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Thread: Julia Lipnitskaia

  1. #46
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    Quote Originally Posted by Jagger View Post
    cute picture, it's nice to see a 15 year old that wears very little make-up. Too many decide they need to wear every ounce of make-up the have.

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    The figure-skating of Julia, and the manner in which the secular world has chosen to

    The figure-skating of Julia, and the manner in which the secular world has chosen to receive it (and how that secular world will learn to accept it):

    When man is just born, he is weak and flexible. When man dies, he is hard and insensitive. Yet we see all of this in Julia, a 15-year old. And we see this in the figure-skating of Julia. As a conglomeration of those characteristics mentioned, the figure-skating of Julia is rejecting the idea of relativism in relation to truth— as those disparate characteristics are wont to do when individually isolated by themselves. You see, our cognitive environment is supersaturated with the unmet desire for approval. Provide a nucleation site, and it crystallizes into factions. Hence, ideas only gain mimetic momentum when they offer a narrative or *affective* armature for previously inchoate arguments. Take for instance, the I-spin of Julia—it is very peculiar to and from all the other female figure skaters because it seems like her ankle is dislocated while she is spinning. In this motion, Julia shows us that she recognizes the wolf of prejudice in the sheep's clothing of "tolerance" or "diversity". What parades as broadmindedness is in reality the bigotry that does not consider an adversary to be worth engaging. Of course this is a contradiction within the context of a figure skating competition, let alone a competitive female figure skater in that very figure skating competition, for she out there alone on the ice, giving her performance outside of the participants within; but for Julia, it is a paradox—something that is apt and, more importantly, just. For this insight alone, Julia will have a heads-up over all the others on the world stage of the Olympic. And we cannot chastise Julia for this, as we cannot chastise her for weaving a narrative nor building up an affective armature during “Schindler’s List”. For some in the figure skating community have decried the figure-skating of Julia as being "too cold" or "lacking expression and/or projection" or “lacking assertiveness in movement due to immaturity” or “hasn’t as yet developed a reputation” to garner quantifiable merit from the judges, yet they are the same ones who tend to conjure up relativism to bring death to a healthy argument: if truth is not something upon which minds can meet, why discuss anything? It is also intellectually dishonest. When someone says, "That may be true for you...", what they really mean is that it is not true at all (or they would affirm it) and that if you think it is true there is no point in even discussing the matter. In other words, what they really prefer foremost is artifice and superficiality-- in figure skating and, of course, in things outside of figure skating. When she is out there on the ice, Julia is, first and foremost, truth. For whenever Julia is out there on the ice, she never fails to affirm a principle that is fundamental to logical thought: contradictory positions—physical, analytical, dialectical or otherwise—demand resolution. Thereby, from truth, Julia always stresses the whole in her figure skating programs. There is always a feeling, from the audience’s perspective especially, that every particular element of hers interpenetrates the whole: a Proustian surfeit of sensory detail, if you will; and, like Edith Wharton (to make yet another literary analogy), Julia works by precisely detailing the trains of thought of her characters (in her movements). However, unlike Wharton, Julia obviously achieves this effect on the ice, and with one central character rather a small circle of central characters. So there is discernible this ethereal quality and truth and balance in pubescent/post-pubescent figure skaters, like Julia, contending against our otherwise muddled-up secular society in general—they had the nerve proper to their excesses and we have only the caution proper to ours.

    Our Julia’s childish days are now all gone. A woman’s passion glows within her breast, though as yet she has not scanned it with a woman’s intelligence. It was doomed that the child should return no more; but in lieu of her, a fair, heart-laden pubescent, whose every fondest thought must henceforth be of a stranger’s welfare and a stranger’s fate. We can’t help but forgive her more. I am sure there are some out there who believes Julia’s performance to “Schindler’s List” is just the definition of Hegel’s concept of “the Unhappy Consciousness”. To clarify: Hegel had this idea of different stages of consciousness, and this particular stage is not the most advanced, it is one-sided and ultimately needs to be transcended. Alas, how many of us from week to week call ourselves worms and dust and miserable sinners, describe ourselves as chaff for the winds, weeds for the burning, as dirt and filth fit only to be trodden under foot, and yet in all our doings before the world cannot bring home to ourselves the conviction that we require other guidance than our own! For it is no surprise that Julia has read Kierkegaard (and I am a little sad she has never got around to learning that Kierkegaard is a philosophee gateway, and not something to latch onto as a statement of “how things are”). That stage of consciousness has its share of truth, despite it being undeveloped. It is especially easy to feel this when Julia is figure-skating. Julia who felt that she was still loved as a child, but that she was loved from a feeling of uncalled-for gratitude. She who could not stop to analyze this, to separate the sweet from the bitter; but she knew that the latter prevailed. It is so little flattering to be loved when such love is the offspring of gratitude. And then when that gratitude is unnecessary, when it has been given in mistake for supposed favors, the acceptance of such love is little better than a cheat. Dear Julia, who will not love you for such endeavor? But, indeed, the reward for heroism may cometh not here in this world, neither in this place nor at this time.

  3. #48
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    Quote Originally Posted by HaveGotToBeJolly View Post

    Our Julia’s childish days are now all gone. A woman’s passion glows within her breast, though as yet she has not scanned it with a woman’s intelligence. It was doomed that the child should return no more; but in lieu of her, a fair, heart-laden pubescent, whose every fondest thought must henceforth be of a stranger’s welfare and a stranger’s fate. We can’t help but forgive her more. I am sure there are some out there who believes Julia’s performance to “Schindler’s List” is just the definition of Hegel’s concept of “the Unhappy Consciousness”. To clarify: Hegel had this idea of different stages of consciousness, and this particular stage is not the most advanced, it is one-sided and ultimately needs to be transcended. Alas, how many of us from week to week call ourselves worms and dust and miserable sinners, describe ourselves as chaff for the winds, weeds for the burning, as dirt and filth fit only to be trodden under foot, and yet in all our doings before the world cannot bring home to ourselves the conviction that we require other guidance than our own! For it is no surprise that Julia has read Kierkegaard (and I am a little sad she has never got around to learning that Kierkegaard is a philosophee gateway, and not something to latch onto as a statement of “how things are”). That stage of consciousness has its share of truth, despite it being undeveloped. It is especially easy to feel this when Julia is figure-skating. Julia who felt that she was still loved as a child, but that she was loved from a feeling of uncalled-for gratitude. She who could not stop to analyze this, to separate the sweet from the bitter; but she knew that the latter prevailed. It is so little flattering to be loved when such love is the offspring of gratitude. And then when that gratitude is unnecessary, when it has been given in mistake for supposed favors, the acceptance of such love is little better than a cheat. Dear Julia, who will not love you for such endeavor? But, indeed, the reward for heroism may cometh not here in this world, neither in this place nor at this time.

    Interesting to see you back here.

    Quite the post - Proust, Edith Wharton, Hegel and Kierkegaard. I'm sorry that Shakespeare, Schopenhauer and Ibsen didn't make the cut.

    However, I've got a sawbuck that says Julia has never even heard of Kierkegaard.......

  4. #49
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    I'm really confused

  6. #51
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    Oh no, you again.

  7. #52
    Skating is art, if you let it be. Blades of Passion's Avatar
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    This brightened up my day, thank you!

  8. #53
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    Quote Originally Posted by HaveGotToBeJolly View Post
    The figure-skating of Julia, and the manner in which the secular world has chosen to receive it (and how that secular world will learn to accept it):

    When man is just born, he is weak and flexible. When man dies, he is hard and insensitive. Yet we see all of this in Julia, a 15-year old. And we see this in the figure-skating of Julia. As a conglomeration of those characteristics mentioned, the figure-skating of Julia is rejecting the idea of relativism in relation to truth— as those disparate characteristics are wont to do when individually isolated by themselves. You see, our cognitive environment is supersaturated with the unmet desire for approval. Provide a nucleation site, and it crystallizes into factions. Hence, ideas only gain mimetic momentum when they offer a narrative or *affective* armature for previously inchoate arguments. Take for instance, the I-spin of Julia—it is very peculiar to and from all the other female figure skaters because it seems like her ankle is dislocated while she is spinning. In this motion, Julia shows us that she recognizes the wolf of prejudice in the sheep's clothing of "tolerance" or "diversity". What parades as broadmindedness is in reality the bigotry that does not consider an adversary to be worth engaging. Of course this is a contradiction within the context of a figure skating competition, let alone a competitive female figure skater in that very figure skating competition, for she out there alone on the ice, giving her performance outside of the participants within; but for Julia, it is a paradox—something that is apt and, more importantly, just. For this insight alone, Julia will have a heads-up over all the others on the world stage of the Olympic. And we cannot chastise Julia for this, as we cannot chastise her for weaving a narrative nor building up an affective armature during “Schindler’s List”. For some in the figure skating community have decried the figure-skating of Julia as being "too cold" or "lacking expression and/or projection" or “lacking assertiveness in movement due to immaturity” or “hasn’t as yet developed a reputation” to garner quantifiable merit from the judges, yet they are the same ones who tend to conjure up relativism to bring death to a healthy argument: if truth is not something upon which minds can meet, why discuss anything? It is also intellectually dishonest. When someone says, "That may be true for you...", what they really mean is that it is not true at all (or they would affirm it) and that if you think it is true there is no point in even discussing the matter. In other words, what they really prefer foremost is artifice and superficiality-- in figure skating and, of course, in things outside of figure skating. When she is out there on the ice, Julia is, first and foremost, truth. For whenever Julia is out there on the ice, she never fails to affirm a principle that is fundamental to logical thought: contradictory positions—physical, analytical, dialectical or otherwise—demand resolution. Thereby, from truth, Julia always stresses the whole in her figure skating programs. There is always a feeling, from the audience’s perspective especially, that every particular element of hers interpenetrates the whole: a Proustian surfeit of sensory detail, if you will; and, like Edith Wharton (to make yet another literary analogy), Julia works by precisely detailing the trains of thought of her characters (in her movements). However, unlike Wharton, Julia obviously achieves this effect on the ice, and with one central character rather a small circle of central characters. So there is discernible this ethereal quality and truth and balance in pubescent/post-pubescent figure skaters, like Julia, contending against our otherwise muddled-up secular society in general—they had the nerve proper to their excesses and we have only the caution proper to ours.

    Our Julia’s childish days are now all gone. A woman’s passion glows within her breast, though as yet she has not scanned it with a woman’s intelligence. It was doomed that the child should return no more; but in lieu of her, a fair, heart-laden pubescent, whose every fondest thought must henceforth be of a stranger’s welfare and a stranger’s fate. We can’t help but forgive her more. I am sure there are some out there who believes Julia’s performance to “Schindler’s List” is just the definition of Hegel’s concept of “the Unhappy Consciousness”. To clarify: Hegel had this idea of different stages of consciousness, and this particular stage is not the most advanced, it is one-sided and ultimately needs to be transcended. Alas, how many of us from week to week call ourselves worms and dust and miserable sinners, describe ourselves as chaff for the winds, weeds for the burning, as dirt and filth fit only to be trodden under foot, and yet in all our doings before the world cannot bring home to ourselves the conviction that we require other guidance than our own! For it is no surprise that Julia has read Kierkegaard (and I am a little sad she has never got around to learning that Kierkegaard is a philosophee gateway, and not something to latch onto as a statement of “how things are”). That stage of consciousness has its share of truth, despite it being undeveloped. It is especially easy to feel this when Julia is figure-skating. Julia who felt that she was still loved as a child, but that she was loved from a feeling of uncalled-for gratitude. She who could not stop to analyze this, to separate the sweet from the bitter; but she knew that the latter prevailed. It is so little flattering to be loved when such love is the offspring of gratitude. And then when that gratitude is unnecessary, when it has been given in mistake for supposed favors, the acceptance of such love is little better than a cheat. Dear Julia, who will not love you for such endeavor? But, indeed, the reward for heroism may cometh not here in this world, neither in this place nor at this time.
    omg, I admit English is not my first language, but I've been doing great on a sophisticated job for two decades in English with heavy communication tasks day in and day out. I had never feel frustrated until reading this post. I will be honest I just can't go beyond the first few sentences. I totally understand each person has his/her own style in writing, but I assume the goal of writing is to communicate with others? I would guess a lot of people will use. I am but not . Just let you know how one reader feel, which I know is not important at all.

    l like Julia's Girl in Red Coat, and her super flexibility just add so much more to her skating and makes her stand out. It is rare to have someone super flexible but at the same time strong enough to land all the tough jumps. Her facial expression is precious, too. That's why I love her.

  9. #54
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    you again
    how many dummy accounts you have

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    Julia Lipnitskaya's interview for Italian Magazine

    The Little girl in red coat

    http://mimishka007.livejournal.com/139213.html

    some known facts, Julia was taken to FS by her mom, fer favorite female skater is Carolina Kostner
    some new infos, one of her idols is Yuru Hanyu , Im soo happy
    and her hobby is painting

    http://mimishka007.livejournal.com/139213.html


    15 -year-old Julia Lipnitskaya quickly broke into the world of figure skating , and immediately took the first place on the podium almost every competition in which participated . A little girl , but clearly knowing all the answers athlete , which sets the goal and achieve it . At all events can be found Julia mom Daniela Lipnitskaya . It was his mother brought her to the rink native Yekaterinburg in 4 years.

    Completed the last stage of the Grand Prix this season, which brought you a second victory and allowed to reach the final . What feelings of rentals , from the tournament?
    Julia: During the execution of any program was not my day , but nothing helped. In the short and indicative programs in general everything was fine, but arbitrary - if not I skated .
    Daniel : It was very nervous . Could not collect it at all.

    What are the causes of this , understood : the responsibility for the finals , "home" wall ?
    Julia: I do not know , it seems to me that all along.
    Daniela : When she saw how many cars standing at the palace , then immediately began her it all . I think that "home" wall affected . It is difficult to act emotionally.

    This season, many experts and fans of figure skating note that you have been great changes in the presentation of programs : they are more emotional, expressive. Felt the inside of these changes?
    Julia: We have worked on this, I try to make all turned out, and yes, she can feel the change . Every day working on it.

    Do you like the program this season ? Maybe have a favorite ?
    Julia: My skating more like it. Many times I have watched the movie "Schindler's List ." But the program I had not ridden image of the girl who walks through the city during the Nazi roundups and your own image created inside.

    The Russian figure skating often in stories skaters becoming important role parents play . You and mom all the time together, how it prevents or helps ? Affects whether the presence of excitement during rolling native man around?
    Julia: It does not look (laughs). Of course , when my mother beside me easier.
    Daniela : Mom sitting in the locker room and does not go away. Do not watch , and then only in writing , because I'm nervous , and she feels it. Help only some technical issues , and everything else they have with the coach decide .

    You immediately so happened that you became ride together to the competition , to attend training?
    Daniel : Yes . Yulia now difficult age and differently simply impossible : it is necessary to follow the regime , nutrition , etc. Earlier it was only our own decision , now Federation has met and I go officially .

    You are not thinking about the future? After all, prospects , results there .
    Julia: No, we went from competition to competition , do not build distant plans. Now I have the final grand prix , then still a very important start - Russian Championship, and then New Year (smiles).
    Daniel : For her, it's just a job. But she is still a child and indulge in something to make itself difficult. And some distant goal difficult to place , everything will depend on the national championship , a rental of any program , as was here , and the season is over .

    How does your life appeared figure skating ?
    The answer to this question has entrusted mother Julia .
    Daniel : It was never a dream just led just skated . And when it was obtained , it was a pity to finish . She immediately starts with the first first was everywhere , so ride .
    Julia: If it turns out , you want to move on. If not, then there is even more motivation .
    Daniel : I think it has to end now hardly can. But two years ago - take her and all , she will not go .

    Do you have any hobbies in life, if figure skating - it Work?
    Julia: As a hobby I paint .
    Daniel : It loshadnitsa actually . This is the only thing she really interesting , and everything else - no.

    Do you have any idols of skaters ?
    Julia: Carolina . Among men, I always marveled Yuzuru and Xavi on their quads , because they have completely abnormal quadruple . Especially for Yuzuru , he did not understand how to do them. I watched some videos where in training he just killed it . He's played in Paris : the first two tore the jump , but then he skated , fought unrealistic . Now, of course , the most powerful - is Chan . At the same time , when we were in show in Canada, he jumped at the training triple toe and his coach very happy about this , that it is unclear .

    Perhaps it's because Patrick Chan comes into season long . You immediately kata as it should be , different training program .
    Daniel : We have a strict coach , maximalist - if the jump, then jump right and everything.
    Julia: Who needs you to figure skating , though what your emotions are , if you do not jump ?

    But on the other hand, among your idols Carolina, whose forte is not just jumping .
    Julia: It will jump if , it does not get to , because when she makes the jump , it from side to side , at a speed jump perfect and beautiful trips .
    Daniela : We're a little shocked that there beat Carolina.

    Moreover, if your technical content to do everything , do not you catch up with no one ?
    Daniela : You see, it is now turned all were confident in it, but she did not. But after that it will now be rolled easily.
    Julia : I'm "head" skated for the first time really thought about everything and did nothing at all. No, not for the first time at last year's world ( World Junior Championships ) - I went to Lutz , beautifully kept thinking , but did not cascade.

    This season, both setting you did Ilya Averbuch . Liked working with him ?
    Julia: Yes , very much , but we worked with him a little . Per night per program.
    Daniel : Yes , we put at night. After that, he once came , looked and said - Why come , you are fine . Moreover , it happens that we add something to the statement , Ilya back all changes , says - I do not put (smiles). He still very succinctly and accurately obtained, as necessary. When they put on , I was not looking , and then she saw " Schindler " , then immediately told me to not touch anything else . So the program remained . But it's true, well, especially track . For the short program I have more equanimity .

    And how do you feel about the controversial choice of music for the short program ? (original song is Alla Pugacheva " Do not deny loving ").
    Daniel : For their generation , this music is unknown , they do not listen to Pugachev. I gave her to listen , she listened and said - I did not Elijah is put. Everything. Ilya once said - there will be no adults with women 's only music and you skate your way .

    If not skating you were doing , what would it be?
    Julia: I do not know , I figure skater and all .
    Daniela : Something would still be, I would not have left her without a class, it was important to take something. A time here has gone, already began to develop and now the results are not cause to regret their choice .

  11. #56
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    Congratulations Julia
    and your mental fortitude is something to really admire

  12. #57
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    Congratulations to Julia, European Champion! What a season this talented young lady has had.
    She is aiming for Gold in Sochi and has the programs, scores and the mental
    strength to contend for that spot.

  13. #58
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    I can see her skating last at the Olympics LP haha

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    Absolutly fantastic, what Julia did!

    Congratulation, and all the best for the Olympics!

  15. #60
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    NBC featured a short bio profile for Julia

    " 11 things to know about 15-year-old Russian figure skater Yulia Lipnitskaya "

    http://www.nbcolympics.com/photos/11...ia-lipnitskaya

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