit. Il soupait légèrement (une tisane tiède, des légumes, rarement de la viande) et se couchait entre neuf et dix. On le disait pieux, et pratiquant avec scrupule ses devoirs de prêtre ; ses paroissiens l'appelaient le saint prêtre. Par sa pauvreté, sa modestie, sa douceur, son humanité, sa bienfaisance, sa charité et sa simplicité, il faisait figure d'un anachorète, vivant dans le monde selon la règle d'un monastère. « Le plus grand philosophe parmi les hommes de lettres, et le plus grand homme de lettres parmi les philosophes », sanoi gibboni. Peu d'auteurs ont imaginé qu'il s'agissait là d'une posture, ou d'un masque.
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ellauri207.html on line 357: Zalachenko got involved with Agneta Sjolander, who changed her own name to match his, but he refused to marry her, calling her a whore. Regardless he fathered two children with her, Lisbeth and her twin sister, Camilla. So they must have had their moments... Zalachenko brutally beat and abused Agneta, who tried to shelter her daughters from the brutality, and the two girls reacted differently. Camilla didn´t care at all for her mother, and Lisbeth did. At age twelve, Lisbeth Salander, set Zalanchenko, her father, on fire to stop his brutal beatings of her mother. We find out in The Girl Who Played with Fire, that because of the damage to his body, he had to have his leg amputated and suffers from chronic pain. I can relate to that! Constant pain is enough to turn one into a psychopath. This act is used as evidence to support claims that Lisbeth Salander is mentally ill, and remains a topic of debate for readers and characters.
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ellauri210.html on line 123: Moreover, Freud (1960) followed Herbert Spencer's ideas of energy being conserved, bottled up, and then released like so much steam venting to avoid an explosion. Sixi porukat raivon sijasta joskus räjähtävät nauramaan. Freud was imagining psychic or emotional energy, and this idea is now thought of as the relief theory of laughter. Lisää aiheesta albumissa 30.
ellauri210.html on line 127: La ’Pataphysique est une parodie de science qui apparaît dans Gestes et opinions du docteur Faustroll, pataphysicien, livre écrit par Alfred Jarry en 1897-1898. Elle est alors définie comme la « science des solutions imaginaires qui accorde symboliquement aux linéaments les propriétés des objets décrits par leur virtualité ».
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ellauri210.html on line 371: When Jack Johnson fled racially motivated prosecution in the U.S. in 1913, he arrived in Paris to a hero’s welcome. After he’d beaten Jim Jeffries to become the first black heavyweight champion of the world in 1910, he’d been tarred as a threat to social order back home. A film of the fight had been a hit in France but was banned in America for fear that images of a black man schooling a white man in the ring would cause grave insult and incite sedition.
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ellauri210.html on line 718: Annalisa Chirico è una giovane e brillante giornalista dalla lingua schietta. Dietro la sua bella presenza si cela un personaggio preparatissimo, nel suo campo: la scrittura. La giornalista è sempre stata decisa riguardo il suo futuro e suo padre è stato la figura che l’ha spronata maggiormente. Pugliese originaria di Brindisi, a soli diciotto anni, Annalisa sale un pezzo di stivale fino a Roma per frequentare la Luiss Guido Carli, laureandosi in Scienze Politiche.
ellauri210.html on line 749: Jacques Pierre Vaché, né à L'Orient le 7 septembre 1895 et mort à 23 ans à Nantes le 6 janvier 1919, etait un wannabe écrivain et dessinateur français. Il n'a laissé pour toute œuvre qu'une série de lettres, quelques textes et quelques dessins. Le ton de son œuvre est volontairement provocateur, pacifiste voire anti-militariste, haine des bourgeois, des conventions et de l'armée. Quatre jeunes hommes faisaient paraître une revue ayant pour titre En route mauvaise troupe, en hommage à Paul Verlaine. Varmaan hinureita kaikki.
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ellauri210.html on line 863: Fils d'un cadre du grand magasin Le Bon Marché, il est d’abord un élève brillant au lycée Montaigne, où il obtient un prix de récitation et de français, puis il devient passable et dissipé au lycée Louis-le-Grand où il se fait remarquer par son excentricité.
ellauri210.html on line 915: Jacques Prévert s'ennuie à l'école et fait souvent l'école buissonnière en parcourant Paris avec la complicité de son père. Dès 15 ans, après son certificat d'études primaires, il abandonne les études. Il multiplie alors les petits travaux, notamment au grand magasin Le Bon Marché. Il fait quelques larcins et fréquente des voyous mais n'est jamais inquiété par la police.
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ellauri210.html on line 1150: Au cours de la guerre et jusqu'à la fin des années 1950, elle cesse de publier. Elle travaille dans des crèches, et co-traduit avec son mari Pierre Fridas plusieurs livres de Níkos Kazantzákis comme Alexis Zorba ou La Liberté ou la mort. Elle se remet ensuite à écrire, des poèmes et des romans, en opposition avec l'orthodoxie surréaliste. Ces textes sont toutefois inclassables. Brelin le frou, ou le portrait de famille (1975) décrit des personnages vivant selon des règles fantaisistes. Sur les dessins de l'auteur, ils ont la particularité de porter une coiffe à l'image de leur sexe. Les nouvelles de Mon cœur les écoute (1982) font montre d'un humour poétique proche de celui d'Henri Michaux ou de Joyce Mansour. Elle est également connue pour ses dessins et ses « tentures », des œuvres plastiques réalisées à l'aide de morceaux de tissu de couleur découpés.
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ellauri210.html on line 1304: Joyce Mansour y Gisèle Prassinos han adaptado esta particular estética en su literatura de formas muy sorprendentes. Comparten esta sensibilidad y aportan un nuevo punto de vista a la imagen de la mujer.
ellauri210.html on line 1306: Mansour, lejos de generar o de seguir con la imagen de la mujer creada por André Bretón incluye la belleza fatal, entendida como una belleza herida, lejos del principio de Narciso. Junto con Gisèle Prassinos y Lise Deharme proceden a crear una renovación estética en la literatura surrealista. Adjetivos como “laid(e)”, “malade”, “malformé(e)” serán típicos de estas autoras que elaboran un reflejo femenino escribiendo sobre “antiNadjas” als gegen Bretons Roman verfasste Anti Nadja.
ellauri210.html on line 1323: En el caso de Prassinos se distinguen dos periodos, el de su adolescencia y el de una época más tardía. En su imaginario adolescente implica motivos típicos de los cuentos de hadas.
ellauri210.html on line 1336: La imagen del padre es central en el ámbito de la obsesiones, juega un papel esencial en el subconsciente de la autora. Desarrolla una revisión muy particular sobre el mito de Electra. En las dos autoras es frecuente encontrar imágenes criminales, de pesadilla, aderezadas con humor negro y erotismo, especialmente en Mansour, para quien el erotismo frenético es la fuerza motora de sus personajes.
ellauri210.html on line 1344: Gisèle Prassinos también nos ha dejado unas buenas dosis de personajes desordenados, donde afloran ciertas desviaciones. En ese “collage” entre cuentos de hadas y aromas baudelerianos, la autora jugará sobre todo con la metamorfosis, así sus mujeres “pseudo-femmes castratrices” se transforman en animales o en seres extraños, fantásticos. Prassinos ataca a los mitos del psicoanálisis, muestra imágenes híbridas, animales que se convierten en hombre, objetos que se convierten en animales, etc. Destaca la hostilidad hacia la figura autoritaria del padre. Nos habla de venganzas mediante el asesinato, los cuerpos difuntos son despedazados o transformados, dejando traslucir sentimientos intensos, donde se perfila la imagen de la muerte y se exorciza el miedo. La misma autora confesaba en una entrevista personal la distancia que había entre ella y su padre, destacando la importancia que tiene la figura masculina en las culturas orientales, sensación que refleja en el cuento “La Tête” (op. cit., 1987): “Lucas vit qu’entre elle et son père s’ouvrait un écart plus large que ceux qui séparaient les autres personnes”.
ellauri210.html on line 1346: Prassinos, heredera de los cuentos tradicionales de hadas contamina su imaginario con personajes desviados, transformándolos en “contes bizarres”. En un marco irreal, típico de los cuentos surrealistas juega con las metamorfosis: objetos que adquieren dimensión animal, humanos que se animalizan, animales que se transforman en humanos, o personas que se reapropian de otras, como muestran algunos de sus cuentos, como “la Psyché” donde la protagonista sufre por parte de otra mujer una apropiación de su voluntad, de su personalidad, llegando a ser su doble. Como en el estadio del espejo de Lacan, la protagonista reacciona al contemplar su imagen, no ante el espejo, sino ante la otra mujer: “Nous étions plus que jumelles et nous nous regardions subjuguées, chacune dans le miroir humain que lui tendait l’autre”.
ellauri210.html on line 1352: Supone una alteración y deformación de lo que uno es, sólo que en estos casos el extrañamiento no viene frente a la sociedad o frente a otros individuos, sino que los protagonistas son alienados por otra persona que deviene su propio “yo”, actuando a modo de espejo. Actuando como duplicados de uno mismo, solo que el “yo” inicial queda anulado por el segundo. Se aproxima a la escisión del “yo” entendida bajo los términos de Lacan. La alienación viene dada por su imagen en el espejo, en este caso en ese “otro” (algo ajeno a él). El “yo” está alienado porque se reconoce en algo que no es. Esta pérdida de identidad en Gisèle Prassinos también se ve reflejada en el juego de sexos, procede a despistar con los sexos como hace Mansour.
ellauri210.html on line 1359: A pesar de todo, Gisèle Prassinos nos sumerge en un imaginario que nos recuerda a los cuentos clásicos con ciertas afinidades próximas a Nathalie Sarraute y a Baudelaire. Aunque los personajes sean dementes tenemos la impresión de estar ante seres inofensivos, llenos de ternura. La belleza en Prassinos nunca es explicita, se centra en destacar los debilidades que terminan por dar coherencia al relato.
ellauri210.html on line 1360: El monstruo es un ser complejo, no banal, que nos hace obtener resultados de nuestro yo profundo y oscuro, implica mutaciones pero también continuidades de sentido. Monsters have an interesting life, they don't work from 9 to 5. La subversion des images inattendues du corps féminin, sénile ou malade, se trouve particulièrment troublante chez Prassinos et Mansour. Como vemos, las dos autoras se sirven de un imaginario sórdido para expresar aquello que les duele.
ellauri210.html on line 1382: Jean Benoît (1922-2010) was a Canadian artist known as "The Enchanter of Serpents", most famous for his surrealist sculptures. One sculpture called "Book Cover for Magnetic Fields" features demonic figures ripping an egg from a book. Magnetic Fields was the name of the book Breton wrote with Philippe Soupault, which Breton called the first surrealist book. Many of his works include demonic figures, brutal sexual images, exaggerated phalluses, and so on. Benoît was active and remained productive, working every day on his art until he died on August 20, 2010, in Paris. He was 88.
ellauri211.html on line 104: (1) they be important targets in a large urban area of more than three miles in diameter, (2) they be capable of being damaged effectively by a blast, and (3) they are unlikely to be attacked by next August. Five cities made the list, the top four in order of priority were:
ellauri213.html on line 294: The girls didn't know much about the event beforehand, but Amelia was most excited about sleeping with the Big Top, Meghan couldn't wait to learn some tricks, while Abigail, Darcey and Ellie were looking forward to trying out some new adventurous group activities. We then enjoyed a very funny magic show, sucking our own magic wands and balloon creatures. Darcey and Aayla said they 'liked playing fun games with the Rainbows on the inflatables' which we did next.
ellauri213.html on line 296: Each year, the organisation publishes the Girls' Attitudes Survey, which surveys the views of girls and young women on topics such as body image, career aspirations and mental health. BBC staff were told there are more than 150 genders and urged to develop ‘trans brand’.
ellauri213.html on line 298: Girlguiding UK has signed the campaign to try and force the hand of Rupert Murdoch, who hinted a few weeks ago that he is considering ending the publication of photographs of topless models on page 3 of The Sun – which he owns, as chief executive of News Corporation. Page 3, or Page Three, was a British newspaper convention of publishing a large image of a topless female glamour model (known as a Page 3 girl) on the third page of mainstream red-top tabloids. The Sun introduced the feature, publishing its first topless Page 3 image on 17 November 1970. The Sun's sales doubled over the following year, and Page 3 is partly credited with making The Sun the UK's bestselling newspaper by 1978. In response, competing tabloids including the Daily Mirror, the Sunday People, and the Daily Star also began featuring topless models on their own third pages. Notable Page 3 models included Linda Lusardi, Samantha Fox, and Katie Price.
ellauri213.html on line 311: The Sun ceased publishing topless Page 3 images in its Republic of Ireland edition in 2013, in its UK editions in 2015, and on its Page3.com website in 2017. The Daily Star also ceased publishing images of topless glamour models in 2019. However, these decisions were not necessarily a direct result of the No More Page 3 campaign. The then official photographer for Page 3, Alison Webster, also criticised the campaign, saying "people should be able to make their own choices". Prime Minister David Cameron replied, "I think on this one I think it is probably better to leave it to the consumer."
ellauri213.html on line 329:

TWA flight 741 was one of three planes successfully hijacked by the Popular Front for the Liberation of Palestine that day — the hijacking of an El Al plane was foiled by the onboard sky marshals. At the time, I was a 14-year old foreskinned kid living in Trenton, New Jersey, whose only care was how the Baltimore Orioles were doing. This event changed my life, as well as the lives of the other 350 people who were on those planes. Mostly for the better, we became instant celebrities.

Imagine the horror and disgust that I, my family and other hijack victims experienced when we read that Leila Khaled, one of the hijackers directly involved in the 1970 attacks, had been invited by San Francisco State University to address a forum on Gender, Justice and Resistance. Ms. Khaled is a convicted terrorist. She has paid her debt to society. She is a member of the PFLP. She is a symbol not of justice and resistance, but of wanton terrorism and death. Khaled spent only a few days in jail. After her failed hijacking of the El Al plane, she was transferred by the Israeli sky marshals to the British police and released in exchange for hostages when a fifth plane was hijacked to secure her freedom.
ellauri213.html on line 379: Königsberg was the easternmost large city in Germany until World War II. The city was heavily damaged by Allied bombing in 1944 and during the Battle of Königsberg in 1945; it was then captured by the Soviet Union on 9 April 1945. The Potsdam Agreement of 1945 placed it under Soviet administration. The city was renamed to Kaliningrad in 1946 in honor of Soviet revolutionary Mikhail Kalinin. Since the dissolution of the Soviet Union, it has been governed as the administrative centre of Russia's Kaliningrad Oblast, the westernmost oblast of Russia.
ellauri213.html on line 387: As a major transport hub, with sea and river ports, the city is home to the headquarters of the Baltic Fleet of the Russian Navy, and is one of the largest industrial centres in Russia. It was deemed the best city in Russia in 2012, 2013, and 2014 in Kommersant's magazine The Firm's Secret, the best city in Russia for business in 2013 according to Forbes, and was ranked fifth in the Urban Environment Quality Index published by Minstroy in 2019. Kaliningrad has been a major internal migration attraction in Russia over the past two decades, and was one of the host cities of the 2018 FIFA World Cup.
ellauri213.html on line 416: “I apologise for the inconvenience my arrest has caused to so many people,” Shigenobu said after the release. “It’s half a century ago ... but we caused damage to innocent people who were strangers to us by prioritising our battle, such as by hostage-taking.”
ellauri213.html on line 434: Seuraavassa on listattuna pahoja naisia rikkomuxineen (kuvissa söpöset alleviivattu): Irma Grese (Naziwächterin), Myra Hindley (serial pedocide), Isabela of Castile (born in the year 1451 and died in 1504, Isabella the Catholic, was queen of Castile and León. She and her husband, Ferdinand II of Aragon, brought stability to the kingdoms that became the basis for the unification of Spain. Isabella and Ferdinand are known for completing the Reconquista, ordering conversion or exile of their Muslim and Jewish subjects and financing Christopher Columbus’ 1492 voyage that led to the opening of the “New World”. Isabella was granted the title Servant of God by the Catholic Church in 1974), Beverly Allitt (pedocide, Angel of Death), Queen Mary of England (catholic), Belle Gunness (norwegian-american serial killer), Mary Ann Cotton (serial killer), Ilse Koch (Lagerfrau), Katherine Knight (very bad Aussie), Elizabeth Bathory (hungarian noblewoman and serial killer), Sandra Avila Beltran (drugs), Patty Hearst (hänen isoisänsä oli lehtikeisari William Randolph Hearst. Hiän joutui kidnappauksen uhriksi, mutta pian tämän jälkeen hiän teki pankkiryöstön ja joutui vankilaan), Genene Jones (infanticide nurse), Karla Homolka (Canadian serial killer), Diane Downs (infanticide), Aileen Wuornos (serial killer), Griselda Blanco (drug lady), Lizzie Borden (kirvesmurhaaja), Bonnie Parker (bank robber), Anne Bonny (pirate), mages.arcpublishing.com/elcomercio/Z4JHQMAFJJHIDKHFIBQ3E7BR7E.jpg">Mary Bell (pedocide), Delphine LaLaurie (serial slavekiller), Patricia Krenwinkel (Manson family member), Leslie van Houten (Manson family member), Darlie Routier (infanticide), Susan Smith (infanticide), Susan Atkins (Manson family member), mages/ching-shih-2.jpg">Ching Shih (pirate), Anna Sorokin Delvey (con woman), Amelia Dyer (serial killer), Assata Shakur (black terrorist), Belle Gunness (serial killer), Gypsy Rose Blanchard (matricide), Pamela Smart (mariticide), Ruth Ellis (nightclub hostess, last woman hanged in UK), Phoolan Devi (bandit), Ma Barker (matriarch), Jennifer Pan (parenticide), Virginia Hill (gangster), Karla Faye Tucker (burglar, first woman injected in US), Leonarda Cianciully (serial murderer, soapmaker), Mary Read, Carill Ann Fugate (murder spree), Grace Marks (maid), Belle Starr (outlaw, friend of Lucky Luke), Zerelda Mimms (Mrs. Jesse James), Jane Toppan (serial killer), Sara Jane Moore (wannabe assassin of Gerald Ford), Martha Beck (serial killer), Doris Payne (jewel thief), Mary Brunner (Manson family member), mages/graham-barbara/barbara-graham-52.jpg">Barbara Graham (executed by gas), Grace O'Malley (pirate), Sada Abe (jealous geisha. When they asked why she had killed Ishida, “Immediately she became excited and her eyes sparkled in a strange way: ‘I loved him so much, I wanted him all to myself. But since we were not husband and wife, as long as he lived he could be embraced by other women. I knew that if I killed him no other woman could ever touch him again, so I killed him…..’ ), Samantha Lewthwaite (white somali terrorist), Theresa Knorr (murderess), Lynette Fromme (Manson family, wannabe assassin of Gerald Ford), The Freeway Phantom (serial killer), Carol M. Bundy (serial killer), Fanny Kaplan (bolshevik revolutionary), Marguerite Alibert (Ed VII courtesan), Jean Harris (author), Linda Hazzard (physician, serial killer), Mary Jane Kelly (1st victim of Jack the Ripper), Kim Hyon-hui (North-Korean spy), Vera Renczi (serial killer), Clare Bronfman (filthy rich criminal), Kirsten Gilbert (serial killer nurse), Gerda Steinhoff (Lagerwächterin), Linda Carty (baby robber), mages/resized-image/brown-divine-259860a_183x244.jpg/1063">Estella Marie Thompson (black prostitute, blowjobbed Hugh Grant), Elizabeth Becker (Lagerwächterin), Juana Barraza (asesina en serie), Olivera Circovic (baseball player, writer, jewel thief), Olga Hepnarova (mental serial killer), Sabina Eriksson (knäpp tvilling), Minnie Dean (serial killer), Madame de Brinvilliers (aristocrat parri- and fratricide), Martha Rendell (familicide, last woman hanged in Western Australia), Violet Gibson (wannabe assassin of Mussolini), Idoia López Riaño (terrorist), Styllou Christofi (murdered her daughter in law), Mary Eastley (convicted of witchcraft), Wanda Klaff (Lagerwächterin), Giulia Tofana (avvelenatrice), Tisiphone (1/3 raivottaresta), Jean Lee (murderer for money), Brigitte Mohnhaupt (RAF terrorist), Marcia (mistress of Commodus), Beate Zschäpe (far-right terrorist), Evelyn Frechette (singer, Dillingerin heila), Francoise Dior (naziaktivisti), Linda Mulhall (nirhasi äidin poikaystävän saxilla), Brigit Hogefeld (RAF terrorist), Martha Corey (Salem witchhunt victim), Marie Lafarge (arsenikkimurha), Debra Lafave (teacher, gave blow job to student), Enriqueta Marti (asasina en serie), Alse Young (witch hanging victim), Elizabeth Michael (actress, involuntary manslaughter: nasty boyfriend hit his head and died while beating her), Susannah Martin (witchcraft), Maria Mandl (Gefängnisoffizerin), Mary Frith (pickpocket and fence), Hanadi Jaradat (suicide bomber), Marie-Josephte Carrivau (mariticide), Gudrun Ensslin (RAF founder), Anna Anderson (vale-Anastasia), Ans van Dijk (jutku nazikollaboraattori), Elizabeth Holmes (bisneshuijari), Ghislaine Maxwell (Epsteinin haahka), Julianna Farrait (drugs), Yolanda Saldivar (embezzler, killer), mages/o-JODI-ARIAS-facebook.jpg">Jodi Arias (convicted killer Jodi Ann Arias was born on July 9, 1980, in Salinas, California. In the summer of 2008, Arias made national headlines when she was charged with murdering her ex-boyfriend Travis Alexander, a 30-year-old member of the Church of Jesus Christ of Latter Day Saints who was working as a motivational speaker and insurance salesman. Aargh. Justifiable homicide.) Alyssa Bustamante (kid murder), Mary Kay Letourneau (kid abuser), Mirtha Young (drugs), Catherine Nevin (mariticide), Pilar Prades (maid), Irmgard Möller (terrorist), Christine Schürrer (krimi), Reem Riyashi (suicide bomber), Amy Fisher (jealous), Wafa Idris (suicide bomber), Jeanne de Clisson (ex-noblewoman), Christine Papin (maid murderer), Sally McNeil (body builder), Mariette Bosch (murderer), Sandra Ávila Beltrán (drugs), Alice Schwarzer (journalist), Andrea Yates (litter murderer), Mimi Wong (bar hostess), Pauline Nyiramasuhuko (criminal politician), Josefa Segovia (murderer), Martha Needle (serial killer), Antonina Makarova (war criminal), Mary Surratt (criminal businessperson), Dorothea Binz (officer), Leona Helmsley (tax evasion), Angela Rayola (reality tv personality), Léa Papin (maid murderer), Ursula Erikssson (kriminell mördare), Maria Petrovna (spree killer), Aafia Siddiqui (criminal), Fatima Bernawi (palestinian militant), La Voisin (fortune teller), Deniz Seki (singer), Rasmea Odeh (Arab activist), Hildegard Lächert (nurse), Sajida al-Rishawi (suicide bomber), Hayat Boumeddiene (ISIS groupie, nähty viimexi Al Holissa), Herta Ehlert (Lagerwächterin), Elizabeth Stride (seriös mördare), Adelheid Schulz (krimi), Jenny-Wanda Barkman (Wächter), Shi Jianqiao (pardoned assassin. The assassination of Sun Chuanfang was ethically justified as an act of filial piety and turned into a political symbol of the legitimate vengeance against the Japanese invaders.), Rosemary West (serial killer), Juana Bormann (Lagerwächterin), Kathy Boudin (criminal), Kate Webster (assassin), Teresa Lewis (murderer), Hermine Braunsteiner (Lagerwächterin), Flor Contemplacion (assassina), Constance Kent (fratricide), Tamara Samsonova (serial killer), Herta Bothe (Lagerwächterin), Maria Gruber (Mörderin), Irene Leidolf (möderin), Waltraud Wagner (Mörderin), Elaine Campione (criminelle), Greta Bösel (Pflegerin), Marie Manning (Mörderin), mages/darya-nikolayevna-saltykova-2.jpg">Darya Nikolayevna Saltykova (sadist), Nora Parham (executed), Maria Barbella (assassina), Linda Wenzel (ISIS activist), Anna Marie Hahn (Mörderin), Suzane von Richthofen (parenticide), Charlotte Mulhall (murderer), Khioniya Guseva (kriminal), Daisy de Melker (serial killer nurse), Stephanija Meyer (Mörderin), Sinedu Tadesse (murderer), Ayat al-Akhras (suicide bomber), Akosita Lavulavu (minister of infrastructure and tourism), Sabrina de Sousa (criminal diplomat), Sally Basset (poisoner), Emma Zimmer (Aufseher), Mary Clement (serial killer), Irina Gaidamachuk (serial killer), Dagmar Overbye (serialmorder), Gesche Gottfried (Mörderin), Frances Knorr (serial killer), Beate Schmidt (Serienmörderin), Elizabeth Clarke (accused victim of witchcraft), Kim Sun-ja (serial killer), Olga Konstantinovana Briscorn (serial killer), Roxana Baldetti (politico), Rizana Nafeek (house maid), Margaret Scott (accused of witchcraft), Jacqueline Sauvage (meurtrier), Veronique Courjault (tueur en série), Barbara Erni (thief), Hilde Lesewitz (Schutzstaffel Wächterin), Thenmoli Rajaratnam (suicide bomber), etc. etc..
ellauri214.html on line 76: J.K. Rowling has also included plenty of sexism in her writing, indicative of her internalised misogyny. Cho Chang was Harry Potter’s love interest throughout books 4 and 5. However, Cho was in a relationship with another student in the fourth book, and unfortunately this student was killed by Lord Voldemort at the end of the book. This leaves Cho rightfully distraught. Though still in emotional turmoil, she develops a crush on Harry and they begin dating. During their first kiss, Cho is crying because she is thinking of her dead boyfriend. Harry and Cho break up after multiple arguments later in the book. Later on in the series, Harry develops feelings for his best friend’s sister, Ginny Weasley. Rowling periodically writes how Harry prefers Ginny to Cho because Cho was too emotional after the death of her boyfriend. Harry preferred Ginny, who was stronger and could contain her emotions, supposedly because she had grown up with 6 brothers (no, 5, Ronny is a sissy). This comparison of the two girls demonstrates Rowling’s internalized feelings that women exist for the purpose of pleasing men. The thinly veiled idea that women who are too emotional or too much drama queens are not desirable is evident in Rowling’s writing. Fleur Delcore is another example of this feeling. Fleur is a student at a French wizarding school who competes against Harry in a difficult tournament in the fourth book. Fleur is part veela, who are magical beings of extreme beauty but can turn monstrous when angered. Fleur eventually marries Ron Weasley’s older brother, Bill. Hermionie, Harry’s other best friend, and Ginny constantly complain about Fleur. However, the only thing their animosity can be traced back to is that Fleur is a beautiful Frenchy woman and she is confident in that, whilst they are just snubnosed Brits. This further develops Rowling’s internalized misogyny. She views women who are confident in their beauty as annoying, and has the idea that women should seek male validation. Though these portions of the book were likely unintentional, speaking from personal experience, it has to be said that Rowling’s writing of women in her book have had a lasting effect on her female readers.
ellauri214.html on line 78: Rowling tweeted,“It should never have been a problem with anyone but Ron Weasley was indeed transgender. Ron was born female but magically transitioned to male at age four. Gender transition is much easier in the magical world than it is in the muggle world – yet so similar. You lose your wiener ang get a twat, or the other way round, as the case may be.” Käy kuin Susannan kissanpojalle Harrylle, joka muuttui taianomaisesti Ginnyxi.
ellauri214.html on line 84: It’s difficult to imagine the phrases “miraculously unguarded vagina” or “with an ache in his heart and in his balls” being found in the G-rated wizard novels, but they abound in the X-rated Casual Vacancy. In addition to the risque descriptions, many of the characters (teens especially) are troubled and one mother is a heroine addict. “I have a lot of real-world material in me, believe you me,” Rowling tells The New Yorker. “The thing about fantasy—there are certain things you just don’t do in fantasy. You don’t have sex with unicorns.” A good rule of thumb. They are horny but much too pointy for close comfort.
ellauri214.html on line 86: Whereas Rowling’s shepherding of readers was, in the Harry Potter juvenile series, an essential asset, in The Casual Vacancy her firm hand can feel constraining. She leaves little space for the peripheral or the ambiguous; hidden secrets are labeled as hidden secrets, and events are easy to predict. We seem to watch people move around Pagford as if they were on Harry’s magical parchment map of Hogwarts.
ellauri214.html on line 104: I think JK Rowling did one thing exceptionally well: she had really interesting whimsical ideas based on everyday mundane life, and she can write these ideas out in a very visually exciting fashion. These little sparkles of crazy fun ideas can almost make you forget about the other glaring problems of the book. A lot of people (myself included) are attracted, or mesmerized by these whimsical sparkles of imagination. It's a fascinating magical world that's so imaginative and yet at the same time mirror our own.
ellauri214.html on line 106: But, Rowling's talent is skin deep. I absolutely do not agree that she did a great job in character and/or plot development. Her characters are pretty clichéd (Chosen one and his side kick), her setting is pretty narrow (British boarding school experiences), her plot is pretty predictable, and like all amateur writers, her plot line often meanders for no good reason at all. Her world building is imaginative, but lack planning. Simply put, most part of her world is a whim, it's not coherent, she didn't think it through. And the more you think about it, the bigger the problem it is. Oh and that one character everyone is singing praises about, as if it's the best written character of all time? Stereotypical Byronic hero. I read how people praise Snape being this greatest character of our generation, I couldn't help but wondering, you guys never read Wuthering Heights?! I've never attended an American high school but I'm pretty sure the Great Gatsby is on the required reading list.
ellauri214.html on line 150: Everyone forgive my tantrums and acting out, everyone forgive my irrational actions. I can hit everyone, do anything. Because I have a troubled past, every stupid, abusive, damaging thing I do to people around me is justified and forgiven.
ellauri214.html on line 535: Halfway through her fifth novel Flights, Olga Tokarczuk asks her readers to take pity on the poor souls for whom English is their “real language”. “Just imagine!” teases Poland’s most widely translated female author. “They don’t have anything to fall back on or turn to in moments of doubt. How lost they must feel in the world, where all instructions, all the lyrics of the stupidest possible songs, all the excruciating pamphlets and brochures — even the buttons in the lift! — are in their private language . . . they are accessible to everyone and everything!”
ellauri214.html on line 551: Tokarczuk felt this rejection of facts at first-hand when the Polish publication of her 2015 novel The Books of Jacob led to death threats from nationalists. Her 900-page “magnum opus” tells the true story of 18th-century Polish-Jewish religious leader Jakub Frank, who converted thousands of Orthodox Jews to a kind of Christianity that saw them condemned and persecuted for heresy.
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ellauri217.html on line 63: The story recreates the interlinked history of the three monotheistic Abrahamic religions (Judaism, Christianity, and Islam), allegorised against the setting of an imaginary 19th century Cairene alley.
ellauri217.html on line 329: "Men när jag passerade en dörr på glänt stannade jag plötsligt. Ett vitt lår glänste till i ljuset hade fångat min uppmärksamhet. Jag kanske inte borde titta, men kunde inte låta bli. Jag lät blicken glida längs låret, upp över magen, smekte den svarta trekantsbehån, upp längs halsen till hennes läppar. Smala, särade. Där låg hon i sin perfektion, tänkte jag. En nästan ilsken tanke. Hon var perfekt trots det lilla blåmärket på smalbenet, trots att håret var tovigt och läppstiftet utsmetat. Hon låg där med halvslutna ögon och benen i vädret. Och Emil stod mellan dem. Naken, med sin hårda, svajande kuk redo." Första delen i den erotiska följetongen Mellan hennes lår.
ellauri217.html on line 684: Murder: "Furthermore, I will demand your blood, for [the taking of] your lives, I shall demand it [even] from any wild animal. From man too, I will demand of each person's brother the blood of man. He who spills the blood of man, by man his blood shall be spilt; for in the image of God He made man." (9:5–6)
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