For balance, try Louise Erdrich's "The Blue Jay's Dance," which takes a more reverent, though grounded view of motherhood.
|
|
Dave makes Greg a wide-eyed innocent for most of the movie, and Franco is far more reverent toward Wiseau.
|
|
It's possible that we might have continued this way, Robbie and I, had I been less curious and more reverent when it came to her piano method.
|
|
But it doesn't hurt to make the day feel a little more reverent if you happen to find out that you can trace your roots back to the Emerald Isle.
|
|
His style changes project to project, from the cartoonish peppiness of his 1992 short, "Tom Sweep," to the more reverent and reserved "Father and Daughter," but key signatures can be found throughout his work.
|
|
It is more formal than the traditional fight songs such as "Old Aggie Spirit" and the "A&T; Fight Song", and is typically played and sung in a more reverent fashion than other university songs.
|
|
Vincent Canby of The New York Times wrote that the film "is too superficially knowing to be a camp classic, but it's an unintentionally hilarious mixture of muddled moralizing and all-too- contemporary self-promotion," and noted that "Rolling Stone receives more reverent treatment in 'Perfect' than The Washington Post received in 'All the President's Men.'"Canby, Vincent (June 7, 1985). "Film: 'Perfect,' Gym and Journalism". The New York Times. C18.
|
|
They all combine in one composite Name. When people were more reverent, the priests openly enunciated the Name in the hearing of all, but after irreverence became widespread, the Name became concealed under other letters. At the time when the Name was disclosed, the priest would concentrate his mind on its deep and inner meaning, and he would utter the Name in such a way as to accord with that meaning.
|
|
During times of drought a special Mitote may be given to ask for rain. Traditional native Mitotes are more reverent occasions of abstinence and prayer, whereas mestizo-influenced fiestas are opportunities for revelry and mescal drinking. Each family and community has a patio where ceremonies are conducted. At both the village and the apellido-group level, there is an officer called the jefe del patio who organizes and leads the Mitotes.
|
|
The first part of the work was reissued in 1967 as Early Cornell, 1865–1900. It was reviewed in British Journal of Educational Studies together with Carl L. Becker's Cornell University: Founders and the Founding (1967, a set of lectures delivered in 1943). The reviewer said that Becker's work was more likely to appeal to the general reader, Bishop's book being "more reverent"; but that both constituted "a fitting tribute to a prestige institution".
|
|
"Dear A&T;" is the alma mater of North Carolina A&T.; The song traditionally concludes formal university events, including athletic contests such as football and basketball games attended by the North Carolina A&T; State University Blue and Gold Marching Machine or the A&T; pep band. It is more formal than the traditional fight songs such as "Old Aggie Spirit" and the "A&T; Fight Song", and is typically played and sung in a more reverent fashion than other university songs.
|
|
The revisionist The Last Temptation of Christ, the rock opera Jesus Christ Superstar, and the parody Life of Brian were all major films of the 1970s and 1980s. These films generated controversy, but were financially successful. Film versions of the Book of Revelation such as The Late Great Planet Earth and The Seventh Sign were made, which had been uncommon in an earlier era. During this period more reverent works were produced, but often appeared as television miniseries or released directly to video.
|
|
"There is no Rose" presents a more reverent tone than the previous movement, as the choir admires the beauty of the birth of Jesus Christ. The sopranos and altos sing the melody in a soft, prayerful manner, while the rest of the ensemble occasionally joins them to sing in unison. This is a macaronic piece, meaning the text is in both a vernacular language (English, in this case) and Latin. > Text: There is no rose of such vertu > As is the rose that bare Jesu.
|
|
In the letters of God's Name are concealed 22 attributes of Mercy, namely, the 13 attributes of God in and nine attributes of the Mikroprosopus, the lesser revealed aspect of God. They all combine in one composite Name. When people were more reverent, the priests openly enunciated the Name in the hearing of all, but after irreverence became widespread, the Name became concealed under other letters. At the time when the Name was disclosed, the priest would concentrate his mind on its deep and inner meaning, and he would utter the Name in such a way as to accord with that meaning.
|
|
Brittany Spanos of Rolling Stone found the lyrics to "compares a woman to the distilled liquor", as Mars tries to recreate the "magic" when they were together the last time. The recording's composition brought attention due to its similarities to the works of Michael Jackson. Martins of Spin stated that the track finds Mars channeling "the King of Pop with a markedly more reverent aplomb". Sam Lansky of Idolator concurred, writing that the artist is channeling "80's pop icon: Michael Jackson". Nevertheless, Lansky discovered "a little bit of Prince in there", as well, "but Mars’ vocals sound eerily like Jacko in his prime".
|
|
Particularly, Chris Martins of Spin wrote that the song "channels the King of Pop, Michael Jackson with a markedly more reverent aplomb. The song "When I Was Your Man" is a pop piano ballad and shows traditional notions of romance, a pre-fame heartbreak as Mars regrets letting his woman get away. Melinda Newman of HitFix thought the track "sounds like a cross between Stevie Wonder and Elton John," also seeing "a touch of Michael Jackson" in his delivery. Andy Gill of The Independent called it a "McCartney-esque piano ballad", while Jason Lipshut of Billboard wrote that "it will make for a killer lighters-in-the-air moment in concert.
|
|
When people were more reverent, the priests openly enunciated the Name in the hearing of all, but after irreverence became widespread, the Name became concealed under other letters. At the time when the Name was disclosed, the priest would concentrate his mind on its deep and inner meaning, and he would utter the Name in such a way as to accord with that meaning. But when irreverence became common in the world, he would conceal all within the written letters. The Zohar taught that Moses uttered the 22 letters in two sections, first in in the Attributes of God, and second in when he uttered nine Attributes of Mercy that are inherent in the Mikroprosopus, and which are radiated from the light of God.
|
|
In the early 1950s, the Pitt Band and the Pitt Men's Glee Club cooperated with the RCA Victor recording company to release a compilation of Pitt songs entitled Songs of Pitt The "Alma Mater" acts as an official anthem of the university and often is played to open and/or close various University functions, including athletic contests such as football and basketball games. It is more formal than the traditional fight songs such as "Hail to Pitt" and the "Victory Song", and is typically played and sung in a more reverent fashion than other university songs. One of the first professional recordings of "Alma Mater", along with "Hail to Pitt", was by the Criterion Quartet on Gennett Records in 1920Gennett 1000 series Numerical Listings, accessdate=2009-02-11Labelliste von 'Gennett 10000 vis 10093', accessdate=2009-02-08 During the 1940s, Joseph Wood conducted a recording of a collection of songs entitled Songs of the University of Pittsburgh that featured Walter Scheff, Ralph Nyland, and Michael Stewart. Released on two 78-rpm discs by Republic records, the album featured "Pitt Alma Mater", "Hail to Pitt", "The Panther", and the "Pitt Victory Song".
|
|
Samson Raphael Hirsch In the late 1880s, Rabbi Samson Raphael Hirsch, an influential leader in the early opposition to non-Orthodox forms of Judaism, wrote that while he did not endorse the idea of common descent (that all life developed from one common organism), even if science ever did prove the factuality of Evolution, it would not pose a threat to Orthodox Judaism's beliefs. He posited that belief in Evolution could instead cause one to be more reverent of God by understanding His wonders (a master plan for the universe). :This will never change, not even if the latest scientific notion that the genesis of all the multitudes of organic forms on earth can be traced back to one single, most primitive, primeval form of life should ever appear to be anything more than what it is today, a vague hypothesis still unsupported by fact. Even if this notion were ever to gain complete acceptance by the scientific world, Jewish thought, unlike the reasoning of the high priest of that notion, would nonetheless never summon us to revere a still extant representative of this primal form as the supposed ancestor of us all.
|
|
Larry Perkins also agrees with Pietersma: "This study accepts the hypothesis that the original translators used κύριος as the rendering of the Tetragram".Larry Perkins, "ΚΥΡΙΟΣ – Articulation and Non-articulation in Greek Exodus" in Bulletin of the International Organization for Septuagint and Cognate Studies, volume 41 (2008), p. 23Larry Perkins, "ΚΥΡΙΟΣ – Proper Name or Title in Greek Exodus", p. 6 And Raija Sollamo states that "Pietersma refuted the arguments put forward in 1977 by George Howard in his article 'Tetragram and the New Testament'."Raija Sollamo, "Significance of Septuagint Studies" in Emanuel: Studies in the Hebrew Bible, the Septuagint, and the Dead Sea Scrolls in Honor of Emanuel Tov (BRILL 2003), p. 508 Eugene Ulrich says that Pietersma's argument goes against the "early, even pre-Christian, MS evidence" for ΙΑΩ, and adds that "it is difficult to imagine a scribe introducing the not-to-be-pronounced divine name where the more reverent κύριος was already in the text", and declares possible the view that the original Old Greek text had ΙΑΩ, replaced later by the Tetragrammaton in either normal or archaic Hebrew letters or by κύριος,Eugene Ulrich, The Dead Sea Scrolls and the Developmental Composition of the Bible (BRILL 2015), p.
|
|