Peace, 927. When the chorus are persuading Trygaeus not to sacrifice a fat swine because they would be associating with the 'swinishness' of Theagenes.
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In darker psyches, the thought lurked: was the pandemic some sort of cosmic comeuppance for our collective swinishness, a funk for our profligate times?
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There was so much swinishness in my soul and honesty too, of a sort, as to tell her straight out that I couldn't be absolutely faithful to her.
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New York: Monthly Review Press, 2000. p. 39. He labels the colonizers as barbaric for their treatment of those in the colonies. He defines the relationship as one limited to "forced labor, intimidation, pressure, the police, taxation, theft, rape, compulsory crops, contempt, mistrust, arrogance, self-complacency, swinishness, brainless elites, degraded masses".Césaire, Aimé.
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In 1934, Furtwängler publicly described Hitler as an "enemy of the human race" and the political situation in Germany as a "Schweinerei" ("disgrace", literally: "swinishness")." L'atelier du Maître ", article by Philippe Jacquard on the web site of the french Wilhelm Furtwängler society: read on line. On 25 November 1934, he wrote a letter in the Deutsche Allgemeine Zeitung, "Der Fall Hindemith" ("The Hindemith Case"), in support of the composer Paul Hindemith. Hindemith had been labelled a degenerate artist by the Nazis.
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" Donald Stanley, writing in Life magazine praised the villain Sun, saying he "is the kind of villain to make a Bondophile salivate." In general Stanley praised Amis for emulating "the celebrated Fleming Effect". Stanley was less convinced by Bond, observing that his "essential swinishness is being replaced by some kind of dilute humanism". The reviewer for The New York Times noted the reduced numbers of gadgets employed in the book, when compared with the films, that they felt had "overshadowed the personality of the secret agent"; overall the reviewer felt that "Mr.
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The opera may not have been written in just 18 days, but it certainly ranks with Rossini's L'italiana in Algeri, Il barbiere di Siviglia and La Cenerentola as one of the operas written in the shortest amount of time that is still frequently performed today. It is not known what Leopold thought of the opera written in his honor. Reports that his wife Maria Luisa of Spain dismissed it as ' (literally in Italian "German swinishness," but most idiomatically translated "A German mess") do not pre-date 1871, in a collection of literary vignettes by Alfred Meissner about the history of Prague purportedly based on recollections of the author's grandfather, who was present for the coronation ceremonies.Meissner, A. Rococo-Bilder Prague, 1871.
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He referred to the Joan subplot as "colorful and tense" but wrote, "the ultimate resolution of the plot blunted potential charges of didacticism. It was agonizing watching Joan struggle to deal with Joey's swinishness with cutting remarks that barely scratched his thick skin." James Poniewozik of TIME magazine said the use of voice-over "undercuts one of Mad Men’s greatest strengths, which is its use of irony and understatement to show how characters' words and actions often belie their real thoughts and meaning." Poniewozik also noted: "As we get farther into what we usually think of in pop-culture terms as 'the ’60s,' it gets harder even for a show as brilliant as Mad Men to avoid overfamiliar takes", singling out the scene where Don watches Vietnam War news reports.
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In musical circles, Maria Luisa is famous for her putative denigration of Mozart's opera, which she supposedly dismissed as "una porcheria tedesca" (Italian for "German swinishness"), however no claim that she made this remark pre-dates the publication in 1871 of Alfred Meissner's Rococo-Bilder: nach Aufzeichnungen meines Grossvaters, a collection of stories about cultural and political life in Prague in the late eighteenth and early nineteenth centuries.Maria Luisa's participation in her husband's coronation as king of Bohemia in Prague in 1791 is detailed in Daniel E. Freeman, Mozart in Prague (Minneapolis, 2013), 148–177; the passage from Meissner's Rococo-Bilder that attributes the phrase "porcheria tedesca" to her is translated on pp. 173-74. Besides the late authority recorded for this remark, Freeman also points out that Meissner had a habit of attributing concocted Italian witticisms to culture figures of Italian origin in his Rococo-Bilder and that the members of the Imperial court of Austria always spoke to each another in French, not German or Italian.
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