Los precios de las monturas no incluyen el diamante. Todos los diamantes se venden por separado. Muchas gracias. Ahora que ha elegido su diamante conmemorativo y montura, es el momento de entregar los restos de su ser querido.
Algunos clientes combinan el cabello de los miembros de la familia que viven. Otros solo quieren que las cenizas de su ser querido se conviertan en diamantes. Puede combinar ambas muestras. Si no tiene la cantidad exacta de cabello o cenizas disponibles, no se preocupe. Con un servicio muy personal y atento. Estoy muy agradecida a todos. Debido a que se cultivan en laboratorios, convertir cenizas en diamantes es un proceso libre de conflictos totalmente garantizado.
In both instances, the technical process usually begins with a physical portrait in the grotesque manner. The reader, through an interpretive mechanism, is forced to put the lie to the perceptions he initially drew from the descriptive passages.
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At this point in the novel, we are confused in our perceptions. What a wondrous reversal! The object of the physical grotesque has transcended her inhuman exterior in order to bare her inner beauty. This creature of the lowest class also wears a mask, but when it is torn off, her sublimity is revealed and alongwith it the moral grotesqueness of Torquemada and his bourgeois values. But he enters the story through a church, and he leaves with a touch of the divine. In his perception of Ujo, the reader passes quickly from horror to amusement to compassion.
It is as if Ujo had taken off the mask that sparked our amused and horrified response. That means we never lose sight of Ujo's shape: a head bobbing along on two little feet protruding from its beard. The split between his physical and his spiritual natures can never be resolved. As with Hugo's Quasimodo, the horror of the grotesque continues always to hover threateningly while his capacity for love and goodness emerge through the visible monstrosity. The dent in the container leaves the quality of the nectar inviolate, but it arouses suspicions in us and unbalances our equilibrium.
If Ujo disturbs us for his mask-like countenance, he disturbs us all the more for the fact that behind such a mask lie beauty and purity. When the demiurgically conceived, puppet-like character reveals himself to have a human dimension, a discordant note is sounded. The reader senses a disintegration of a coherently structured world. He has cast upon him the problematical perspective of a disharmonious body encasing a harmonious ethic, a combination that ruptures the expected balance of figure and function.
In other words, a first incursion into the grotesques is the distortion of a particular creature -Ujo in this case- a distortion that removes him from the harmoniousness that man has preconceived. The grotesque is involved a second time when that deformed being shows himself to be deeply human in his display of feeling and positive moral action.
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This complicated process thus draws harmony out of a perversion of the perverse. The gnarled protuberance of a sickly tree is prized for the finest bowls.
It sees life as tragi-comedy, with the result that the grotesque is its most genuine style -to the extent, indeed, that to-day that is the only guise in which the sublime may appear. For, if I may say so, the grotesque is the genuine anti-bourgeois style As a postscript to this section, one might mention Benina's wen. The growth on her forehead not only mars -or marks- the saint; it is also a stain on the page.
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It draws attention to itself. By the same token, a bulbous nose turns a face with a nose into a nose on a face. The text, in order to create such a nose, must halt its advance so as to consider the nose. The misshapen protrusion becomes an object of esthetic admiration in its own right. The traditional grotesque is often purely decorative - think of a gargoyle - or it puts esthetic concepts into esthetic play -think of Beauty and the Beast.
If the distortion inherent in the grotesque reflects a particular posture before social reality, the work of art does not as a consequence sacrifice all but its referential validity. Forms in turmoil, whether geometric, animal, or human, are not divested, by virtue of their tortured lines, of their exclusively esthetic status. Monstrous animals and dragons were commonly used in illuminated manuscripts as ornaments for the page borders see Wright, p.
Paintings, after all, adorn walls, and novels are read for pleasure. The distorted figure in art phenomenologically becomes an esthetic object seen as such. Rather, the misshapen object becomes in itself normative, a uniquely contemplated source of esthetic wonderment. Or at least we do not pay enough attention to the fact that his seriousness is masked by play. A master of the descriptive art, he was not always the most disciplined of writers. His facile pen and powerful imagination were known to get the better of him, and the nineteenth century readily forgave that narrative sin.
At times what began innocently enough, perhaps as an image in his mind, clearly took him over as he proceeded. Thus a description or character conception that might have been purely caricaturesque or satiric or parodic grew through insistence to assume the proportions of the grotesque. Ulterior motives are relegated to secondary status, and the fascination of the process at hand comes to dominate.
But not completely. It is an esthetic and an ideology wrapped into one. Or, to dress that idea in the terminology of modern criticism: it is simultaneously referential and self-referential. That is, it carries a twin thrust as, on the one hand, an instrument of commentary on human nature and the social circumstance and, on the other, an esthetic category that draws attention to itself and is thus justified by virtue of its existence.
To illustrate this point, I could go back to any of the instances I already mentioned; but I would like to turn instead to a minor character in El amigo Manso , the wet nurse. In fact, there are two of them. English language poems based on the Spanish lyrics. Also, I want my English language versions to have the same rhyming patterns as the originals, or be as close as I can manage. Naturally, such competing goals lead to some bumpiness in the English language results, but I think my versions are always better than the output from Google Translator though it is a good tool to begin with , while it is also clear my translations can never match in English the splendor of the originals in Spanish, nor match the quality of fine English language poetry.
Thank you so much. I cited English language versions of websites on the Cuban and Latin American songs and composers whenever I could find them. In those cases where I only cite a Spanish language site it is because that was all I could find. You could try typing his entire name into Google or other search routine, and see. Also, you could try copying text from the Spanish language site and pasting it into the Google language translator you would want to set it up for Spanish to English and get some idea of what is being described.
Just found some of your poetry while browsing internet for material to post on the Springville Presbyterian Church Foundation FB page.
We are in Alabama. We follow the liturgical calendar and will light the second candle for Advent, the peace candle. Scripture is from Mark about John the Baptist. Was searching for poems on the voice in the wilderness and found yours, Want to provide a link in the FB post, and the last two stanzas on peace. Last week, when we lit the first candle, the scripture was about Jesus in him was life, and the life was a light for all people. The light shone in the darkness, and the light could not be extinguished by the darkness.
Felt this same message about peace in your poem about a voice in the wilderness. Liked your poetry so much that I started browsing. Found several lists and a website. The link was broken. Wonder if you would share that one. Noticed that your website was thin on typical biographical info.
While I was interested in knowing more, there was something nice about imagining who you are from your writing. Loved some of the music in the videos. Thank you for your kind comments on my poetry, and for your reaction to some of what I have posted online. Also, I appreciate you describing your own activities and your reasons for visiting. In the last year or so, I have been posting some of my older poems individually, on my blog, along with some of my photographs. I wrote a number of anti-war poems during the G.
You can find numerous anti-war pages on my blog: poems, rants, rambles, photos.