ellauri008.html on line 477: My first impression was one of surprise. He spoke English with a very strong foreign accent, and nothing in his demeanour in any way suggested the sea. He was an aristocratic Polish gentleman to his fingertips. At our very first meeting, we talked with continually increasing intimacy. We seemed to sink through layer after layer of what was superficial, till gradually both reached the central fire. It was an experience unlike any other I have known. We looked into each other's eyes, half appalled and half intoxicated to find ourselves together in such a region. The emotion was as intense as passionate love, and at the same time all-embracing. I came away bewildered, and hardly able to find my way among ordinary affairs.
ellauri016.html on line 503: Anyone who thinks they are better than someone else based upon superficial factors.
ellauri053.html on line 1255: Depth In Work: Pater’s work is not subtle and superficial. There is a certain depth and richness in his work.
ellauri098.html on line 175: According to Propp, based on his analysis of 100 folktales from the corpus of Alexander Fyodorovich Afanasyev, there were 31 basic structural elements (or 'functions') that typically occurred within Russian fairy tales. He identified these 31 functions as typical of all fairy tales, or wonder tales [skazka] in Russian folklore. These functions occurred in a specific, ascending order (1-31, although not inclusive of all functions within any tale) within each story. This type of structural analysis of folklore is referred to as "syntagmatic". This focus on the events of a story and the order in which they occur is in contrast to another form of analysis, the "paradigmatic" which is more typical of Lévi-Strauss's structuralist theory of mythology. Lévi-Strauss sought to uncover a narrative's underlying pattern, regardless of the linear, superficial syntagm, and his structure is usually rendered as a binary oppositional structure. For paradigmatic analysis, the syntagm, or the linear structural arrangement of narratives is irrelevant to their underlying meaning.
ellauri106.html on line 69: From 1958 onwards, the couple lived in New York on the Lower East Side of Manhattan, and in 1959 they spent seven months in Italy on a Guggenheim grant. Upon their return, they both settled in Iowa City, where Roth led the Writers' Workshop at the University of Iowa. The experiences in small-town Iowa far away from the American metropolises flowed into Roth's second novel Letting Go (Other People's Worries), which was published in 1962, but in contrast to Roth's previously published volume of short stories Goodbye, Columbus caused mixed reactions from critics. Stanley Edgar Hyman, for example, criticized weaknesses in the narrative structure of the novel, the two narrative parts of which are only superficially connected, but praised what he saw as "the keenest eye for the details of American life since Sinclair Lewis". Letting Go is also the first novel in which Roth, as in numerous later works, made the writings of his literary predecessors an integral part of the narrative, and is therefore often referred to as Roth's first "Henry James novel".
ellauri131.html on line 952: The topic of Covey's Brigham U Ph.D dissertation was the "success literature" of the United States since 1776. Covey found that during the republic's first 150 years, most of that kind of writing focused on issues of character, the archetype being the autobiography of Ben Franklin. But shortly after World War II, success became more a function of personality, of public image, of attitudes and behaviors, skills and techniques, that lubricate the processes of human interaction. He began to think about ways to get people to stop cultivating superficial charm and return to character building.
ellauri161.html on line 502: It is so close to home that it sometimes makes the film irritating to watch: you'd rather not be reminded how incompetent, superficial, self-servicing and nefarious the government, media etc are, how they screw up your life on a regular basis and how likely it is that they will eventually wipe out mankind.
ellauri161.html on line 769: Big let down. The humor is so off-putting it doesn´t pull laughs, while the drama is hard to dive into whilst characters scream at the camera. The portrayal is so unrealistic, so cringe, so superficial that none of the characters are true heroes. They all appear as delusional, distracted ego maniacs detached from reality. The end is anti-climactic leaving the viewer with gratitude it looks nothing like the world we actually live in. (True, being 22400 years away. But I bet the immigrant will soon reduce brontauks to extinction.)
ellauri182.html on line 115: Some reviewers thought Kitchen was superficial in style and substance, and overly sentimental. Todd Grimson in the Los Angeles Times Book Review wrote that, ‘“Kitchen’ is light as an invisible pancake, charming and forgettable ... The release of information to the reader seems unskilled, or immature, weak in narrative or plot.” Elizabeth Hanson of the New York Times Book Review took issue with the overall effect of the book, writing that “the endearing characters and amusing scenes in Ms. Yoshimoto’s work do not compensate for frequent bouts of sentimentality.” Hanson added that the book’s main appeal for English-language readers “lies in its portrayal of the lives of young Japanese who are more into food and death than sex. EAT! KILL! but do not FUCK!".
ellauri222.html on line 797: Except for Clara Velde in A Theft, the protagonists in Bellow's novels and novellas are all male. The Bellovian hero typically seeks erotic pleasure, emotional security, and egoistic confirmation from the women in his life. In marriage, his relationships with women are conflicted, and he often retreats from his role as husband to a sensuous but selfish and demanding wife who paradoxically represents both his yearning for freewheeling sex happiness and society's pressure to relinquish the freedom so essential to his self-realization. Like his male characters who all are Saul lookalikes, Bellow's females are often interchangeable and serve roles of little dramatic import. However, although the author has come under increasing criticism for his superficial treatment of women, his depiction of women and male-female relationships serves to reinforce the psychological crisis that each male protagonist must negotiate to empty their scrotums so as to achieve peace and fulfillment.
ellauri408.html on line 494: Henri-Frédéric Amiel, né le 27 septembre 1821 à Genève et mort le 11 mai 1881 dans la même ville, est un écrivain et philosophe suisse, auteur d'un journal intime exceptionnel tant par son volume (17 000 pages) que par la verbosité et la superficialité de son message.
xxx/ellauri068.html on line 215: Eleven years ago, that text outraged me because it was dishonest: sensational and sordid. Now it seems ahead of its time. Today it would be one among many that appear daily about any moderately famous person: another sign of how morbid and superficial our cultural references are, especially online.
xxx/ellauri134.html on line 229: Weakness: losing one’s own self in an effort to blend in or for the sake of superficial relationships
xxx/ellauri157.html on line 226: The founder of Hasidism, the Baal Shem Tov, opposed the ethical practices of admonishment that could interpret fear of God as fear of punishment. In Hasidism such fear is seen as superficial, egotistical and misrepresentative of the Divine love for Creation. Hasidism sought to replace Jewish observance based on self-awareness with an overriding perception and joy of the omnipresent Divine (see Divine immanence).
xxx/ellauri157.html on line 250: The strategic advantage of Hasidism over Kabbalah is its ability to get by without the esoteric terms of Kabbalah. This is brought out most in the anecdotes told about the beloved Masters of Hasidism, as well as in the funny parables they told to illustrate ideas. One such parable differentiates between superficial forms of love of God and spiritual reward, with true forms of selfless love:
xxx/ellauri174.html on line 332: The name "manchineel" (sometimes spelled "manchioneel" or "manchineal"), as well as the specific epithet mancinella, is from Spanish manzanilla ("little apple"), from the superficial resemblance of its fruit and leaves to those of an apple tree. It is also known as the beach apple.
xxx/ellauri186.html on line 172: Alongside Seneca's apparent fortitude in the face of death, for example, one can also view his actions as rather histrionic and performative; and when Tacitus tells us that he left his family an imago suae vitae (Annales 15.62), "imagonsa", he is possibly being ambiguous: in Roman culture, the imago was a kind of mask that commemorated the great ancestors of noble families, but at the same time, it may also suggest duplicity, superficiality, and pretence.
xxx/ellauri193.html on line 54: Psychopathy is characterised by a superficial charm and callousness. People high in such traits often show an erratic lifestyle and antisocial behaviour. Machiavellianism derives from the writings of Niccolò Machiavelli, a Renaissance author, historian and philosopher. He described power games involving deception, treachery and crime. Thus, machiavellianism refers to an exploitative, cynical and manipulative nature. Narcissism is characterised by an exaggerated sense of entitlement, superiority and grandiose thinking, while sadism denotes a drive to inflict and enjoy pain in others.
xxx/ellauri224.html on line 184: The superficially sympathetic man flings a coin to the beggar; the more deeply sympathetic man builds an almshouse for him so he need no longer beg; but perhaps the most radically sympathetic of all is the man who arranges that the beggar shall not be born.
xxx/ellauri235.html on line 882: Sitting drinking, superficially thinking Istun dokaan kelaan nitä näitä
xxx/ellauri379.html on line 119: Analyysi. On the most superficial level, Heart of Darkness can be understood through its semiautobiographical relationship to Conrad’s real life. Much like his protagonist Marlow, Conrad’s career as a merchant marine also took him up the Congo River. And much like Marlow, Conrad was profoundly affected by the human depravity he witnessed on his boat tour of European colonialism in Africa.
xxx/ellauri410.html on line 545: Eliot's precise and ironic language undercuts the supposed sanctity of religious ceremonies. He depicts churchgoers as "caterpillars" and "sutlers," suggesting their superficial and self-serving behavior. The "superfetation" and "enervate Origen" reference theological controversies, adding to the poem's intellectual complexity.
xxx/ellauri420.html on line 275: This time I’m talking about something the ancients called acedia. It’s commonly translated sloth, but that’s misleading. We’re not just talking about habitual laziness or being a slacker at work. Our spiritual ancestors saw beneath superficial sloth and laziness to its underlying spiritual cause: disappointment with and disaffection from God’s divinely ordained gifts, be they in the realm of creation or redemption.
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