M ilch : I intuit the presence of a coherence in my life which I haven't given expression to in an honorable fashion.
|
|
Hughes uses the songs and dances of Jimboy and Harriet as well as the church revival culture of Hager and Annjee — in scenes taking place on the same night, less than a half mile apart — to depict the crossroads between the traditions that have given expression to the community in the past and those that might fill that role in the future.
|
|
As a composer, Kielland represents the national line in Norwegian music. His music is strongly influenced by Norwegian folk music and perhaps particularly by the Hardanger fiddle. In 1955, he took up residence in Bø, Telemark, where he began to study the Hardanger fiddle dances, in particular the polyphonic elements. The melody, rhythm and timbre of this instrument have given expression to many of his compositions.
|
|
Sterling (1971), 19 The confraternity was prestigious, including among its ranks Burgundian nobility, such as Philip the Good and his wife Isabella, wealthy foreign merchants and members from Bruges's upper classes. The tuft of grass also symbolizes the tree of life,Steefel (1962), 137 and Upton theorizes that by placing it there, Christus "has given expression to the legend" of Adam's third son, Seth, whose quest for a branch was a popular legend in the medieval period. Furthermore, alludes to Moses and the burning bush.
|
|
In the Classic period, the king often impersonated the rain deity (or an associated rain serpent) while a portrait glyph of the rain deity can accompany the king's other names. This may have given expression to his role as a supreme rain-maker. Often, however, it is the war-like fury of the rain deity that receives emphasis (as is also the case in the myth mentioned above). The king personifying the rain deity is then shown carrying war implements and making prisoners,García Barrios 2009 while his actions seem to be equated with the violence of a thunderstorm.
|
|
The evidence that Gesualdo was tortured by guilt for the remainder of his life is considerable, and he may have given expression to it in his music. One of the most obvious characteristics of his music is the extravagant text setting of words representing extremes of emotion: "love", "pain", "death", "ecstasy", "agony" and other similar words occur frequently in his madrigal texts, most of which he probably wrote himself. While this type of word-painting is common among madrigalists of the late 16th century, it reached an extreme development in Gesualdo's music. His music is among the most experimental and expressive of the Renaissance, and without question is the most wildly chromatic.
|
|
Para 13. Imprisonment, the court found, would undoubtedly have been prejudicial to the respondents, but regard had to be had not only to the interests of the respondents, but also to the serious nature of the crime in the present case, its effect on others and the interests of the community at large. It could not properly have been said that a substantial term of imprisonment, in the circumstances of the present case, would have served no purpose other than retribution. It would also have given expression to the legitimate feelings of outrage which must have been experienced by reasonable men and women in the community when the circumstances of the offence had been disclosed and appreciated.
|
|
In June June, General Peers had given expression to MACV policy by ordering that all I Field Force operations be given a Vietnamese name as well as an English name to emphasize the importance of combined activities. Thus, Operation MacArthur became Operation Binh Tay–MacArthur. On 3 June between 20:45 and 22:25 a unit of the 1st Brigade in a night defensive position was hit by mortar and small arms fire resulting in three U.S. killed. On 4 June a convoy on Highway 14 to Đắk Tô was ambushed, the ARVN 3rd Armored Cavalry Regiment supported by helicopter gunships drove off the attackers killing 13 PAVN and capturing 31 individual weapons; U.S. losses were one killed.
|
|
A feature of the more recent collections is the lack of linguistic homogeneity and continuity of ideas. Sadegh Hedayat commented that "if a man had lived for a hundred years and had changed his religion, philosophy, and beliefs twice a day, he could scarcely have given expression to such a range of ideas". Hedayat's final verdict was that 14 quatrains could be attributed to Khayyam with certainty. Various tests have been employed to reduce the quatrains attributable to Omar to about 100. Arthur Christensen states that "of more than 1,200 ruba'is known to be ascribed to Omar, only 121 could be regarded as reasonably authentic". Foroughi accepts 178 quatrains as authentic, while Ali Dashti accepts 36 of them.
|
|
Brown, W. Dale. (2006). The Book of Buechner: a journey through his writings. London: Westminster John Knox Press. p. 339. an ‘encore visit to several of Buechner’s concerns – theories of God, notions of grace and forgiveness, the weightiness of guilt, and the need for acceptance’.Brown, W. Dale. (2006). The Book of Buechner: a journey through his writings. London: Westminster John Knox Press. p. 320. Buechner’s return to a first-person narrator, in the form of the Archangel Raphael, is marked by a difference in tone and perspective. Whereas doubt-filled prior narrators, in describing the lives and actions of their God-struck fellow-travellers, have given expression to the scepticism of the reader, the Archangel who ‘pass[es] in and out of the presence of the Holy One’Buechner, Frederick (1997).
|
|
Nobel Prize Laureates in Literature are awarded for the author's life work, but on some occasions the Academy have singled out a specific work for particular recognition. For example Knut Hamsun was awarded in 1920 "for his monumental work, Growth of the Soil", Thomas Mann in 1929 "principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature", John Galsworthy in 1932 "for his distinguished art of narration which takes its highest form in The Forsyte Saga", Roger Martin du Gard in 1937 “for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault.” Ernest Hemingway in 1954 "for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style", and Mikhail Sholokhov in 1965 "for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people".
|
|
A number of complaints had previously been made to Sir James Riddell, local landowner and proprietor of the mines. One piece of evidence presented to the inquest notes: > This insufficiency arises from the want of proper props in the workings & in > the removal by Mr Barrat of the Middlings or partitions left by the former > Company for supporting the workings - a feeling of this nature given > expression to by almost all the workmen has existed for the last three years > and a number of men left the work altogether in consequence, as they said, > of the insecurity of the Mines – I knew this myself but I had either to > submit to work there or starve – Necessity with me had no law – The other > mines in which I had wrought are worked in a different, safer, principle & > more attention paid to the security of the lives of the workmen. It was noted elsewhere that because the miners were paid for piece-work, no one was able or employed to undertake safety procedures in the mines. In 1854, miners attempted to bring a case against the mining company, with many of those who presented evidence at the 1851 inquest involved in the action.
|
|