“The pictures’ titles do not constitute explanations; nor do the pictures illustrate their titles. The relationship between title and picture is a poetic one: this relationship serves merely to record certain characteristics of the objects that are commonly ignored by one’s consciousness but of which one sometimes is a presentiment when confronted by extraordinary events which one’s reason has by no means been able to shed light upon yet.”
Sayfa 25
68 syf.
4/10 puan verdi
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8 günde okudu
Değerli Roketseverler, öncelikle On İki Hayvanlı Türk Takvimi'ne göre Yalpağan Yılı'nın (Dragon's Year) ilk ayında yayınevi değişikliğine rağmen Ruhşen Doğan Nar, azmiyle üçüncü sayıyı çıkararak bizi bir araya getirdi. Ön siparişten geç geldiği için Aralık 2022 baskı tarihi olsa da hepimiz bu ayın içinde okuduk. Üçüncü sayıda kağıt
Roket 3 Bilimkurgu Öykü Seçkisi
Roket 3 Bilimkurgu Öykü SeçkisiKolektif · Roket Kitap · 20245 okunma
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265 syf.
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This is a lovely collection of stories that served as an inspiration for the series Electric Dreams. Consisting of ten stories, this book is a great insight into Philip K. Dick's shorter prose works. Some of these stories fall more into macabre/horror genre (with a distinct Twilight Zone vibe) than into science fiction (as the title would
Elektrikli Düşler
Elektrikli DüşlerPhilip K. Dick · Alfa Yayıncılık · 2018128 okunma
Disagreement is something normal !!!
We only bring up things we love. Or things we hate. I’d always prefer the love. But if I can’t get that, I’ll take the hate. There’s always a chance I can turn that hate into something positive. It’s a sensibility that’s earned me a reputation as a bully in the minds of many. I rarely dispute the title, but it’s an oversimplification. I don’t wake up in the morning looking to pick fights with people. I don’t celebrate conflict. Again, I’d rather be friends. But if someone says they want a problem with me, I’ll respond, “No problem.” Because it’s never a problem for me to compete. *----- Sadece sevdiğimiz şeyleri gündeme getiriyoruz. Veya nefret ettiğimiz şeyler. Ben her zaman sevgiyi tercih ederim. Ama eğer bunu başaramazsam, nefreti alacağım. Bu nefreti olumlu bir şeye dönüştürme şansım her zaman vardır. Bu, birçok kişinin zihninde bana zorba olarak ün kazandıran bir duyarlılık. Başlığa nadiren itiraz ederim, ancak bu aşırı basitleştirmedir. Sabahları insanlarla kavga etmek için uyanmıyorum. Çatışmayı kutlamıyorum. Tekrar ediyorum, arkadaş olmayı tercih ederim. Ama birisi benimle sorun yaşamak istediğini söylerse, "Sorun değil" diye yanıt veririm. Çünkü rekabet etmek benim için asla sorun değil.
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Ultimately, these postwar aristocratic fantasies were not at all successful in evading the modern scientific universe that they so despised. It is by no accident that both Jurgen and The Worm Ouroboros (a title that refers to the world-girdling serpent that bites its own tail) were circular in construction, ending just where they began, with nothing changed or accomplished by the passage of four hundred pages. These fantasies aimed to run away from the scientific universe, only to be thrown back into it by a kind of self-applied, self-defeating judo move.
No Title Required
It has come to this: I’m sitting under a tree beside a river on a sunny morning. It’s an insignificant event and won’t go down in history. It’s not battles and pacts, where motives are scrutinized, or noteworthy tyrannicides.
416 syf.
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THE THEME OF MONEY AND SOCIAL NOBILITY IN MOLL FLANDERS
Moll Flanders tells the biography of a woman born in 18th century England from her own point of view. Born in a prison, a prostitute for twelve years, a thief for twelve years, married five times, her adventures taking her from England to America, Moll Flanders is one of the most interesting heroines in English literature with her controversial
Moll Flanders
Moll FlandersDaniel Defoe · Can Yayınları · 2021713 okunma
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The coming age is, of course, what is often called ‘the messianic age’, but the term is a misleading one. The designation ‘messiah’ — which in Hebrew and Aramaic means simply ‘anointed one’ — figures only rarely in the Hebrew Bible; and when it does appear, it is simply a title given to the king or, when the monarchy no longer existed, to the high priest. The expected future king, of David's line, is never referred to as ‘messiah’. Nor is that future king ever portrayed as a supernatural figure.
The barbarian kings of Italy pursued their own interests, but they ruled, to begin with at least, in the name of the distant Emperor in Constantinople, maintaining and honouring the Roman Senate, and accepting the honorific title ‘Patrician of the Romans’. Even Odoacer’s ferocious successor Theoderic, a man who could sign his own name only with the help of a stencil cut from a plate of gold, accepted and exploited the fiction of empire. Theoderic adopted Roman dress, and his coinage carried the image of the Emperor. The Gothic kings based themselves on the Adriatic coast, in the old capital of the Western empire at Ravenna, and the glamour of Rome persisted. As Theoderic himself declared, ‘Any Goth who can, wants to be a Roman: no Roman wants to be a Goth.’
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