ellauri019.html on line 1026: The Lega Serie A announced its series of anti-racism initiatives, including a representative from every team and a controversial choice of art works. The presentation had as its centre-piece three pieces from internationally renowned artist Simone Fugazzotto, who uses chimps and apes in motifs throughout all of his paintings.
ellauri108.html on line 170: 1968 saw the development of reggae in Jamaica, a musical style typified by slower, heavier rhythms than ska and the increased use of Jamaican Patois. Like calypso, reggae was a medium for social commentary, although it demonstrated a wider use of radical political and Rasta themes than were previously present in Jamaican popular music. Reggae artists incorporated Rasta ritual rhythms, and also adopted Rasta chants, language, motifs, and social critiques. Songs like The Wailers' "African Herbsman" and Peter Tosh's "Legalize It" referenced cannabis use, while tracks like The Melodians' "Rivers of Babylon" and Junior Byles' "Beat Down Babylon" referenced Rasta beliefs in Babylon. Reggae gained widespread international popularity during the mid-1970s, coming to be viewed by black people in many different countries as music of the oppressed. Many Rastas grew critical of reggae, believing that it had commercialised their religion. Although reggae contains much Rastafari symbolism, and the two are widely associated, the connection is often exaggerated by non-Rastas. Most Rastas do not listen to reggae music, and reggae has also been utilised by other religious groups, such as Protestant Evangelicals. Out of reggae came dub music; dub artists often employ Rastafari terminology, even when not Rastas themselves.
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.
ellauri189.html on line 258: Aga rated it it was ok Mar 22, I love all the motifs, the atmosphere and the time period. Fascinated by Byron, Malczewski used complicated narration, an odd sequence of events, blanks, ambiguities and puzzles in his work.
ellauri191.html on line 1144: "for his profoundly characteristic narrative art with motifs from the life of the Jewish people"
ellauri204.html on line 390: After recycling these hundreds of elements from elsewhere in Ulysses as he composed “Circe,” Joyce expanded his understanding of this novel’s potential as “a kind of encyclopedia” (Selected Letters 271). He began revising the rest of the book accordingly, arranging little snippets of interrelated detail throughout the previous episodes into an intricate network of minor motifs that accumulate and aggregate in the careful reader’s awareness. “Circe” serves as an absurd but cathartic outpouring of Ulysses thus far. Having gotten all that out of our systems, we are ready for the episodes Joyce called the “Nostos,” the return
ellauri263.html on line 631: members and incorporated Theosophical motifs in their writings.
ellauri269.html on line 50: The tale type index was criticized by Vladimir Propp of the Russian Formalist school of the 1920s for ignoring the functions of the motifs by which they are classified. Furthermore, Propp contended that using a "macro-level" analysis means that the stories that share motifs might not be classified together, while stories with wide divergences may be grouped under one tale type because the index must select some features as salient. He also observed that while the distinction between animal tales and tales of the fantastic was basically correct — no one would classify "Tsarevitch Ivan, the Fire Bird and the Gray Wolf" as an animal tale just because of the wolf — it did raise questions because animal tales often contained fantastic elements, and tales of the fantastic often contained animals; indeed a tale could shift categories if a peasant deceived a bear rather than a devil.
xxx/ellauri068.html on line 187: "My own favourite tribute to Borges comes in Thomas Pynchon’s Gravity’s Rainbow in which a group of Argentinian exiles, led by the adventurer Squalidozzi, and at large in Europe during World War Two, hijack a German submarine. Improbably, they are accompanied by the glamorous Graciela Imago Portales – a ‘particular friend’ of the Buenos Aires literati – to whom ‘Borges is said to have a dedicated a poem’. Two lines are cited: “El laberinto de tu incertidumbre / Me trama con la disquietante luna . . .” Of course, the quotation has puzzled scholars, as it is neatly consistent with the rhythms and motifs of Borges’ earlier work, and yet nowhere to be found in his oeuvre. It would no doubt have delighted Borges, the more so since Pynchon made it up."
xxx/ellauri086.html on line 78: The carpet pages have motifs familiar from metalwork and jewellery that pair alongside bird and animal decoration. No pornographic details, worse luck. I chose to research these particular Gospels because they are the intermediary between the first truly Insular manuscripts, like the Book of Durrow, and the perhaps the greatest achievement of Insular manuscript production, the Book of Kells.
xxx/ellauri186.html on line 742: Many of the things Mohammed wrote down are found within the Judeo-Christian canon: Jesus taught the Scriptures, he healed lepers and men who were born blind, and he raised people from the dead. But, the Gospels and nowhere else in Scripture presents Jesus ever molding clay into sparrows (or other birds, passerine or otherwise) and breathing life into them, causing them to fly away. Where is this material found? Discussing the origin of many pseudo-biblical themes, accounts, and motifs within the Quran, Yehuda D. Nevo (admittedly a Jew, but we got a common enemy here) noted that:
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