Diners who walk in the door eager to hand over literal piles of money aren't greeted; they're processed.
|
|
And while it's not essential reading to understand the show, I definitely think it's helpful to understanding the A Song of Ice and Fire/Game of Thrones fandom and how it's evolved over literal decades now, so I'm going to toss in a self-rec for the oral history of the most important Game of Thrones fan theory (that actually came true!).
|
|
This may also have been due to an over-literal interpretation by later scholastics of the terminology used by the Buddha, and to the problems involved with the practice of dhyana, and the need to develop an easier method.
|
|
Jacobi, The Psychology of C.G. Jung: An Introduction (1946) p. 102 and p. 42 laid her open to the charge of an over- literal interpretation of Jung; while her diagrams of the psyche – one with the ego at the centre, one with it at the periphery – inevitably provided only one-dimensional snapshots of the richness of psychic experience.Andrew Samuels, Jung and the Post-Jungians (1986) p.
|
|
Lexical deficit disorder – the child has word finding problems and difficulty putting ideas into words. There is poor comprehension for connected speech. Again, there is little research on this subtype, which is not widely recognised. Pragmatic language impairment – the child speaks in fluent and well-formed utterances with adequate articulation; content of language is unusual; comprehension may be over-literal and language use is odd.
|
|
Lord Byron refers to the Symplegades in the concluding stanzas of Childe Harold's Pilgrimage: The New Critic I. A. Richards refers to 'Symplegades' in his work Practical Criticism. In Chapter 2, 'Figurative Language', he refers to dangers of misinterpretation in reading poems: "These twin dangers - careless, 'intuitive' reading and prosaic, 'over-literal' reading - are the Symplegades, the 'justling rocks', between which too many ventures into poetry are wrecked." In his 1961 novel Jason, Henry Treece depicts the Symplegades as icebergs that drifted downriver into the Black Sea.
|
|
The text of the poem was unaltered; the humor lay in Davis's over-literal illustrations. Other parodies in this style followed, targeting such poems as "The Face upon the Barroom Floor" (#10), "Paul Revere's Ride" (#20), "The Raven" (#9), and "The Wreck of the Hesperus" (#16). A parody of the comic strip Bringing Up Father in the seventeenth issue draws attention to societal tolerance of domestic violence. The pages alternate between the strip's cartoon style and realistically drawn ones—The Jiggs character, after his wife assaults him with crockery in a humorous cartoon sequence, emerges abraised in the next realistic panel.
|
|
In Byzantine religious art, unlike the Classical Greek and Roman art that preceded it, symbolism became more important than realism. Instead of concentrating on making the most realistic images possible, mosaic artists of this time wanted to create idealized and sometimes exaggerated images of what existed inside the soul of a person. In addition, when used in a religious space, the overall effect created by a sea of glittering, brightly-colored and gilded tesserae took precedence over literal realism. The goal of the artist was to create an overall feeling of awe, of being in a spiritual realm, or even the sense of being in the presence of God.
|
|
To account for the 35 year difference, Painter states that the city was preserved temporarily by the presence within it of a 'just man' (see also Sodom); who was identified with James, as confirmed by Origen. Hence Painter states that the killing of James restarted the clock that led to the destruction of the city and that the traditional dating of 69 AD simply arose from an over-literal application of the theologoumenon, and is not to be regarded as founded on a historical source. The difference between Josephus and the Christian accounts of the death of James is seen as an indication that the Josephus passage is not a Christian interpolation by scholars such as Eddy, Boyd, and Kostenberger. Geza Vermes states that compared to the Christian accounts: "the sober picture of Josephus appears all the more believable".
|
|
Whereas originally it may not have been specified, later on the four truths served as such, to be superseded by pratityasamutpada, and still later, in the Hinayana schools, by the doctrine of the non-existence of a substantial self or person. And Schmithausen notices that still other descriptions of this "liberating insight" exist in the Buddhist canon: The developing importance of liberating insight may have been to due an over-literal interpretation by later scholastics of the terminology used by the Buddha, or to the problems involved with the practice of dhyana, and the need to develop an easier method. According to Vetter it may not have been as effective as dhyana, and methods were developed to deepen the effects of discriminating insight. Insight was also paired to dhyana, resulting in the well-known sila-samadhi-prajna scheme.
|
|
Peers argued that the image of the soldier on the reverse, almost in silhouette, "avoided the usual over-literal depiction of men in uniform, which characterises the more pedantic medals that generally were produced in Australia during and after the war. The almost total emphasis on the outline of the figure allows [Ohlfsen] ... to consider the question of negative, as well as positive, space within the roundel suggesting ... how keenly she attended to the issue of designing for the medal format." Ohlfsen apparently sold hundreds of the medals to Sir Charles Wade, Premier of New South Wales, so that he could sell them in Australia at two guineas each to raise money. They were sold in a box lined with silk and included the dedication "in aid of Australians and New Zealanders maimed in the War—1914–1918". Edward, Prince of Wales received the first medal, and Wade, along with Generals William Birdwood, John Monash, and Talbot Hobbs, joined a committee in 1919 to oversee the distribution."Letters relating to the Dora Ohlfsen ANZAC Medal Fund, 1919".
|
|
However, Collins observed that this was "quickly subsumed into the granular storm as the layers gather and tempi increase", concluding that, notwithstanding audience consensus that "the overload last[ed] too long in the middle … It might cautiously be claimed that Mr. Stockhausen achieved a controversial success, and created a work that has reinvigorated his electronic music". Collins shared his shorthand notes, which he scribbled in the dark during the performance: > violent spasms of space, serial recurrences, a Copernican asylum, over- > literal crashes, rushing more and more beyond sense, like being inside > Stockhausen’s mind as he composes, a battle of enraged keyboardists in a > tempo war, granular roars, bass pedals and clatters, gurgling granules > accelerate, pushing the boundary of information, tapes spooling mercilessly, > a labyrinth of tone pulses, a multiplicity of collisions in an organ > factory, even poor synthesis can’t ruin this controlled chaos, wider and > wider dynamics and layering, building to the synchronies of planets, raging > layers, raging presets in a keyboard shop war, a fight at an audio > convention. Describing the UK premiere at the BBC Proms, Nick Emberley felt that "the Albert Hall sounded like a mighty beast woken from slumber".Emberley, Nick.
|
|