And it's presided over by a mercurial and minatory chief executive who can't be easy to work for on a number of levels.
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Rooftops, a face in an open window, the surging crowd, the well-wisher on the rope line who's reaching out an enthusiastic hand — all are minatory.
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However, unlike the merely minatory quiescence of that normally inactive weapon, the massive silver apex of the castor dropped from its base, as if severed by the slash of some invisible machinery, and crashed heavily to the floor: the sugar pouring out on to Widmerpool's head in a dense and overwhelming cascade. . . .
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This comes from a minatory slogan popular during the 1930s in Fascist Italy, "Better one day as a lion than a hundred days as a sheep." They released their debut EP, One Day as a Lion, on July 22, 2008.
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The first movement is a compact sonata-form, the slow movement rondo-like (the similarity to one melody by Rachmaninoff is coincidental, as the latter was not written until some thirty years later). A minatory final march with variations ends with a Coda that revisits earlier material. This was the only Medtner sonata that Rachmaninoff performed. The other half of Op. 25 is entirely different.
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As he readied his recognition signals, the 'contact' opened fire, which were the cruiser and destroyer , a nearby American naval task force, Task Force 53 led by Rear Admiral Harry W. Hill. They both picked up Nautilus on radar and due to low visibility, they feared it to be a Japanese patrol vessel and Hill gave orders to open fire. Unfortunately, the canceled recovery mission for the downed pilot hadn't been passed on to other ships in the vicinity, including Rear Admiral Hill's Southern Attack [Task] Force. Despite the precise marksmanship, the minatory projectile fortunately failed to explode.
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Bushnell 1996 p.50 Hartley Coleridge wrote in 1852, "to be flogged by proxy was the exclusive privilege of royal blood. ... It was much coveted for the children of the poorer gentry, as the first step in the ladder of preferment." John Gough Nichols wrote in 1857, "the whole matter is somewhat legendary, and though certain vicarious or rather minatory punishments may have been occasionally adopted, it does not seem likely that any one individual among the King's schoolfellows should have been uniformly selected, whether he were in fault or not, as the victim or scape-goat of the royal misdemeanours".
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The epitaph repeats the doxology at the close, and adds the petition of the scribe: "O Savior, give peace also to the scribe." When the secure position of the Church assured greater freedom of expression, the non-religious part of the sepulchral inscriptions was also enlarged. In Western Europe and in the East it was not unusual to note, both in the catacombs and in the cemeteries above ground, the purchase or gift of the grave and its dimensions. Traditional minatory formulae against desecration of the grave or its illegal use as a place of further burial also came into Christian use.
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A "kasidah", or "qasida", was originally a genre of Arabic-language poem, which could be satirical, elegiac, minatory, or laudatory. Typically, it was written in monorhyme throughout its length, which might be 50 to 100 lines, or more. The genre spread to Persia with Islam, where it became extremely popular and was much elaborated upon. In the Oxford English Dictionary entry on "kasidah", the form is defined as a classical Arabic or Persian panegyric in verse, which begins with a reference to encountering a deserted campground, followed by a lament, and a prayer to one's traveling companions to halt while the memory of the departed dwellers is invoked.
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Up until this point in time (6th century BC) the Greeks, and many empires before them, explained the events of the world as products of supernatural actions of divine agents. This can be seen in the writings of Homer and Hesiod, two famous Greek poets. With the introduction of rational and natural thought the Milesian Presocratic philosophers, as they were termed, attempted to produce an improved and rationalized theology in place of the anthropomorphic divinities of the Olympian pantheon. But their theology had little to do with religion, and they removed most of the traditional functions from the gods, such as thunder was no longer the growling of a minatory Zeus or that Poseidon created storms.
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Geordie, 1955 The Scottish actor Alastair Sim (1900–1976) performed in many mediums of light entertainment, including theatre, film and television. His career spanned from 1930 until his death. During that time he was a "memorable character player of faded Anglo-Scottish gentility, whimsically put-upon countenance, and sepulchral, sometimes minatory, laugh". After studying chemistry at the University of Edinburgh, he was employed, between 1925 and 1930, as a lecturer in elocution at New College, Edinburgh, and also established his own school of drama and speech training. In 1930 he made his professional stage debut as a messenger in Othello at the Savoy Theatre, London—with Paul Robeson and Peggy Ashcroft in the lead roles.
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McCarthy's debut novel Remainder was written in 2001 and rejected by mainstream UK publishers. It was published in November 2005 by the small Paris-based art publisher Metronome Press and distributed through gallery and museum shops, but not in chain bookstores and then received widespread critical attention in the literary and mainstream press, with one of its first reviews, in December 2005, on ReadySteadyBook who called it "one of the most important novels written in a long, long time." The London Review of Books called it "a very good novel indeed" and The Independent claimed that "its minatory brilliance calls for classic status". The novel was re-published by the independent publisher Alma Books in the UK (2006), and the Bertelsmann subsidiary Vintage in the US (2007), where it ranked as an Amazon top one-hundred seller and entered the Los Angeles Times Bestseller list.
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One reviewer said of the New York Suite, "this musical voyage never left home waters". The same reviewer stated that: "Things picked up with the Requiem itself, which was performed with terrific focus under the baton of the music's orchestrator, Cliff Masterson. Robin Gibb's claim that the music could have been written 300 years ago turned out to be the literal truth, in parts. In the “Maiden Voyage” section there was a scrupulous correctness about the part-writing that would have merited a tick from a 19th-century Leipzig professor. Coupled with a distinctly English tone (born of distant memories of folk music mingled with a kind of Jacobean courtliness), it made for something sweetly earnest", and that: “the best things were the stern, minatory numbers, such as the “Confutatis”, which had a sudden turn to major-key radiance that Mendelssohn might have penned.” The première was criticised for organisational problems which led to some concert- goers being admitted late.
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