If Grizzly Bear were once emblematically au courant, it was by accident.
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Rio de Janeiro's carnival is arguably the most emblematically Brazilian cultural event of the year.
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To further highlight the visual Brutalist aesthetic, a block of raw concrete (béton brut) is emblematically featured in all ten compositions.
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Once considered standoffish, genteel and politically marginal, they are now viewed as being emblematically engaged players within the power network of global capitalism.
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The current exhibition The Life and Death of Charles Williams, however, illuminates an unusual and varied body of work that is nothing if not genuinely, emblematically visionary.
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Read today, the book's intellectually slapstick vision of corporatism run amok embeds it within the early to mid-0003s as firmly and emblematically as "The Simpsons" and grunge music.
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He is accused of using state property for personal use and of deceiving lawmakers, in addition to the charge of "unnecessary and lavish spending," most emblematically on a $32,000 office sofa.
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Even Apple — which Trump singled out as an emblematically American manufacturer whose product should be made in America — is having a tough start to 2019, and CEO Tim Cook mostly blames the trade war.
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For them, the choices, most emblematically the Tracy decision, illustrated a continuing dysfunction in an organization they see as incapable of understanding the drastic changes needed to create a healthy environment for gymnasts at every level.
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Advertise on Hyperallergic with Nectar Ads Currently on view in the project room at ART 3 in Bushwick are a half-dozen canvases by Deborah Brown, consisting of figures, some based literally, others emblematically, on the portrait styles of various historical periods.
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Once he was done, all eyes turned to the rear of the church where the Kingdom Choir launched into three-part harmony version of "Stand by Me." A song made famous by Ben E. King, an American soul artist, performed by black singers, for an aristocracy that is emblematically British and white.
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" Postmodernism was especially visible in the field of architecture, where it manifested itself as a "populist" revolt "against the elite (and Utopian) austerities of the great architectural modernisms: It is generally affirmed, in other words, that these newer buildings are popular works, on the one hand, and that they respect the vernacular of the American city fabric, on the other; that is to say, they no longer attempt, as did the masterworks and monuments of high modernism, to insert a different, a distinct, an elevated, a new Utopian language into the tawdry and commercial sign system of the surrounding city, but rather they seek to speak that very language, using its lexicon and syntax as that has been emblematically 'learned from Las Vegas.
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Turner, p. 126. Another verse was first recorded in Harriet Beecher Stowe's immensely influential 1852 anti-slavery novel Uncle Tom's Cabin. Three verses were emblematically sung by Tom in his hour of deepest crisis.
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A traditional Mexican ox-cart The Oxen and the Creaking Cart is a situational fable ascribed to Aesop and is numbered 45 in the Perry Index.Aesopica Originally directed against complainers, it was later linked with the proverb ‘the worst wheel always creaks most’The Wordsworth Dictionary of Proverbs, p.650 and aimed emblematically at babblers of all sorts.
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Emblematically the owl teaches members to be watchful and guarded in their thoughts, words, and actions. Chi Omega's crest was adopted in 1902. Centered on the crest is a white carnation, with the Greek letter Chi to the left and the Greek letter Omega to the right of the flower. Above these symbols are both the symbols of the skull and crossbones and the owl.
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The five elements, cosmic deities, historical incarnations, chthonic and dragon gods, and planets, associated to the five sacred mountains. This Chinese religious cosmology shows the Yellow Emperor, god of the earth and the year, as the centre of the cosmos, and the four gods of the directions and the seasons as his emanations. The diagram is based on the Huainanzi. A Han Dynasty tile emblematically representing the five cardinal directions.
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The mission's official logo was a gigantic octopus with its massive arms wrapped around the world, accompanied by the motto "Nothing Is Beyond Our Reach". This image was widely deemed controversial in light of the 2013 Global surveillance disclosures. A spokesperson for the NRO explained: > NROL-39 is represented by the octopus, a versatile, adaptable, and highly > intelligent creature. Emblematically, enemies of the United States can be > reached no matter where they choose to hide.
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This hypothesis has three diachronic stages: agricultural-"zhi", tipping-zhi, and jade-zhi. The first agricultural-"zhi" period began when ancient farmers in late Neolithic China developed an irrigation tool (the prehistoric name of this device is unknown, and Fried extends "zhi" emblematically) that used ropes and ceramic amphora with handles below the center of gravity. It facilitated evenly irrigating large fields, and proved so useful that it continued to be used for thousands of years.
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Persisting he threw his fourth > boomerang eastwards. He pricked his nears attentively, listening to the > sound made by the whirling wood, and gazing, saw it circling back from that > direction, and as it drew back near to him, the sky began to shed light, and > the day broke. He roused his tribesfolk, who joyously gave him many gifts > out of gratitude. In Ngadjuri lore, those gifts, rugs, spears and clubs, > remain marked emblematically on the jew lizard's back.
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The Church of São Miguel do Castelo () is a medieval church in the civil parish of Oliveira do Castelo, municipality of Guimarães, in the northern district of Braga of Portugal. The church is emblematically linked to the foundation of the Portuguese Kingdom; legend suggests that it was the sight of the baptism of the young Afonso Henriques. These claims are contradictory, since the date of the church's founding has been suggested to be during the reign of Afonso II of Portugal.
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Edward, both in the play and in history, is nothing like the soldier his father was – it was during his reign that the English army was disastrously defeated at Bannockburn – and is soon . Edward takes refuge in Neath Abbey, but is betrayed by a mower, who emblematically carries a scythe. Both Spencers are executed, and the king himself is taken to Kenilworth. His brother Edmund, Earl of Kent, after having initially renounced his cause, now tries to help him but realizes too late the power the young Mortimer now has.
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The Athenians regarded Theseus as a great reformer; his name comes from the same root as ' ('), meaning "rule" or "precept". The myths surrounding Theseus—his journeys, exploits, and friends—have provided material for fiction throughout the ages. Theseus was responsible for the synoikismos ('dwelling together')—the political unification of Attica under Athens—represented emblematically in his journey of labors, subduing ogres and monstrous beasts. Because he was the unifying king, Theseus built and occupied a palace on the fortress of the Acropolis that may have been similar to the palace that was excavated in Mycenae.
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The mid to late Sixties saw the development of British folk rock, with a focus on indigenous (European, and, emblematically, English) songs. A key British folk rock moment was the release of Fairport Convention's album Liege and Lief. Guitarist Richard Thompson declared that the music of the band demanded a corresponding "English Electric" style, while bassist Ashley Hutchings formed Steeleye Span to pursue a more traditional repertoire performed in the folk rock style. Following his own departure from the group, Thompson and his wife Linda released six critically acclaimed albums as a duo which integrated folk rock and art rock.
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Her novels typically incorporate topics from her work as a literary scholar, "especially the classification of novels into roman-realité and the roman- invention, or the pioneering theory about the meaning and forms of the initiation storyline in a work of literature." She is perhaps best known for a trilogy called Trýznivé město (Prague: City of Torment), they are distinctive "Prague novels, which aim to convey emblematically the genius loci of this central European city, of whose history Hodrová highlights the tragic features." Two of her works have been translated into English, Prague, I see a city..., in 2011, translated by David Short and A Kingdom of Souls, in 2015, translated by Véronique Firkusny and Elena Sokol, both published by Jantar Publishing.
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In order to bring theology and philosophy into conversation with each other, Wiercinski has edited an entire row of anthologies, organized conferences, and taken part in many himself with talks. The hermeneutical in-between, which he takes up under numerous titles in lectures and publications, emblematically indicates not only a theoretical form, but also his marked talent for organizing and facilitating scholarly endeavor. In teaching and research, Wiercinski is especially concerned with philosophical and theological hermeneutics, with the approaches of Hans-Georg Gadamer, Paul Ricoeur and the hermeneutic reappropriation of the metaphysics of the Middle-Ages, in conversation with Martin Heidegger and Gustav Siewerth; with German Idealism — especially Schelling — as well as with the hermeneutics of education, communication, medicine, and psychoanalysis. A main focus of his writing has been the hermeneutic retrieval of medieval metaphysics.
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" According to Modern Art: Impressionism to Post- Modernism, > the appliance itself, placed symmetrically against a uniform field of red, > is treated in terms of bold simplified masses of black and white. > Particularly striking is the rendering of the drainage holes in the frying- > pan as black discs which take on a life of their own in the same way as they > would in a completely abstract painting…The symmetry of the composition is > calculatedly broken by the black lines (paradoxically indicating highlights) > on the right side of the appliance and by the protruding handle of the pan > on the same side. Roto Broil presents its subject in its entirety with no distracting objects, but with no supporting planar surface. Thus, "It occupies the picture-plane emblematically, centralized and head-on.
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A Lacanian Concept, he argues that the nucleus that holds psychoanalytical clinic and theory together is the concept of jouissance, which can be minimally defined as "the ways in which a body is affected by language". In this sense he argues that psychoanalysis can be understood as a sort of science of jouissance in the speaking being, a sophisticated knowledge that has been carefully constructed, first by Freud, continued by Lacan and still ongoing. In his last book published in French, Depuis Freud, Après Lacan (Ramonville, Érès, 2008) Braunstein posits his theory of three different periods in the history of psychoanalysis. They can be emblematically traced to the year 1900 (Freud's era, under the predominance of the discourse of the Master), 1950 (Lacan's times, under the hegemony of the discourse of the Capitalist) and our present age (year 2000), ruled by the omnipresent and anonymous discourse of the Markets.
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