Like a younger Mariah Carey, she flaunts a voice that can smoothly ascend sky-high, and she has applied it to increasingly self-assertive material.
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Ironically, the system favors what we desperately wanted to avoid when we opted for democracy in the first place: the power-hungry, arrogant, oppressively self-assertive political animal.
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The movie, based on a novel by Avery Corman, reflected the feminist struggles of the period, and Ms. Streep didn't shy away from playing Joanna as an angry, self-assertive woman.
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"We will take bold action against climate change, build our partnership with the United States, define our relations with a more self-assertive China and be a reliable neighbour, for example to Africa," she said.
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In the 20th century, jackeen took on the more generalized meaning of "a self-assertive worthless fellow".
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The advantage of possessing unique and private information, accessible to no researching biographer, is counterbalanced by the difficulty of establishing a stance that is neither overmodest nor aggressively self-assertive.
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There is no plot, but the theme is children in low-income neighborhoods of New York City, who are "complex, introspective characters. Each 'I' is an authentic voice saying attention must be paid." The children are self- assertive in the face of difficult lives.Jones, John Bush (2004).
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Oxford Dictionaries. Retrieved 28 June 2013. A study of the Cockney dialect in the 1950s found that whether it was being used to call attention or as a challenge depended on its tone and abruptness. The study's author noted that the expression is "jaunty and self-assertive" as well as "intensely cockney".
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Brilliant and obese scientist Sherman Klump invents a miraculous weight-loss solution. After a date with chemistry student Carla Purty goes badly, a depressed Klump tries the solution on himself. Upon taking the potion, Kelp instantly loses 250 pounds. The side effects, besides becoming physically fit include a second personality who calls himself Buddy Love and is obnoxiously self-assertive, conceited alternate personality.
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The story centers on Kana Nakamachi, a middle-school girl who had already lost her parents and just recently lost her only remaining relative, her grandmother. As a result, she ends up living and working at a newspaper delivery office. Everyone else living at the office are all charming, self-assertive bishōjo. The manga follows Kana's daily life in the fast-paced yet joyous environment.
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It is not enough for Georgina to be a leader if she looks like a girl. The character has to take on the persona of a boy by having short hair and demanding to be called George. The independent, self-assertive, supergirl, Pippi Longstocking is but a boy in disguise. These generalizations are counter-productive and divert from the more overtly severe cases, such as Little Black Sambo (1899).
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William Ruhlmann of AllMusic focused part of his review on Lavigne's track, "Alice", describing it as "a typical piece of self-assertive adolescent pop/rock", noting that it was "ideally suited for heavy rotation on Radio Disney". Singling out "White Rabbit" and "Very Good Advice" as the album "oddities", Ruhlmann otherwise decided the album was more appealing for children, with nearly all of the songs being "schoolyard chants".
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M.C.'s debut album, to combine the vocal approach of hip hop and rapping with the musical arrangements and riffing sound of rock music, pioneering the rap rock hybrid sound.Yahoo! Music: Radio . Yahoo! Inc. Retrieved on November 16, 2008. The emerging new school scene was initially characterized by drum machine-led minimalism, often tinged with elements of rock, as well as boasts about rapping delivered in an aggressive, self-assertive style.
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"Wannabe" presents a different version of the traditional pop love song performed by females; its energetic, self-assertive style expresses a confident independence that is not reliant on the male figure for its continuance.Bloustein, 1999. p. 136. The song opens with Brown's laugh, followed by "undislodgeable piano notes" inspired by the Grease "Summer Nights" bassline. The first lines of the refrain are rapped in a call and response interaction between Brown and Halliwell.
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The young woman, aggressively self-assertive and bossy, is angry at her fiancé for being lukewarm about her projects. She, on the other hand, has no doubts about her powers of observation and her future success. Throughout the story, the narrator, who, the reader gathers, is himself a writer, makes sarcastic or cynical comments about the young woman's ambition and youthful enthusiasm. He sounds embittered, being probably in his forties or fifties, and certainly past his days of glory.
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M.C.'s debut album, to combine the vocal approach of hip hop and rapping with the musical arrangements and riffing sound of rock music, pioneering the rap rock hybrid sound.Yahoo! Music: Radio . Yahoo! Inc. Retrieved on 2008-11-16. LL Cool J performing in Stuttgart, Germany, in 2001 The emerging new school scene was initially characterized by drum machine-led minimalism, often tinged with elements of rock, as well as boasts about rapping delivered in an aggressive, self-assertive style.
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Retrieved on July 27, 2008. Production for the album was handled primarily by the group's rapper and producer Ced-Gee, who employed an E-mu SP-1200 sampler as the album's main instrument. Music journalists have noted the album for its innovative production, funk-based samples, self- assertive themes, ingenious lyricism, and complex rhyme patterns. Although it charted modestly upon its release, Critical Beatdown has since been acclaimed by critics as a classic album of hip hop's "golden age" and new school aesthetic.
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After the war, in 1945, he returned to studies. Laaksonen's artwork of this period compared to later works is considered more romantic and softer with "gentle-featured shapes and forms." The men featured were middle class, as opposed to the sailors, bikers, lumberjacks, construction workers, and other members of stereotypically hypermasculine working class groups that feature in his later work. Another key difference is the lack of dramatic compositions, self-assertive poses, muscular bodies and "detached exotic settings" that his later work embodied.
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The term "shotacon" is a Japanese bimoraic clipped compound of , a reference to the young male character Shōtarō (正太郎) from Tetsujin 28-go.Saitō Tamaki (2007) "Otaku Sexuality" in Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi ed., page 236 Robot Ghosts and Wired Dreams University of Minnesota Press In the anime and manga series, Shōtarō is a bold, self-assertive detective who frequently outwits his adversaries and helps to solve cases. Throughout the series, Shōtarō develops close friends within the world.
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It was notable for taunts and boasts about rapping, and socio-political commentary, both delivered in an aggressive, self-assertive style. In image as in song its artists projected a tough, cool, street b-boy attitude. These elements contrasted sharply with the funk and disco influenced outfits, novelty hits, live bands, synthesizers and party rhymes of artists prevalent in 1984, and rendered them old school. New school artists made shorter songs that could more easily gain radio play, and more cohesive LPs than their old school counterparts.
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Ojiugo dies that same day out of devotion to her first husband, symbolic of exerting her voice and choosing marriage over motherhood. A final theme in Idu is the emerging strength of women within the African tribe. Idu is portrayed as a heroine, a woman of independent thought who is industrious and self-assertive. Ultimately, upon the death of Adiewere, Idu exerts her ultimate independence, rejects that motherhood is paramount and chooses to die and leaver her son in order to be with her husband.
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Its cultural identity tends to disappear as an object of analysis. Questions of the identity of English Canada have tended to aim either 'above' at 'Canada' or 'below' toward a sub- national identity such as region, province, city, etc. or 'outside' toward a non-national identity such as feminism or other gender-based identities, environmentalism or other social movement-based identities, etc. English Canada has only a minor degree of consciousness of itself which has arisen recently in relation to the self-assertive politics of Quebec and First Nations.
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Other vocalizations include growls, barks and whines. Wolves do not bark as loudly or continuously as dogs do in confrontations, rather barking a few times and then retreating from a perceived danger. Aggressive or self-assertive wolves are characterized by their slow and deliberate movements, high body posture and raised hackles, while submissive ones carry their bodies low, flatten their fur, and lower their ears and tail. Raised leg urination is considered to be one of the most important forms of scent communication in the wolf, making up 60–80% of all scent marks observed.
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By February 1927, she was transferred to the Four Winds Sanitarium in Katonah, New York due to her severe depression and suicide attempt. Woolley's doctor, Charles I. Lambert, described that Woolley's illness progressed as a normal depression, with some opposite symptoms such as being overactive, over self-assertive and dominant. Lambert did not think that Woolley should continue her job as a teacher because she was emotionally unstable and lack of self-control, had memory impairment, and liked to do things on her own way. However, Woolley thought that she was fully recovered and resumed work in the fall of 1928.
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He proposed 10 psychopathic personalities: those showing abnormal mood/activity; the insecure sensitive and insecure anankastic (drifting, feckless); fanatics; self-assertive; emotionally unstable; explosive; callous; Haltlose and asthenic. Schneider's work in this respect is said to have influenced all future descriptive typologies, including the current classifications of personality disorders in the DSM-V and ICD-10. Nevertheless, Schneider is considered to not exactly have succeeded in his attempted and claimed production of a value-free non-judgmental diagnostic system.Henning Sass & Alan Felthous (2008) Chapter 1: History and Conceptual Development of Psychopathic Disorders in International Handbook on Psychopathic Disorders and the Law.
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Jackeen is a pejorative term for someone from Dublin, Ireland. The Oxford English Dictionary defines it as a "contemptuous designation for a self- assertive worthless fellow", citing the earliest documented use from the year 1840. The term Jackeen is believed to be derived from the name Jack, a common English nickname for the names James and John, or in reference to the Union Jack, the flag of the United Kingdom. Following the Norman invasion of Ireland beginning in 1169, Dublin became the centre of the Pale, the part of Ireland directly under the control of the English government in the late Middle Ages.
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This may show that the mathematical self-belief is influenced before the age in which there are discernible differences in mathematical achievement. According to the 1972 study by Jean Lipman-Blumen, women who grew up following traditional gender roles from childhood were less likely to want to be highly educated while women brought up with the view that men and women are equal were more likely to want higher education. This result indicates that gender roles that have been passed down traditionally can influence stereotypes about gender. In a later study, Deaux and her colleagues (1984) found that most people think women are more nurturant, but less self-assertive than men.
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M As Colin Ward wrote in the Independent, Parker's 'own triumphs were the result of his gentleness and modesty, which led the most taciturn or suspicious of people to open up with confidences they would not dream of revealing to more self-assertive questioners'.Colin Ward, Independent obituary, 11 October 1996. The anonymous obituarist in the Telegraph stressed that "his real gift was for creating sympathetic silences into which murderers, thugs, child molesters, rapists and baby-batterers could pour their confidences without inhibition".Anon, The Daily Telegraph, 14 October 1996 He also wrote plays for television and episodes of Juliet Bravo, The Gentle Touch, Within These Walls, and Crown Court.
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Gray wolves howl to assemble the pack, usually before and after hunts, to pass on an alarm particularly at a den site, to locate each other during a storm or while crossing unfamiliar territory, and to communicate across great distances. Other vocalisations include growls, barks and whines. Wolves do not bark as loudly or continuously as dogs do but they bark a few times and then retreat from a perceived danger. Aggressive or self-assertive wolves are characterized by their slow and deliberate movements, high body posture and raised hackles, while submissive ones carry their bodies low, sleeken their fur, and lower their ears and tail.
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Ruth Welting was guilty of a few vocal lapses too, perpetrating the occasional "flutter" above the stave, but her Sophie managed to be self-assertive while remaining "sweetly girlish". Jules Bastin endowed Ochs with a voice that was generous and equal to all Strauss's onerous demands. He deserved praise for his "attack and savory resonance, his smooth cantabile and his ripe enunciation of the text", though Solti's Manfred Jungwirth was both more accurate and funnier in his handling of Ochs's peasant idiolect. Derek Hammond-Stroud was a good Faninal overall, even if he sounded too young to be Welting's father and botched one note at his first appearance.
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Barrett returned years later in Star Trek: The Next Generation, cast as the outrageously self-assertive, iconoclastic, Betazoid ambassador, Lwaxana Troi, who appeared as a recurring character in the series. Her character often vexed the captain of the Enterprise, Jean-Luc Picard, who spurned her amorous advances. She later appeared as Ambassador Troi in several episodes of Star Trek: Deep Space Nine, where her character developed a strong relationship with Constable Odo. She provided the regular voice of the onboard computers of Federation starships for Star Trek: The Original Series, Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager, and most of the Star Trek movies.
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In his review for the soundtrack Almost Alice, William Ruhlmann of Allmusic described "Alice" as "a typical piece of self-assertive adolescent pop/rock", noting that it was "ideally suited for heavy rotation on Radio Disney". Todd Martens, writing for the Los Angeles Times, approved of the song's "darker, more angsty vision", adding that it was a return to Lavigne's sound in Under My Skin. He described the beginning of the song as, "promising, with wavy synths caught somewhere between a nightmare and a dream". The Calgary Herald wrapped its opinion of "Alice" in succinct praise, calling it "one of the best songs of Avril's career", adding that Avril's repertoire does not otherwise live up to its hype.
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López says of her intended viewer: "Over the years as I have created my art, I have tried to address an audience, a Chicano audience, specifically a California Chicano audience". She addressed this audience with her work, gearing it towards Mexican American/Chicana women in California. Alma López says, "Yolanda stated that by doing these portraits of her mother, grandmother, and herself she wanted to draw attention and pay homage to working class women, old women, middle-aged overweight women, young, and self- assertive women". López's Nuestra Madre (1981–88, acrylic and oil paint on masonite, 4 x 6 feet), is one of the portraits in her Virgin of Guadalupe series in which she transformed original images of the Virgen de Guadalupe to offer viewers new insight.
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Chothia comments that a feature of Coward's plays of the 1920s and 30s is that, "unusually for the period, the women in Coward's plays are at least as self-assertive as the men, and as likely to seethe with desire or rage, so that courtship and the battle of the sexes is waged on strictly equal terms". The best-known plays of Coward's middle period, the late 1930s and the 40s, Present Laughter, This Happy Breed and Blithe Spirit are more traditional in construction and less unconventional in content. Coward toured them throughout Britain during the Second World War, and the first and third of them are frequently revived in Britain and the US. Coward's plays from the late 1940s and early 50s are generally seen as showing a decline in his theatrical flair.
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After Jiang Wan and Dong Yun's deaths, Liu Shan named Jiang Wei as Fei Yi's assistant, but both were largely involved only in military matters, as Liu Shan gradually became more self-assertive in non- military matters. It was also around this time that he became more interested in touring the countryside and increasing the use of luxury items, both of which added stress on the treasury, albeit not cripplingly so. Jiang Wei was interested in resuming Zhuge Liang's policies of attacking Wei aggressively, a strategy that Fei Yi partially agreed with — as he allowed Jiang Wei to make raids on Wei's borders, but never gave him a large number of troops, reasoning that Shu was in no position for a major military confrontation with Wei. In 253, Fei Yi was assassinated by the general Guo Xun () -- a former Wei general who had been forced to surrender but who secretly maintained his loyalty to Wei.
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Its success in the 19th century is traceable to at least four causes: # its theme of revolt against paternal tyranny is one to which the times were sympathetic # its construction is skillful and in every sense theatrical # it contains a number of picturesque episodes and amusing characters, and is distinguished for animated dialogue # its heroine is an unconventional, self-assertive, and emotional “New Woman” who affords an actress an unusual opportunity for temperamental display The technique is a clever combination of the naturalism of Ibsen and the methods of the drame à thèse familiar in the works of Dumas fils. The conventional raisonneur — in the person of the Pastor Heffterdingk — mediates between Magda and her father, and debates with each the problems presented by the situation of a prodigal daughter who returns home after a life of moral irregularity but operatic success. The play bids the audience to despise respectability and admire independence. But the representative of each side is far from being an acceptable champion.
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As we see with Bachofen, modern theories of the Mother Goddess have inevitably been shaped by modern cultural presuppositions about gender. Lynn Roller believes that “[m]any discussions of the Mother Goddess rely on modern projections ought to be, rather than on ancient evidence defining what she was” (Roller, 9). William Ramsay, the late nineteenth-century archaeologist, who was the first researcher to demonstrate that the principal deity of Phrygia was a mother goddess, drew heavily on Bachofen's theory (Roller, 12). Like Bachofen's, Ramsay's understanding of the national character of matriarchal pre-Phrygian society is based on contestable evidence and relies on stereotypically feminine characteristics; he describes matriarchal pre- Phrygian society as “receptive and passive, not self-assertive and active” (12). For Ramsay, this “feminine” character explains why this culture was conquered by the masculine, warlike Phrygians with their male deities. Thus, constructions of ancient matriarchal societies, which are inseparable from “a glorification of the female element in human life” (12), are suspiciously similar to modern stereotypes of the feminine that are not necessarily native to pre-Phrygian culture.
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Unlike Rudolf's wife Friedl (née Strasser), Käthe was somewhat self-assertive and suspicious of brusque ways of Franconians. She would have frequent run-ins with Adi's parents and Rudolf and his wife, all of whom lived in the same house. Years later, in a letter to Puma's American distributor, Rudolf explained the rift with his brother as solely to be blamed on Käthe, who he claimed "tried to interfere in business matters …"; he claimed that the brothers' relations were "ideal" until 1933. Käthe would give birth to their son Horst in March 1936, their first daughter Inge in June 1938 and their second daughter Karin in 1941. After the war, Brigit was born in May 1946 and Sigrid in 1953. Jesse Owens with his record- setting long jump, wearing Dasslers' shoes at the 1936 Berlin Olympics Dassler saw the 1936 Berlin Olympics as the key springboard for international exposure. Although his relation with Waitzer ensured that most German athletes would wear Dassler footwear, Dassler had another athlete principally in mind—Jesse Owens, the American track-and-field star.
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