Every day, billions of people open apps and scroll through algorithmically selected content designed to emotively engage us.
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Hidden loves and suppressed animosities are now worn more visibly and emotively, and certain revelations now feel perhaps less startling.
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To really stand out, they had to highlight what makes Manny different — his love of sinks and the way he "talks" (he coos emotively).
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The guitar emotively rolls jazzy chords to produce a yearning vocal quality, reaching the heights of wistfulness every time it follows the melody line.
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But she's mistaken if she thinks Trump's America is a place where an emotively scored promo video can change the tenor of a racial debate.
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The listener is left only with a long stretch of tape, on which the women talk emotively about the violence they allege was inflicted upon them.
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Where else, pray tell, might you see Britney actual Spears flying on wires, strapped to giant angel wings, as she emotively lip syncs her best "Everytime"?
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Controlled by an app on your phone, the little ball rolled about at high speeds, cocked its head emotively, spun around in circles, and inevitably careened into your wall, popping its head right off.
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It's both significant and nothing to concern yourself over.) Opener "Number One (In New York)" is perhaps the most emotively convincing track on the album, a slow piano ballad with rising horns and Stickles' voice sounding the most confident it has to date.
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What most people understand this word to mean—spinning out a narrative from beginning to end, or emotively reading a large thin book to an audience of rapt toddlers at a public library—is not quite the definition Kobe is going for here, or what Storytelling means in the stories that Success Studies tells and sells.
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Ramler revised his text in 1760. The text is not a full retelling of the Passion of Christ and it does not quote Bible texts. Instead, it presents emotively various aspects of the Passion.
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"Ordo Amoris", p. 106. As a value being and bearer of values every person is as unique as a snowflake. This is why Scheler's ethics is commonly referred as a Material Value-Ethics as opposed to a formal ethics (Immanuel Kant). Third, values are emotively intuited.
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He has since argued that music is emotively powerful due to its ability to mimic humans and through setting up expectations in pitch and harmony and then violating them. Ball holds a degree in chemistry from Oxford and a doctorate in physics from Bristol University. As of 2008 he has lived in London.
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Baker has met critical acclaim for her performances and songwriting, described as emotively cathartic, as well as a fresh take on folk music. Her album Sprained Ankle has been described as featuring pared-back fragile songs, while Turn Out the Lights features more developed song structures while retaining the raw emotion of its predecessor.
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Slam poetry as a genre originated in 1986 in Chicago, Illinois, when Marc Kelly Smith organized the first slam. Slam performers comment emotively, aloud before an audience, on personal, social, or other matters. Slam focuses on the aesthetics of word play, intonation, and voice inflection. Slam poetry is often competitive, at dedicated "poetry slam" contests.
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In a New York Times review, Dwight Garner calls the book "murky and uneven" and "as much memoir as proper history". In another New York Times review, Joseph O'Neill writes that de Bellaigue investigates the situation on the ground "brilliantly and evenhandedly (if occasionally emotively). Analytically, however, he can be abrupt." Reviewing Rebel Land in The Telegraph, Sameer Rahim called it "a fascinating book".
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Extrapolations from his thoughts have always since piqued interest and discussion on a variety of topics. His works were on the Nazi book burn list. As a concept belonging to the study of ethics, Ressentiment represents the antithetical process of Scheler's emotively informed non-formal ethics of values. But Ressentiment can also be said to be, at once, Scheler's darkest as well as his most psychological and sociological of topics, foreshadowing many later findings in those particular social sciences.
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Susie Orbach has written emotively of what she described as "wildcat sensations in my own body...a wildcat countertransference"Susie Orbach, 'Speaking Bodies' in Bodies (London 2009) 48-76, p. 50-1 in the context of body countertransference. She details her role responsiveness to one patient who evoked in her what she called "an unfamiliar body experience...this purring, reliable and solid body"Orbach, p. 52-5 to counterbalance the fragmented body image of the patient herself.
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Affective job satisfaction is a singular construct comprising an overall emotional feeling about a job as a whole or in general. Affective job satisfaction is measured with items addressing the extent to which individuals subjectively and emotively like their job overall, not a composite of how individuals cognitively assess two or more specific aspects of their job. The 4-item Brief Index of Affective Job Satisfaction has been developed to produce a purely affective as opposed to cognitive measure of overall affective job satisfaction.
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The Blackest Beautiful was described as a post-hardcore record, much like its predecessors, from "screaming rage to tight, sophisticated harmonies to frenzied funky riffing to emotively melodic parts". Mike Diver of Clash considered it a pop record with clear, melodic structure, while others grouped it with punk rock, soul, and funk, as well as displaying 'glimpses' of other music styles including Afrobeat, electronica and jazz. The incorporation of funk music has been noted by critics. Stephen Hill described the album as "find[ing] the space between DC Hardcore and Stax funk".
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Logical positivists culled from Ludwig Wittgenstein's early philosophy of language the verifiability principle or criterion of meaningfulness. As in Ernst Mach's phenomenalism, whereby the mind knows only actual or potential sensory experience, verificationists took all sciences' basic content to be only sensory experience. And some influence came from Percy Bridgman's musings that others proclaimed as operationalism, whereby a physical theory is understood by what laboratory procedures scientists perform to test its predictions. In verificationism, only the verifiable was scientific, and thus meaningful (or cognitively meaningful), whereas the unverifiable, being unscientific, were meaningless "pseudostatements" (just emotively meaningful).
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Watson worked with various musicians during the recording of the album, including Pino Palladino, Richard Harvey, Nigel Hitchcock, Dominic Miller and John Parricelli. She also had Roger Vignoles as her accompanist in Sposa son disprezzata, and Marcelo Álvarez as her duet partner in Tutta La Vita by Matteo Saggese. Choirs on the album are the London Oratory School Schola and Metro Voices. Described as a "seamless fusion between classical and ethnic music that is both emotively powerful and intellectually satisfying", Summer was released internationally in 2003, peaking at number 1 on the US iTunes and number 2 on the UK Classical Charts.
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In 2002, Matičevski won Best New Designer at the L'Oréal Melbourne Fashion Festival with his debut demi-couture collection. The same year saw his preliminary participation in the Mercedes- Benz Australian Fashion Week spring and summer collections. In 2005 he tied with Kit Willow for the Prix de Marie Claire Best New Designer award. Matičevski designs emotively, rejecting the norm to create such designs as his elegantly skeletal dresses, held together (or to hold you together) with a bondage system of raw edged silk straps. These ‘nonchalantly needy’ dresses result in the wearer appearing like an intricately tied up cloud.
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The protagonist accepts that her feelings for her lover are too strong, and that she does not have the courage to leave him. She decides to fight for her love and not become the victim, singing emotively: "I don't want a broken heart / And I don't want to play the broken-hearted girl". Despite the desire to have her lover back, she sings, "I know that I love you but let me just say / I don't want to love you in no kind of way". The woman gains confidence, and towards the end of the song, she wants to spend her life with her lover despite the previous letdowns.
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Quantum Aesthetics is a movement that was inaugurated by Gregorio Morales at the end of the 1990s with his work “El cadaver de Balzac” or Balzac's Corpse (1998). Here he defined the objectives of the movement in the phrase “mystery and difference”. Later the Quantum Aesthetics Group arose, formed by novelists, poets, painters, photographers, film producers, models... Gregorio Morales has applied these aesthetics not only to his novels, such as “Nómadas del Tiempo” or Nomads of Time (2005), but also to his poetry books such as “Canto Cuántico” or Quantum Song (2003). Here he enters emotively in the world of subatomic physics and the human mind.
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On the album's opener "Espirit De Corps", Brymo examines the socio-politics of a decaying society; the song's production features a trap beat. In "Blackmail", he addresses the risks that emotional blackmail presents to relationships; the song contains drums and guitar solos commonly used in smooth jazz and soft rock. In "Ozymandias", Brymo sings about a man who takes all the love of a woman without reciprocating any back; the song is a tale of self-criticism and self-awareness. In the baroque pop track "Heartbreak Songs are Better in English", he sings about his desires to express his heartbreak emotively despite his society's impediment against it.
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Back to Love received positive reviews from music critics with Rito P. Asilo of the Philippine Daily Inquirer generally praising the selections and Magdangal's delivery as "love songs that are as emotively arranged as they are lovingly rendered". In particular, Asilo lauds Magdangal's technical singing in the album's carrier single "Ikaw Ba 'Yon" saying "[it] is a love- on-the-rocks ditty that allows [Magdangal] to display her gorgeous notes as she scales the tune’s ascending melody. But, the songstress’ triumph goes beyond technical singing in this particular track, she effectively delineates contrasting emotions that require her to shuttle between 'holding on' and 'letting go'." While in "Kaya Mo Pa Ba", Asilo praised Magdangal's straightforward singing.
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Emotives describe the process by which emotions are managed and shaped, not only by society and its expectations but also by individuals themselves as they seek to express the inexpressible, namely how they "feel" (Rosenwein 2002). One important difference between emotive and descriptive use of language is the difference in intention. The discourse of a man using language emotively, using it to express or to arouse feelings, differs in intention from the discourse of a man using language descriptively to convey descriptive meanings (Castell 1949). Emotion claims are attempts to translate into words (1) nonverbal events that are occurring in this halo or (2) enduring states of this halo and this background.
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Uterine prolapse was also known. In ancient Greece, wandering womb was described in the gynecological treatise of the Hippocratic Corpus, "Diseases of Women", which dates back to the 5th and 4th centuries BC. Plato's dialogue Timaeus compares a woman's uterus to a living creature that wanders throughout a woman's body, "blocking passages, obstructing breathing, and causing disease". Aretaeus of Cappadocia described the uterus as "an animal within an animal" (less emotively, "a living thing inside a living thing"), which causes symptoms by wandering around a woman's body putting pressure on other organs. The standard cure for this "hysterical suffocation" was scent therapy, in which good smells were placed under a woman's genitals and bad odors at the nose, while sneezing could be also induced to drive the uterus back to its correct place.
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'" David Hajdu of The Nation described the work as "an accomplishment on a level unmatched in [Wolfe's] previous work," writing, "Fire in my mouth is a monumental achievement in high musical drama, among the most commandingly imaginative and emotively potent works of any kind that I've ever experienced." David Wright of the New York Classical Review also praised Wolfe's music, despite criticizing its narrative and some of the work's visual elements, which he described as "Ken Burns-style pan-and-scan of old photos, plus some rather obvious effects (ocean waves for the immigrants' trip, smoke tendrils for the fire)." He wrote, "Indeed, if anything about the experience transcended documentary, it was Wolfe's resourceful use of the enormous musical forces at her disposal." Wright concluded, "As an evocation of these young women's aspirations and the terrible thing that happened to them, Fire in my mouth was powerful and effective.
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