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The phrase was apparently coined by Yury Olesha. Viktor Shklovsky said that Olesha used it in a meeting with Stalin at the home of Maxim Gorky, and it was subsequently used by Stalin, who said «Как метко выразился товарищ Олеша, писатели — инженеры человеческих душ» ("As comrade Olesha aptly expressed himself, writers are ...
The Well Wrought Urn: Studies in the Structure of Poetry by Cleanth Brooks and Paul Rand. Harcourt, Brace 1975 ISBN 9780156957052 "Review of Poems, in Two Volumes by Francis Jeffrey, in Edinburgh Review, pp. 214–231, vol. XI, October 1807 – January 1808; Composed upon Westminster Bridge, September 3, 1802 in audio on Poetry Foundation
At its narrowest, the term "Graveyard School" refers to four poems: Thomas Gray's "Elegy Written in a Country Churchyard", Thomas Parnell's "Night-Piece on Death", Robert Blair's The Grave and Edward Young's Night-Thoughts. At its broadest, it can describe a host of poetry and prose works popular in the early and mid-eighteenth century.
Created Date: 8/30/2012 4:52:52 PM
Viktor Mikhailovich Reznikov (Russian: Ви́ктор Михайлович Ре́зников; 9 May 1952 in Leningrad – 25 February 1992 in Saint Petersburg) was a Russian Soviet composer, lyricist and singer.
The "Four Horsemen" is the professional wrestling faction that competed in the National Wrestling Alliance and World Championship Wrestling in the 1980s and 1990s. The faction's original incarnation consisted of Ric Flair, Arn Anderson, Ole Anderson, Tully Blanchard, and J. J. Dillon, with other members including Lex Luger, Sid Vicious, Sting, Steve McMichael, Dean Malenko, Chris Benoit, Brian ...
In 1926, while Cuney was still a student at Lincoln University, his poem "No Images" won first prize in a competition sponsored by Opportunity magazine. The poem poignantly portrays a black woman's internalization of European beauty standards. It has been widely anthologized and is considered a minor classic of the New Negro Movement. [3]
The poem is a detailed description of several objects, including a photo album and the camera that took the pictures in it, and is essentially about the nostalgia that the speaker, presumably Gibson himself, feels towards the details of his family's history: the painstaking descriptions of the houses they lived in, the cars they drove, and even ...