The situation that's playing out in eastern Oregon seems archetypically American at first.
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As with "Boy," audiences embraced a story with predominantly Maori characters as archetypically Kiwi.
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Maybe, on some level, we think thirsting over archetypically hot, feminine women is more digestible to straight people than thirsting over andro/masc women is.
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Archetypically speaking, this may be why you're having a difficult time with your studies: Saturn puts limitations on the themes relating to whatever sign it's in.
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Tool use, cooperation, awareness of individual identity, theory of mind, planning, metacognition and perceptions of time — we now know that all these archetypically human, cognitive feats are performed by some animals as well.
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Over the past few months I've been screwing around a lot with Javascript drawing libraries for a software/research project that involves displaying hierarchical trees (family trees, archetypically) that don't look like total shit.
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Bao, which played before Incredibles 2 last year, is an archetypically Pixar tale in which an anthropomorphic thing (in this case a dumpling) is used for a cute, slight metaphor (in this case for a middle-aged woman's empty nest syndrome).
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The movie's archetypically taciturn hero, played by the French actor Jean-Louis Trintignant between roles in "A Man and a Woman" (1966) and "My Night at Maud's" (1969), is totally silent — rendered mute in childhood when his vocal cords were slashed by mercenary marauders.
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Only those blessed with the privileges money and slim good looks bring, these women seemed to suggest, could get away with wearing a dress that evokes virginal drabness at best and cult-style patriarchal oppression at worst; a dress which, with its sacklike silhouette, looks like a cross between a 1880s homesteading smock and the so-called bankruptcy barrel archetypically worn by old-timey hobos.
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" Terry Miller Shannon from Kidsreads.com, in a positive review, felt that themes of friendship and responsibility added meaning to the story. A reviewer from Kirkus Reviews stated that although "Molly’s solutions to problems are amusing", "[t]he salvation of archetypically evil (and archetypically disgusting) villains is dissatisfying". Susan Rogers, writing in School Library Journal, compared the novel to A Series of Unfortunate Events, stating "Molly Moon's story doesn't match their clever and elegant way with words, but it does have something they lack-a satisfying and very moral ending.
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Roots whose meaning was punctiliar or discrete created perfective-aspect verbs. Stative roots were rare; perhaps the only reconstructible stative root verb was "know". There are numerous unexplained surprises in this system, however. The common root meant "to be", which is an archetypically stative notion.
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Rivels are an ingredient in some types of soup, often a chicken-based soup (archetypically chicken corn soup) or potato soup. Rivels are common in Pennsylvania Dutch cooking. They are composed primarily of egg and wheat flour, which is cut together to create small dumpling-like pieces.
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The Moule family of Snead's Green House were among the most prominent local landowners from the 1620s until the late nineteenth century, when the family died out in the male line. Public junction and approach to a more elaborate than usual farmhouse - the area is archetypically lined with trees.
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Barn spiders are nocturnal. Like many other species of orb weavers, they take their webs down during daytime and build another every evening, consuming the silk from the previous web to conserve their resources. Their "orb" webs are constructed archetypically, with symmetrical spokes connected by a spiral inside. They hide during the day and at night sit in the middle of the web and wait for an insect to land on the web.
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Traditional shields used in kobudō The tinbe-rochin consists of a shield and spear. It is one of the least known Okinawan weapons. The tinbe (shield) can be made of various materials but is commonly found in vine or cane, metal, or archetypically, from a turtle shell (historically, the Ryūkyū Islands' primary source of food, fishing, provided a reliable supply of turtle shells). The shield size is generally about 45 cm long and 38 cm wide.
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The 'left pillar' or 'left column' in Kabbalistic traditions is often associated with 'the feminine' and with the colour black. Jake's surname is "Green", and the colour green is associated with Netzach, the sphere ruled by Venus (Love) on the Tree of Life. Zach is a hefty, gargantuan, white man who 'dresses down' in a very archetypically 'masculine' way. Both masculinity and the colour white are associated with right column or right pillar energies in Kabbalistic traditions.
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In 1967, the Supreme Court of the United States ruled in In re Gault that children were entitled to Constitutional recognition, and the concept that they are developmentally distinct from adults was recently recognized in Miller v. Alabama, however, the broader issue of the legal status of children as "persons" in the U.S. Constitution and the nexus with the rights and responsibilities of parents continues to be analyzed by legal scholars. During the Lochner era, the Supreme Court found a property right of parents in children, but no concept of a child having needs parents had the responsibility to meet. Given that (a) children have archetypically (if inadequately) been considered by some to be entitled to rights to care by mothers and (b) mothers have archetypically (if mistakenly) been considered by some to be primarily, if not fully, responsible for the unpaid work of child care as well as, in many cases, work of supporting themselves economically, the status of women in the U.S. Constitution is relevant on the issue.
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Homer as depicted in the 1493 Nuremberg Chronicle In 1488, the Greek scholar Demetrios Chalkokondyles published the editio princeps of the Homeric poems. The earliest modern Homeric scholars started with the same basic approaches towards the Homeric poems as scholars in antiquity. The allegorical interpretation of the Homeric poems that had been so prevalent in antiquity returned to become the prevailing view of the Renaissance. Renaissance humanists praised Homer as the archetypically wise poet, whose writings contain hidden wisdom, disguised through allegory.
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Bakhtin's view of heteroglossia has been often employed in the context of the postmodern critique of the perceived teleological and authoritarian character of modernist art and culture. In particular, the latter's strong disdain for popular forms of art and literature—archetypically expressed in Adorno and Horkheimer's analysis of the culture industry—has been criticised as a proponent of monoglossia; practitioners of cultural studies have used Bakhtin's conceptual framework to theorise the critical reappropriation of mass-produced entertainment forms by the public.
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François Truffaut, writing about the film in 1964, acknowledged its demanding nature but castigated critics for failing to engage with its core elements. "Muriel is an archetypically simple film. It is the story of several people who start each sentence with 'I...'." Truffaut also drew attention to the film's many allusions to Alfred Hitchcock (including the life-size cut-out of the director outside a restaurant); "his 'in-depth influence on many levels ... makes Muriel ... one of the most effective tributes ever rendered the 'master of suspense'".
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Verena is often portrayed with either bread, or a jar of water in one hand, and a comb in the other, symbols of her care for the poor and lepers. Borrelli, Antonio. "Santa Verena di Zurzach", Santi e Beati, November 20, 2002 The given name Verena is not recorded outside of the context of this saint; it has been associated with the name Berenice (i.e. Veronica). In reference to the saint, Verena came to be a commonly given feminine name in Switzerland, in hypocoristic form Vreni becoming an almost archetypically Swiss girls' name (c.f.
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Climate spirals use changing distance from a center point to represent change of a dependent variable (archetypically, global average temperature). The independent variable, time, is broken down into months (represented by constantly changing rotational angle about the center point) and years (line colour that evolves as years pass). Hawkins explained that in his implementation, colours represent time: purple for early years, through blue, green to yellow for most recent years. He made the graphics in MATLAB and used the "viridis" colour scale, conscious of choosing a colour scale that makes the graphics legible to colour blind viewers.
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This is contrasted with a "destructor", which is a method called for finalization in languages with deterministic object lifetimes, archetypically C++. These are generally exclusive – a language will have either finalizers (if automatically garbage collected) or destructors (if manually memory managed), but in rare cases a language may have both, as in C++/CLI and D, and in case of reference counting (instead of tracing garbage collection), terminology varies. In technical usage, "finalizer" may also be used to refer to destructors, as these also perform finalization, and some subtler distinctions are drawn – see terminology. The term "final" is also used to indicate a class that cannot be inherited; this is unrelated.
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As at 30 March 2011, the Bushells Warehouse, Bushells Place and site are of State heritage significance for their aesthetic, and historical values. The site and building are also of State heritage significance for their contribution to The Rocks area which is of State Heritage significance in its own right. The warehouse at No. 88 George Street (1886) and the interconnected warehouse at No. 86 (1912) are closely associated with the mercantile activities of The Rocks, and in particular the Bushells Tea company. No. 86 George Street was built for and 86-88 George Street occupied by one of the most high profile archetypically Australian food manufacturers, The Bushells Tea Company.
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86 George Street was modified and 88 George Street was built and occupied by one of the most high profile archetypically Australian food manufacturers, maker of some of the most popular and ubiquitous brand name staple products in the nation. In addition to the associational value of that link, the building and evidence of former signage provide direct evidence to the operations of that Company. By extension, this provides evidence of the attitudes and approach of its principal figure, an eminent Australian of individual renown and historic interest for his contribution to both Australian society and commerce. The building's location and occupation in The Rocks provide further evidence of the historical development of the area, across the 20th Century.
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Often, the term has been applied to men who would hire out for contract killings or at a ranch embroiled in a range war where they would earn "fighting wages". Others, like Billy the Kid, were notorious bandits, and still others were lawmen like Pat Garrett and Wyatt Earp. A gunfighter could be an outlaw—a robber or murderer who took advantage of the wilderness of the frontier to hide from genteel society and to make periodic raids on it. The gunfighter could also be an agent of the state, archetypically a lone avenger, but more often a sheriff, whose duty was to face the outlaw and bring him to justice or to personally administer it.
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Fyodor Simeonovich Kivrin, the head of the Department of Linear Happiness, is a stuttering big guy, an eternal optimist, an apprentice programmer, a fan of Erle Stanley Gardner, and a mentor of sorts to Privalov. Modest Matveevich Kamnoedov (whose surname translates to "stone- eater") is an archetypal administrator and bureaucrat who does not understand the "Monday begins on Saturday" work ethic. On New Year's Eve, he directs Privalov to turn off the lights and lock all doors, but Privalov soon finds out that everyone is still at the Institute and research continues. For example, the archetypically rude Viktor Korneev (usually called Vitka) claims to have left his clone to work in his lab, which Privalov recognizes to be Korneev himself, because clones never sing or show any emotion.
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This is intended to reduce echo and sound transfer time, which optimizes the acoustics for speech; removing the sheet with the clouds in place gives the outstanding acoustics for musical performance. Art critic Phyllis Tuchman notes that though Calder was not Latin American, the "colorfully curving" clouds are "archetypically 'Latin American'"; she says that this "express[es] the region's 'lyricism'". Tuchman also appreciates the real cloud-like appearance, saying that the interior of the hall "resembles clouds scattered across a night sky [...] [w]ith the hall darkened", so those who enter with only the houselights on "feel as if they have entered a multihued, three-dimensional abstract painting". Patrick Frank, writer on modern art in Latin America, says that the design "both dazzles the senses and inspires awareness".
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It is possible to remove this sheet for musical concerts. In terms of artistic qualities, the art critic Phyllis Tuchman noted that the clouds are "colorfully curving and thus archetypically 'Latin American'" but were designed by one of the few non-Latin Americans working on the project, making them "paradoxical" but still "expressing the region's 'lyricism'", as well as "resembl[ing] clouds scattered across a night sky [...] [w]ith the hall darkened" and making those who "[enter] the auditorium when it's illuminated by houselights [...] able to feel as if they have entered a multihued, three-dimensional abstract painting". Tuchman also noted that, when asked, Calder readily named his favorite work as the clouds, though they are less remembered within his oeuvre than many of his other works. The critics Helen Gyger and Patricio del Real write that "the Aula Magna's interior [...] represents the high-point of Villanueva's interest in the synthesis of the arts".
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Working as a guard at the Museum of Modern Art he was befriended by James Rosenquist and Sol LeWitt, his Hester Street neighbor. In 1961 Beery’s ramshackle hybrid paintings incorporating words and figures were selected for the Museum of Modern Art’s Recent Figure Painting U.S.A. where they caught Max Ernst’s attention. The surrealist was so impressed he awarded Beery $100 on the spot. This windfall was followed by another award from the William and Norma Copley Foundation. Clearly, Beery’s art had struck a chord within New York’s still extant surrealist community. Marcel Duchamp, who upon meeting the artist for the first time awarded him a cigar, was soon a fan and must have seen in Beery’s art many of the same qualities he found in the art of Louis Eilshemius; paintings that were eccentric, direct, primitive, and archetypically American. Gene Beery’s conceit, that words and the ideas they convey could alone account for a work of art, attracted the attention of fellow artists. His work was iconoclastic, funny and smart.
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