Template Literals Quotes

Not that long ago I wrote in a poem that 'life is so filled with meaning, there is no reason to try to reduce it'. That is how I feel and have felt like for years. Some sense of meaninglessness can come from an attack from others, at times subconscious, slowly but surely eroding one's self-respect and therefore sense of self, on all the meanings, infinite as they are, that are already right there. You can even be “raised” to do this self-destructive work yourself. The so called absurdity of life is a construction that creates a template for meaninglessness in itself. Humans revolting in this way against self-made systems. Perhaps to remove some responsibility of being human, because it is, wrongly, seen as a burden. What is truly a burden is to feel as if nothing in life is important. It is also the easiest thing to do. If you don't find meaning in for instance seeing a black squirrel running up the trunk of a tree, you probably won't find any meaning in travelling to the end of the world. It is a kind of explanatory greed this “search for meaning” that can literally destroy a world, and it is the equivalent of replacing the deepest of life’s mysteries with a nice looking garage. To numb before being looked at and experienced as a kind of totally lost "translation" is how the written language can be used at its worst. Meaning is already everywhere, expressing, unfolding itself, living and dying, changing and breathing. The noise distracting from that is what is meaningless but luckily, happily, that is just a construct.

Our experiences combine together forming a brain/body template, from which we operate throughout our lives. This may be one of the most important understandings we can have. Our early experiences literally weave themselves into our neural systems, becoming a neural basis for self-regulation and emotional sobriety.

If you find new_from_lol( ) notation to be an unnecessary elaboration, you can still manually construct each element with HTML::Element->new and link them up before passing them to put_into_template( ). Or you could just as well create a ~literal pseudoelement containing the raw source:

Blindness is another classic castration symbol, according to Freud, and the template for the “blind prophet” goes back to the ancients, including the mythological backstory of Freud’s favorite tragedy Oedipus the King. That story is in some sense just as relevant to the tragic life of Robertson as it is to that of Freud, but in a very different way. Oedipus’s self-blinding when he realizes his own guilt links him to the blind seer Tiresias, who announces the king’s guilt at the end of the tragedy. Audiences would have known the mythological backstory of the seer and his blindness, just as they knew that of Oedipus. In his younger days, Tiresias had come upon two entwined snakes in the forest and touched them with his staff; upon doing so, he was transformed into a woman. After living as a woman for seven years, Tiresias encountered the snakes again, touched them, and was turned back into a man. Summoned to Mount Olympus to report on his experience, he revealed to Hera, in front of her husband Zeus, that (based on his extensive experience) women get much more enjoyment from sex than men do. Hera blinded him in punishment for revealing this secret, and Zeus gave him prophetic foresight in recompense. Tiresias thus reveals an ancient symbolic association between these two ideas, prophecy and sexual/gender liminality or boundary-crossing.20 The symbolism of the Sphinx, the guardian whose riddle Oedipus had to answer to become King (and thus to marry his mother), is also relevant here. Sphinxes are symbolic guardians of time,21 and not accidentally, sphinx is closely related to the word sphincter: a guardian (literally a “strangler”) designed to mainly admit the passage of things in one direction but sometimes capable of admitting other things traveling in reverse. As I hinted earlier, suggesting that the normal order of causality can be transgressed arouses similar hostile reactions from skeptical guardians of Enlightenment science that the prospect of a phallus—the ultimate “causal arrow”—moving the wrong way through a sphincter arouses in gatekeepers of patriarchal “Christian” morals. In a sense, Oedipus and Tiresias were permutations of the same basic possibility—transgression of some kind of sexual boundary, punished by symbolic castration but also (at least in Tiresias’s case) compensated with foresight. Transgressive enjoyment, which “impossibly” connects the future to the past, is thus what turns precognition into a psychoanalytic problem. As with Tiresias, the point of Oedipus’s story is not merely that he “traveled the wrong way through time” by marrying his mother and killing his father; it is that he committed these crimes and enjoyed them, and only belatedly discovered what it was that he had been enjoying. His guilt was not over his actions but over his enjoyment. Our ignorance as to our enjoyment (that is, our blindness to it) allows both the past and future to affect our lives in uncanny and seemingly “impossible” ways like the kinds of coincidences and twists of fate that seem to have characterized Robertson’s life.

What’s perhaps most surprising, however, is that a science of storytelling is possible. Our narratives almost always conform to certain patterns, which raises the strange possibility that our mental processes have evolved for specific templates best suited to understanding change—a literal physical embodiment of storybook reality, encoded into our minds. Kurt Vonnegut, one of the greatest authors of all time, demonstrated that most human stories could be graphed, with the vertical axis related to whether good or bad things happen to the main character, and the horizontal axis representing time as the story unfolds. The idea came to him when he noticed significant similarities between the “shape” of the story of Cinderella and the New Testament of the Bible. In another story shape, what he called the “Man in the Hole,” a person gets into trouble, then gets out of it to end the story on a happy note. The Wizard of Oz is this kind of story, as is virtually every sitcom episode ever written. If you’re unlucky, you’ll find yourself in a story arc that Vonnegut calls “From Bad to Worse,” in which the character experiences one misfortune after another. (May you never find yourself in this kind of story, as in Kafka’s Metamorphosis.)

template literals.

If your format strings are user-supplied, use Template Strings to avoid security issues. Otherwise, use Literal String Interpolation if you’re on Python 3.6+, and “New Style” String Formatting if you’re not.