ellauri052.html on line 901: Humboldtin lahja onkin oikeasti Salen oma sepustus josta tulee kassamagneetti ja jättimenestys. Kaikista hienointa elämässä on "pleasing hundreds of thousands, millions of spectators". Ja ansaita paljon paljon rahaa.
ellauri054.html on line 171: 1700-luvun onnettomimpia kexintöjä höyrykoneen lisäxi oli klubit, kahvilat, sanomalehdet ja julkinen miälipide. Jotkut Addison ja Steele opettivat keskiluokan lukemaan. Juoruilija ja kumikaula kehittyivät. Spectator käänsi kaulaa ja Tatler sipisi. Sitku keskiluokka joutilastui ja oppi lukemaan maxo vaivaa kirjottaa myös romskuja eli fiktiivistä juoruilua.
ellauri141.html on line 567: Graves wrote for The Spectator and for Punch and his comic histories must have been to Kipling’s taste. He collaborated with E. V. Lucas, also a Punch journalist, with whom Kipling had corresponded at least since 1906. (263)‘He was the most exhilarating of companions, radiating vitality, goodwill and interest in the other man and his concerns’.
ellauri150.html on line 467: Sheik Ilderim bribes Pontius Pilate into allowing Ben-Hur to compete in a horse and carriage race (ravit) by proposing a high wager. Esther tries to convince Messiah not to race Ben-Hur, but he is adamant that he will win. On the day of the race, Ben-Hur follows Ilderim's instructions to hold back from the race until the final laps. Using dirty tactics, Messiah manages to knock out the other competing charioteers. Following a brutal and grueling race, Ben-Hur wins the race. Messiah survives but is badly wounded and loses a leg. Ben-Hur's victory emboldens the Jewish spectators and yields dividends for Ilderim.
ellauri161.html on line 551: The porcellain faced Hunting gamist returns home and meets Yule due to her minor celebrity status. The thing is that the film never does anything with Kate’s government scuffle. It’s an odd detour that bloats the runtime severely. (Now THIS IS the problem: these drooping- underlip prof spectators already know what the plot should be and edit what they see accordingly. Hey where are the heroes? Where's optimism? Who's gonna save the world this time round? Superman? Batman? Anyone?)
ellauri196.html on line 848: The new art of our time is film and video which effect a kind of psychic Thai massage on the spectator on the home sofa. The deus ex machina of this new heap is the director. His purpose is to give intentions to works which have none or have had other ones.
ellauri197.html on line 176: Clifton's three books of poetry were published by Duckworth. The first was Dielma and Other Poems in 1932 and then followed Flight in 1934. One commentator has said that “Clifton was particularly adroit at poems honouring – and marvelling at – women” and the Times Literary Supplement stated that “His lyrics are a gracious tribute to the beauty of women”. These were fairly conventional poems unlike his final work Gleams Britain's Day published in 1942. The Spectator described it as “expressing in a sort of prophetic certitude opinions upon religion, patriotism, love, art, war and peace, which he puts in unconventional verse”. The reviewer stated that the book was “the product of a curious, whimsical mind, full of energy, squandering it on half-digested ideas”. W B Yates dedicated his poem, Lapis Lazuli, to Clifton who had given him a valuable Chinese lapis lazuli carving.
ellauri263.html on line 552: Blavatsky ja Olcott saapuivat Bombayhin 16. helmikuuta 1879. Intiassa Blavatskysta tuli suuri uutinen koko englanninkieliselle lehdistölle. Useimmat lehdet eivät kuitenkaan toivottaneet häntä tervetulleeksi, ja etenkin lähetyssaarnaajat vastustivat häntä, osa piti häntä jopa antikristuksena. Sanomalehti Indian Spectator suhtautui kuitenkin häneen suopeasti, ja Blavatsky kirjoittikin siihen useita vastineita syyttäjilleen. Toinen teosofeille suopea lehti oli vaikutusvaltainen The Pioneer, jossa oli toimittajana A. P. Sinnett.
ellauri276.html on line 445: Kaksi vuotta ensimmäisen kokoelmansa julkaisemisen jälkeen hän ei ollut vielä tehnyt merkittävää vaikutusta. The Times Literary Supplement kuvaili häntä "nuoreksi irlantilaiseksi runoilijaksi, joka lupaa enemmän kuin saavutuksia", ja The Spectator kommentoi, että "kuten muutkin Russellin ihailemat runoilijat, hän kirjoittaa paljon parempaa proosaa kuin runoutta. Kavanaghin sanoitukset ovat suurimmaksi osaksi lieviä ja konventionaalisia, helposti nautittavia, mutta melkein yhtä helposti unohdettavia."
ellauri323.html on line 129: Zuleika was the smiling target of all snap-shooters, and all the snap-shots were snapped up by the press and reproduced with annotations: Zuleika Dobson walking on Broadway in the sables gifted her by Grand Duke Salamander—she says “You can bounce blizzards in them”; Zuleika Dobson yawning over a love-letter from millionaire Edelweiss; relishing a cup of clam-broth—she says “They don’t use clams out there”; ordering her maid to fix her a warm bath; finding a split in the gloves she has just drawn on before starting for the musicale given in her honour by Mrs. Suetonius X. Meistersinger, the most exclusive woman in New York; chatting at the telephone to Miss Camille Van Spook, the best-born girl in New York; laughing over the recollection of a compliment made her by George Abimelech Post, the best-groomed man in New York; meditating a new trick; admonishing a waiter who has upset a cocktail over her skirt; having herself manicured; drinking tea in bed. Thus was Zuleika enabled daily to be, as one might say, a spectator of her own wonderful life. On her departure from New York, the papers spoke no more than the truth when they said she had had “a lovely time.”
ellauri386.html on line 393: Heaven the judicious sharp spectator is,

xxx/ellauri084.html on line 594: Film critic André Bazin (1918-1958) is notable for arguing that realism is the most important function of cinema. His call for objective reality, deep focus, and lack of montage are linked to his belief that the interpretation of a film or scene should be left to the spectator. This placed him in opposition to film theory of the 1920s and 1930s, which emphasized how the cinema could manipulate reality.
xxx/ellauri114.html on line 122: What more than anything is missing in recent films, and shines splendidly in Maxwell’s films, is the sense of glory, the feeling that some have lived on an elevated plane according to the dictates of the highest sense of duty and honor. It’s an unfashionable feeling today, and mocked by those who conspicuously lack it, who love weakly, who think solely in quotidian, political terms. It cannot be understood by those without religious faith, for Heaven is a City of Glory and glory is the special attribute of a God who, if hidden, nevertheless offers us a glimpse of the special virtue of his glory in the lives of those who in moments of danger are willing to sacrifice themselves for a cause they think greater than themselves; and that, above the messiness of political squabbles, is the message behind Maxwell’s films. (The American Spectator 2015)
xxx/ellauri199.html on line 1057: Douglas Murray is an associate editor of The Spectator. His latest publication, The Madness of Crowds, was a bestseller and a book of the year for The Times and The Sunday Times. His previous book, The Strange Death of Europe: Immigration, Identity, Islam, was published by Bloomsbury in May 2017. It spent almost twenty weeks on the Sunday Times bestseller list and was a number one bestseller in nonfiction. Read less.
xxx/ellauri233.html on line 165: Besides working for the civic betterment of local Jews and educational reform, he displayed keen interest in Wissenschaftskäse. But Frankel was always cautious and deeply reverent towards tradition, privately writing in 1836 that "the means must be applied with such care and discretion... that forward progress will be reached unnoticed, and seem inconsequential to the average spectator."
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