Free of his boy band, Styles exults in sound, not image.
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Trump exults in the office, but detests the responsibilities; Xi, meanwhile, is
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This syrupy life of Winston Churchill's effervescent mother, Jennie, exults in its limitations.
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It exults in the sensual, scopophilic pleasure of seeing the female form, flesh, and sex.
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From a man who exults in breaking foreign-policy taboos, they would be truly remarkable.
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In Hungary and Poland the right exults in blood-and-soil nationalism, which excludes and discriminates.
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Krautrock exults in repetition, sometimes as a backdrop to improvisation and sometimes as pure exposed structure.
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The music on "Stranger to Stranger" exults in percussion; four of the album's first six tracks don't use guitar at all.
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At its best, his novel not only exults in the historical synchronicities and proximities he has discovered but catches the reader up in its rapture.
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And this slope slips down to that ever-louder demographic that exults in making America great again, among whom the brutal images do more direct work.
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Millennials could use a band that can play instruments in real time, that exults in musical possibilities, that wants to make both a ruckus and a difference.
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It does not dream of an all-white America; it opposes racism and celebrates tolerance and exults in the image of America as a 'nation of immigrants.
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What we learn in this level is not just that Arthas can make ruthless decisions, but that on some level he exults in his capacity to be ruthless.
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The book exults in the failures of a reform movement that the author has spent the past decade denouncing — a movement that has often deserved her indignant critiques.
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Every song exults in the architectural savvy of a musician who, from the drumbeat up, seemed to know exactly how he'd be jamming with himself as he built the song.
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With headliners including Flying Lotus, Princess Nokia, Animal Collective, Zola Jesus, Omar Souleyman, Simian Mobile Disco, DJ Premier, Derrick May and 808 State, Moogfest featured performers whose music exults in technology.
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In less murderous forms, you can see nihilism at work in the banal iconoclasm that exults in anything outrageous, provocative, or "transgressive," that sees no qualitative difference between the offensive and the genuine.
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In her behavior toward three very different women — a grieving mother, a strung-out addict and a young protégée, all played hauntingly by Toni Ann DeNoble — she exults in an almost Dickensian self-regard.
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The fourth holiday collection from the long-running, soft-saunter, soul-pop outfit Chicago never exults in the holiday spirit; rather, it sidles up to it casually, gives it a nod and a nudge.
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His kitchen, which exults in the seafood of the Pacific Coast, also points to the ways in which many California restaurants are adapting in the face of environmental concerns, directing diners away from predictable pleasures.
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But to become that thing our culture so exults in—the bravura director who parlays small, personal films into a place at the helm of a blockbuster—you must be more than likable, or smart, or idea-driven.
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Though I prefer the piano original, which exults in steely colors and incisive attacks, the orchestral version draws out the inner richness, even poignancy, of the music, especially as performed here by Mr. Thomas and his dynamic orchestra.
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I can imagine a version of Industries that fully embraces the identity of a mustache-twirling corporate fat cat and exults in the efficient exploitation of resources natural and human, and the titanic architecture of of heavy industry.
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Not just the act of doing dumb things — like jumping through unseen holes in the world to find a treasure chest you shouldn't have access to yet (true story) — but the way the community exults in these activities together.
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Troubled yet tranquil, they gaze out from the gloom of a jail cell, and there's a wonderful moment when she closes them, on returning to Virginia, and exults in the light; you can smell the grass and the late-afternoon air.
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Jordan Peele clearly has an encyclopedic knowledge of cinema, and his newest film, Us, exults in shouting out a huge range of movies — everything from Jaws and The Shining to The Goonies and even the lipstick scene from Black Narcissus.
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As he and Kim exit the room, he exults in how the suckers fell for it — but it's clear that both Kim (lured by the thought that her boyfriend might finally be feeling something) and viewers (sucked in by Odenkirk's magnetic performance) thought the performance was genuine.
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Ms Runcie spends much of her book in the women's place, on the shore of the East Neuk of Fife, where she walks the dog, hunts for shells and sea-glass, exults in the flight of gannets and sea eagles and visits shrines and caves where saints, all male, communed with God and the waves.
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The exhibition doesn't stop at presenting images like this, but also exults in displaying examples of just the sort of objects they depict — the Buddha, the Rokken, the porcelain — as well as a host of other Asian artworks using all sorts of deluxe materials: lacquer, inlay, ivory, mother of pearl, silver, diamonds, ebony, and embroidery.
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Trump, by contrast, exults in arbitrary power and the lawless exercise of violence: Rather than a system of laws in which abstract authority offers the weak protection against the strong, he envisions a rule of law enforcement in which the armed agents of the state do as they please — unless, like James Comey, they fail to cater to the whims and interests of those directly above them in the hierarchy.
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Acts of violence are an important theme within Samson Agonistes as the play attempts to deal with revenge and the destruction of God's enemies. Michael Lieb posits that "the drama is a work of violence to its very core. It extols violence. Indeed, it exults in violence".
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Still alive, Amadigi continues to resist the advances of Melissa. Melissa then makes Dardano look like Amadigi, to deceive Oriana. Oriana follows Dardano, in the visage of Amadigi, to beg his pardon. Dardano exults in the attention of Oriana, and in an impulsive moment, challenges Amadigi to single combat.
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In fact, it may help breathe new life into the hardcore scene. Suddenly, you remember the minuscule replicators dormant within your blood. The virus exults in its new-found freedom; it prepares itself and surges forward in a new effort at rebirth. It’s still there, ready to break out. You’re unsure of its motivation.
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Edward exults in his victory at Ludlow Castle, and states that he is willing to make peace with Catherine. Isabella, who has in the meantime been forced to marry Thyrrol, finds out about Tudor's death. Thyrrold insists that Isabella submit to him, but she refuses. As she laments her position, Clarence and his men burst in.
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Adina and Nemorino learn about the inheritance from his uncle. Dulcamara returns and boasts of the success of his elixir: Nemorino is now not only loved but also rich. Dulcamara exults in the boost this will bring to the sales of his product. As Dulcamara prepares to leave, everyone queues up to buy the elixir and to hail Dulcamara as a great physician.
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The foolish Petrutio is similarly tricked into marrying Lionell's sister Angelia, a young woman he'd formerly courted but neglected. (He believes he's marrying the Duke's sister – and in a sense he is, since the man he thinks is the Duke is actually Lionell.) The real Duke, emerged from concealment at the play's end, exults in the pleasure he's enjoyed and in the fitness of the outcome.
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Thommy, a Christian migrant labourer from Kerala is an obedient slave of his aggressive, tyrannical landlord Bhaskara Pattelar. Thommy obeys all the orders of his master, whether it is to make his own wife sexually available to his master or in killing Pattelar's kindly wife, Saroja. When Pattelar escapes to a jungle, due to his own deeds, Thommy escorts him like a pet. But when Pattelar is killed Thommy exults in freedom.
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Ariodante is in despair and wants to die (Aria:Tu preparati a morire) but Lurcanio comes from the shadows and advises Ariodante to live, and seek revenge (Aria:Tu vivi). Ariodante sadly bewails his beloved's (supposed) infidelity (Aria:Scherza infida). As day breaks, Polinesso and Dalinda emerge from the palace. Polinesso promises he will reward her, to her delight (Aria:Se tanto piace al cor) and, alone, Polinesso exults in how well his plot is proceeding (Aria:Se l'inganno).
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Next Cellini encounters the Duke's cousin, Ottaviano, who demands that he conspire to kill the Duke, but Cellini refuses, and Ascanio helps him escape. At the summer palace, the Duke exults in the opportunity to have his way with Angela ("While the Duchess is Away"). But Cellini has sneaked in, and he eavesdrops as the Duke makes his move. The Duke senses Cellini's presence and is unnerved, and his attempt at seduction degenerates into spoonerisms ("The Nosy Cook").
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They eventually tie the ghoul to a pillar in the center of the room using chains. Si Hua is informed of the monster's presence, and the gang discover the monster's flesh-eating disposition. Ren Hao exults in having the monster as a captive, stating that since it's not a human, they can do anything they want to it. Lin meanwhile, sympathizes with the ghoul, stating to her that the bullies will probably let her go after they've had their fun.
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In A Hard Heart, Riddler, described by the playwright as "A Woman of Originality" is called upon to use her considerable brilliance in fortifications and tactics to save her besieged city. But each choice she makes seems to render the city more vulnerable to attack, but that outcome seems to exhilarate rather than upset her. "My mind was engine-like in its perfection," she exults in the midst of destruction.< Barker's heroes are drawn into the heart of the paradoxical, fascinated by contradiction.
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Hardly has she gone when a third messenger arrives, declaring that men in their multitudes are now flocking to join the new city-in-the-sky. Another set of unwelcome visitors arrives as advertised, singing due to the inspiration of the new city. One is a rebellious youth who exults in the notion that here at last he has permission to beat up his father. The famous poet, Cinesias, is next, waxing incoherently lyrical as the poetic mood takes hold of him.
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The poem may be saying that the poet should re-imagine the natural world, neither escaping to Plato's world of Forms or the Christian heaven, nor relying on Victorian imagination. "Invective against Swans" perhaps "shows" how to do that re-imagining. Its allusion to Paphos, the mythical birthplace of Aphrodite—embodiment of the values of love, sex, and beauty—doesn't bespeak an attitude that exults in slipping "the surly bonds of Earth." Instead it expresses summer's end in a pungently non- Victorian way.
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Belmonte and Pedrillo come to the garden with ladders (Aria, Belmonte: "Ich baue ganz auf deine Stärke" – "Love, only love, can now direct me"). Pedrillo gets the attention of the women by singing a ballad about a rescue similar to the one he is planning (Romanze, Pedrillo: "In Mohrenland gefangen war" – "In Moorish lands a maiden fair"). However, Osmin enters, sees the ladders, and rouses the castle. Osmin exults in the prospect of seeing them all hanged (Aria: "O, wie will ich triumphieren" – "My triumphant hour's approaching").
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Aldona comes out of the ruins of a cloister, where a battle between the Lithuanians and Teutonic Knights is taking place nearby. She meets Walter, and hopes for a happy future of love, but Walter has been betrayed for causing the defeat of the Teutonic Knights by the Lithuanians. Later, back in the castle, Albano tells Walter that a secret court has sentenced Walter to death. Rather than falling into enemy hands, Walter drinks poison and exults in the victory of the Lithuanians, asking Albano to give Aldona his last farewell.
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Scene 1: A room in the castle Macbeth is now king: Duncan's son Malcolm has fled the country, suspicion having conveniently fallen on him for his father's murder: but Macbeth is still disturbed by the prophecy that Banco, not he, will found a great royal line. To prevent this he tells his wife that he will have both Banco and his son murdered as they come to a banquet. :[1865 revised version: In her aria, La luce langue / "The light fades", Lady Macbeth exults in the powers of darkness] Scene 2: Outside the castle A gang of murderers lie in wait. Banco, sensing danger shares his misgivings with his son.
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Video and audio of Arnold Schwarzenegger as Adam Gibson from The 6th Day is loosened up and reworked by a videomaker, subjecting him to "a cruel series of digital replications". It opens with "dreamed double encounters," followed by "the looped abyss of eyes within eyes, a mosaic of multiplying greetings" ("I'm Adam Gibson"), a looped descent, a montage of Schwarzenegger's reaction shots (slowed), and a pulsing screen atop a screen in which "even the frames are replicating". The manipulation stops with the arrival of the Sabbath, when "the videomaker rests," and the Schwarzenegger of his creation appears to be perimitted to speak angrily for himself, demanding that he be left alone. The videomaker replies, calling his creation a "Frankenstein", and exults in his own powers to digitally re-create him yet again.
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Satisfied - and a little bored - by his success as a kingmaker through the simple summoning of his gifted mind, he recedes into the shadows to write Arthashastra, the science of wealth and tactics. But history, which exults in repeating itself, revives Chanakya two and a half millennia later, due to a curse put on him by his childhood playmate and crush Suvasini, who was a part of his grand plans. Chanakya takes birth again in the form of Pandit Gangasagar Mishra, a poor Brahmin teacher in a small town of India who becomes a puppeteer to a host of ambitious yet foolish individuals - including a certain slum child-Chandini Gupta, who grows up to be a beautiful, intelligent and a powerful woman. Modern India happens to be just as riven and divided as ancient Bharat by casteist and communal hatred, corruption and divisive politics and this happens to be Gangasagar's feasting ground.
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The second part of Beethoven's song sets the extravagant death fantasy of the final stanza, in which flowers sprout from the poet's grave to express his undying love. Strikingly, Beethoven sets this stanza in tones not of despair but of ecstasy; the tempo marking is allegro molto. In an essay on this song, Carla Ramsey offers an almost lurid account of the final section: > "A culmination of the yearnings expressed in the earlier part of the song, > the Allegro molto might be viewed as a kind of triumphal march in which the > young lover exults in a death and a transfiguration whereby he is > symbolically united with his beloved... The march crescendos and culminates > on F above middle C with an impassioned outcry of the beloved's name. The > final eleven measures, marked calando, musically portray an almost post- > coital relaxation of the exhausted lover into his lover's arms with a dying, > prayer-like exhalation: "Adelaide.
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They visually defined it, giving crisp money the appearance of provenance and what Denning called "a casual English attitude about grandeur." Often perceived as "...the Odd Couple. Boyish, down-to-earth Denning is the hardest worker, while Fourcade sniffs the client air to gauge if it's socially registered before he goes beyond the fringe.""Inside the Decorating Establishment – The Ant and the Grasshopper" by Rosemary Kent, New York, April 28, 1975 Jewelry designer Kenneth Jay Lane developed a passion for art pieces from the Middle East which the firm was in the vanguard of introducing and has also used some of their lighting treatments.Home Design 2002: Jewels in the Town by Bob Morris, April 8, 2002, New York online retrieved June 29, 2006 Denning designed Jason Epstein's SoHo home"A Vision for Books That Exults in Happenstance" by Dinitia Smith January 13, 2001, The New York Times online retrieved August 9, 2009 from scratch in the shell of the building that housed the first consolidated New York police department.
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"Even Now" reflected Seger's original concept for The Distance of writing an album about relationships, even though he did not ultimately stick to that concept. Seger has stated that the line "Out in the distance, always within reach/There’s a crossroad where all the victims meet" was intended to set up the entire album. "Even Now" is a love song that Rolling Stone Magazine critic Dave Marsh describes it as an "[anthem] of perseverance" in that it uses "personal relationships as metaphors for a vision of the world and the way that it works and what it takes (and costs) to cope with such a place and time." It was dedicated to Seger's long-time companion at the time, Jan Dinsdale. Seger has stated "The idea is that there’s always a way you can screw up when you’re in a relationship. There’s always that little thing in the back of your mind saying, ‘I’m gonna screw up. I’m gonna go out with somebody else and lie, or whatever.’ Whatever it takes to mess up a relationship.” Music journalist Gary Graff described it as song where Seger exults "in triumphing over adversity.
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