magiadoreal

Because I could not stop for Death, He kindly stopped for me; The carriage held but just ourselves And Immortality. We slowly drove, he knew no haste, And I had put away My labor, and my leisure too, For his civility. We passed the school, where children strove At recess, in the ring; We passed the fields of gazing grain, We passed the setting sun. Or rather, he passed us; The dews grew quivering and chill, For only gossamer my gown, My tippet only tulle. We paused before a house that seemed A swelling of the ground; The roof was scarcely visible, The cornice but a mound. Since then 'tis centuries, and yet each Feels shorter than the day I first surmised the horses' heads Were toward eternity.

A man who had shot to death his four young children, for reasons known only to him, sat in the wooden chair reserved for him at the Riverbend Maximum Security Institution in Nashville. His body was strapped tight and his head was freshly shaved, to enhance the conductivity. I could see him, but he could not see me. We sat perhaps 30 feet apart, on opposite sides of a one-way glass partition that separated those who would walk away that September night in 2007 from one man who would not. The electric chair had not been used in Tennessee since 1960, a reflection of a nation’s discomfort with a procedure that had come to be seen as gruesome, if not cruel. But the condemned man, Daryl Holton, 45, had been given a choice between lethal injection and electrocution. To the dismay of prison officials, he had chosen the latter — again, for reasons known only to him. After he imparted some final, cryptic words, his scalp was dampened with salted water that dripped

Moving to Houston? Welcome! You’re not alone. The Houston population is nearing four million people.  A big reason for the population growth is new jobs.  In fact one of the largest companies in the world, Exxon, is opening an office here that will employ 27,000 new Houstonians. Areas such as Spring, Sharpstown, East Downtown and Southeast Houston are all experiencing major upticks in value and popularity.  This trend is only expected to continue over time, as no downturn in the city is in sight. But for anyone moving to Houston for any reason, there are several very important universal facts to consider. Some elements of the city completely change the way you live your life on a daily basis. Some are just nice to know about. And some are pivotal to experiencing the full positive potential of the Houston experience. On that note, here are ten things you need to know about moving to the biggest city in Texas. #1: It’s HOT and HUMID. Out-of-towners may immediately notice

Mamma Mia! (EUA/Reino Unido/Alemanha, 2008). Direção: Phyllida Lloyd. Rot. Adaptado: Catherine Johnson, baseado em seu musical. Fotografia: Haris Zambarloukos. Música: Benny Andersson. Montagem: Lesley Walker. Dir. de arte: Maria Djurkovic, Dean Clegg, Rebecca Holmes & Nick Palmer. Cenografia: Barbara Herman-Skelding. Figurinos: Ann Roth. Com: Amanda Seyfried, Meryl Streep, Pierce Brosnan, Stellan Skarsgard, Colin Firth, Rachel McDowall, Julie Walters, Christine Baranski, Dominic Cooper. Sophie (Seyfried) que mora com a mãe Donna (Streep) em uma ilha grega decide chamar os três homens que acredita que podem ser seu pai para seu casamento com Sky (Cooper). Os três, Bill Anderson (Skargard), Sam Carmichael (Brosnan) e Harry Bright (Firth) chegam praticamente no mesmo momento a ilha. Enquanto Sophie entra em conflito com Sky, sua mãe fica confusa com a chegada inesperada de seus três ex-amantes. O risco frágil de narrativa apenas serve como pretexto para o principal c

Evolutionary theory meant not expecting absolute boundary lines between thinking and seeing, or between memory and hallucination. (...) in an essay on "The Dream as Revelation" later cited by Freud  in The Interpretation of Dreams (1900), [James] Sully described how in sleep, evolution is reversed and adults go back to the groudwork of their life, in a primitive animal immersion in bodily sensation. Philip Davis, The Victorians , p. 189.

G risbi, Ouro Maldito ( Touchez pas au Grisbi , França/Itália, 1954). Direção: Jacques Becker. Rot. Adaptado: Jacques Becker, Maurice Griffe & Albert Simonin, baseado no romance do último. Fotografia: Pierre Montazel. Música: Jean Wiener. Montagem: Marguerite Renoir. Dir. de arte: Jean d´Eaubonne. Cenografia: Robert Turlure. Com: Jean Gabin, René Dary, Jeanne Moreau, Dora Doll, Gaby Basett, Denise Clair, Michel Jourdan, Daniel Cauchy, Paul Frankeur, Lino Ventura, Paul Oettly.            Max (Gabin) é um vigarista que consegue disfarçar seu envolvimento no mundo criminal, levando igualmente uma vida social discreta no restaurante Moderna. Decidido a se aposentar, Max planeja e consegue sucesso numa operação de roubo de barras de ouro. Ele as vende para o seu tio, Oscar (Oettly). Porém, seu roubo cai nos ouvidos de Angelo (Ventura) e seu bando, que sequestram o melhor amigo de Max, Riton (Dary) e pedem o ouro em troca. Max vai com seu amigo Pierrot (Frankeur) ao local i

Sir Paul McCartney is being treated in a Tokyo hospital for a viral infection, it was confirmed on Thursday. A spokesman for the former Beatle said that he received treatment in the hospital and is expected to make a full recovery. Sir Paul, 71, said he was "extremely moved" by the messages of support he has received after he was struck down by an illness that forced him to cancel a string of gigs. A statement released on behalf of Sir Paul said: "Since contracting a virus last week that led to the postponement of tour dates, Paul received successful medical treatment at a hospital in Tokyo. "He will make a complete recovery and has been ordered to take a few days’ rest. Paul has been extremely moved by all the messages and well wishes he has received from fans all over the

Followers of the socialist and philanthropist mill-owner Robert Owen (1771-1858) would claim that human beings where wholly the products of their social enviroment. But to Idealists such as T.H. Green, the act of reflection upon ourselves offered a point from which we cannot and need not simply be identical with our histories, the amoral sum of our experiences and inheritances. To Green, the thoughts and influences that pass through our passive minds are not yet ours , and are never wholly us , until and unless the consciousness that present us to ourselves accepts them as such. (Philip Davis, The Victorians , p. 182, grifos do texto)

Uma intensidade fervorosa nesse retrato de São Sebastião marca-o como uma obra característica de Tanzio, cuja aldeia de Varallo onde nasceu, nas montanhas ao norte de Milão foi uma referência de devoção popular.O retrato apresenta Sebastião, que foi perseguido como cristão por Dioclécio, sendo salvo pelos anjos após ser atacado pelos arqueiros do imperador. A figura atarracada à direita que ternamente segura o corpo de Sebastião para os cuidados do anjo pode ser Santa Irene, que tratou do restabelecimento do mártir. A excitação visual do retrato de Tanzio serve para transmitir o estado de elevação emocional e transcendência da dor física de Sebastião. Contribui para o acaloramento do drama a extrema compressão de sua composição. As formas sólidas e grandes de Tanzio preenchem toda a moldura, aparentando se torcer e contorcer para caber nos seus limites. Se o ilusionismo vibrante e fortes contrastes entre luz e sombras - pulsante na roupagem através do colo de Sebastião e no padrão

Os Filhos de Ingmar ( Ingmarssönerna , Suécia, 1919). Direção: Victor Sjöström. Rot. Adaptado: Victor Sjöström, baseado no romance Jerusalém , de Selma Lagerlöf. Fotografia: Julius Jaenzon. Dir. de arte: Axel Esbensen. Com: Victor Sjöström, Harriet Bosse, Tore Svennberg, Hildur Carlberg, Hjalmar Peters, Svea Peters, Axel Nilsson. O jovem Ingmar Ingmarsson (Sjöström), filho de uma família afortunada, apaixona-se por Brita (Bosse), oriunda de classe social inferior. Brita resolve se casar com Ingmar apenas para melhorar a situação de sua família, mas nutre um grande ódio por Ingmar e tudo que o cerca. Forçada a manter relações com Ingmar, engravida antes de casar e, como vingança, mata a criança. Condenada apenas a três anos de trabalhos forçados por intervenção de Ingmar, que destacou seu quinhão de culpa no episódio, é sugerido a Brita após sua saída da prisão que abandone o país e vá viver nos Estados Unidos, porém Ingmar decide enfrentar a hostilidade da comunidade e viver com Bri

Domingo. Finalmente com quase tudo em mãos. Foi cansativo mas valeu e também a ajuda do Ney. Trouxemos todas as coisas dos apartamentos de Josué e Orlando e já redijo – inclusive essas mal traçadas linhas – há algumas horas no computador. Que alívio! Só não retomei a tese, pois a última versão está aguardando ser baixada da Internet e por enquanto ainda não possuo essa regalia. Vou tentar fazer isso amanhã pela USP. É noite. Vou fazer minha primeira bananada agora.