Anglican leaders in Nigeria have been working closely to uphold human-rights issues in the proposed legislation on homosexuality.
Ha-ha-ha! How Michael Lawson, Ben Enwuchola and Chris Sugden can say that with a straight face, I don't know.
Disorganization personified, music, and faith and computing - but zero attention spa..
Anglican leaders in Nigeria have been working closely to uphold human-rights issues in the proposed legislation on homosexuality.
He has now added to this a list of 30 other crimes and atrocities that he planned or put into action. It was published by the American government last week. There is nothing quite like this list outside the Moscow show trials that Stalin mounted; and if we accept Khalid Sheikh Mohammed's confession, we owe Stalin's ghost a handsome apology.
Content analysis details: (-3.9 points, 5.0 required)
pts rule name description
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-2.6 BAYES_00 BODY: Bayesian spam probability is 0 to 1%
[score: 0.0000]
-1.3 AWL AWL: From: address is in the auto white-list
Content analysis details: (-0.4 points, 5.0 required)
pts rule name description
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0.1 FORGED_RCVD_HELO Received: contains a forged HELO
2.5 HEAD_LONG Message headers are very long
0.5 DATE_IN_PAST_03_06 Date: is 3 to 6 hours before Received: date
0.0 UNPARSEABLE_RELAY Informational: message has unparseable relay lines
-2.6 BAYES_00 BODY: Bayesian spam probability is 0 to 1%
[score: 0.0000]
-1.0 AWL AWL: From: address is in the auto white-list
Message headers are very long
A long stone bench under it [the Loggia di Braccio Fortebraccio] usually supports old men spitting and gossiping, with pigeon droppings all around them
[Georges]finally admits to Anne that he thinks he may know who is sending the tapes, but he refuses to tell her who and his excuses for not doing so are weak. Anne goes into a tailspin and cries onto Pierre's [a male colleague] shoulder about the shaky ground her marriage is on. The tapes keep coming, the subject matter turning darker, and Georges, refusing to accept responsibility for prior actions, repeats the behavior that started the cycle, adding insult upon injury. The final results are shattering and Haneke makes the impact on the audience as shocking as it is upon Georges.
what I would like to tell you is that Haneke is such a crafty guy that, by the time we're pondering that tricky final shot, he has maneuvered us into exactly the same spot Auteuil and Binoche are in. They are so focused on who is sending the tapes that they never do deal with their own lack of generosity and compassion, which is the reason they're in the spot they're in.
In that final shot, we are like them, so obsessed with finding the answer to the who-did-it question that we miss the more important issues. Unlike them, though, we have the ability to distance ourselves from the movie and think about what it's saying, and that's when "Caché" really takes hold. It has the power to keep you up at night not because it's so scary, but because it's so provocative. "Caché" is a movie that could give you thoughtmares.
It is a casual critical truism when talking about voyeurism in the movies - discussing, say, Michael Powell's Peeping Tom - to say that it implicates the viewer. Until now, I have always felt like replying: speak for yourself, mate. Yet this really does implicate you. You feel like you too are participating in this terrible, remorseless destruction.
Caché is Michael Haneke's masterpiece: a compelling politico-psychological essay about the denial and guilt mixed into the foundations of western prosperity, composed and filmed with remarkable technique. It is one of the great films of this decade.
Caravaggio’s religious works are greater than William Holman Hunt’s not because he was a firmer believer than the good Englishman but because he was a better painter — and his infamous case is, delightfully, the exception which proves the exception: “God makes his sun rise on the evil and on the good, and sends his rain on the just and on the unjust” (Matthew v, 45).
Artistic genius, and our delight in what it produces, is an example of the profligate overflow of God’s grace and goodness, given without limit or condition. In fact, an artist’s complacent confidence that his faith and good behaviour will lend him God’s help in a special way is likely to be the very obstacle which gets in the way of greatness — a log in the artistic eye preventing him from seeing the “world in a grain of sand”.
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Even physically, we play our instruments better when limbs are free and loose, and people regularly report an increase in physical and mental energy when they start to pray or meditate. In addition, prayer can form in us an inner silence which is an essential part of concentration. To be able to hear each note, each bar, each phrase, both individually and as a related whole, requires an ability to see and to hold many parts in unity — a key to any life of contemplation. Avoiding distractions, creating new and better material out of mistakes, balancing self-demand and self-esteem, are all qualities which unite a musical and spiritual life. The hidden, daily annoyances of cancelled flights, noisy hotels, bad food and inferior pianos, are a constant ascetical challenge; and the patience required in the course of a tour to meet, with kindness and attention, hundreds of new people backstage or at receptions is a real call to holiness — much like a priest at the door of his church who tries to greet each person as if they were the most important in the world . . . at least for those few seconds.
Who is the real criminal? Marmeladov, for abandoning his family? Luzhin for exploiting Dunya? Svidrigailov for murdering his wife? Sonya for prostituting herself? The greedy pawnbroker whom Raskolnikov murdered? Or, to turn the question around: Who among us is not a criminal? Who among us has not attempted to impose his or her will on the natural order? Furthermore, we are made to understand that Raskolnikov's true punishment is not the sentence imposed on him by the court of law, but that imposed on him by his own actions