And often lengthiness can be the absolute soul of wit, as in Proust or Dickens.
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Despite its lengthiness, the policy leaves plenty of room for Facebook to collect private information and share it.
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The lengthiness of the theme entries limited my options, so I settled on this grid shape which provided the most bonus fill and kept everything else clean.
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Identifying as gender non-conforming, growing up meant they were restricted to shopping in the men's section and told to wear clothing that wouldn't accentuate their lengthiness and height.
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But McDonagh didn't skimp on Katurian's speeches, and the lengthiness of the text only heightens the terror and the conflicted excitement we feel as we wait to hear what happens next.
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So often one hears a fine speech well delivered, followed by an inane expression of thanks for attention or a drivelling apology for lengthiness.
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Too psychological, too poetic at times. The lengthiness of many scenes makes one say, 'It's more of the same'. Genre shifts were an oversold idea. The performances are praiseworthy.
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Upon its release, Tsholofelo received generally positive reviews. Tsepang Tlhapane of Live Mag felt the pitfall of the album was its lengthiness and its production. However, he praised the album's intro, calling it "heartfelt" and commended its drum arrangement. He also praised "Tsibip" for its witty punchlines and "Skeptedaba" for embodying elements of 90s Kwaito music.
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This film emerged in response to generally positive reviews, being praised for its music, cinematography, and conventionally different love story. It was criticized for its lengthiness and predictability. It became a hit and was Nani's second-highest-grossing film, excluding Eega. The next and last film released in 2017 was Middle Class Abbayi, directed by Venu Sree Ram.
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The long action sequences also exhausts. The snag for Rowthiram comes from its lengthiness." Pavithra Srinivasan of Rediff gave a score of 2/5 and stated that "The problem with most Tamil debutant directors trying to ape trend-setters like Mani Ratnam, Sasikumar, Gautam Menon, etc. is that they faithfully imitate the production values, but end up messing up the characterisations and storyline.
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The next games teach opening theory, tactics, middlegame analysis and endgames, along with checkmate patterns. Other games feature chess variants, chess puzzles or timed games with highscore boards. The programs were produced in Germany for Terzio and Chessbase between 2003 and 2009; they have been translated into 17 languages. Reviewers found the first two games entertaining and commented on the lengthiness of the storylines.
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As a poet and musician, Gautier demonstrates skill and originality in his handling of traditional themes, especially metrically. He experiments with asymmetry and lengthiness. Melodically, he is highly individual. Four of his melodies are non-repetitive; in two the musical phrase lengths differ from the lyric phrase lengths, and in all of his surviving pieces he is not constrained to an octave. One melodic setting of his song "Se j’ai esté lonc tens hors du päis" has the largest range of any surviving medieval lyric, the highest note lying a full two octaves above the final.
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Upon entering the Vatican's secret library, Bill utters "Harry Potter", for which the Doctor scolds her. He later refers disparagingly to the lengthiness of Moby-Dick, saying: "Honestly, shut up and get to the whale!" The lead scientist from CERN tells Bill and Nardole "We will all go together when we go," which is an apocalyptic-themed song by Tom Lehrer and the final track on the LP An Evening Wasted with Tom Lehrer. Nardole compares the simulated worlds to the holodecks of Star Trek and the video game worlds of Grand Theft Auto and Super Mario.
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Ah Boys to Men has received mixed reviews from critics. Derek Elley of Film Business Asia graded it at 6 out of 10 marks, praising it for its "superior production values" but noting that it "lost momentum" during the second half. Kwok Kar Peng of The New Paper commented on the lengthiness of the film, also expressing his opinion that it seemed like an advertisement for the Singapore Army, but added that it had "its good points". TODAY 's Christopher Toh, gave the film 3 out of 5 stars and criticised the over-use of CGI "that makes Doctor Who blush" though he commended the acting skills of the lead cast.
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The replacement of animal hides with fabrics has also been visible in the Damara culture as the aforementioned outfits are mostly worn to cultural ceremonies and on auspicious occasions. Thus the Damaran sought for a perfect substitution for animal hides and introduced the Damarokoes (Damara dress). The Damarokoes was adopted form missionary wives in the mid-19th century and was introduced due to the Christianisation of the Damaran as missionaries saw the animal hides as "primitive and exposing". The dress adopted to cover up the "nude" Damara women ensured just that with its ankle- lengthiness and long sleeves and a ǃkhens (shawl) to ensure maximum coverage.
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Nani's versatility was praised as GreatAndhra wrote that he was "brilliant from his role as a street-smart youngster to an obscure businessman." His last release in 2016 was a romantic comedy titled Majnu. Directed by Uyyala Jampala fame Virinchi Varma, the film saw Nani co-star alongside Anu Emmanuel and Priya Sri. The film was one of Nani's weakest films since Yevade Subramanyam. Praised for its comedy and criticized for its lengthiness and weak story, Majnu was given mixed reviews, failed to cross the expected 30 crore mark, and despite this, still emerged as a hit. Nenu Local (2017), directed by Trinadha Rao Nakkina, cast Nani alongside Keerthy Suresh.
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The Axis of Perdition's tracks tend to feature shifting free-form arrangements that lack a typical verse-chorus structure and tend toward lengthiness (one such track, from Deleted Scenes from the Transition Hospital, is over twelve minutes long). Tapping inspiration from H. P. Lovecraft, Ramsey Campbell and the Silent Hill games (their EP Physical Illucinations in the Sewer of Xuchilbara is named for the dark deity of the games) as well themes of urban decay and mental illness, The Axis of Perdition are often compared to groups like Anaal Nathrakh and Blut Aus Nord for their similar grim, urban industrial metal aesthetics. In 2013, the group separated due to a mutual agreement between Blenkarn and Johnson, but reunited in 2019 under the name An Axis of Perdition.
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In order to be paroled and released from the ADTC, inmates must receive the recommendations of their therapists, two panels composed of other therapists employed at the facility, an external review board of community professionals officially known as the "Special Classification Review Board", and the New Jersey State Parole Board. The process typically takes several years after the initial recommendation by the inmate's therapist, which typically comes only after the inmate has been incarcerated for several years and has progressed to a Level 4 treatment status. As a result of the lengthiness and warranted thoroughness of the process, fewer than five percent of inmates are released on parole. The remainder "max out", which means that they will have served the maximum amount of time allowed under their sentences.
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Some scholars view Eclogue IV as being a programmatic dramatisation of Calpurnius's place in the literary tradition,Hubbard, T.K. The Pipes of Pan (1998) pp. 163ff. and some attribute an even more direct autobiographical significance to it.Keene C.H. (1887) The Eclogues of Calpurnius Siculus and M. Aurelius Olympius Nemesianus, p. 92. Some scholars consider the lengthiness of the introduction, preceding the songs of Corydon and Amyntas, as a technical flaw.Karakasis, E (2011) Song Exchange in Roman Pastoral p. 239, citing: Verdiere (1966), 165, Gargliardi (1984), 62, Simon (2007) 43 – 4 Some scholars think that the character of Tityrus represents Virgil and that Tityrus's patron (unnamed in the poem, but to whom Meliboeus is compared) must be Maecenas. Such reasoning is based inter alia on i) the identification of Tityrus with Virgil in ancient readings of Virgil's EcloguesDuff, J.W. and Duff , A.M. (1934) Minor Latin Poets (Vol 1) p. 249 (fn d).
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