Coucoupha est employé comme nom masculin singulier. Employé comme nom. 1. dans l'Antiquité, en Égypte, animal mythique à longue oreilles figurant sur les sceptres des souverains. Quelques mots au hasard. Lisää henkiolentoja. In old pharmacy, a cucupha or cucufa was a cap, or cover for the head, with cephalic spices quilted in it, worn for certain nervous distempers, particularly those affecting the head. Saint Cucuphas is a martyr of Spain. His feast day is 25 July but in some areas it is celebrated on 27 July to avoid conflict with the important feast day of Santiago, the patron saint of Spain. His name is said to be of Phoenician origin with the meaning of "he who jokes, he who likes to joke."
ellauri055.html on line 215: Saint Fiacre is the patron saint of the commune of Saint-Fiacre, Seine-et-Marne, France. He is the patron of growers of vegetables and medicinal plants, and gardeners in general, including ploughboys. His reputed aversion to women is believed to be the reason he is also considered the patron of victims of venereal disease. He is further the patron of victims of hemorrhoids and fistulas, taxi cab drivers, box makers, florists, hosiers, pewterers, tilemakers, and those suffering from infertility. Finally, he is commonly invoked to heal persons suffering from various infirmities, premised on his reputed skill with medicinal plants.
ellauri062.html on line 627: Quem patronum rogaturus että tulit päälle maan Mihin vetoon esimieheen Mitigating circumstances?
ellauri093.html on line 176: Wingate was an exponent of unconventional military thinking and the value of surprise tactics. Assigned to Mandatory Palestine, he became a supporter of Zionism, and set up a joint British-Jewish counter-insurgency unit. Under the patronage of the area commander Archibald Wavell, Wingate was given increasing latitude to put his ideas into practice during the Second World War. He created units in Abyssinia and Burma.
ellauri099.html on line 170: Although the splendidly unreliable Diogenes Laertius says that Plato possessed no property other than what is mentioned in his will, he received a large sum of money from Dionysius I. Plato had a significant fund of money at his disposal (the exorbitant figure of 80 talents is mentioned). Indeed, Plato is also said to have had a banker called Andromedes. In other words, Plato was rich and had wealthy patrons and very probably wealthy students.
ellauri109.html on line 704: At Cromwell's funeral on 23 November 1658 Dryden strutted with John Milton and Andrew Marvell. Next Dryden sucked up to the court for a possible patron, but failed. He had to make a living writing for publishers, not for the aristocracy, and thus ultimately for the reading public. Bugger it.
ellauri109.html on line 744: His best-known comedy was Marriage à la Mode (1673). In tragedy, his greatest success was All for Love (1678). Andrew Chesterman thinks he is translators' patron saint.
ellauri110.html on line 335: Samuel Pepys PRS (/piːps/ PEEPS; 23 February 1633 – 26 May 1703) was an administrator of the navy of England and Member of Parliament who is most famous for the diary he kept for a decade while still a relatively young man. Pepys had no maritime experience, but he rose to be the Chief Secretary to the Admiralty under both King Charles II and King James II through patronage, diligence, and his talent for administration. His influence and reforms at the Admiralty were important in the early professionalisation of the Royal Navy.
ellauri140.html on line 122: Introduced in the first canto of the poem, he bears the emblem of Saint George, patron saint of England; a red cross on a white background that is still the flag of England. The Redcrosse Knight is declared the real Saint George in Canto X. He also learns that he is of English ancestry, having been stolen by a Fay and raised in Faerieland. In the climactic battle of Book I, Redcrosse slays the dragon that has laid waste to Eden. He marries Una at the end of Book I, but brief appearances in Books II and III show him still questionng thoroughly the choice. Punasen ristin ritari tuo mieleen Foster Wallacen skroden sankaripulzarin, mikä sen nimi olikaan. Se nenäliinaan piiloutunut ämmä olis tää Aku Ankan Una.
ellauri141.html on line 109: Quintus Horatius Flaccus (8th of December, Ab Urbe Condita 689, B. C. 65 - 27th of November, B. C. 8) was born at or near Venusia (Venosa), in the Apennines, on the borders of Lucania and Apulia. His father was a freedman, having, as his name proves, been the slave of some person of the Horatia gens. As Horace implies that he himself was ingenuus, his father must have obtained his freedom before his birth. He afterwards followed the calling of a coactor, a collector of money in some way or other, it is not known in what. He made, in this capacity, enough to purchase an estate, probably a small one, near the above town, where the poet was born. We hear nothing of his mother, except that Horace speaks of both his parents with affection. His father, probably seeing signs of talent in him as a child, was not content to have him educated at a provincial school, but took him (at what age he does not say, but probably about twelve) to Rome, where he became a pupil of Orbilius Pupillus, who had a school of much note, attended by boys of good family, and whom Horace remembered all his life as an irritable teacher, given unnecessarily to the use of the rod. With him he learnt grammar, the earlier Latin authors, and Homer. He attended other masters (of rhetoric, poetry, and music perhaps), as Roman boys were wont, and had the advantage (to which he afterwards looked back with gratitude) of his father’s care and moral training during this part of his education. It was usual for young men of birth and ability to be sent to Athens, to finish their education by the study of Greek literature and philosophy under native teachers; and Horace went there too, at what age is not known, but probably when he was about twenty. Whether his father was alive at that time, or dead, is uncertain. If he went to Athens at twenty, it was in B. C. 45, the year before Julius Cæsar was assassinated. After that event, Brutus and Cassius left Rome and went to Greece. Foreseeing the struggle that was before them, they got round them many of the young men at that time studying at Athens, and Horace was appointed tribune in the army of Brutus, a high command, for which he was not qualified. He went with Brutus into Asia Minor, and finally shared his defeat at Philippi, B. C. 42. He makes humorous allusion to this defeat in his Ode to Pompeius Varus (ii. 7). After the battle he came to Italy, having obtained permission to do so, like many others who were willing to give up a desperate cause and settle quietly at home. His patrimony, however, was forfeited, and he seems to have had no means of subsistence, which induced him to employ himself in writing verses, with the view, perhaps, of bringing himself into notice, rather than for the purpose of making money by their sale. By some means he managed to get a place as scriba in the Quæstor’s office, whether by purchase or interest does not appear. In either case, we must suppose he contrived soon to make friends, though he could not do so by the course he pursued, without also making many enemies. His Satires are full of allusions to the enmity his verses had raised up for him on all hands. He became acquainted, among other literary persons, with Virgil and Varius, who, about three years after his return (B. C. 39), introduced him to Mæcenas, who was careful of receiving into his circle a tribune of Brutus, and one whose writings were of a kind that was new and unpopular. He accordingly saw nothing of Horace for nine months after his introduction to him. He then sent for him (B. C. 38), and from that time continued to be his patron and warmest friend.
ellauri141.html on line 113: In B. C. 17, Augustus celebrated the Ludi Seculares, and Horace was required to write an Ode for the occasion, which he did, and it has been preserved. This circumstance, and the credit it brought him, may have given his mind another leaning to Ode-writing, and have helped him to produce the fourth book, a few pieces in which may have been written at any time. It is said that Augustus particularly desired Horace to publish another book of Odes, in order that those he wrote upon the victories of Drusus and Tiberius (4 and 14) might appear in it. The latter of these Odes was not written, probably, till B. C. 13, when Augustus returned from Gaul. If so, the book was probably published in that year, when Horace was fifty-two. The Odes of the fourth book show no diminution of power, but the reverse. There are none in the first three books that surpass, or perhaps equal, the Ode in honor of Drusus, and few superior to that which is addressed to Lollius. The success of the first three books, and the honor of being chosen to compose the Ode at the Ludi Seculares, seem to have given him encouragement. There are no incidents in his life during the above period recorded or alluded to in his poems. He lived five years after the publication of the fourth book of Odes, if the above date be correct, and during that time, I think it probable, he wrote the Epistles to Augustus and Florus which form the second book; and having conceived the intention of writing a poem on the art and progress of poetry, he wrote as much of it as appears in the Epistle to the Pisones which has been preserved among his works. It seems, from the Epistle to Florus, that Horace at this time had to resist the urgency of friends begging him to write, one in this style and another in that, and that he had no desire to gratify them and to sacrifice his own ease to a pursuit in which it is plain he never took any great delight. He was likely to bring to it less energy as his life was drawing prematurely to a close, through infirmities either contracted or aggravated during his irrational campaigning with Brutus, his inaptitude for which he appears afterwards to have been perfectly aware of. He continued to apply himself to the study of moral philosophy till his death, which took place, according to Eusebius, on the 27th of November, B. C. 8, in the fifty-seventh year of his age, and within a few days of its completion. Mæcenas died the same year, also towards the close of it; a coincidence that has led some to the notion, that Horace hastened his own death that he might not have the pain of surviving his patron. According to Suetonius, his death (which he places after his fifty-ninth year) was so sudden, that he had not time to execute his will, which is opposed to the notion of suicide. The two friends were buried near one another “in extremis Esquiliis,” in the farthest part of the Esquiliæ, that is, probably, without the city walls, on the ground drained and laid out in gardens by Mæcenas.
ellauri142.html on line 341: "dispenser", gracious lord, patron (applied to gods), tai size on jakorasia: the female organs, pudendum muliebre, vulva. Molemmissa merkityxissä siis rakkaus. Gita puolestaan tulee sanasta Gitta Holmström.
ellauri142.html on line 535: Joka ruumiista erotessaan ainoastaan Minua ajattelee, se saapuu ruumiinsa jätettyään Minun olemukseeni. Epäilemättä. No doubt. Mitä vitun nekrofiilejä nää oikein on. Parking meter violation. Viola oli Loppiaisaaton nuori nainen joka huuhtoutui rannalle ja kysyi pelastajiltansa: mikä maa mikä valuutta? What country, friends, is this? Norjalaissyntyiselle Annikalle meinas käydä kehnosti Saapin takaluukussa, vaan eipä käynytkään. Aum, sano, suloisuuden suloisuus. Aum mani padme, mene mene tekel ufarsin, stiiknafuulia. Näitä piisaa näitä taikasanoja. Eeli eeli laama sabakhtani, Expecto patronum. Voi hemmetti. Seesam aukene. Hokkus pokkus. Abrakadabra. Abrakapokus! Vampyyri muuttuu alapäästä lepakoxi. Uni hyvä verelle. Ei helvetti, ei jaxa.
ellauri162.html on line 226: Artaux Pas si Mauvais naquit en 1942 dans un camion, en plein emigration face aux forces soviétiques, durant la Guerre de Continuation ; sa famille, fuyant les combats, est chassée par l´armee sovietique vers la Norvège, puis la Suède et la Laponie finlandaise. Pas si Mauvais qui signifie en finnois « prison de pierre » est un nom inventé par son père né Gullstén (Pierre d´or) pour « finniser », comme beaucoup de Finlandais, un patronyme à consonance suédoise (à l´instar des personnes inspirées par le mouvement fennomane).
ellauri171.html on line 992: The next time we hear of Jezebel is during the ploy to obtain Naboth’s vineyard for her husband, who is unable to secure the transaction. She sends letters, with the stamp of the king, to the elders in Naboth’s town, commanding them to lie against Naboth, and then stone him. The elders do so, and after Naboth’s death, the vineyard is claimed for Ahab. Few bible commentators acknowledge the bizarre betrayal of Naboth by his neighbors. If, as is suggested, Naboth’s neighbors had known him since birth and patronized him, how could they turn so quickly? Some scholars argue that this incident highlights Jezebel’s keen understanding of Israelite men. It is perhaps, also, one of the impetus for her modern connotation as manipulator-supreme.
ellauri171.html on line 1020: It seems reasonable that Jezebel, a foreign royal princess by birth, was highly educated and efficient. Also, although her son’s theophoric names have the element yah or yahu (referring to God) in them, she seems to have been a patron and devotee of the Baal cult.
ellauri172.html on line 838: Les Fiancés (I promessi sposi), roman d'Alessandro Manzoni, 1825-1827. Il y a plusieurs ecclésiastiques importants dans ce roman : Don Abbondio[4],[5], Saint Abbondio est le saint patron de la ville de Côme, le cardinal Borromée canonisé au xviie siècle, cité dans l'ouvrage et personnage ayant réellement existé, le père Cristoforo brûlant d'humilité chrétienne et tendu vers le bien.
ellauri192.html on line 835: It's painful but the problem of the Russian Federation is not Putin, but the Russians, serving their patron with obsequiousness. Nowadays Putin is gaining more and more support with ordinary people. And although I don't watch Russian television nowadays, since it's all lies, there's one piece of truth in the news nowadays - Putin is gaining support. Regardless the fact that lots of Russians still don't have running water in their houses and go to the toilet outside the house, many can't find a job that can support their family, they feel pride for Putin who doesn't give away Crimea.
ellauri196.html on line 902: Jelinek, born in the eastern Austrian town of Mürzzuschlag on October 20, 1946, grew up in Vienna. As a young woman, she dealt with her father´s neuropathy, mother´s psychopathy and her own mental problems. Under the influence of her "demonic" mother, Jelinek said she was "trained" as a child prodigy in dance and music. She said she began writing to escape her mother´gs patronizing, dominating behavior.
ellauri243.html on line 732: Endymion is Disraeli in his youth except in the story he is a true-blood British aristocrat. Zenobia, a queen of fashion, is based on his Lady Blessington with a combination of some other great lady. She was Benjamin Disraeli´s first great patroness, who opened the avenue of his wonderful career. Zenobia later retires to the background to give place to Lady Montfort. She is a combination of Lady Blessington and Mrs. Wyndham Lewis (the latter Disraeli married) so we have in Lady Montfort at once the patroness and the wife. It would be interesting to know if the rabbis got to cut Benjy´s prepuce before the falling-out with the synagogue? Maybe that is what the fight was all about?
ellauri247.html on line 263: Smollett was one of the first jacks of all trades to subsist entirely upon the earnings of his own pen. He had no extraneous means of support. He had neither patron, pension, property, nor endowment, inherited or acquired.
ellauri269.html on line 526: While Draenei do not have surnames, they use patronymics to distinguish between themselves. For example - Inaara, whose father is named Hatan, would be known as Inaara bat Hatan, while her brother Joraal would be known as Joraal ben Hatan. https://en.wikipedia.org/wiki/Jewish_name#Surname
ellauri269.html on line 816: Kirjasarjan toisessa osassa, Salaperäisessä veitsessä, siirrytään Lyran maailmasta toiseen maailmaan, jossa tapahtumat keskittyvät lähinnä Cittàgazze-nimiseen kaupunkiin. Tätä maailmaa vaivaavat haamut, ilmiselvät Harry Potter-mentorien kopiot, jotka käyvät vain aikuisten kimppuun. Söpösti animoidut totemielukatkin on selvä plagiaatti vinosuu JK Rowlingin patronuxista. Kirjassa liikutaan myös meidän omassa maailmassamme ja Lyran maailmassa. Ajatellaan asiaa omalta kannaltamme ja vähän Lyyrankin kannalta. Maagisen kaukoputken tapahtumat sijoittuvat lukuisiin eri maailmoihin. Varoitus: Seuraava kirjoitus paljastaa yksityiskohtia juonesta. Aikaisempi paasaus samasta aiheesta löytyy albumista 165. Lontoossa Lyralle selviää, että rouva Coulter on itse asiassa kahmaisijoiden johtaja. Pakomatkalta Lyran pelastavat gyptit, vesireittien vaeltava kansa, joka myy kadunkulmissa Osta Iso Numero! lehtiä, joka myös on kärsinyt kahmaisijoiden kaappauksista. Gyptit paljastavat, että rouva Coulter on todellisuudessa Lyran äiti, ja hänen isänsä on lordi Asriel, jota hän on aiemmin luullut sedäkseen. Yhdessä Lyra ja gyptit lähtevät kohti pohjoista pelastaakseen kaapatut lapset. Matkalla Lyra tutustuu panserbjørn Iorek Byrnisoniin, haarniskoituun jääkarhuun, texasilaiseen kuumailmapallolentäjään Lee Scoresbyyn sekä noita Serafina Pekkalaan. Varsinkin Toivo Pekkala suomea solkkaavine apureineen on tosi hilpeå, mutta on toi Jo Nesbön kirjoista muistuttava panserbjörnkin monen naurun arvoinen. Neuvokkuutensa avulla Lyran onnistuu pelastaa kaapatut lapset, joilla kirkon Uhraamislautakunta on suorittanut julmia kokeita Bolvangarin tutkimusasemalla tarkoituksenaan oppia vapauttamaan ihmiset perisynnistä. Tässä mennään jo rienauxessa K-12 rajan laittomalle puolelle!
ellauri277.html on line 219: Similarly, Gibran later portrayed his life in Lebanon as idyllic, stressing his precocious artistic and literary talents and his mother’s efforts to educate him; some of these stories were obviously tall tales meant to impress his American patrons.
ellauri277.html on line 221: Day was partial to exotic and orientalist themes and produced elegant homoerotic photographs of young men. Day became Gibran’s friend and patron, using the boy as a nude model, introducing him to smutty literature, and "helping him with his drawing". No one who reads Gibran’s works and knows Day’s tastes can doubt the depth of the latter’s influence on Gibran. Perhaps more important, Day and Day’s friends convinced Gibran that he had a special artistic calling.
ellauri277.html on line 233: In April 1904 Day held an exhibit of Gibran’s work at his studio. It was favorably reviewed, and some of the pictures were sold. At the show Gibran met a woman who became his most important patron: Mary Haskell was from a wealthy South Carolina family and ran a private Boston girls’ school.
ellauri284.html on line 94: Ei siltä ettei Xi olisi tehnyt stalinistisia virheitä. Esim uiguurit, nuo partapozot vinosilmämuslimit. Uiguurivainot ovat kyllä ikivanha kiinalainen perinne, ei se mitään Xin kexintöä ole. Vasta kommarit antoivat uiguureille edes autonomian, kuten neukut izenäisyyden pikku Suomelle. Vuoden 2010 väestönlaskenta kirjasi heitä olevan yli kymmenen miljoonaa, joista miljoona vangittuna uudelleenkoulutusleireille. Ja vain siksi, että niillä on luureissa watsap ja kokopartasovelma. Huvittava detalji että kiinalaisten muslimien leiritys ja kidutus on hirveää kun taas lähi-idän muslimien apuharvennus kalifaatista ja kiinniotettujen kidutus Guantanamolla on ihan perusteltua. Afganistanin naisten sorto on kauheaa mutta uiguureilla "ydinperheen patronyymiset siteet ovat vahvat."
ellauri333.html on line 227: Bhakti movement saints such as Samarth Ramdas and Narendra Modi have positioned angry Hanuman as a symbol of nationalism and resistance to persecution. The Vaishnava saint Madhvacharya said that whenever Vishnu incarnates on earth, Vayu accompanies him and aids his work of preserving dharma. In the modern era, Hanuman's iconography and temples have been increasingly common. He is viewed as the ideal combination of "strength, heroic initiative and assertive excellence" and "loving, emotional devotion to his personal god Rama", as Shakti and Bhakti. In later literature, he is sometimes portrayed as the patron god of martial arts such as wrestling and acrobatics, as well as activities such as meditation and diligent scholarship. He symbolises the human excellences of inner self-control, faith, and service to a cause, hidden behind the first impressions of a being who looks like a Vanära. Hanuman is considered to be a bachelor and an involuntary celibate.
ellauri374.html on line 210: EU equivalents include the German: haberfeldtreiben and German: katzenmusik, Italian: scampanate, Spanish cacerolada, (also cacerolazo or cacerolada) and of course French charivari. Americans of course were not that nasty. In a North American charivari participants might throw the culprits into horse tanks or force them to buy candy bars for the crowd. "All in fun – it was just a shiveree, you know, and nobody got mad about it. At least not very mad." In music, Charivari would later be taken up by composers of the French Baroque tradition as a 'rustic' or 'pastoral' character piece. In Samuel Butler´s Hudibras, the central character encounters a skimmington in a scene notably illustrated by William Hogarth. In the 1966 film El Dorado, Cole Thorton (John Wayne) tells Mississippi (James Caan) that they were unable to re-enter the saloon they just left because the "shivaree" (i.e., the fight they had with other bar patrons) "wore out our welcome".
ellauri389.html on line 442: During the next 10 years Donne lived in poverty and humiliating dependence, first on the charity of Anne’s cousin at Pyrford, Surrey, then at a house in Mitcham, about 7 miles (11 km) from London, and sometimes in a London apartment, where he relied on the support of noble patrons. All the while he repeatedly tried (and failed) to secure employment, and in the meantime his family was growing; Anne ultimately bore 12 children, 5 of whom died before they reached maturity. Donne’s letters show his love and concern for his wife during these years: “Because I have transplanted her into a wretched fortune, I must labour to disguise that from her by all such honest devices, as giving her my company, and discourse.” About himself, however, Donne recorded only despair: “To be part of no body is as nothing; and so I am. … I am rather a sickness or a disease of the world than any part of it and therefore neither love it nor life.”
ellauri418.html on line 323: På fredagen, två dagar innan hans mandatperiod löper ut, talade han med flera medier i Bryssel och passade då på att en sista gång varna för den fara Ryssland utgör för unionen. – Vi måste snabba på och döda mer och snabbare. Vi har en miljon patroner. Det är bra, men Ryssland förbrukar 800 000 per månad, säger Borrell, enligt Euronews.
xxx/ellauri120.html on line 59: The prefect was so angry that he had a great gridiron prepared with hot coals beneath it, and had Lawrence placed on it, hence Lawrence's association with the gridiron. After the martyr had suffered pain for a long time, the legend concludes, he cheerfully declared: "I'm well done on this side. Turn me over!" From this St. Lawrence derives his patronage of cooks, chefs, and comedians.
xxx/ellauri125.html on line 759: In 1981, Love was granted a small trust fund that had been left by her maternal grandparents, which she used to travel to Dublin, Ireland, where her biological father was living. She audited courses at Trinity College, studying theology for two semesters. She later received honorary patronage from Trinity's University Philosophical Society in 2010.
xxx/ellauri128.html on line 538: Le maréchal Pétain soutiendra sa candidature à l´Académie française ; il y est élu le 23 juin 1938, au fauteuil 26, qu´occupait René Doumic. Respecté de ses pairs, il restera assis dans le fauteuil près de trente ans. Par un décret du président de la République du 27 juin 1947, il est autorisé à changer de patronyme de Herzog en André-Maurois. Son nom de plume devient ainsi son nom officiel.
xxx/ellauri129.html on line 623: Il est le père de Philippe Wiener de Croisset, patron de presse (père de l'homme d'affaires Charles de Croisset) et de Germaine Wiener de Croisset, épouse de l'artiste peintre et critique d'art Roger Lannes de Montebello (1908-1986) et mère de Philippe Lannes de Montebello, qui fut pendant plus de trente ans directeur du Metropolitan Museum of Art de New York. This is how the hot-dog crossed the Atlantic and became a household pet in the U.S.
xxx/ellauri157.html on line 100: Like Rubens, Jordaens painted altarpieces, mythological, and allegorical scenes, and after 1640—the year Rubens died—he was the most important painter in Antwerp for large-scale commissions and the status of his patrons increased in general. However, he is best known today for his numerous large genre scenes based on proverbs in the manner of his contemporary Jan Brueghel the Elder, depicting The King Drinks and As the Old Sing, So Pipe the Young. Jordaens' main artistic influences, besides Rubens and the Brueghel family, were northern Italian painters such as Jacopo Bassano, Paolo Veronese, and Caravaggio.
xxx/ellauri178.html on line 126: Roth patronisoi Lontoossa irkku Edna O'Brieniä ja matki (huonosti) sen iiriaxenttia. Chevalieria se pyysi tekemään imitaatioita. O'Brien's works often revolve around the inner feelings of women, and their problems in relating to men, and to society as a whole. Her first novel, The Country Girls (1960), is often credited with breaking silence on sexual matters and social issues during a repressive period in Ireland following World War II. The book was banned, burned and denounced from the pulpit. Sähän olet hyvä kynäilijä, Pili soitti iloisesti Ednalle. Niin olen sanoi Edna ohuesti.
xxx/ellauri186.html on line 83: Beecher enjoyed the company of women, and rumors of extramarital affairs circulated as early as his Indiana days, when he was believed to have had an affair with a young member of his congregation. In 1858, the Brooklyn Eagle wrote a story accusing him of an affair with another young church member who had later become a prostitute. The wife of Beecher's patron and editor, Henry Bowen, confessed on her deathbed to her husband of an affair with Beecher; Bowen concealed the incident during his lifetime.
xxx/ellauri187.html on line 105: Rilke lived on the brink of poverty for much of his life, dependent on the good graces of aristocratic and haute-bourgeois patrons in the twilight of the Hapsburg Empire. His shaky situation, much as he complained of it, suited his temperament as well as did the black clothes he liked to parade in during his dandyish younger days in Prague. Like the great German mystics, Rilke was a confirmed solitary. Thus he sought to form emotional bonds with people more ardently than do those who take their desire to be with others for granted. Wandering from person to person and from place to place like a pilgrim, he found that patrons offered him, among more practical things, a potential shrine of emotional fulfillment.
xxx/ellauri187.html on line 131: One ugly phrase in a personal letter, for instance (out of a vast personal correspondence), referring to Franz Werfel as a "Jew-boy," and some murky generalities about Werfel's "Jewish attitude toward his work," do not an anti-Semite make. Rilke cherished the many Jews he knew, including Simmel; he enjoyed reading the Hasidic philosopher Martin Buber and steeped himself in Jewish Scripture, claiming that Judaism was closer than Christianity to God. He also remained a lifelong champion of Werfel's work. And a reader discovers buried deep in Freedman's footnotes that Rilke wrote the offending letter to the poet Hugo von Hoffmannsthal, a good friend and an important patron. Hoffmannsthal was also Jewish, and he shared Rilke's negative views on the superambitious Werfel, who emigrated to America and, in 1941, published The Song of Bernadette, a novel about a miracle at Lourdes. Freedman doesn't mention that about five months after Rilke wrote the letter to Hoffmannsthal, along with a nearly identical letter to his patron Princess Marie von Thurn und Taxis, Rilke again wrote similar letters to the two of them praising Werfel's poetry so exuberantly that they almost sound like retractions of his first letters.
xxx/ellauri187.html on line 133: Why would an anti-Semite extol a Jewish poet to two of the most powerful and influential figures in Central European literary culture--to his own patrons? To paraphrase that great Jewish philosopher Thomas Aquinas, When you meet a contradiction, make a distinction. But Freedman builds from the surface contradiction. For Rilke, he writes, "a cultural and sometimes even a social anti-Semitism was part of daily existence." Yet aside from the letter to Hoffmannsthal, he offers no evidence for that litigable assumption, though he does inform us, with a smug and bizarre knowingness, that one of Rilke's Jewish lovers later died at Auschwitz.
xxx/ellauri187.html on line 149: Rilke's most benevolent patron, Princess Marie von Thurn und Taxis, was wise enough both to nurture Rilke's gift and to keep her distance from her complicated protégé. An unblinking observer of Rilke's life, she was able to see his liaisons for what they were. And she knew how Rilke's acute sensitivity to his own condition, combined with his talent for self-pity, often landed him in the arms of the wrong people: "You must always be seeking out such weeping willows, who are by no means so weepy in reality, believe me--you find your own reflection in those eyes." But Freedman, doggedly indifferent to the available evidence, makes Rilke's lovers and women friends out to be helpless victims of a smooth seduction machine.
xxx/ellauri187.html on line 296: In 1870, Pope Pius IX proclaimed Saint Joseph "Patron of the Universal Church". Joseph is also the unofficial patron of fighting communism. In 1889, Pope Leo XIII issued the encyclical Quamquam pluries in which he urged Catholics to pray to Joseph as patron of the church. This was in view of challenges facing the church, such as the growing depravity of morals in the young generation. He prescribed that every October, a prayer to Saint Joseph be added to the Rosary, with attached indulgences.
xxx/ellauri215.html on line 495: Wetzel seems to be a pet form (affectionate variant) of Wenzel.This unusual surname was developed from the German (male) personal name 'Wenzel', a diminutive form of the German given name 'Wenze', with the diminutive suffix '-el'. The origin of the personal name is Czechoslovakian, 'Wenze' being a borrowed form of the Old Czech personal name 'Veceslav', in modern Czech 'Vaclav', which in its Anglicized form is 'Wenceslas'. The name is composed of the elements 'vece', greater, and 'slav', glory, and was borne by a 10th Century duke of bohemia who fought against a revival of paganism in this territory, and after his death became patron saint of Bohemia.
xxx/ellauri225.html on line 402: Crane found a place to start his synthesis in Brooklyn. Arts patron Otto H. Kahn gave him $2,000 to begin work on the epic poem. When he wore out his welcome at the Opffers´, Crane left for Paris in early 1929, but failed to leave his personal problems behind. His drinking, always a problem, became notably worse during the late 1920s, while he was finishing The Bridge. Loppuajat se vietti pääasiassa sillan alla.
xxx/ellauri225.html on line 410: Crane´s critical effort, like those of Keats and Rilke, is mostly to be found in his letters: he corresponded regularly with Allen Tate, Yvor Winters, and Gorham Munson, and shared critical dialogues with Eugene O´Neill, William Carlos Williams, E. E. Cummings, Sherwood Anderson, Kenneth Burke, Waldo Frank, Harriet Monroe, Marianne Moore, and Gertrude Stein. He was also an acquaintance of H. P. Lovecraft, who eventually would voice concern over Crane´s premature aging due to alcohol abuse. Most serious work on Crane begins with his letters, selections of which are available in many editions of his poetry; his letters to Munson, Tate, Winters, and his patron, Otto Hermann Kahn, are particularly insightful. His two most famous stylistic defenses emerged from correspondences: his "General Aims and Theories" (1925) was written to urge Eugene O´Neill´s critical foreword to White Buildings, then passed around among friends, yet unpublished during Crane´s life; and the famous "Letter to Harriet Monroe" (1926) was part of an exchange for the publication of "At Melville´s Tomb" in Poetry. The literary critic Adam Kirsch has argued that "Crane has been a special case in the canon of American modernism, because his reputation was never quite as secure as that of Eliot or Stevens. In fact he FAILED."
xxx/ellauri228.html on line 449: If someone got sick, she was killed. If someone tried to run away, she was killed. If someone refused to work, she was killed. If someone wasn’t popular with the customers, she was killed. If someone got noticeably pregnant, the fetus was pulled out with a hanger; any complications and the mother was killed. If a patron had a lot of money, he was killed.
xxx/ellauri250.html on line 450: Mikähän tää Tsai on miehiään, oisko joku viirusilmä jenkkimamu? Juu justiinsa se! Finland’s entry in the Academy Awards’ International Feature Film category, “Compartment No. 6” tells a deliberately heart-warming story, of an extremely unlikely friendship, that’s patronizing and inadvertently offensive. Ai vinkuintiaaneilleko? Mistä tää kaveri nyt poltti pelihousunsa? Ei vaan tää onkin joku jenkki woke juttu:
xxx/ellauri250.html on line 606: Barfly, released in 1987, is a barfingly semi-autobiographical film written by Bukowski and starring Mickey Rourke as Henry Chinaski, who represents Bukowski, and Faye Dunaway as his lover Wanda Wilcox. Sean Penn offered to play Chinaski for one dollar as long as his friend Dennis Hopper would direct,[53] but the European director Barbet Schroeder had invested many years and thousands of dollars in the project and Bukowski felt Schroeder deserved to make it. Bukowski wrote the screenplay, was given script approval, and appears as a bar patron in a brief cameo.
xxx/ellauri261.html on line 662: I am here to prevent anyone saying the really foolish thing that people often say about Him: 'I'm ready to accept Jesus as a great moral teacher, but I don't accept his claim to be God.' That is the one thing we must not say. A man who was merely a man and said the sort of things Jesus said would not be a great moral teacher. He would either be a lunatic—on the level with the man who says he is a poached egg—or else he would be the Devil of Hell. You must make your choice. Either this man was, and is, the Son of God, or else a madman or something worse. You can shut him up for a fool, you can spit at him and kill him as a demon or you can fall at his feet and call him Lord and God, but let us not come with any patronising nonsense about his being a great human teacher. He has not left that open to us. He did not intend to. ... Now it seems to me obvious that He was neither a lunatic nor a fiend: and consequently, however strange or terrifying or unlikely it may seem, I have to accept the view that He was and is God.
xxx/ellauri319.html on line 119: During his lifetime Chamberlain's works were read widely throughout Europe, and especially in Germany. His reception was particularly favourable among Germany's conservative elite. Kaiser Wilhelm II patronised Chamberlain, maintaining a correspondence, inviting him to stay at his court, distributing copies of The Foundations of the Nineteenth Century among the German Army, and seeing that The Foundations was carried in German libraries and included in the school curricula. The only Nazi idea that Chamberlain missed was Lebensraum. Mies oli muutenkin täys pöljä ja luonnontieteilijänä yhtä kehno kuin J.W. v.Goethe.
xxx/ellauri354.html on line 370: All sundial mottos are sad like that. The earliest sundials, from Ancient Egypt to China to Europe, were often marked with dedications to god(s), patrons, and/or the craftsmen who made them. In the 1500s sundials began bearing mottos relating to time—its passage, the limited quantities allotted, how it should be spent, or as a brief memento mori to the reader to stop looking at the sundial and get on with their life. Sundials represent a willful, anachronistic affectation in a world that has begun to dispense with clocks and watches.
xxx/ellauri363.html on line 682: During his youthful visits to Bowood House, the country seat of his patron Lord Lansdowne, he had passed his time at falling unsuccessfully in love with all the ladies of the house, whom he courted with a clumsy jocularity, while playing chess with them or giving them lessons on the harpsichord. Hopeful to the last, at the age of eighty he wrote again to one of them, recalling to her memory the far-off days when she had "presented him, in ceremony, with the flower in the green lane".
xxx/ellauri404.html on line 111: Journalists fight on their own frontline. Support Ukrainska Pravda or become our patron! Ukrainian media reported that Ukrainian drones damaged a Russian Tu-22M3 bomber at the Olenya
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