Arrive at Easterwine
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145 results found for "reference"
- Ia. The Myth of the Six Million
Holocaust referents alongside denial “the flesh of Gypsies and Jews.”
- Easterwine and Metaphor
I’d prefer to see them as occasions for noticing something about human institutions. Example: In Shakespeare, Nestor calls Cressida's welcome a "general" kiss, referring to both This is compared to Frege's theory of how terms have a different reference in ordinary vs.
- "Club Mentiros" (1958)
were three phases: an original Spanish Club Mentiros from 1958, about which Ferguson has written in reference
- "Ewe Lamb" (1960/1985)
Captain Johns discovers that “Two Kings Twelve Three” isn’t a gambling notation, but refers to the parable
- "John Salt" (1959/1985)
Some of the story’s stranger elements—Joshua’s references to the Book of Enoch, his recognition of Muhammad
- "The Transcendent Tigers" (1961/1964)
introduced by Anaximander to describe the ‘boundless and structureless primordial matter’, be used to refer
- "Thieving Bear Planet" (1980/1982) and "The Fishhooks of Hesebon"
The title refers to the pools of Hesebon in the Old Testament, to which the eyes of a woman are likened
- "Rang Dang Kaloof" (1971/1972)
I suppose it’s obvious, but moral evil refers to harm resulting from the blameworthy choices of free
- "Try to Remember" (1959/1960)
While Miller sometimes goes wrong, he had a terrific idea when he conceived his pseudo–reference work
- "The Skinny People of Leptophlebo Street" (1975)
Yet most fans prefer to think of Lafferty as a jokey sage, someone dispensing a whimsical humanist wisdom He advised treating the allusions and references in the Cantos as tangents that pick out a curve. (You refer to the latter as “the original.”)
- IIm. "The Man Who Lost His Magic": The Vertical Axis
When Lafferty uses biblical language or draws on sacred tradition, he rarely treats the reference as
- Exploring R. A. Lafferty's Media Vision: The Hand With One-Hundred Fingers
In Action at a Distance , Vagt refers to it as “the phantasm of immediacy.” central nihilistic argument: that objective truth is an empty fiction (“bogus waters”), and humanity’s preference











