poniedziałek, 28 maja 2007

aQUaNET=2996 zrekonstruowany!!!!

Ni pies ni wydra 37 ROCZNICA 8 MARCA 1968-2005 IP: *.cm-upc.chello.se
Gość: drf 22.12.04, 02:01 + odpowiedz

Ni pies ni wydra

Autor: Viktoria Korb


fragmenty

"Do pokoju ZMS wpadł Grzegorz Wodzianka
– Cześć Paula, jak leci?
– Nieźle, nareszcie koniec egzaminów. A co u ciebie?
– Sam nie wiem, jestem jakiś zdezorientowany. Wcześniej miałem nogi w błocie a
głowę w chmurach, a teraz sam nie wiem – może na odwrót. Przechodzę jakiś
przełomowy etap. Mam dosyć bycia ciągle prześladowanym.
– A za co?
– Za mój katolicyzm, ponoć wojujący.
– Aż tak wojujący to chyba on nie jest, skoro możesz być wiceprzewodniczącym
koła ZMS?
Grzegorz zamilkł, a Paula wyszła z triumfalną miną.
Gdy maszerowała po zebraniu długim korytarzem, minęła siedzącego pod jakąś salą
z przyjaciółmi Antoniego.
– Cześć Paula, ale twój chłopak szpanuje – zakrzyknął ironicznie jeden z nich.
Aha – a więc Antoni and company wytropili Bladego, który faktycznie nie miał
piersi bohatera. Potępiające spojrzenia dokumentowały zaczynający się ostracyzm
paczki Antosi, jak go nazywali, za to, że nie chciała ich, ach jakże ważnego
przyjaciela. Pocieszyła się , że ich wiedza była przestarzała, bo Blady był już
na wylocie, a jej nowy amant Roman, jako wiceszef egzekutywy partyjnej na
wydziale Ekonomiki Produkcji, był niemniej ważny w uczelnianej hierarchii od
Antka. A przy tym miał pierś bohatera.

Roman czekał koło kina "Polonia" w podwórku jej domu na Placu Konstytucji z
propozycją oblania udanej sesji w pobliskim "Szanghaju".
– Co zjesz, słodki Żulu? – zapytał.
– Befsztyk, jak zwykle, wiesz przecież, że to najlepsze z chińskich dań jakie
tu podają.
– I do tego butelka czerwonego wina. A może od razu dwie?.
– Zobaczymy. Na początek jedna. Jak było na egzekutywie SGPiS–u?
– Młoty. Usiłowałam się zorientować, jakie są układy na uczelni i w KC, ale nic
z tego. Jakaś dziwna konsternacja. Niby nic się nie dzieje, ale coś wisi w
powietrzu. Cichoń z Rady naczelnej ZSP też był nie wiedzieć czemu i coś tam
knuli z Waldemarem Ognistym, szefem egzekutywy Hazetu. Nie wiem o co chodzi,
ale myślę, że o ten Izrael. Twój nieszczęśliwy – mam nadzieję, że
nieszczęśliwy – wielbiciel Antoni, może mieć jakieś problemy, bo pisze pracę
magisterską o kibucach.
– Co znaczy ten podton wątpliwości w twoim oświadczeniu? Oczywiście, że
nieszczęśliwy
– Niektórzy ludzie uważają, że skoki w bok odświeżają ich romans, ale ja
absolutnie nie jestem tego zdania.
– Jednym słowem, wymagasz ode mnie wierności?
– Co za okropne, staromodne słowo. Ale jak go zwał, tak go zwał. Można to i tak
określić. W każdym razie ja nie mam i przy tobie nie chcę mieć romansów na
boku.
– Doceniam to i też się postaram.
– A co poza tym ciekawego w polityce?
– Na SGPiS–ie jak zwykle nic, ale spotkałem paru znajomych z Uniwersytetu, tak
zwanych "wściekłych". Zaprosili mnie na swoje dyskusje, może też pójdziesz?
– Co to jest?
– Jakaś grupa wokół Michnika, Szlajfera i Dajczgewanda. Ludzie, którzy dotąd
próbowali coś zmienić przez ZMS i partię od wewnątrz, ale chyba uznali to za
beznadziejne.
– A co ty, wysoki działacz partyjny, tam chcesz robić?
– Denerwuje mnie coraz bardziej bezdenna głupota tej partii – te Dudki i
Kochniewicze, ich oportunizm i karierowiczostwo. Ja jestem prawdziwym
komunistą. Że tak powiem, ideowym.
– Może i jesteś, ale czasem mam wrażenie, że po prostu lubisz powalczyć,
spiskować na korytarzach i prowokować. Może też trochę pobawić się w Indian w
sposób przystojący jeszcze 20–latkom.
– Nie wykluczone. Żulu, proszę, usiądź mi na kolanach
– I znowu posuniesz się za daleko, a potem nas stąd wyrzucą, jak już
z "Supersamca" i "Miódbaru" na Koszykowej.
Na samo wspomnienie baru i niepowtarzalnego, lekko kwaskowatego zapachu
miodowego
wina Paula prawie się rozpłynęła ze wzruszenia, a nawet poczuła się już lekko
zawiana.
– Słowo harcerza, że będę grzeczny – prosił dalej Roman. – Przecież oblewamy
twoje egzaminy, a ja walnie przyczyniłem się do twych sukcesów, przepisując po
nocach notatki z wykładów od twoich kolegów. Aż cały akademik na Madalińskiego
nie mógł się nadziwić, skąd u mnie nagle taka pilność.
– Dziękuję.
A wszystko po to, żebyś nie musiała wstawać rano i gnać na SGPiS po dużo
przyjemniejszych nocnych zajęciach ze mną. A może byśmy wreszcie poszli do
ciebie? Trzymasz mnie w obrzydliwej wstrzemięźliwości już prawie cztery dni. A
może zdradzasz mnie z Bladym?
– Dobrze, chodźmy już – zgodziła się pośpiesznie, aby zejść z tego śliskiego
tematu.
Kiedy przyszli do niej, rodzice na szczęście już spali. Ściągnęli buty i
przemknęli do jej pokoju. Roman od razu przystąpił do kompensowania sobie
nieznośnego postu. Nagle ktoś zadzwonił do drzwi.
– Zignoruj to – powiedział Roman.
Następny dzwonek. I jeszcze jeden. W końcu Paula oderwała się od Romana:
– Nie mogę tego dalej ignorować, bo wyciągnie mi całą rodzinę z łóżek. Widzisz,
że to jakiś bezczelny uparciuch.
Niechętnie podeszła do drzwi i zapytała:
– Kto tam?
– Boguś, otwórz drzwi.
– Jest już po północy, wszyscy śpią. Nie byliśmy dzisiaj umówieni. Zadzwoń
jutro.
– Otwórz natychmiast – powtórzył Bogumił groźnym tonem.
– Ani myślę – zatrzęsła się z oburzenia.
– Masz natychmiast otworzyć, chcę rozmawiać z twoim ojcem."

........................................................

mozna o marcu rozmaicie...;)


Re: spamcode bedzie wyjasniony... IP: *.wroclaw.dialog.net.pl
Gość: patience 22.12.04, 01:53 + odpowiedz

ok. z roznych wzgledow to dla mnie bardzo wazne.


spamcode bedzie wyjasniony... IP: *.cm-upc.chello.se
Gość: eXe9eta 22.12.04, 01:50 + odpowiedz

po spokaniu z pewna oso6a
22.12.2004 21:00
................
;)



Re: n0nEUcL!deaNsPACe... IP: *.wroclaw.dialog.net.pl
Gość: patience 22.12.04, 01:08 + odpowiedz

spamcode dalej nie wyjasniony.

Hmmm....
Wczoraj czytalam co nieco o marcu 68:(((((((



============aQUaNET=3U5!C============== IP: *.cm-upc.chello.se
Gość: #1491;יש 21.12.04, 21:08 + odpowiedz

www.frontiernet.net/~imaging/play_a_piano.html
.....................................................

www.karbosguide.com/hardware/module7d2.htm#MIDI
.......................................................

www.karbosguide.com/hardware/module3e01.htm

www.google.se/search?hl=sv&q=euclitoris&meta=
The key matrix is the grid of circuits underneath the keys. In all keyboards
except for capacitive ones, each circuit is broken at the point below a
specific key. Pressing the key bridges the gap in the circuit, allowing a tiny
amount of current to flow through. The processor monitors the key matrix for
signs of continuity at any point on the grid. When it finds a circuit that is
closed, it compares the location of that circuit on the key matrix to the
character map in its ROM. The character map is basically a comparison chart for
the processor that tells it what the key at x,y coordinates in the key matrix
represents. If more than one key is pressed at the same time, the processor
checks to see if that combination of keys has a designation in the character
map. For example, pressing the a key by itself would result in a small
letter "a" being sent to the computer. If you press and hold down the Shift key
while pressing the a key, the processor compares that combination with the
character map and produces a capital letter "A."



www.pfu.fujitsu.com/hhkeyboard/
The set of typewriter-like keys that enables you to enter data into a computer.
Computer keyboards are similar to electric-typewriter keyboards but contain
additional keys. The keys on computer keyboards are often classified as
follows:
alphanumeric keys -- letters and numbers
punctuation keys -- comma, period, semicolon, and so on.
special keys -- function keys, control keys, arrow keys, Caps Lock key, and so
on.
The standard layout of letters, numbers, and punctuation is known as a QWERTY
keyboard because the first six keys on the top row of letters spell QWERTY. The
QWERTY keyboard was designed in the 1800s for mechanical typewriters and was
actually designed to slow typists down to avoid jamming the keys. Another
keyboard design, which has letters positioned for speed typing, is the Dvorak
keyboard.

There is no standard computer keyboard, although many manufacturers imitate the
keyboards of PCs. There are actually three different PC keyboards: the original
PC keyboard, with 84 keys; the AT keyboard, also with 84 keys; and the enhanced
keyboard, with 101 keys. The three differ somewhat in the placement of function
keys, the Control key, the Return key, and the Shift keys.

In addition to these keys, IBM keyboards contain the following keys: Page Up,
Page Down, Home, End, Insert, Pause, Num Lock, Scroll Lock, Break, Caps Lock,
Print Screen.

There are several different types of keyboards for the Apple Macintosh. All of
them are called ADB keyboards because they connect to the Apple Desktop bus
(ADB). The two main varieties of Macintosh keyboards are the standard keyboard
and the extended keyboard, which has 15 additional special-function keys.

keyCode
---
<.>


CL!..........................TOR IP: *.cm-upc.chello.se
Gość: 21.12.04, 17:23 + odpowiedz

et ea is as at sx
a! sb ae as at sr ae !e
!o re !! ex is as at sa ae es eb rb sb a!
so ag et ex is et sr sa a! sr ag at !!
as at so a!
et sx ea es is rb es is oo oe
!o !o ot ob !r

..............................
!d

www.the-clitoris.com/f_html/fr_index.htm
;)


A1!nCS.....Type 73 V!P IP: *.cm-upc.chello.se
Gość: Un!X 21.12.04, 14:06 + odpowiedz

Type 1A, Indirect CStimulation:



--------------------------------------------------------------------------------

Type 1A, Direct CStimulation:


--------------------------------------------------------------------------------

Type 1A1, CStimulation and Occasional VPenetration:



--------------------------------------------------------------------------------

Type 1A2, CStimulation and VPenetration Always:



--------------------------------------------------------------------------------

Type 1A3, CStimulation with VPenetration atO:


--------------------------------------------------------------------------------

Type 1A4, Palm Over C, Fingers Inside V:



--------------------------------------------------------------------------------

Type 1A, CStimulation and APenetration:



--------------------------------------------------------------------------------

Type 1B, C and V Stimulation:


--------------------------------------------------------------------------------

Type 2A, C Stimulation while Laying on Stomach:


"I masturbate on my stomach with my right hand between my legs and gently and
circularly massage my clitoris. I rarely touch my breasts or the rest of my
body because I've found that physically that does little for me."


--------------------------------------------------------------------------------

Type 2A1, Laying on Stomach with Occasional V Penetration:


--------------------------------------------------------------------------------

Type 2A2, Laying on Stomach with V Penetration:



--------------------------------------------------------------------------------

Type 2B, C/V Stimulation while Laying on Stomach:


--------------------------------------------------------------------------------

Type 2B1, C/V Stimulation while Laying on Stomach with Penetration:



--------------------------------------------------------------------------------

Type 3, Thrusting into a Pillow or other Soft Object:


--------------------------------------------------------------------------------

Type 3, Thrusting into a Pillow or other Soft Object with V Penetration:


--------------------------------------------------------------------------------

Type 3, Thrusting Against an Object while Suspended:



--------------------------------------------------------------------------------

Type 4, Crossing Legs and Tightening Thigh and Pelvic Muscles:



--------------------------------------------------------------------------------

Type 4, with pillow, towel, or other object held between their legs:



--------------------------------------------------------------------------------

Type 5, Water Massage:

--------------------------------------------------------------------------------

Type 6, V Insertion Alone:

.................................................................
kody na ja9ody
;)


Re: przebijam IP: *.wroclaw.dialog.net.pl
Gość: patience 21.12.04, 13:56 + odpowiedz


73ż odbijam
drf 21.12.04, 13:25 + odpowiedz

http://www.the-clitoris.com/1r4/fant/moreyc.jpg

Question: Who have you engaged in physical sex with? Votes %
Female partners 186 31.2
Male partners 481 80.7
Intersexual partners 13 2.2
Transsexual partners 14 2.3
Androgynous partners 14 2.3
I have not participated in partner sex 78 13.1
I don't desire partner sex right now 22 3.7
I don't desire partner sex 6 1.0
Other 12 2.0
...........................................

The following are methods of masturbation women reported using in the book, The
Hite Report by Shere Hite. The data was collected between 1972 and 1976. While
the methods of masturbation probably haven't changed, the number of women who
utilize a particular technique may have, since women's attitudes towards
themselves and their bodies have changed with time. Plus, women have much
easier access to sexual aides like vibrators and dildos than they did twenty
years ago. The methods described may help guide women in the process of
learning to masturbate, and those women seeking to explore new ways of reaching
orgasm during solo sex. It may also help women who feel they are the only one
who masturbates in a particularly unusual, at least less talked about, way to
feel "normal". If nothing else, we see the extreme diversity in techniques.


--------------------------------------------------------------------------------

Type 1A, Indirect Clitoral Stimulation:

"To masturbate, fantasizing, or getting into an aroused state mentally is
important. Also, for me, being alone is important. I use the tips of my fingers
for actual stimulation, but it's better to start with patting motions or light
rubbing motions over the general area. As excitement increases I began stroking
above the clitoris and finally reached a climax with a rapid, jerky circular
motion over the clitoral hood. Usually my legs are apart, and occasionally I
also stimulate my nipples with the other hand."

"If I'm in a hurry (pressed for time), I use the vibrator on the base of the
clitoris, with my legs open. But usually I use my fingers rubbing around the
base of my clitoris, and when I'm near orgasm, I move my fingers to a circular
motion on top of my clitoris. My legs are always apart, and I alternate hands
because one gets tired. My other hand will caress my breasts or just rest. And
I move my body a lot when I have the orgasm."

"Wow! What a question! Usually I lie on my back, my legs apart. I almost always
have my panties on, as rubbing the clitoris itself directly is just annoying. I
use one hand, two fingers together, rubbing up and down in short strokes right
over my clitoris. As I get closer to climax, my legs tend to spread apart and
my pelvis tilts up more. I don't move around too much, but sometimes during
climax I roll from side to side."

"I use my hands and my imagination, and have probably tried every imaginable
position and motion - the basic simulation remains the same. I use my finger to
stimulate the clitoris, sometimes inserting another finger into my vagina at
the same time. I touch only my genital area when I masturbate, because I am not
stimulated by touching my body in general, as I am if my partner touches me all
over."

"I stimulate the clitoris on either side with my legs apart, and do not move
any other part of my body. It is as though I allow myself very efficient
masturbation without guilt because anything else (touching myself all over,
etc.) would be sick."

"When I masturbate I simply think locally stimulating thoughts, then a brief
touch of fingers and it's over. Ha! Sneaky, isn't it!"

"I use a simple battery-operated vibrator. I usually apply it to the right side
of my clitoris, using a slight circular motion. I start with my legs apart, but
they usually come together involuntarily. I really think what goes on in my
mind (just who I am fantasizing I am with) is more important than the
mechanical aspects."


--------------------------------------------------------------------------------

Type 1A, Direct Clitoral Stimulation:

"I use my third finger, moistened, to stroke and rub on and around my clitoris.
My other hand pulls back the lips, keeping a gentle tension on the clitoral
area. I alternate the rapid clitoral rubbing with a slower rub of the vaginal
entrance. (Actually, 'rub' is hardly the right word, since it is a very light
touch until just before orgasm, by which time I am very wet.) My legs are wide
apart, my knees up-not much torso motion until orgasm, when there are strong
spasms in my torso and pelvis"

"I masturbate with one hand only - mostly around the head of my clitoris, then
gradually switching onto the head - always with a rubbing, back and forth
motion. My other hand helps to hold the skin so firm contact can be gained. I
alternately have my legs together and apart."

"I lie on my back with my legs together tightly. I use my left hand to pull the
top of my genitals tight and apart so I can use my right hand to stroke my
clitoris. I use a circular motion starting slow with a light pressure, and then
increase the pressure until I start to come. The I slow down according to the
sensation I wish until the orgasm is completed. If I want to come again I start
over."

"I masturbate with an electric toothbrush. I put a dampened washcloth over the
toothbrush and lubricate my clitoris with lotion. I lie on my back with my legs
spread. With my left hand, I spread the labia to expose the clitoris, and I
hold the vibrator with my right hand and gently press it on my clitoris.
Sometimes I move it up and down, sometimes I leave it in one spot, depending on
what feels good. But I never really get excited until I start fantasizing. I do
not move my hips. The action is all with the hand/vibrator and my clitoris."

"I use my fingers only. My left hand holds the outer lips of my vagina open,
and my right forefinger and second finger rubs the right side of my clitoris.
Sometimes I rub up and down, but usually I rub in slow circular motions. My
legs are closed, strained and straight out. Sometimes I will do this lying on
my stomach, but not usually. It's a lot harder - I usually do that after I've
masturbated a few times and I'm still frustrated. I don't move very much, in
contrast with having orgasm with a partner, and I also make much less noise."


--------------------------------------------------------------------------------

Type 1A1, Clitoral Stimulation and Occasional Vaginal Penetration:

"I usually masturbate by gentle stroking of the clitoral region, not the
clitoris directly, but on the skin above and around it; then I place the
fingers around the clitoris and move them back and forth rhythmically and with
a bit of pressure. Thus, to achieve orgasm, pressure is one factor, rhythmic
movement another, and protection of the clitoris from direct stimulation is
another. This last one is achieved by using the surrounding skin to stimulate
the clitoris. Finally, tightening my asshole and concentrating on having an
orgasm helps bring it on. Sometimes I stick my finger in my vagina as this
seems to stabilize the clitoris and is a bit exciting. My legs are apart. I
don't move very much."

"I usually start out rubbing my clitoris on the side of it, with my finger.
Sometimes I use a mirror and watch - I used to stand up in front of a large
mirror. Then, usually because my finger doesn't really turn me on much, I get
out the vibrator. Sometimes I read pornography, sometimes I fantasize.
Sometimes I get out the baby oil and rub my breasts and stomach. I move the
vibrator up and down along the slit between my legs. One leg is usually with
the knee in the air, the other, opened, on the bed. I move my lower body up to
meet the downward motion of the vibrator. Sometimes I lick my fingers and wet
my tit, a


F3M!n!sta Janusz Korwin-Mikke.. IP: *.cm-upc.chello.se
Gość: 0So8A 21.12.04, 12:35 + odpowiedz

tako pyta Zaratustra: Janusz Korwin-Mikke prawdziwy expert od feministek?
.. masz racje pollak...:)


www.the-clitoris.com/


feministki to idiotki IP: *.internetdsl.tpnet.pl
Gość: pollak 21.12.04, 07:55 + odpowiedz

powiedział kiedyś Janusz Korwin-Mikke. I niech szlag trafi, ale miał rację.
Znaczy dodał coś jeszcze o tym, że normalne kobiety mają jeszcze intuicję czy
coś, a tamte to nawet tego nie mają. :)


podbijam IP: *.internetdsl.tpnet.pl
Gość: pollak 21.12.04, 07:53 + odpowiedz

w proteście przeciwko podbijaniu tego wątala. Nie u już!


F3M!N!7M: 37 ROCZNICA 8 MARCA 1968-2005 IP: *.cm-upc.chello.se
Gość: 37OS 21.12.04, 01:54 + odpowiedz

UniversalnaWolnaKo8ieTa©zsPRobotic
................................
3DwSkali1:1/soft/poliCOR/demo

F3M!N!7M
DEMONSTRACJA
8 MARCA 2005
NA DZIEDZINCU UW
godz 20:05

;)
---
<.>

newDesi9ne

demo004-007-009
;)

:)


dzis: F3M!N7!SM:)


93N3S!S===S3M2N7!SM====
---
<.>


============93N3S!S============== IP: *.cm-upc.chello.se
Gość: () 20.12.04, 14:49 + odpowiedz

TheEnd
---
<.>
ide zapazyc herbate
;):)%)

hi hi:) ciekawy ptaszek:)ale brzmienie ma hmm... troche mechaniczno-
skrzypiace.
Nie moge takich puszczac w domu,bo suczyca wielgachna sie budzi i szczeka:)
suczyca ma piosenki,ktore toleruje, a ktorych nie lubi :)
mam kasete ze spiewem ptakow i z odglosami amazonskiej puszczy. swietne zeby
zlapac oddech:)


============aQUaNET=4444============== IP: *.cm-upc.chello.se
Gość: dr FrÖid 20.12.04, 01:03 + odpowiedz

thank you soooooo muuuuuch Doc !
This interview is unknown for me!!!!!!!
:)

phototravels.net/japan/jg-01/geisha-girl-31.html
---
<.>




A Conversation with Arthur Golden
. . . author of Memoirs of a Geisha
Q: What sparked your interest in the subject of geisha?

A: I studied Japanese language and culture in college and graduate school, and
afterward went to work in Tokyo, where I met a young man whose father was a
famous businessman and whose mother was a geisha. He and I never discussed his
parentage, which was an open secret, but it fascinated me. After returning to
the U.S., I began work on a novel in which I tried to imagine this young man's
childhood. Gradually I found myself more interested in the life of the mother
than the son and made up my mind to write a novel about a geisha.

I read everything I could find on the subject, in English and in Japanese, and
ended up writing an 800 page first draft focusing on five years in the life of
a Kyoto geisha shortly after World War II. Then as I prepared to revise the
manuscript, a longtime Japanese friend of my grandmother's offered to introduce
me to a Kyoto geisha named Mineko--retired already at the age of 42 and
evidently willing to talk to me. I flew to Japan to meet with her, not at all
certain what to expect. I worried she might spend an afternoon chatting with me
about the sights and then wish me best of luck. But instead she answered every
question I asked, always with great candor, and took me on an insider's tour of
the geisha district of Gion in Kyoto, even arranging for me to observe and
photograph the daily ritual of a geisha being helped into her kimono by a
professional dresser. She took my understanding of a geisha's daily existence
and stood it on its head. I had to throw out my entire 800 page draft and start
from scratch.

Q: Why was she willing to open up to you? You state in the beginning of your
novel that geisha don't generally talk about their experiences.

A: She had a number of reasons, I believe. For one thing, she knew I wasn't
approaching her as a journalist, but as a fiction writer. I didn't want
salacious details about her customers; I never asked for names, or even about
experiences she'd had, but only about the rituals and routines of a geisha's
life. I found Mineko to be a very kind woman with a generous spirit; we became
and remain friends. Actually, I can think of another reason why she helped me:
during her years as a geisha, Mineko had at one time or other met many of
Japan's great living writers and artists. With her considerable respect for
cultural traditions, probably she felt some concern for a struggling young
writer.

www.randomhouse.com/vintage/golden.html
Q: Did you feel any reluctance, as a man, to try writing a novel from the point
of view of a woman?

A: I certainly did. As an American man of the 1990s writing about a Japanese
woman of the 1930s, I needed to cross three cultural divides--man to woman,
American to Japanese, and present to past. Actually, I see a fourth divide as
well, because geisha dwell in a sub-culture so peculiar that even a Japanese
woman of the 1930s might have considered it a challenge to write about such a
world. Before meeting Mineko, I'd written a draft in third person. Even after
interviewing her I felt no temptation to try entering the head of my
protagonist by writing in first person. Instead I wrote another 750 page draft
in third person. While I was revising it for submission, a number of big name
agents and editors in New York began calling me--very heady stuff for an
unpublished writer. But when they saw the manuscript, they all lost interest. I
know I'm a perfectly competent prose stylist; I didn't think the writing itself
had scared them away. And the subject matter is so fascinating--or at least it
was fascinating to me. The way I saw it, if I'd failed to bring the world of
geisha compellingly to life, I'd done something dreadfully wrong. And in fact,
as I came to understand, my mistake was having chosen to use a remote,
uninvolved narrator. So you see, I'd ended up writing a dry book precisely
because of my concerns about crossing four cultural divides.

By this time I'd spent more than six years on the project; I certainly felt no
temptation to give it up. During these years of work I'd come to know my
protagonist and the sub-culture in which she dwelt so much better than I'd ever
imagined possible; very quickly I began to ask myself why I shouldn't try
crossing those cultural divides after all. As for seeing things from the point
of view of a woman, well, I knew my wife quite well; I understood how she felt
about things. I felt I could say the same about my mother, and my sister, and
quite a number of women friends. If I could understand and sympathize with
their points of view, perhaps I could do the same with Sayuri's.

Q: Why did you choose to begin the novel with a translator's preface. The book
isn't really in any meaningful sense a translation, is it?

A: No, it isn't a translation; I wrote it in English. My Japanese is fine, but
certainly not good enough for that! I did, however, always try to keep in mind
how things would be expressed in Japanese, and to select words and phrases that
I felt would convey the same tone. But the translator's preface serves quite a
different purpose. In writing a novel from the perspective of a geisha, I faced
a number of problems. To begin with, how would Americans understand what she
was talking about? Even fundamental issues like the manner of wearing a kimono
or makeup couldn't be taken for granted if the audience wasn't Japanese. When
I'd written the novel in third person, the narrator had had the freedom to step
away from the story for a moment to explain things whenever necessary. But it
would never occur to Sayuri to explain things--that is, it wouldn't occur to
her unless her audience was not Japanese. This is the role of the translator's
preface, to establish that she has come to live in New York and will be telling
her story for the benefit of an American audience. That's also the principle
reason why the novel had to end with her coming to New York. It took me a
number of tries to find a believable way of getting her there.

;)

look! Photos are extraordinary's!
phototravels.net/japan/photo-gallery/geisha-maiko.html
I said you something about book Memoirs of a Geisha.I remember now ! this
writer name's Arthur Golden :) You should read it!


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Gość: %\%\% 19.12.04, 23:59 + odpowiedz

芸者
.
.
.
.
.
.
.
女芸者


}{}{}{}{}{}{}{}{}{ IP: *.cm-upc.chello.se
Gość: 者 19.12.04, 23:50 + odpowiedz

Geisha (芸者) are traditional Japanese artist-entertainers. The word geisha
literally means "art person" or "artisan." Geisha were very common in the 18th
and 19th centuries, and are still in existence today, although their numbers
are dwindling.

The geisha tradition evolved from the taikomochi or hōkan, similar to court
jesters. The first geisha were all male; as women began to take the role they
were known as onna geisha (女芸者), or "woman geisha." Geisha today are
exclusively female.
........................................

;)

Decline in the number of geisha ? yes It's the gospel truth. Now in Japan you
have only 10.000 geysha's.
Geisha do not prepare or serve food. - not exactly. Somethimes she serve's,
prepare's some tea or infusion.
Other information:
She must to have a "mamasun" with her propre geysha's house.
Education of geysha is solicitouse.Somethimes she speak's 2 or 3 languages.



guest of honor IP: *.cm-upc.chello.se
Gość: !d 19.12.04, 23:32 + odpowiedz

What is the Role

of Geisha?




Geisha must train themselves in various traditional arts such as classical
dancing, playing the Shamisen, and several styles of singing in the hanamachi
(geisha community). Today, geisha women may also be models or go on
international tours, for example.
Geisha work by entertaining guests at expensive tea houses. They will serve
drinks, talk with the guests, and perform.
Geisha women maintain many different relationships with men. They are not
prostitutes. It is appropriate for geisha to have a patron (danna), whom she is
involved with emotionally, economically, and sexually, however it is up to the
geisha whether she wants one or not.
Geisha wear their hair in a bun or a uniform style with a single comb and two
pins. They also wear elegant kimonos and beautiful white make-up.
Geisha also entertain at business banquets or parties for a considerable amount
of money. There they engage in conversation, and perform for the guests. Geisha
will either perform "Tachikata" which mainly does traditional Japanese dance
or "Jikata" which mainly sings or plays an instrument. Tachikata are usually
the maiko girls while Jikata are older geisha women. They also pay greater
attention to the guest of honor. Geisha also do not discuss anything that was
said at a party or business meeting outside.

Geisha do not prepare or serve food. They also never have a one-night stand.

...........................................


We can observe a dramatic decline in the number of geisha. Nowadays, there are
very few genuine geisha left in Japan. This is partly due to the decreasing
demand. Most of the Japanese prefer (and can afford) hostesses when they want
to go out and have some fun with women outside the "net of the family and
workplace". The decline is also due to the supply. For the Japanese girls it is
much easier to become a Western-type entertainer, a hostess.




It is possible that in a few years it will be difficult to find any geisha
left. If we can, it would probably not the real, traditional type. Due to
tourism and the interest of the businessmen visiting Japan, this institution
will probably survive, but maybe in a modified form. It is possible that the
Japanese women who used to become geisha (who wish for independence and try to
get rid of the accustomed mother/wife role), can find more opportunity for
success in work. In spite of these, it would be positive if this uniquely
interesting patch of the Japanese society, would survive. We should not see it
(as many Western people do) as prostitution. A love for the traditional arts
seems to be the most important motivating factor for women who choose to become
geisha. They are respected as preservers of traditional art and culture.


aleszszszszsz wieeem!
swoja droga zawsze fascynowalo mnie jak gejsze mogly udzwignac stroj ktory
wazyl czasem ponad 20 kg a nawet i wiecej? Istnieja pasy obi,ktore waza ponad
10 kg....
Silne kobiety:)


geyshy wyznania nie znam ... IP: *.cm-upc.chello.se
Gość: !7737 19.12.04, 23:15 + odpowiedz

www.immortalgeisha.com/ig/index.html
www.japan-guide.com/e/e2102.html
The word Geisha means "artist" in Japanese. Geisha are professional hostesses
who entertain guests through various performing arts in tea houses called O-
chaya. They are trained in a number of traditional skills such as Japanese
ancient dance, singing, playing instruments such as the Shamisen, flower
arrangement, wearing kimo no, tea ceremony, calligraphy, conversation, alcohol
serving manners and more. Geisha continue to study and perfect these skills
throughout their careers as geisha.

marian.creighton.edu/~marian-w/academics/english/japan/geisha/whatgeisha.html

;)

spokojnie winowajca sie znalazl
nie zdazyl nic nawydziwiac.



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Gość: 19.12.04, 23:03 + odpowiedz

ano uwaga wlasnie na virtualnosc:(
Ja ze sztuki japonskiej jestem cienka.
No chyba,ze chodzi o wiadomosci na temat gejsz, gry na shamishenie,na temat
mody, pasow obi i strojow japonskich:)
Miales moze w reku "Wyznania gejszy", nie mylic z ksiazka bodajze
Shelby'ego "Gejsza" ?


uwaga na virtualnosc!!! IP: *.cm-upc.chello.se
Gość: D377!DA 19.12.04, 22:51 + odpowiedz

academic.bowdoin.edu/zen/
academic.bowdoin.edu/zen/intro_template.shtml?byodo


Byodo-in, Uji
One of the few surviving buildings of the Heian Period is the Byodo-in at Uji,
located a few miles south of Kyoto. In the early eleventh century, Fujiwara no
Michinaga built a country villa on this site, and in 1052 his son Yorimichi
remodeled the buildings, adding an elaborate Amida Chapel fronting on the pond
garden, a combination of architecture and natural beauty intended to evoke the
Western Paradise of Amida Buddha. Other "Pure Land" gardens (jodo shiki teien)
are known—Saiho-ji was originally an Amida garden before Muso Soseki converted
the site to Zen, and the temple of Joruri-ji near Nara is another early Amida
complex—but Byodo-in is by far the most famous example. Of this once-grand
estate, only the chapel, the famous Phoenix Hall, or Hoo-do remains, and the
garden to the south is only a pale shadow of what it once must have been, but
the juxtaposition of architecture and garden gives us at least some notion of
how the great Heian villas and their gardens must have appeared. The
architectural style of the Byodo-in is Chinese, as was deemed appropriate in a
religious structure, and the design of the typical Heian villa would have been
simpler and less symmetrical, but the combination of roofed corridors leading
to pavilions facing a large pond is approximately what one would have observed
in a Heian estate. The orientation is different, however. Most shinden villas
faced south according to the geomantic rules of Chinese and Japanese planning,
but the Byodo-in faces east, a logical shift considering the fact that a person
viewing the pavilion across the pond would be looking in the direction of the
Western Paradise. Recent excavations have revealed a pebble beach that links
the Byodo-in to earlier temple gardens.

The garden is said to be in the shape of the Sanskrit character "A" (for
Amida), and has been attributed to Yorimichi himself. It is worth noting that
Yorimichi was the father of Tachibana Toshitsuna, reputed author of the
Sakuteiki (Treatise on Garden Making).



ja juz w zyciu do mojego kompa nikogo nie puszcze bez nadzoru!

q...najpierw trojan i robal, teraz wlam do skrzynki.
pasuje. dzwonie po informatykow,bo zaraz mnie szlag trafi.

ufff. jak na razie ok. durnota jestem straszna, bo otworzylam maila z
nieznanego zrodla.coz ciekawosc pierwszy stopien do klopotow ze sprzetem:(





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Gość: drfQt 19.12.04, 19:36 + odpowiedz

yes NewA9E ;)well... uniX
linuX
spie9o5iBillyGAYTa?czy UsB?
regards


zaraz zajrze na to co tam podajesz:)


ale teraz z kompem walcze, bo mam wrednego zlosliwca w systemie!
q.....chyba se linuxa zainstaluje!

hej:)

sciskam:)

forum.gazeta.pl/forum/72,2.html?f=13&w=741459&wv.x=2&a=17916880&t=1103475058612

forum.gazeta.pl/forum/72,2.html?f=13&w=18004870
forum.gazeta.pl/forum/72,2.html?f=13&w=18559819
na gwiazdke
;)

;)

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