See who Lifetime cast as Prince Harry and Meghan Markle in ...
EW.com-Feb. 21, 2019
A follow-up to 2018's hit Harry & Meghan: A Royal Romance (which starred Parisa ... will focus on the pair's first year of marriage and the challenges they face.
Royal BOMBSHELL: Why Meghan and Harry were 'unhappy ...
Express.co.uk-Apr. 26, 2019
MEGHAN MARKLE and Prince Harry found the run-up to their 2018 royal wedding “very, very difficult” and their big day was “overshadowed” by the antics of the ...
The trumpet played at the royal wedding of Prince Harry and ...
Classic FM-Apr. 24, 2019
The Baroque trumpet is being sold on eBay for £5,000 and is listed as 'a true piece of royal history'. David Blackadder, a trumpeter from Northamptonshire, ...
Queen Elizabeth Has Big Plans for Meghan Markle and Prince ...
PEOPLE.com-May 3, 2019
Queen Elizabeth is going to be the VIP guest at another royal wedding! One year after Prince Harry and Meghan Markle became husband and wife, Lady ...
2 comments:
All classical literature is in motion,
sent from a shape name to the name, going from
the task of naming again of the same thing through a new
figures (the pretentiousness of the language) to the problem of naming through
words finally accurate, that never had a name or what
asleep in the folds of far of words, it belongs to
secrets of the soul, the impressions, born on the docking things and body
for which the language of the "Fifth walk"<$F refers to "Walking
lonely dreamer" Russo. See: J.-J. Rousseau. Favorites
works, vol. III. M.,1961,p. 611.> he suddenly gained clarity.
Romanticism believed that the break with the previous era,
since learned to call a spade a spade. The truth
I wanted the whole classicism: Hugo performed
promise Voiture<$F Voiture (1597-1648)
Can
to say that organizes all classical discourse:
to speak or write does not mean to make any thing or
Express yourself, don't play with the language, and go to the sovereign act
naming ways to move the language to the place where things happen and
words are connected in their common essence, that allows you to give them a name.
But when this name is already expressed, the whole language that led to it
or become a means of achieving it, is absorbed by this name
and is eliminated. Thus, in its deep essence
classical discourse always tends to this limit, but
there is only removing him. It moves forward in
constant expectation of the Name. Therefore, its very possible
it is linked with rhetoric, that is, with the whole space,
surrounding the name, forcing it to oscillate around what
the name is revealing elements, or proximity, or
analogies of what it names. Shapes that the discourse
crosses provide a lag name, which
the last point is in order for them to complete and
to eliminate. Name-is the limit of the discourse. And maybe all
classical literature resides in this space
this movement, the meaning of which-the achievement name, always
terrible, since it kills the ability to speak,
exhausting it to the end. It is a movement commands
the practice of the language, starting with such a restrained recognition
"The Princess of Cleves"<$F novel by Ms. de Lafayette (1634-1694),
published in 1678 -- Approx.ed.> to clear the blast
the violence inherent in "Juliette"<$F novel of the Marquis de Sade. --
Approx.ed.>. In this work, the naming appears finally
throughout his blatant nudity, and rhetorical figures
which had kept him crumble and become
endless figures of desire, which, indeed,
never reaching the limit, constantly moving ones
constantly repeat the names.
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