The often complex joinings of forces are spelled out in labels where various kinds of handwork mingle with references to 23-D printing, laser this and laser that, ultrasonic welding and custom software-rendered patterns.
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The King Beyond the Gate takes place a century after Legend Druss The Legend is gone, the Earl of bronze a legend in himself. The Drenai are now under the rule of Ceska, a usurper of the throne who over time has become a mad power hungry emperor. Ceska rules with an iron fist, with the Joinings, and the Dark Templars as his tools of terror. The Joinings are horrifying werebeasts, made by the merging of man and animal, an ancient machine of the old times making the merging of two species possible, the result, a towering beast of such savagery that one alone becomes an army itself.
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Bossages are also rustic work, consisting of stones which seem to advance beyond the surface of the building, by reason of indentures, or channels left in the joinings; used chiefly in the corners of buildings, and called rustic quoins. The cavity or indenture may be round, square, chamfered, beveled, diamond-shaped, or enclosed with a cavetto or listel.
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The Swords of Night and Day is a fantasy novel by David Gemmell, as well as a pair of legendary swords within the book. They also appear in Gemmell's book White Wolf. The book is set 1000 years following the death of Olek Skilgannon. The novel is an exploration of the future of the Drenai world, focussing heavily on Jiamads (joinings of beast and men honed to fighting perfection).
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The Lyreacrompane Development Association in cooperation with Coillte have created the four-mile "Mass Path and River Walk" along the banks of the Smearlagh River, and the ten mile "Fionn MacCumhaill" trek through open countryside and Coillte forest plantations.Lyreacrompane Sliabh Luachra Rural Development Group, September 2001. The seven-mile Smearlagh River, which is a tributary of the River Feale, is formed in the Stack's Mountains and Glanaruddery Mountains from the Broghane Stream, Dromaddamore River, Glashoreag River, and Lyreacrompane River. The Smearlagh meets the Feale at Inchymagilleragh, three miles east of Listowel, where the confluence is known as "The Joinings".
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This type of art represents what we see with our human eyes. Anton Chekov, for instance, used camera works to reproduce an uninflected slice of life, exposing the rhetorical and suasive character of realistic theatricality. Scholars such as Thomas Postlewait noted that throughout the nineteenth and twentieth centuries, there were numerous joinings of melodramatic and realistic forms and functions, which could be demonstrated in the way melodramatic elements existed in realistic forms and vice versa. In the United States, realism in drama preceded fictional realism by about two decades as theater historians identified the first impetus toward realism during the late 1870s and early 1880s.
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However, hardcore salsa fans constantly pressured them to return to secular work. After considerable reluctance (they feared alienating their religious followers), they gave away to fans' wishes, and played sold-out return concerts in Puerto Rico, Miami and New York, to their own surprise. Even when specifying that these joinings were to be sporadic and occasional, popular demand for their music remained constant; the Ray and Cruz orchestra played to sold-out crowds in the few tours that followed. They changed the lyrics of some of their old songs as to reflect their religious beliefs, particularly their old hits "Agúzate" (where its old santería references gave way to references to the Holy Spirit) and "Lluvia" (where an innocuous reference to a fool getting caught in the rain became a suggesting petition for the listener to convert to Christianity).
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Anakreon's verse indicates the magadis was a plucked string instrument:ψάλλω δ´ εῐχοσι / γοοδαῑσι μάγαδιν εχων / Ω Αεύχασπι, σύ ο ήβᾶιςHolding the magadis I pluck its twenty strings; But you, Leukaspis, are in the bloom of youth According to Aristoxenos (as quoted by Athenaeus), the "twenty strings" mentioned by Anakreon would have been plucked without a plectrum. The skill of a magadis player is described in a dithyramb by Telestes:>ᾰλλος δ' ᾰλλαν χλαγγὰν ίεὶς / χεοατόφωνον ὲοέυιζε μάγαδιν / [ὲν] πενταοοάβδω χοοδᾱν ὰονμῶ / χέοα χαμψιδίανλον ὰναστοωψῶν τάχοςEach man hurling forth a different sound from the others Roused up the horn-voiced magadis Turning his hand quickly back and forth across Five-staved joinings of the strings Like a runner at the turning post Scholars have speculated whether "horn-voiced" (keratophonon) could be a reference to plucking of strings with a plectrum, or perhaps a reference to the tone of the instrument, or a structural element of the instrument. Xenophon mentions Thracian soldiers playing ox-hide trumpets (salpinyxin omoboeias) in what he calls the "manner of the magadis".
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The work is organized into six "joinings", which reflect the crossing to the new or other beginning, and are each equally original in the shift from man as animal rationale to man as Dasein, and from the shift from thinking as representation to inceptual, or be-ing-historical, thinking: # Echo: the constant interplay between being and be-ing as not granting, or self-sheltering. In this chapter, Heidegger discusses the necessary ills of machination, the gigantic, and calculation, which out of the history of metaphysics reduce the question of be-ing to the belief that all beings — the focus of metaphysics — are created, reproducible, and entirely explainable. This is "necessary" because it is always already a part of the history of the first beginning, and the only thing distressing enough to potentially lead to a more originary distress, which leads to the creative question of be-ing. # Playing-Forth refers to the hermeneutical relationship between the first beginning and the other beginning, bringing to mind Being and Time's destruction of the history of ontology.
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Thin circles of iron plates, fitted to the curves of their bodies, completely covered their limbs; so that whichever way they had to move their members, their garment fitted, so skilfully were the joinings made. Accordingly, being saluted as Augustus with favouring shouts, while hills and shores thundered out the roar, he never stirred, but showed himself as calm and imperturbable as he was commonly seen in his provinces. For he both stooped when passing through lofty gates (although he was very short), and as if his neck were in a vice, he kept the gaze of his eyes straight ahead, and turned his face neither to right nor to left, but (as if he were a lay figure) neither did he nod when the wheel jolted nor was he ever seen to spit, or to wipe or rub his face or nose, or move his hands about. And although this was affectation on his part, yet these and various other features of his more intimate life were tokens of no slight endurance, granted to him alone, as was given to be understood.
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