Angel of death

This paper discusses two stories in which a bride saves her bridegroom, the first by appeal to God, and the second by offering her own life. While previous folklorists have understood the stories as exemplars of the motif of the bridegroom doomed to die, focusing on the role of the bride helps one analyze stories better, revealing that they appear to have originated in different genres. The first closely resembles oral folktales of Jewish women, and therefore modern women's folklore can shed light on its hero. The second tale, in contrast, has connections to medieval European romance, and a literary reading in light of this genre best explains the bride's sacrifice.

But what is evil, great master?

Evil is what I consider evil, though killing is what makes me full, gives me happiness, and what’s more it replaces any kind of enjoyment. This darkly-inhabited social protector comes, or should I write cums, by killing and in killing. The rest is nothing but blah blah to feel better, though he will never tell anyone.

And imagine your own sister seeing you in the act ! ! !

Yum, yum, I like that indeed. And pass me the knife over and pass me the salt over and pass me the red blood over.

Enjoy what I have made with these six books and six TV seasons; But be sure Miami Metro PD is far from Miami Dade PD.

2018 marks one hundred and fifty two years since the birth of the Russian religious existential thinker Lev Shestov (1866–1938), whose name is counted amongst the most influential European philosophers of the 20th century. A paradoxical and provocative writer, Lev Shestov searched for ways to diminish the burden of psychological and existential suffering in the life of the individual. His parable about receiving ‘the mysterious gift’ of ‘a new pair of eyes’ from the Angel of Death engaged the existential problems of facing uncertainty, the unknown and death with the possibility of a creative transformation, which could allow an individual to see things outside the law of reason and ‘preconceived self-evident truths.’ Drawing on Shestov’s analysis of Dostoevsky, Nietzsche and Kierkegaard, as well as Camus and Lovtsky’s observations, I argue that Shestov’s interest in the human psyche manifested in his writing, in which he often strove to ‘psychoanalyse’ his characters, found common ground with the psychoanalytical approach. However, unlike Freud’s psychoanalysis, which was grounded in reason and analytical systematisation, Shestov’s philosophy aspired to find a cure to enable an individual to withstand the pressure of the absurd reality of human existence by breaking free from the constraints of rational thought.