But I do think inflation is beginning to pick up incipiently at the margins," he told CNBC's "Squawk Box.
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Jess Tombes was going to last, and Bobby could feel himself, in her spectral, incipiently canonical gaze, being transubstantiated, molecule by molecule, into obscurity.
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The fraught landscape these writers describe, in sobering if not grim terms, is not one that might soon bend, nor one that is incipiently bending.
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As soon as his brush strokes began to clump into shapes, fidgeting, incipiently comical suggestions of people, places, things, relationships and feelings began to infiltrate his pictures.
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But that fearful, incipiently violent culture of mass consumption is what a certain kind of tradition has become at the intersection of profit-driven marketing and cultivated racial fear.
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Its strategies became, by subtle philosophical transformation, the strategy of A Theory of Justice: to say that Americans already are what they have never yet been—and that this ideal is also incipiently universal, if other peoples can make their way to it.
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Time and again, a capable cast grandstands for effect, starting with Justine Mitchell — a veteran of Mr. Davies's work — as the take-no-prisoners fruit seller Bessie Burgess and Lloyd Hutchinson as the incipiently patriotic Peter Flynn, uncle of the play's abject heroine, Nora Clitheroe (Judith Roddy).
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According to her, he'd then travelled by himself to St. Louis, where the two of them, finding themselves alone together for the first time, had uncovered so much common ground—each was an optimistic lover of life, long married to a rigid and depressive Franzen—that they'd fallen into a dizzying kind of ease with each other, an incipiently romantic intimacy.
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He had worked in pharmaceutical sales for many years, in spite of his post-retirement age and his incipiently unstable, increasingly erratic, and, finally, mulishly obsessional cast of mind, because of the kindliness of a wealthy cousin, Dr. R. K. Smile, M.D., a successful entrepreneur, who, after seeing a production of Arthur Miller's "Death of a Salesman" on TV, had refused to fire his relative, fearing that to do so would hasten the old fellow's demise.
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This genus is represented only by isolated teeth found in continental Europe. Its postcanine molariform teeth are tricuspate or tetracuspate and the tooth roots are incipiently divided.
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Widths of talonids of M1.2 vary from less than to greater than widths of trigonids. Hypoconulid of M. is enlarged, salient, and on some teeth incipiently doubled by addition of a lingual cusp.
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Haskell, p. 6. (Pierrot will become tearful and incipiently tragic only in the middle of the 19th century, in the hands of Paul Legrand.)See Storey (1978), pp. 105–106, and Storey (1985), pp. 37–39, 66–68.
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While Jugah and Oyong Lawai Jau were incipiently members of PANAS, Bangau was from SUPP. Others Penghulus from other divisions such as Penghulu Tawi Sli (Second Division) and Penghulu Abok Anak Jalin (Bintulu) also joined PESAKA. PESAKA was, therefore, known as the Penghulus' Party (Malay: Parti Penghulu). However, the person who actually mooted the idea of forming PESAKA was Thomas Kana, a former dresser at Kuala Belait.
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While Jugah and Oyong Lawai Jau were incipiently members of PANAS, Bangau was from SUPP. Other Penghulus from other divisions such as Penghulu Tawi Sli (Second Division) and Penghulu Abok Anak Jalin (Bintulu) also joined PESAKA. PESAKA was therefore known as the Penghulus’ Party. However, the person who actually mooted the idea of forming PESAKA was Thomas Kana, a former dresser at Kuala Belait.
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The upper incisors are orthodont (with their cutting edge perpendicular to the plane formed by the molars) and have yellow to light orange enamel. On the lower incisor, the enamel contains series of fine ridges. The toothrows are longer than in eastern voalavo. As in Eliurus, the molars are incipiently hypsodont (high-crowned) and the individual cusps have lost their identities, having merged into transverse laminae that are not connected longitudinally.
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Pleuroacanthites is one of two genera included in the Early Jurassic Pleuroacanthitidae and sole representative of the subfamily Pleuroacanthitinae. The shell of Pleuroacanthites is very evolute, with numerous whorls subcircular in section becoming incipiently keeled in the adult. Early whorls have parabolic nodes, later whorls are covered with oblique line which form a long ventral sinus. Sutures have lytoceratid (moss- like) lobes but more or less phylloid saddle endings.
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Cosimo de' Medici, who managed to build up the international financial empire and was one of the first Medici bankers Capitalism in its modern form can be traced to the emergence of agrarian capitalism and mercantilism in the early Renaissance, in city-states like Florence. Capital has existed incipiently on a small scale for centuriesWarburton, David. Macroeconomics from the beginning: The General Theory, Ancient Markets, and the Rate of Interest. Paris, Recherches et Publications, 2003. p. 49.
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Otarocyon ("large eared dog") is an extinct genus of the Borophaginae subfamily of canids native to North America. Ot lived during the Oligocene epoch, about 33.3—20.6 Ma (million years ago).PaleoBiology Database: Otarocyon Taxonomy, Species Fossils have been found only in Montana, Wyoming, and South Dakota. Otarocyon was a small borophagine characterized by a short, broad skull, a specialized middle ear, simple, tall premolar teeth, and molars that are incipiently adapted to a hypocarnivorous diet.
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Escudé's academic work is associated with neomodernism and with peripheral realism. These approaches posit an interstate system with two complementary hierarchies that are only partially overlapping. Peripheral realism is a foreign policy theory that argues that the international system has an incipiently hierarchical structure based on differentiated roles: rule-makers, rule-takers and rogue states. It appraises the costs, for the citizens of weaker states without rule-making capabilities, of defying the order established by the stronger, rule-making actors of the interstate system.
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Marx argued that capital existed incipiently on a small scale for centuries in the form of merchant, renting and lending activities and occasionally also as small-scale industry with some wage labour (Marx was also well aware that wage labour existed for centuries on a modest scale before the advent of capitalist industry). Simple commodity exchange and consequently simple commodity production, which form the initial basis for the growth of capital from trade, have a very long history. The "capitalistic era" according to Marx dates from the 16th century, i.e. it began with merchant capitalism and relatively small urban workshops.
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William James In his Harvard "Lectures on Pragmatism" (1903), Peirce enumerated what he called the "three cotary propositions of pragmatism" (L: cos, cotis whetstone), saying that they "put the edge on the maxim of pragmatism". First among these he listed the peripatetic-thomist observation mentioned above, but he further observed that this link between sensory perception and intellectual conception is a two-way street. That is, it can be taken to say that whatever we find in the intellect is also incipiently in the senses. Hence, if theories are theory-laden then so are the senses, and perception itself can be seen as a species of abductive inference, its difference being that it is beyond control and hence beyond critique—in a word, incorrigible.
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From front to back, the neural spines of the dorsal vertebrae changed from short and stout to tall and broad. One isolated dorsal neural spine was moderately elongated and slender, indicating that Baryonyx may have had a hump or ridge along the centre of its back (though incipiently developed compared to those of other spinosaurids). Baryonyx was unique among spinosaurids in having a marked constriction from side to side in a vertebra that either belonged to the or front of the tail. Three from the neck of the holotype in left side view, the third also shown from the front (above) The coracoid tapered hind-wards when viewed in profile, and, uniquely among spinosaurids, connected with the scapula in a peg-and-notch articulation.
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On screen, Gandalf is necessarily "less remote, less liminal, more bodily present", less like an angelic spirit than in Tolkien, but in Walter's view this benefits the films' dramatic tension and helps to bring out many other characters. Still, he appears more as a magical than a heroic figure, for example when the Fellowship is attacked by wargs in Hollin, where he uses words and a firebrand rather than drawing his sword Glamdring. Brian Rosebury calls the film Saruman "incipiently Shakespearean ... [with] the potential to rise to a kind of tragic dignity"; he considers that Christopher Lee attains a suitable presence as "a powerfully haunted and vindictive figure, if less self-deluding than Tolkien's", even if the film version of the verbal confrontation with Gandalf fails to rise to the same level. Kristin Thompson notes that the wizards' staffs are more elaborate in the films; their tips are "more convoluted" and can hold a crystal, which can be used to produce light.
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Bredekamp criticises the idea, associated with , that Bildwissenschaft might be constructed by amassing the pre-existing insights of various disciplines, arguing that a new science cannot be straightforwardly established through the adding together of existing disciplines. Against Sachs-Hombach's argument that art history is one of many disciplines on which Bildwissenschaft should draw, and Hans Belting's argument that art history is outdated or obsolescent, Bredekamp argues that (Austro-German) art history has always contained an incipiently universal orientation and a focus on non-art images. Bredekamp criticizes Klaus Sachs- Hombachs idea, that Bildwissenschaft may be constructed by amassing existing insights of various disciplines, arguing that a new science cannot be established through adding together existing disciplines. Against Sachs- Hombach's argument that art history is one of many disciplines on which Bildwissenschaft should draw, and Hans Belting's argument that art history is outdated, Bredekamp argues that Austro-German art history has always contained a primarily universal orientation and a focus on non-art images.
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What I Did Last Summer is a play by the American playwright A.R. Gurney. The setting is a well-to-do vacation colony on the shores of Lake Erie, the time 1945, during the final stages of World War II. Charlie, an incipiently rebellious fourteen-year-old, is summering with his mother and sister (his father is fighting in the Pacific) before going off to an expensive boarding school in the fall. Although he intended to spend the summer loafing and socializing with his friends (such as Ted), the need for spending money forces him to take a job as handyman for an iconoclastic, bohemian art teacher, Anna Trumbull, a former member of the "upper crust" who has lost both her fortune and her regard for the ideals of her upbringing. Sensing a kindred spirit in Charlie, she tries to stretch his mind by teaching him painting and sculpture - and exposing him to "radical" ideas about life and love that, in time, persuade Charlie to reject the notion of going back to school.
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Horst Bredekamp's 21st-century work considered the cognitive functions performed by the image, the question of a stylistic history of scientific imagery, and the role played by visual argumentation during the Scientific Revolution. Focusing primarily on images that fall outside of art proper, such as those used in the works of the philosophers Thomas Hobbes and Gottfried Wilhelm Leibniz and the scientists Charles Darwin and Galileo Galilei, Bredekamp argues that images inculcate a particular kind of understanding that could not be formed in their absence. Bredekamp criticises the idea, associated with Sachs-Hombach, that Bildwissenschaft might be constructed by amassing the pre-existing insights of various disciplines, arguing that a new science cannot be straightforwardly established through the adding together of existing disciplines. Against Sachs-Hombach's argument that art history is one of many disciplines on which Bildwissenschaft should draw, and Belting's argument that art history is outdated or obsolescent, Bredekamp argues that (Austro-German) art history has always contained an incipiently universal orientation and a focus on non-art images.
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