ellauri035.html on line 435: For they talked happily with rich young voices
ellauri048.html on line 835: And voices soft and sweet. sieltä puskee, alkaa hassuttelu.
ellauri051.html on line 1099: 508 Through me many long dumb voices, 508 Minun kauttani monia pitkiä mykkiä ääniä,
ellauri051.html on line 1107: 516 Through me forbidden voices, 516 Minun kauttani kiellettyjä ääniä,
ellauri051.html on line 1108: 517 Voices of sexes and lusts, voices veil'd and I remove the veil, 517 Sukupuolten ja himojen ääniä, äänet verhottuja ja minä poistan verhon,
ellauri051.html on line 1539: 936 The husky voices of the two or three officers yet fit for duty, 936 Kahden tai kolmen upseerin vaimeat äänet, jotka ovat vielä tehtäviin sopivia,
ellauri051.html on line 1649: 1041 Minding their voices peal through the crash of destruction, 1041 Huolehtien heidän äänensä soivan tuhon törmäyksen läpi,
ellauri064.html on line 358: The Network for Dialogical Practices is an open platform for researchers, students and practitioners who want to help people in distress by full presence, responsiveness and human connection. The European Network for open dialogical practices started in 2008 to care for the legacy of Tom Andersen, Gianfranco Cecchin and Michael White who all passed away shortly one after another and to preserve their voices for the future generations.
ellauri065.html on line 202: The Human Centipede has its moments, but they're largely obscured by umpteen holes in the plot as well as by reams of exposition. It was an ultimately underwhelming affair that's neither sick or repellent enough to garner the cult status it so craves. Whether the film was a commentary on Nazi atrocities or a literal expression of filmmaking politics, the grotesque fusion at least silences the female leads, both of whose voices could strip paint.
ellauri077.html on line 797: Tomás Luis de Victoria (1548 – 27. elokuuta 1611) oli espanjalainen säveltäjä ja pappi. The Tenebrae Responsories by Tomás Luis de Victoria are a set of eighteen motets for four voices a cappella. The late Renaissance Spanish composer set the Responsories for Holy Week known as Tenebrae responsories. They are liturgical texts prescribed for use in the Catholic observances during the Triduum of the Holy Week, in the Matins of Maundy Thursday, Good Friday and Holy Saturday. The compositions were published in Rome in 1585.
ellauri132.html on line 432:

voices/" target="_blank" rel="noopener noreferrer">Kirjailijoiden ällöjä sexiääniä

ellauri144.html on line 421: Dylan Marlais Thomas (27 October 1914 – 9 November 1953 = 39v) was a Welsh poet and writer whose works include the poems "Do not go gentle into that good night" (Josta suomenruozalainen leijakirjailija otti "Älä mene yxin yöllä ulos") and "And death shall have no dominion"; the "play for voices" Under Milk Wood; and stories and radio broadcasts such as A Child´s Christmas in Wales and Portrait of the Artist as a Young Dog. He became widely popular in his lifetime and remained so after his death at the age of 39 in New York City. By then he had acquired a reputation, which he had encouraged, as a "roistering, drunken and doomed poet".
ellauri160.html on line 203: In letters to his father in 1924 and 1927, Pound said The Cantos was like the medley of voices you hear when you turn the radio dial.
ellauri191.html on line 1419: "who with uncompromising clear-sightedness voices wo/man's exposed condition in a world of severe conflicts"
ellauri191.html on line 1815: "for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clichés and their subjugating power"
ellauri198.html on line 714: Allen Johnston of The New York Times was disappointed with how the series progressed; while he marveled at the "sheer absurdity of King's existence" and complimented King's writing style, he said preparation would have improved the series, stating "King doesn't have the writerly finesse for these sorts of games, and the voices let him down." Michael Berry of the San Francisco Chronicle called the series "highfalutin hodgepodge".
ellauri203.html on line 242: Writing in the Los Angeles Times, a professor of Slavic languages praised their Dostoevsky translations, stating "the reason they have succeeded so well in bringing Dostoevsky into English is not just that they have made him sound bumpy or unnatural but that they have managed to capture and differentiate the characters' many bumpy and unnatural voices." A literary critic and essayist, wrote in The Sewanee Review that their Dostoevsky translations "have recaptured the rough and vulgar edge of Dostoevsky's style. This tone of the vulgar that Dostoevsky's writings are full of, so morbidly excessively, they have translated into a vernacular equal to his own." But recently, writing in The New York Review of Books in 2016, a critic argued that Pevear and Volokhonsky have established an industry of taking everything they can get their hands on written in Russian and putting it into flat, awkward English. Other translators have voiced similar criticism, both in Russia and in the English-speaking world. A Slavic studies scholar has written in Commentary that Pevear and Volokhonsky take glorious works and reduce them to awkward and unsightly muddles. Criticism has been focused on the excessive literalness of the couple's translations and the perception that they miss the original tone of the authors.
ellauri203.html on line 286: "who with uncompromising clear-sightedness voices wo/man's exposed condition in a world of severe conflicts", kehaisee runk-akatemia.
ellauri220.html on line 97: Was call’d by my nighest name by clear loud voices of young men as they saw me approaching or passing,
ellauri241.html on line 49: It is only after Fanny receives a valentine from Brown that Keats passionately confronts them and asks if they are lovers. Brown sent the valentine in jest, but warns Keats that Fanny is a mere flirt playing a game. Fanny is hurt by Brown's accusations and Keats' lack of faith in her; she ends their lessons and leaves. The Dilkes move to Westminster in the spring, leaving the Brawne family their half of the house and six months rent. Fanny and Keats then resume their interaction and fall deeply (ca. 6 inches) in love. The relationship comes to an abrupt end when Brown departs with Keats for his summer holiday, where Keats may earn some money. Fanny is heartbroken, though she is comforted by Keats' love letters. When the men return in the autumn, Fanny's mother voices her concern that Fanny's attachment to the poet will hinder her from being courted. Fanny and Keats secretly become engaged.
ellauri241.html on line 1012: passion our voices cooingly among myrtles!
ellauri241.html on line 1151: Where angry voices lead: go through the hole,

ellauri241.html on line 1289: Of our close voices wake the neighbors;

ellauri246.html on line 318: old hungry high voices, Vanhat nälkäiset kiekujat,
ellauri302.html on line 220: Time to close shop, says Yekel. Reizel! To bed! Basha! Time to go to sleep! (From without are heard girls' voices: Soon. Right away!) Yekel, calling into the entry. Reizel! Basha! Enter two girls, running. Rain is dripping from their wet, filmy dresses and from their unbraided hair. They are in a merry mood and speak with laughter. Yekel leaves, slamming the door behind him.)
ellauri352.html on line 611: The novel has been compared with Edgar Lee Masters´s poetry collection Spoon River Anthology, published in 1915. Tim Martin, writing for Literary Review, compared its "babble of American voices", some from primary sources and some expertly fabricated, with the last act of Thornton Wilder´s play Our Town. Kaskun ei Divina Comediaan.
xxx/ellauri103.html on line 214: This same sensibility is coming to a bookstore near you. Because who is the appropriator par excellence, really? Who assumes other people’s voices, accents, patois, and distinctive idioms? Who literally puts words into the mouths of people different from themselves? Who dares to get inside the very heads of strangers, who has the chutzpah to project thoughts and feelings into the minds of others, who steals their very souls? Who is a professional kidnapper? Who swipes every sight, smell, sensation, or overheard conversation like a kid in a candy store, and sometimes take notes the better to purloin whole worlds? Who is the premier pickpocket of the arts? The fiction writer, that’s who. Yes, she is a real piece of shit more often than not. I know, I've been there.
xxx/ellauri103.html on line 337: I can’t speak for the LGBTQI community, those who are neuro-different or people with disabilities, but that’s also the point. I don’t speak for them, and should allow for their voices and experiences to be heard and legitimised.
xxx/ellauri104.html on line 355: The truth is out there. I often hear it whisper to me through my molar, which has become a neuroreceiver. I just wish the voices were not so angry with me.
xxx/ellauri127.html on line 577: Ancestral voices prophesying war! kuuli muinaisäänten ennustavan: sota!
xxx/ellauri148.html on line 476: Cerignola, Italy.‘Philosophical Paths, Philosophically -Agenda 2030’ by Club Unesco Cerignola. For one evening, our Old Earth is transformed into a long philosophical trail made up of the narrating voices of the young and old students of our schools. They will demonstrate, with their words, how the protection of the Environment, health, human rights, enshrined in the 2030 Agenda, are needs expressed by both ancient philosophers and current thinkers. Moreover, walking through the small streets that represent our historical heritage, we could be pervaded by those cultural values that identify us and inspire the desire to be more responsible.
xxx/ellauri167.html on line 600: The republican voices of the 1960s are as loud and silly as the democratic ones today, and that leaves us unsurprised when they reappear at the front of our national consciousness—the media, as any Shell-owning liberal could attest on November 9, 2016, and January 6, 2021.
xxx/ellauri179.html on line 412: The Americans at the bar listened and drank grappas. Four women entered the bar and joked loudly behind the Americans who didn't seem to notice. They shook and laughed and they smelled good but their voices were crass. Two of them smoked and the room got smokier than before.
xxx/ellauri199.html on line 1036: Matt Walsh is a popular writer, speaker, and one of the Right´s most influential voices. He is the host of The Daily Wire´s Matt Walsh Show, where he boldly tackles the tough subjects and speaks out on faith and culture in a way that connects with his generation and beyond. He lives in Nashville, Tennessee with his wife and young children.
xxx/ellauri225.html on line 347: In the 1960s, the New Criticism, which since has taken hold at most American universities, came into vogue, insisting that literature be reexamined through multiple lenses so that new interpretations and voices would flourish. Elaborate curriculums looked at literature through different prisms: gay, feminist, Marxist, deconstructionist and others. Bloom was enraged. He spent decades lambasting the New Criticism, refusing to have anything to do with these critics and labeling them derisively as “the school of resentment.” Many resented his elitism.
xxx/ellauri229.html on line 535: It was then, for the first time, that timid voices made them selves heard, Oughtn´t we go back to the old look, but that suggestion was branded as obscurantist, medieval. In the elections of 2520 the Damnwellians and the Relativists came out on top, because their populist line caught on, to wit, that every man should look as he damn well pleased; limitations on looks would be functional only - the district bodybuilding examiner approved designs that were existenceworthy, without concern for anything else. These designs SOPSYPLABD threw on the market in droves. Historians call the period of automorphosis under the Sopsyputer the Age of Centralization, and the years that followed Reempersonalizationalism.
xxx/ellauri251.html on line 925: Shriek with birds' voices, and with furious feet
xxx/ellauri251.html on line 2205: False voices, feel the kisses of false mouths
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