by bus/train/car/ship, etc. by post/airmail by the time FOR for breakfast/lunch/dinner for help for a swim for a drink (go to a place) for a holiday for a walk for fun (=for amusement) for a while FROM from time to time from that day on from now on IN in agony in the countryside in love (with) in an armchair in disbelief in one's opinion in cash in the distance in other words in the (city) centre in one's free time in power in the/a city in the fresh air in time in common in a hurry INTO into pieces
e) Everyone admired Lucy because she was tall and skinny/slim/thin. f) I've been digging the garden and now my back aches/pains/injuries. g) Whenever I travel by boat I start feeling hurt/sick/sore. h) The doctor can't say what is wrong with you until she cures/examines/recovers you. i) Use this thermometer and take his fever/heat/temperature. j) I seem to have caught/infected/taken a cold. 2) Replace the words in italics with one of the words from the box. Use each word once only. Agony, body, breath, look, stomachache, beard, brains, heart, spine, tongue a) Janet fell from her horse and injured her backbone b) I had a very bad toothache, and was in great pain all night c) The police discovered the dead person buried in the garden d) One thing you can say about Ann, she has certainly got intelligence. e) They have a new house right in the centre of the countryside. f) Italian is actually Mary's native language g) Before I dived in the water, I took a deep mouthful of air
what he had seen. He visited Hugh to shoot and fish. After greeting each other they began to hunt for deers and reached a field of wild oats where they hid behind a rock because Hugh saw something moving in the oats. Suddenly William heard a shot and everything was covered in smoke. Hugh had pulled the trigger, but there was nothing in the field. After that William heard two extremely different voices: a scream like that of a wild animal and Morgan crying out as if in mortal agony. He gazed at Hugh and it seemed like his body was split into pieces. When he approached the body, his companion was dead. The jury can't believe that an invisible force could do something like that, so one juror asks: „From what asylum did you escape?“ The witness feels insulted by that comment and starts to leave. Just before going out of the door he sees coroner reading the victim's diary and asks for a permission to reveal Morgan's writings, but the coroner denies his request
Eventually, Lheureux orders the seizure of Emma's property to compensate for the debt she has accumulated. Terrified of Charles finding out, she frantically tries to raise the money that she needs, appealing to Leon and to all the town's businessmen. Eventually, she even attempts to prostitute herself by offering to get back together with Rodolphe if he will give her the money she needs. He refuses, and, driven to despair, she commits suicide by eating arsenic. She dies in horrible agony. For a while, Charles idealizes the memory of his wife. Eventually, though, he finds her letters from Rodolphe and Leon, and he is forced to confront the truth. He dies alone in his garden, and Berthe is sent off to work in a cotton mill.
Personally, i don’t consider cinema as a restrictive medium. Cinema’s most restrictive feature is time. Filmmakers must fit very good shots edited into very good storyline into one and a half to three hour movie, usually. The reason being, we get uncomfortable sitting long period of time. If the movies would be longer, we would lose interest and start doing something else. We would simply get uncomfortable sitting on a chair and the whole cinema experience would become agony. Furthermore, producing films can be expensive, especially longer films. All human resources want to be paid an hour wage, renting and building sets cost money etc. So, in the long term, making longer films more than 3 hours is not that good idea. Longer films would start losing money. Films in ordinary cinema are not long. Because of that, filmmakers have to make compromises, all the time and everywhere. Starting with the writer. If they come with an original idea, easier for them
over Estonia as either "liberation" or occupation." As historians, it is our imperative duty to consider both sides, and in our writing to refer to this Soviet control as just that, Soviet control. Such a term lacks negative or positive connotations. In fact, it lacks connotations entirely. Another way historians might address this issue would be to say or write something like, 3 Siobhan Kattago, "Memory, Pluralism and the Agony of Politics," Journal of Baltic Studies, vol. 41, no. 3 (2010). "In 1940, the Soviet Union took control of Estonian territory. Many Estonians and others viewed and view this event as illegal occupation, while many Russians and others viewed and view this event as an act of protecting, liberating, and rightfully claiming what is theirs." Such treatment should strive for neutrality, impartiality, and objectivity. It should strive for the truth
place a terrified recruit's helmet back on the recruit's head, but the boy cowers under Paul's arm. Paul places the helmet on the recruit's behind to protect it from shell fragments. After the shelling lessens, the recruit comes to and notices with embarrassment that he has defecated in his pants. Paul explains that many soldiers experience this problem at first. He instructs the boy to remove his underpants and throw them away. The men hear the wrenching sounds of wounded horses shrieking in agony. Detering is particularly horrified because he is a farmer and loves horses. After the wounded men are gathered, those in charge of shooting the wounded animals do their job. Detering declares with disgust that using horses in war is the "vilest baseness." As the trucks drive the men back, Kat becomes restless. A flurry of bombs then lands around them. The men take cover in a nearby graveyard. Paul crawls under an uncovered coffin for protection
before returning to the beginning harmony of 3-5 chords quivering hum, before he begins his next verse. repeating four times. 1:30 The bass guitar joins with the harmony to 2:30 Quick set of 3 chords from the solo guitar, as the 3rd the once solo guitar and the volume is at is verse is sung slow and contently, with deep passion in each peak and the bass takes over the melody with word describing his pain and agony. 3:00 Chorus speeds up to an aggressive harmony. Johnny's major percussion becoming louder and more voice escalates to pitch higher then the instruments in the prominent. background. His voice is clear, the words are each 2:00 The guitar carries the same background pronounced slowly with passion.
legend of the search for the Holy Grail. Barrenness of standardised civilisation, boredom of life. The wasteland for Eliot is an ever-‐present dimension of any civilisation; its true protagonist is a man of all ages. Modern life is full of agony and horror, many fool themselves into hope but some don’t and see the truth. The poem’s style is very complex, erudite and allusive; Eliot provided notes to explain the quotations and allusions. Originally 800 lines; cut down to 433.
capable of'. Man is evil by nature. Roots of evil in man himself. Nobel prize 1983. Darkness visible 1979. Milton. Paradise lost. A sea of fire that gives no light, but rather makes darkness visible. Golding: investigation of nature of good and evil. Images of fire, mutilation, pain. Beginning: small child 'horribly burned. Horribly disfigured'. Walking out of flames of London Blitz, building a burning bush, two pillars of lighted smoke, child: born from the sheer agony of a burning city. The novel narrates a struggle between good and evil, using naïveté, sexuality and spirituality throughout. A dark and complex novel, it centres on Matty - introduced in chapter one as a naked child emerging horribly disfigured from a bomb explosion during the London Blitz in World War II. He becomes a ward of the state and is put into a Catholic boarding school, where he is shunned by the other children and sexually abused by one of his teachers, Mr. Pedigree
they are part of one vast human family. Casey becomes one of the union leaders, he dies for working people. Ma learns to appreciate simple people, Pa has to admit that solidarity is the best thing for them. Tom leaves his family for activists, radicals. Steinberg admires Tom, because he sacrifices his life, but he is brave and active, he doesn't reach all his goals but he does something. Casey and tom are authors models of hsi sources of admirations. When Ma rise out of agony because he feels that Tom is dead. And still, although they have suffered and they still have made a step forward, they have will to leave. There are two memorable scenes that somewhow symbolise the will to live. When roses baby dies, he breasfeeds the dying man, he gives his milk to a dying man, he saves the mans life. ,,Of mice and men". It is a kind of folk tragedy, set on a california ranch. And two men arrive at this ranch. George and Lenny, the protagonists
do? Involving someone else was definitely out. I couldn't even believe myself; anyone I told would have me committed. Only two options seemed practical. The first was to take his advice: to be smart, to avoid him as much as possible. To cancel our plans, to go back to ignoring him as far as I was able. To pretend there was an impenetrably thick glass wall between us in the one class where we were forced together. To tell him to leave me alone -- and mean it this time. I was gripped in a sudden agony of despair as I considered that alternative. My mind rejected the pain, quickly skipping on to the next option. I could do nothing different. After all, if he was something... sinister, he'd done nothing to hurt me so far. In fact, I would be a dent in Tyler's fender if he hadn't acted so quickly. So quickly, I argued with myself, that it might have been sheer reflexes. But if it was a reflex to save lives, how bad could he be? I retorted. My head spun around in answerless circles.
N o t much is known about Agon or his "backstory" but he may have been part of a family of Zeus s children who were responsible for other qualities that had roles to play in the lives of athletes, such as speed, victory, competitive spirit, and even chaos. T h e spirit of Agon is imbedded in the polarized terms "protagonist" and "antagonist". W e cheer for the protagonist in the struggle or contest, and we wish for the defeat of the antagonist. T h e English word "agony" derives from agon and signifies that the process of struggle is sometimes painful and arduous. T h e word is sometimes used as one pole of a polarized expression, as in the title The Agony and the Ecstasy or the phrase from T V coverage of the Olympic Games, "the thrill of victory, the agony of defeat." These phrases describe the dramatic emotional extremes that a polarized agon can generate. To antagonize someone is to create an agon or conflict with that person
"God. Eva," he gasped as I lowered onto him, his hands flexing restlessly on my thighs. I closed my eyes, feeling too exposed. I'd wanted intimacy with him and yet this seemed too intimate. We were eye-to-eye, only inches apart, cocooned in a small space with the rest of the world streaming by around us. I could sense his agitation, knew he was feeling as off-center as I was. "You're so tight." His gasped words were threaded with a hint of delicious agony. I took more of him, letting him slide deeper. I sucked in a deep breath, feeling exquisitely stretched. "You're so big." Pressing his palm flat to my lower belly, he touched my throbbing clit with the pad of his thumb and began to massage it in slow, expertly soft circles. Everything in my core tightened and clenched, sucking him deeper. Opening my eyes, I looked at him from under heavy eyelids. He was
one. In fact, the opposite is often the case. People with heavy pain-bodies usually have a better chance to awaken spiritually than those with a relatively light one. Whereas some of them do remain trapped in their heavy pain- bodies, many others reach a point where they cannot live with their unhappiness any longer, and so their motivation to awaken becomes strong. Why is the suffering body of Christ, his face distorted in agony and his body bleeding form countless wounds, such a significant image in the collective consciousness of humanity? Millions of people, particularly in medieval times, would not have related to it as deeply as they did if something within themselves had not resonated with it, if they had not unconsciously recognized it as an outer representation of their own inner reality – the pain-body. They were not yet conscious enough to recognize it
The hulls are hypo- allergenic and allow constant air circulation through the pillow, keeping you cool. Perfect for better sleep and better sex. Liberator Bedroom Adventure Gear (www.liberator.com) Spice up your bedroom with all the Liberator sex gear you can a ord. The website is explicit, and I want to hire their photographer (or maybe it's just the female models?). If nothing else, the "wedge" is a must-purchase item (www.fourhourbody.com/wedge). Enough said. Beautiful Agony (www.beautifulagony.com) Beautiful Agony is a bizarre but oddly hypnotic experiment. The site features videos that users submit of their "O" faces. It may be the most erotic thing you've ever seen, yet the only nudity it contains is from the neck up. Perhaps it's just me, but I wish they had a "Would you like to see men or women?" landing page. SexWise with Nina Hartley (www.sexwise.me) This is where Nina explores and explains it all.
He was too happy, however, to need much attention; and luckily for the others, the business of love- making relieved them from a great deal of his company. The chief of every day was spent by him at Lucas Lodge, and he sometimes returned to Longbourn only in time to make an apology for his absence before the family went to bed. Mrs. Bennet was really in a most pitiable state. The very mention of anything concerning the match threw her into an agony of ill-humour, and wherever she went she was sure of hearing it talked of. The sight of Miss Lucas was odious to her. As her successor in that house, she regarded her with jealous abhorrence. Whenever Charlotte came to see them, she concluded her to be anticipating the hour of possession; and whenever she spoke in a low voice to Mr. Collins, was convinced that they were talking of the Longbourn estate, and resolving to turn herself and her daughters out of the house, as soon as Mr. Bennet were
There was such an experiment-actually, a whole series-run by a psychology pro- fessor named Milgram (1974) in which participants in the Teacher role were willing to deliver continued, intense, and dangerous levels of shock to a kicking, screech- ing, pleading Learner. Only one major aspect of the experiment was not genuine. No real shock was delivered; the Learner, who repeatedly cried out in agony for mercy and release, was not a true subject but an actor who only pretended to be shocked. The actual purpose of Milgram's study, then, had nothing to do with the effects of punishment on learning and memory. Rather, it involved an entirely dif- ferent question: When it is their job, how much suffering will ordinary people be willing to inflict on an entirely innocent other person? The answer is most unsettling. Under circumstances mirroring precisely the
milk; touch it with coal dust and you will read. That too will deceive which is written with a stalk of moistened flax, and a pure sheet will bear hidden marks." He also advised using pronouns of the opposite sex, such as HIM for her. Among the strange means of secret communication to which lovers in the 1800s resorted was perhaps the most public of all channels—the personal advertisements in newspapers, sometimes called the "agony columns." Apparently unable to contact one another directly through the mails because of parental or other restrictions, the lovers could easily bring a newspaper into the house and thus receive their messages. For secrecy, these were enciphered, but usually in so elementary a system that anyone who applied himself could read their intimacies. In February of 1853, The Times of London carried a Caesar substitution, in which
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