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The video opens with Swift singing the first verse in a 1970s-style suburban home kitchen at night, briefly surrounded by ghosts in tablecloths. She opens the front door, revealing a second version of herself with her early-2010s appearance and a tour dance outfit, and they drink shots and sing the chorus together. The "current" version plays a blue guitar, while the "younger" version smashes a copy of it on the floor and criticizes the weight of the current version. A photograph of Swift's grandmother, Marjorie Finlay, is seen in the background during the bathroom scene.[52] A third, giant version of Swift crawls into a neighbor's dinner party during the second verse, whereupon a guest unsuccessfully tries to subdue her by shooting her in the shoulder with a bow and arrow. The giant version of Swift gives a shocked and disbelieving look in response and glumly eats the guests' food alone.

Hero And Daughter Download] [full Version]

The dialogue portion of the video plays out during the bridge, which describes Swift's dream of her own funeral, attended by her sons Preston and Chad (Mike Birbiglia and John Early) and daughter-in-law Kimber (Mary Elizabeth Ellis), the latter of whom Chad, who arrived from Ibiza, implicates in the apparent murder of Swift. The narrator Swift peeks from inside her elder self's coffin and eventually gets out without being noticed. The three attendees learn that Swift's last will and testament leaves them each with 13 cents and bequeaths her assets, including a beach house, to her cats Benjamin, Meredith and Olivia. Believing their mother left a secret encoded message, because "that's what mom would always do", a reference to Swift's "Easter eggs", her children keep reading but find out their inheritance is exactly as stated. This leads to bickering over who capitalized on Swift's name the most, in ways such as releasing a book and podcast or even wearing her old clothes. The ceremony ends in a brawl after Chad accuses Kimber of pushing Swift off a balcony to her death. The final scene of the video shows the first two versions of Swift sitting on the rooftop and offering a bottle of wine to the giant version, who happily accepts.[53][54][55]

126 SHOFAR in its original language, is like making love through a blanket. Adopting this metaphor, one may cogently argue that reading Agnon's literary work in translation, "disarmed" of its singular, unique Hebrew with its ancient, Mishnaic flavor, is like making love through a wall. However, in this case Zeva Shapiro's translation is a laudable attempt to enable Shira's English reader to appreciate Agnon's verbal genius despite the "immigration" of the novel from its original language into a "verbal exile." Professor Robert Alter's afterword is the right scholarly homage to a master like Agnon, to a novel like Shira. "Shira," in Hebrew, is not just a female name. It means poetry. Poetry is not only a literary genre; it may also mean a sublime piece of literature of any genre. Shira is not only a novel. Shira is also poetry, a sublime piece of poetry which narrates the old, still always new agonized union in which love meets pain. Yair Mazor University of Texas-Austin His Daughter, by Yoram Kaniuk, translated by Seymour Simckes. New York: George Braziller, 1989. 293 pp. $17.50. Yoram Kaniuk's novel, His Daughter, is a breathless and claustrophobic quasi-detective novel, which continues the steady demolition of the Israeli super-hero that Hebrew novelists have been performing for a long time. Just as modern Hebrew literature has produced a variety of didactic, heroic models of the "new Jew"-the Jewish man of the world, the pioneering hero, the military hero of the War of Independence-Hebrew writers since the second aliyah have diligently debunked the images of such heroism. In this book, Joseph Krieger fulfills our expectations of the "Israeli superhero ," but that only makes him vulnerable to deception and manipulation by just about everyone. Krieger is a caricature, the last intact hero of the Palmach generation: a square-jawed, loyal, naive, incorruptible soldier and family-man, whose self-righteous honesty prevents him from satisfying the demands of others. To crush Krieger's self-righteousness, Yoram Kaniuk musters a cast of co-conspirators, starting with his erratic European survivor wife, and including all the others who have been nearest and dearest to him throughout his life. Miriam, his neurotic, brilliant and allegedly captivating daughter, has disappeared and may have been murdered. The girl is morbid: since childhood she has been in love with a cowardly soldier under Krieger's command who was killed before she was born; she avenges his death and blames her father. Good soldier Krieger also has been betrayed frequently by his oldest Volume 9, No.1 Fall1990 127 army buddies, the Chief of Staff, and Reuben, a spymaster who was his wife's long-time lover. All these people blame him pitilessly for qualities of his character which earlier literature admired and the reader is still ready to pardon . Krieger's search for Miriam is the apparent action of the story, but the novel concentrates more on insulting and disillusioning him than on the quasi-mythical quest of the father for the missing daughter. The chapter-tochapter search for her through Israeli low life is too complicated to sustain interest, and his self-conscious narration is ultimately a nervous mannerism; we lose interest in what he says, because it neither registers the character's development nor illuminates larger patterns of thought and event. Krieger's vulnerability, against the background perversity of all the other characters, could make him appealing, if only he didn't talk so much and work so hard just to be glib. As a result, we feel no more pity for the beaten hero than for those statues of Lenin that are now being sold for scrap metal in Eastern Europe . Like characterization and plot, the style of the novel repels a reader's sympathy. It suits a detective story of a kind familiar from B-movies and television shows, in which there are lots of insults, shouts, and threats, at which no one ever flinches. Characters routinely sum up the meaning of their lives and the lives of others in one-liners which arouse but immediately dismiss interest in their thoughts and feelings. The monotonous malice of this world, which constantly...

Khione (Chione) is the daughter of Boreas, the North Wind, and the Athenian princess Oreithyia, whom he abducted. She was loved by Poseidon and bore him a son, Eumolpus. In fear of her father's wrath, she cast the child in the sea, but Poseidon saved him and entrusted him to the care of Benthesikyme. The Eumolpidae in charge of the Eleusinian Mysteries claimed descent from her, as the mother of Eumolpus with Poseidon. She was hardly ever represented in Greek or Roman mythology. However, in some myths it is claimed that she had a daughter, Sais, with an unknown man and the baby was killed by the Fates as soon as she was born. She also had an affair with Apollo. She later gained self-confidence and boasted that she was better than Artemis, because two gods fell in love with her, and zero in her. According to some versions of the goddess for her pride she pierced her guard, and according to others, Khione was protected by the power of Poseidon and Apollo.

Himiko's relationship with her parents was very poor. They were disgusted by their daughter's blood interest since she was a child, and demanded her to stop such behavior and simply be "normal". They did everything they could to suppress her "abnormal" tendencies, putting immense effort to repress it. Through their efforts, they successfully forced their daughter to hide this side of herself for years.

Later on during the Paranormal Liberation War, she showed her care for Twice when she finds out about his death, holding him in her arms while his Double melted away. Following this Himiko became emotionally devastated and hurt over Twice's demise, to the point where she willingly went on a blind rampage to avenge his death by throwing herself at the enemy heroes, fully intending to go down fighting.[18] 350c69d7ab