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“The murder of Botham Jean appears to be a classic case of USA police training to shoot first and ask questions later.”
Classic
First
Questions
Murder
Training
Police
Case
Shoot
Jean
Botham
“Simon looks over at me. “What?”
“Nothing,” I say.
“What?!” he shouts. He can’t hear a thing I’m saying over the wind and the engine and the classic rock.
“I hate this fucking car!” I shout back.
“The sun is burning me! I might actually catch fire, at any moment!” The wind is blowing Simon’s hair straight, and he’s squinting—from the sun and from all the smiling.
“What!” he shouts at me again.
“You’re so beautiful!” I shout back.
He turns the radio down, so now there’s just the wind and the engine noise to shout over.
“What’d you say?!”
“Nothing!”
Rainbow Rowell
Simon Snow
Snowbaz
Wayward Son
Baz Pitch
The Art of the July Monarchy: France, 1830 to 1848
“Vernet received his commission for this project in 1838, a year in which concessions for the construction of railroads were a subject of passionate debate, and many of the deputies were carried away by visions of the glorious future this new invention would usher in, typical of which was the speech of the director of bridges and railroads in which he proclaimed that, after the invention of the printing press, railroads represented the greatest advance in the history of civilization.
In response to this enthusiasm Vernet broke traditional rules of decorum in his enormous mural, combining classical figures and traditional allegorical emblems with products of the industrial revolution. In one section of his mural composition, usually entitled
Le Génie de la Science
(The genius of Science), a nude allegorical figure is seated in the foreground, one hand on an air pump, the other on an anvil, while a modern steam locomotive is driven toward a railroad tunnel in the background (see Figure 2-2). If Vernet had been limited to one symbol to characterize the social and economic reality of the July Monarchy, it is doubtful that he could have found a better one.”
Trains
Railway
Horace Vernet
Kill the Farm Boy
“Paugh!" the troll scoffed. "Romance. Kissing and folly. Where's the story, where's the philosophy? I'm a troll, and even I can't rip a bodice. You should read real literature. The classics." He held up a book called Ye Olde Clubbe of Fisticuffs. "This is one of my favorites. It's all about, like, rejecting capitalism." He held up another, the spine as yet uncracked, called Alliance of Nincompoops. "Or this one, about a misunderstood genius. You should read it. I'd love to chat about what the true meaning of success is when we're living in a world that values looks instead of substance.”
Romance
Humor
Books
Literature
Fight Club
Confederacy Of Dunces
The Limits to Capital
“The essence of the neo-classical argument is that competition for productive factors — land, labour and capital — forces entrepreneurs to pay an amount equal to the value that the marginal (last employed) unit of each factor creates. Given a particular technological state and relative factor supplies (scarcities), then competition ensures that each factor 'gets what it creates', that 'exploitation of a factor cannot occur.' It is then a short step to infer that the distributive shares of rent, wages, interest, etc., are socially just fair shares. The political implication is that there is no point in, or call for, class struggle, and that government intervention should be confined largely to ensuring that perfect competition prevails. In the lexicons of many Marxist writers, this qualifies as 'vulgar political economy' with a vengeance.”
Competition
Economics
Class Struggle
Class War
Writings on Philosophy and Language
“We are not lacking in ovservation by which the relation of language to its variable usage can be determined rather precisely. Insight into this relation and the art of applying it belongs to the spirit of the law and the secrete of governing. It is just this relation which makes classical writers. The trouble caused by confounding languages and the blind fatih in certain signs and formulas are at times coup d'état which have them in the kingdong of truth than the most powerful, freshly exhumed word-radical or the unending geealogy of a concept; coup d'état which would never enter the head of a scholarly blatherer and an eloquent journeyman, not even in his most propitious dreams.”
Language
Law
Goverment
Coup D État
Supper Club
“Spaghetti alla puttanesca is typically made with tomatoes, olives, anchovies, capers, and garlic. It means, literally, "spaghetti in the style of a prostitute." It is a sloppy dish, the tomatoes and oil making the spaghetti lubricated and slippery. It is the sort of sauce that demands you slurp the noodles
Goodfellas
style, staining your cheeks with flecks of orange and red. It is very salty and very tangy and altogether very strong; after a small plate, you feel like you've had a visceral and significant experience.
There are varying accounts as to when and how the dish originated- but the most likely explanation is that it became popular in the mid-twentieth century. The first documented mention of it is in Raffaele La Capria's 1961 novel,
Ferito a Morte
. According to the Italian Pasta Makers Union, spaghetti alla puttanesca was a very popular dish throughout the sixties, but its exact genesis is not quite known. Sandro Petti, a famous Napoli chef and co-owner of Ischian restaurant Rangio Fellone, claims to be its creator. Near closing time one evening, a group of customers sat at one of his tables and demanded to be served a meal. Running low on ingredients, Petti told them he didn't have enough to make anything, but they insisted. They were tired, and they were hungry, and they wanted pasta. "
Facci una puttanata qualsiasi!
" they cried. "Make any kind of garbage!" The late-night eater is not usually the most discerning. Petti raided the kitchen, finding four tomatoes, two olives, and a jar of capers, the base of the now-famous spaghetti dish; he included it on his menu the next day under the name spaghetti alla puttanesca. Others have their own origin myths. But the most common theory is that it was a quick, satisfying dish that the working girls of Naples could knock up with just a few key ingredients found at the back of the fridge- after a long and unforgiving night.
As with all dishes containing tomatoes, there are lots of variations in technique. Some use a combination of tinned and fresh tomatoes, while others opt for a squirt of puree. Some require specifically cherry or plum tomatoes, while others go for a smooth, premade pasta. Many suggest that a teaspoon of sugar will "open up the flavor," though that has never really worked for me. I prefer fresh, chopped, and very ripe, cooked for a really long time. Tomatoes always take longer to cook than you think they will- I rarely go for anything less than an hour. This will make the sauce stronger, thicker, and less watery. Most recipes include onions, but I prefer to infuse the oil with onions, frying them until brown, then chucking them out. I like a little kick in most things, but especially in pasta, so I usually go for a generous dousing of chili flakes. I crush three or four cloves of garlic into the oil, then add any extras. The classic is olives, anchovies, and capers, though sometimes I add a handful of fresh spinach, which nicely soaks up any excess water- and the strange, metallic taste of cooked spinach adds an interesting extra dimension. The sauce is naturally quite salty, but I like to add a pinch of sea or Himalayan salt, too, which gives it a slightly more buttery taste, as opposed to the sharp, acrid salt of olives and anchovies. I once made this for a vegetarian friend, substituting braised tofu for anchovies. Usually a solid fish replacement, braised tofu is more like tuna than anchovy, so it was a mistake for puttanesca. It gave the dish an unpleasant solidity and heft. You want a fish that slips and melts into the pasta, not one that dominates it.
In terms of garnishing, I go for dried oregano or fresh basil (never fresh oregano or dried basil) and a modest sprinkle of cheese. Oh, and I always use spaghetti. Not fettuccine. Not penne. Not farfalle. Not rigatoni. Not even linguine. Always spaghetti.”
Pasta
Origins
Tomatoes
Spaghetti
Sauce
Italian Cuisine
Seasonings
Puttanesca
Supper Club
“We started getting hungry again, and some of the women started chanting, "MEAT, MEAT, MEAT!"
We were having steak tartare. It was the only appropriate main course we could think of, for such a graceless theme, and seeing as nobody in the club was confident making it, we had to order it in. I made chips to serve with it, though. I deep-fried them in beef fat.
The steak was served in little roulades, raw and minced, like horsemeat. It was topped with a raw egg yolk, chopped onions, pickled beetroot, and capers. I had wanted to use the Wisconsin version, which is served on cocktail bread and dubbed "cannibal sandwich," but Stevie insisted we go classic. Not everyone could stomach theirs with the raw egg yolk, too, and so, unusually for a Supper Club, there was quite a lot left over.
We took another break to drink and move about the room. Some of us took MDMA. Emmeline had brought a box of French macarons, tiny pastel-colored things, which we threw over the table, trying to get them into one another's mouth, invariably missing.
For our proper dessert, we had a crepe cake: a stack of pancakes bound together with melted chocolate. We ate it with homemade ice cream, which was becoming a real staple.”
Cake
Cooking
Steak
Toppings
Desserts
Crepes
Macarons
The Red Scrolls of Magic
“I thought: classic Jace. Never makes a mess when a total catastrophe will do.”
Shadowhunters
Jace Herondale
Alec Lightwood
Aline Penhollow
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“The operetta was the product of a world of ‘laissez faire, laissez passer’,
that is, a world of economic, social and moral liberalism, a world in which everyone was able to do what he liked, so long as he abstained from questioning the system itself. This limitation meant, on the one hand, very wide, on the other, very narrow frontiers.
The same government that summoned Flaubert and Baudelaire to a court of law tolerated the most insolent social satire, the most disrespectful ridiculing of the authoritarian régime, the court, the army and the bureaucracy, in the works of Offenbach.
But it tolerated his frolics only because they were not or did not seem to be dangerous, because he confined himself to a public whose loyalty was beyond doubt and needed no other safety-valve, in order to be quite happy, than this apparently harmless banter.
The joke seems mischievous only to us; the contemporary public missed the sinister undertone which we can hear in the frantic rhythm of Offenbach’s galops and cancans. The entertainment was, however, not quite so harmless. The operetta demoralized people, not because it scoffed at everything ‘venerable’, not because its deriding of antiquity, of classical tragedy, of romantic opera was only criticism of society in disguise, but because it shattered the belief in authority without denying it in principle. The immorality of the operetta consisted in the thoughtless tolerance with which it conducted its criticism of the corrupt system of government and the depraved society of the time, in the appearance of harmlessness which it gave to the frivolity of the little prostitutes, the extravagant gallants and the lovable old ‘viveurs’. Its lukewarm, hesitant criticism merely encouraged corruption. One could, however, expect nothing else but an ambiguous attitude from artists who were successful, who loved success more than anything and whose success was bound up with the continuance of this indolent and pleasure-seeking society.”
Success
Morality
Operetta
Offenbach
Worth Any Price
“Her eyes were clear, dark brown, like cups of shimmering caravan tea. Nick stared into her sweetly curved face, the chin too pointed, the nose too short. The little imperfections made her beauty unique and endlessly interesting, whereas more classically shaped features would have bored him quickly.”
Feminine Beauty
Charlotte Howard
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“The main thing is not to be deceived, that is, to lie and and simulate better than the others. All Stendhal's great novels revolve around the problem of hypocrisy, around the secret of how to deal with men and how to rule the world; they are all in the nature of text-book of political realism and courses of instruction in political amoralism. In his critique of Stendhal, Balzac already remarks that Chartreuse de Parme is a new Principe, which Machiavelli himself, if he had lived as an emigre in the Italy of nineteenth century, would not have been able to write any differently. Julien Sorel's Machiavellian motto, "Qui veut les fins veut les moyens," here acquires its classical formulation, as used repeatedly by Balzac himself, namely that one must accept the rules of the world's game, if one wants to count in the world and to take part in the play.”
Stendhal
Balzac
Machiavellianism
Nineteenth Century
Julien Sorel
Political Realism
How to Read a Book: The Classic Guide to Intelligent Reading
“It is relatively easy to think of and be conscious of physical acts. It is much harder to think of mental acts, as the beginning analytical reader must do; in a sense, he is thinking about his own thoughts. Most of us are unaccustomed to doing this. Nevertheless, it can be done, and a person who does it cannot help learning to read much better.
(P. 55)”
Reading For Undertanding
Mental Activity
Consciousness Of Own Thoughts
How to Read a Book: The Classic Guide to Intelligent Reading
“The vice of "verbalism" can be defined as the bad habit of using words without regard for the thoughts they should convey and without awareness of the experiences to which they should refer. It is playing with words. As the two tests we have suggested indicate, "verbalism" is the besetting sin of those who fail to read analytically. Such readers never get beyond the words. They possess what they read as a verbal memory that they can recite emptily. (P. 127)”
Empty Words
Reading For Undertanding
Analytical Reading
Verbalism
How to Read a Book: The Classic Guide to Intelligent Reading
“Obviously, not everything can be proved, just as not everything can be defined. If every proposition had to be proved, there would be no beginning to any proof. Such things as axioms and assumptions or postulates are needed for the proof of other propositions. If these other propositons are proved, they can, of course, be used as premises in further proofs. (P. 131)”
Proof
Assumptions
Axioms
Propositions
Postulates
Message Of A Book
How to Read a Book: The Classic Guide to Intelligent Reading
“To be equally serious in receiving such communication, one must be not only a responsive but also a responsible listener. You are responsive to the extent that you follow what has been said and note the intention that prompts it. But you also have the responsibility of taking a position. When you take it, it is yours, not the author's. To regard anyone except yourself as responsible for your judgment is to be a slave, not a free man. It is from this fact that the liberal arts acquire their name.
(P. 140)”
Liberal Arts
Responsibility For Your Actions
Criticizing A Book Fairly
How to Read a Book: The Classic Guide to Intelligent Reading
“The point we are trying to make is that disagreement is futile agitation unless it is undertaken with the hope that it may lead to the resolution of an issue. These two facts, that people do disagree and can agree, arise from the complexity of human nature. Men are rational animals. Their rationality is the source of their power to agree. Their animality, and the imperfections of their reason that it entails, is the cause of most of the disagreements that occur. Men are creatures of passion and prejudice. (P. 146)”
Rationality
Prejudice
Rational Animals
Resolution Of Disagreements
Criticizing A Book Fairly
How to Read a Book: The Classic Guide to Intelligent Reading
“The trouble is that many people regard disagreement as unrelated to either teaching or being taught. They think that everything is just a matter of opinion. I have mine, and you have yours; and our right to our opinions is as inviolable as our right to private property. On such a view, communication cannot be profitable if the profit to be gained is an increase in knowledge. Conversation is hardly better than a ping-pong game of opposed opinions, a game in which no one keeps score, no one wins, and everyone is satisfied because he does not lose—that is, he ends up holding the same opinions he started with. (P. 147)”
Opinions Vs Facts
Reading For Undertanding
Resolution Of Disagreements
Criticizing A Book Fairly
How to Read a Book: The Classic Guide to Intelligent Reading
“If you have not been able to read a book sympathetically, your disagreement with it is probably more contentious than civil
(P. 152)”
Judgement
Prejudice
Critique Of Expository Books
Reading Sympathetically
How to Read a Book: The Classic Guide to Intelligent Reading
“Lack of relevant knowledge [uninformed author] makes it impossible to solve certain problems or support certain conclusions. Erroneous suppositions [misinformed author], however, lead to wrong conclusions and untenable solutions. Taken together, these two points charge an author with defects in his premises. He needs more knowledge than he possesses. His evidences and reasons are not good enough in quantity or quality. (P. 156)”
Disagreement
Critique Of Expository Books
Judging Author S Soundness
How to Read a Book: The Classic Guide to Intelligent Reading
“To a Christian who believes in personal immortality, the writings of Epictetus or Marcus Aurelius are an incomplete account of human happiness.
(P. 160)”
Marcus Aurelius
Epictetus
Human Happiness
Personal Immortality
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“The real meaning of historical materialism, and at the same time, the most important advance of the philosophy of history since the romantic movement, consists rather in the insight that historical developments have their origin not in formal principles, ideas and entities, not in substances which unfold and produce in the course of history mere ‘modifications’ of their fundamentally unhistorical nature, but in the fact that historical development represents a dialectical process, in which every factor is in a state of motion and subject to constant change of meaning, in which there is nothing static, nothing timelessly valid, but also nothing one-sidedly active, and in which all factors, material and intellectual, economic and ideological, are bound up together in a state of indissoluble interdependence, that is to say, that we are not in the least able to go back to any point in time, where a historically definable situation is not already the result of this interaction. Even the most primitive economy is already an organized economy, which does not, however, alter the fact that, in our analysis of it, we must start with the material preconditions, which, in contrast to the forms of intellectual organization, are independent and comprehensible in themselves.”
Hermeneutics
Dialectical
Historical Materlialism
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“The ‘Sturm und Drang’ was even more complicated in its sociological structure than the West European forms of preromanticism, and not merely because the German middle class and the German intelligentsia had never identified themselves closely enough with the enlightenment to keep their eyes sharply fixed on the aims of the movement and not to deviate from it,
but also because their struggle against the rationalism of the absolutist regime was at the same time a struggle against the progressive tendencies of the age. They never became aware of the fact that the rationalism of the princes represented a less serious danger for the future than the anti-rationalism of their own compeers. From being the enemies of despotism they, therefore, became the instruments of reaction and merely promoted the interests of the privileged classes with their attacks on bureaucratic centralization.
To be sure, their struggle was not directed against the social levelling tendencies of the system, with which aristocratic and upper middle-class interests were in conflict, but against its generalizing influence and violation of all intellectual distinction and variety. They championed the rights of life, of individual being, natural growth and organic development, against the rigid formalism of the rationalized administration, and meant not only the denial of the bureaucratic state with its mechanical generalization and regimentation, but also the repudiation of the planning and regulating reformism of the enlightenment. And although the idea of the spontaneous, irrational life was still of an indefinite and fluctuating nature and certainly hostile to the enlightenment, but not yet markedly conservative in its purpose, nevertheless, it already contained the essence of the whole philosophy of conservatism. It did not need much now to ascribe a mystical superrationality to this principle of ‘life’, in contrast to which the rationalism of enlightened thought seemed unnatural, inflexible and doctrinaire, and to represent the rise of political and social institutions from historical ‘life’ as a ‘natural’, that is to say, superhuman and superrational growth, in order to protect these institutions against all arbitrary attacks and to secure the continuance of the prevailing system.”
Romanticism
Rationalism
Anti Rationalism
Anti Authoritarian
Pre Romanticism
Sturm Und Drang
“History left behind is like a bookmark in a classic.”
Classic Books
History
Know Thyself
History Of Mankind
Remembering The Past
Bookmark
Don T Forget
The Social History of Art Volume 3: Rococo, Classicism and Romanticism
“[...]but in Germany, where the loyalty of the army and the bureaucracy was the basis of a new feudalism, government posts were reserved, except for subordinate offices, for the nobility and the junkers. The common people were oppressed by the officials of the Crown, high and low, as much and even more than by the manorial stewards in former days. The German peasants had never known anything but serfdom, but now the middle classes, as well, lost everything they had gained in the course of the fourteenth and 95 fifteenth centuries. First of all, they were impoverished and deprived of their privileges, then they lost their self-confidence and selfrespect. Finally, out of their misery, they developed those ideals of submissiveness and unquestioning loyalty which made it possible for any cringing philistine to think of himself as the servant of a ‘higher Idea’.”
German Idealism
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