This is a list of all the questions and their associated study carrel identifiers. One can learn a lot of the "aboutness" of a text simply by reading the questions.
identifier | question |
---|---|
work_ahsphirsu5cnro2uftcyv5ljcm | What happens t o p o p u l a r c u l t u r e when elements are s e l e c t e d and reshaped t o a t t r a c t t o u r i s t s? |
work_kd7ohyl5nje4tj3qyruszf3qwu | Maybe these links could help you? |
work_bkvb5di3bfeefocjrxoxnf5ftq | 17 Dirk Coigneau, ‘ Een Brugse Villon of Rabelais? |
work_f3k6b5wp3fbwvimg3m56ncxxzq | ), Renaissance en France, Renaissance française? |
work_cypgf4wbobcbbkbjztmou4xkea | After all, is n’t that what any of us would do on a good day when we ’re with those who count — our family and friends? |
work_c6xsu7wnr5cmnhwxwly7ybauke | “ Pushed ” or “ Painted ”? |
work_dmni7v72drbt5dhuksvsny7wpu | 1103- 1128; Michael H u g h e s,"Fiat Justitia, p e r e a t G e r m a n i a? |
work_ljeijh6yujh2jdwu72pzus2gpi | How did Franks differ in his approach, and what impact did he have on his peers? |
work_3juckpr55fczvn7wi43hm52glu | Why should we be classed in the department that manages buildings, fur- niture, and transportation pools? |
work_3juckpr55fczvn7wi43hm52glu | 6Mi? |
work_qwu7dq3gtrcalppu6cnrmjsaim | MLQ 61.2-01Kenny.ak 5/26/00 3:49 PM Page 262 Kenny ❙ Books in Space and Time 263 Library or Cabinet? |
work_a3xouq5nxre5nfuhnofiiyn22u | Is erectile dysfunc- tion the ‘ ‘ tip of the iceberg ’ ’ of a systemic vascular dis- order? |
work_a3xouq5nxre5nfuhnofiiyn22u | e u r o p e a n u r o l o g y 5 3( 2 0 0 8) 2 3 1 – 2 3 3 233 Having tasted that cock she said: ‘ ‘ My love, where did you get this? ’ ’. |
work_73bmeugbyzf6zipuuldqeagpna | http://faostat.fao.org/faostat/collections? |
work_73bmeugbyzf6zipuuldqeagpna | — First Image of Cucurbita in Europe 47 http://faostat.fao.org/faostat/collections? |
work_silixpqaunhbve2hp74keu4sme | Skip to Main Content( Press Enter) Cart | Renew | Help | ? |
work_bu2xxsntwrduxemtceqmz3vmsm | The sixth article ‘ The Missing Link? |
work_iz2p7z2tazfppfz677r2qrqhki | For others, this might still be un- satisfactory if the basic question is policies by whom? |
work_uw76h6jijvgcfpxumzzr7mxlwq | Me pourra donc tel Soleil resjouir, Quand tout Mydi m‟est nuict, voire eternelle? |
work_xbmmxoee7nfxzoyjzomgyhckfu | ‘ What is a dispositif? ’ In Michel Foucault, Philosopher: Essays. |
work_33ymykd6yvd7nczhiel6lamvre | CITIES2_final_ktmpure Lost in Transition? |
work_33ymykd6yvd7nczhiel6lamvre | Lost in Transition? |
work_3lfpu5goynbuji6blbzwe7akpi | Exile, salvation or tactical retreat? ” Science in Context 6, no. |
work_3lfpu5goynbuji6blbzwe7akpi | I wonder whether he was in league with Pauli to pull my leg? |
work_y4tf2zzr7rdcbgpxjnykyioooq | An obvious question is, therefore, why is the book published in Danish and not in English? |
work_5d2tmvqpbjb4beupehts7zhflq | What evidence is there, though, that the change in the descriptor which Montaigne wishes to bring about had any influence on contemporary opinion? |
work_tblpfwut2zd6zlbcgnw5mblmuq | Was she not out of touch with the most vital current of her time — namely, the humanist reconsti- tution and dissemination of ancient texts? |
work_tblpfwut2zd6zlbcgnw5mblmuq | Why bother with what would seem to have been a rearguard action of an essentially medieval press? |
work_7q46cpci7vcifmfefofcsisnim | How does that peculiar microstructure have formed? |
work_7q46cpci7vcifmfefofcsisnim | How does that peculiar microstructure have formed? |
work_7q46cpci7vcifmfefofcsisnim | Why looking especially at the glaze- paste interface region? |
work_er3qvs4h6ndrzdtv7g35v7qqzq | 601–21; J. H. Ohlmeyer, ‘ The ‘ ‘ old ’ ’ British histories? ’, Historical Journal, 50( 2007), pp. |
work_er3qvs4h6ndrzdtv7g35v7qqzq | What exactly was this Irish kingdom described by O’Ferrall and disputed by Lynch? |
work_ewkbhxyazvfyzpg72adrgi4mce | Rio de Janeiro: Eduerj, 2009. agmarcia@uol.com.br H is tó ri a ou r om an ce? |
work_w25mvqwlezcmfcyomcev7f5d2a | “ A Profession but Not a Career? |
work_uud3yv7rtjhzzlrluzpmo74jdq | Email address/ Username? |
work_uud3yv7rtjhzzlrluzpmo74jdq | Sign in Do n''t already have an account? |
work_w2fq2rmb5zbjdfxsoahdslmal4 | 9 Janet NELSON, « Women at the court of Charlemagne: A case of monstrous regiment? |
work_w2fq2rmb5zbjdfxsoahdslmal4 | How can this sudden expansion be explained? |
work_rj3wxhaa3nclzd6fqixoutjweq | Shall I recover from my illness? |
work_rj3wxhaa3nclzd6fqixoutjweq | What career shall I choose? |
work_rj3wxhaa3nclzd6fqixoutjweq | Whom should I marry? |
work_krxaoq623ffq5fsuizvruyopza | And, secondly, how are human subjects affected by opposition? |
work_krxaoq623ffq5fsuizvruyopza | Firstly, what role does human perception or understanding play in opposition? |
work_krxaoq623ffq5fsuizvruyopza | In other words, are human beings subject to opposition? |
work_krxaoq623ffq5fsuizvruyopza | That is, what effects does the human gaze or the human mind exert upon opposition? |
work_5nndc5rlw5esvnhbb2ytotmpku | ?, By,. |
work_4dt36egr2nbhjipjd24mhrmla4 | Bolle C: Wann erscheint die Weymouthskiefer zuerst in Europa? |
work_4dt36egr2nbhjipjd24mhrmla4 | Did nitric oxide aid in the recovery from scurvy? |
work_4dt36egr2nbhjipjd24mhrmla4 | Hodges RE: What''s new about scurvy? |
work_4dt36egr2nbhjipjd24mhrmla4 | Vanholder R, Schepers E, Meert N, Lameire N: What is uremia? |
work_qpwej7xlynhqdd5k2kxknk2mae | L’Ercole giovane della Frick Collection ’ CH CH locate via Denise? |
work_choof2ky7zhefcpyzluwqnclxi | Are the limits of schematization well defined? |
work_choof2ky7zhefcpyzluwqnclxi | Are there any schemas left out of consideration that are significant to our understanding of the experience? |
work_choof2ky7zhefcpyzluwqnclxi | It generalizes the theory of Systems by asking: What else is there that is like a system, yet different? |
work_choof2ky7zhefcpyzluwqnclxi | The question becomes whether there are any gaps in the nesting of this hierarchy of schemas? |
work_en6fn2m2t5hk3i4zhcxizd3cbu | But what leads people to prefer one garden style over others? |
work_en6fn2m2t5hk3i4zhcxizd3cbu | Environmental preference and restoration:( How) are they related? |
work_en6fn2m2t5hk3i4zhcxizd3cbu | Residential management of urban front- yard landscape: A random process? |
work_an3jsfjzjjfzhgb2t6rbkvkjgy | (( bends over toward a mushroom)) do we accept mushrooms? |
work_an3jsfjzjjfzhgb2t6rbkvkjgy | Why everyday experience? |
work_an3jsfjzjjfzhgb2t6rbkvkjgy | so are we trying to find something to eat yet? |
work_an3jsfjzjjfzhgb2t6rbkvkjgy | “ How stupid can a person be? ”- Students coping with authoritative dimensions of science lessons. |
work_gsietnceebeqndzl7vdecosm3m | Do some urban farmers maintain relations with kin elsewhere in the country, and what are the economic dimensions of such relations? |
work_gsietnceebeqndzl7vdecosm3m | To what extent is residence in the city a reaction to in- tolerable conditions in the rural areas, and what is it that was intolerable? |
work_gsietnceebeqndzl7vdecosm3m | To what extent is the move an attempt to seek a better life in the city? |
work_v6hv4rnymvebbbxpcpffp3lona | Do you know what kind of myth that''s going to make in a thousand years? |
work_v6hv4rnymvebbbxpcpffp3lona | Neumer, Katalin( 2004)"Wittgenstein und die''Philosophen des Lebens''oder War Wittgenstein ein''österreichischer''Philosoph? |
work_v6hv4rnymvebbbxpcpffp3lona | What gives it life? |
work_xwtt3tc7e5am5hpb5cv3cvvyfe | Exile, salvation or tactical retreat? ” Science in Context 6, no. |
work_xwtt3tc7e5am5hpb5cv3cvvyfe | I wonder whether he was in league with Pauli to pull my leg? |
work_grbdr4sg25b7xl6er63nicrivu | Are historians reifying a category and pretending to make it more real and expressed than it actually was? |
work_grbdr4sg25b7xl6er63nicrivu | Shall we call him a mystical atheist, a freethinker, or a freebeliever? |
work_grbdr4sg25b7xl6er63nicrivu | So when should the term atheist be used? |
work_grbdr4sg25b7xl6er63nicrivu | What do we make of this last point? |
work_ljd3ap6h55bnzna2drvcx4ydyu | But what should be kept for consultation? |
work_ljd3ap6h55bnzna2drvcx4ydyu | Does n''t this just show how bureaucratic bureaucratic design really is? |
work_ljd3ap6h55bnzna2drvcx4ydyu | Does this eliminate talent, even genius, from architectural history? |
work_ljd3ap6h55bnzna2drvcx4ydyu | Well, so what? |
work_ljd3ap6h55bnzna2drvcx4ydyu | What does it matter if a building was designed by one government architect instead of another? |
work_zhkrsti4zfe6zb3axw6osrl5ci | 2 Donald Malcolm Reid, Whose Pharaohs? |
work_zhkrsti4zfe6zb3axw6osrl5ci | 3 Reid, Whose Pharaohs?, 10, 118- 119, 205. |
work_zhkrsti4zfe6zb3axw6osrl5ci | Whose Pharaohs? |
work_mlzv72m2obfrtdzmuh7mcmfqfe | ( A death mask of ISAAC NEWTON?) |
work_mlzv72m2obfrtdzmuh7mcmfqfe | POVZI? |
work_mlzv72m2obfrtdzmuh7mcmfqfe | Passages in Sanskrit with English translation are given of the Karanapaddhati( 1596 AD?). |
work_mlzv72m2obfrtdzmuh7mcmfqfe | The second fascicle; for the first see#? 99. |
work_mlzv72m2obfrtdzmuh7mcmfqfe | WATTENBERG, DIEDRICH 1977 Eine Totenmaske Isaac Newtons? |
work_rzxkdt5kl5hrhhbqr44bzyjohq | J.R. Francis( 1990) “ After Virtue? |
work_rzxkdt5kl5hrhhbqr44bzyjohq | Regan( 1993) “ Does Studying Economics Inhibit Cooperation? ” Journal of Economic Perspectives 7(2): 159- 171. |
work_r2jgsxdmmnfrzlqpeehugxnjp4 | ( 2011) The origins of the experimental method — mathematics or magic?, in: H. Busche, and S. Heßbrüggen- Walter( eds. |
work_r2jgsxdmmnfrzlqpeehugxnjp4 | Jean Fernel, mathematician manqué, and physican Why, then, did Fernel abandon mathematics and turn his attention entirely to medicine? |
work_r2jgsxdmmnfrzlqpeehugxnjp4 | Johnston, S( 2006) Like father, Like son? |
work_r2jgsxdmmnfrzlqpeehugxnjp4 | What caused this dramatic change of direction? |
work_r2jgsxdmmnfrzlqpeehugxnjp4 | What inspired Fernel to think that he might, against the odds, make a living as a mathematical practitioner? |
work_4zx2nvwbbbfs7byvoijjxel3am | 1525?) |
work_4zx2nvwbbbfs7byvoijjxel3am | London[ i.e., Flor- ence? |
work_4zx2nvwbbbfs7byvoijjxel3am | Perhaps the Florentine sculptor( Niccolò Lamberti?) |
work_rsxujydg25gcfm4ltbphzfjh4a | How can we explain their ugliness and occasional beauty and changing mood; their frequent correction by means of large insets? |
work_rsxujydg25gcfm4ltbphzfjh4a | Why did this work, begun in 1530, take so long in the making? |
work_rsxujydg25gcfm4ltbphzfjh4a | Why were the great hand- coloured volumes, printed on vellum, never presented to the King and why do they contain no dedication leaf? |
work_ygp4224vijcorbzpmn3fgukusm | ( C. V. Jones) MOORE, Charles W 6? Jicholas PYLE Editors 1974 The Yale Mathe- maticsBui1dingCompetition. |
work_ygp4224vijcorbzpmn3fgukusm | MAY, Kenneth 0 1975 What is good history and who should do it? |
work_ygp4224vijcorbzpmn3fgukusm | PUTNAM, Hilary 1975 What is mathematical TRUTH? |
work_ygp4224vijcorbzpmn3fgukusm | Some of the translations are very old, as the one of Dioscoride ’s REP? |
work_g6dfophsb5divdrzgi4w2osloi | Bearing in mind that a rosette is the Virgin Mary''s symbol, is this a hint at her line o f descent? |
work_g6dfophsb5divdrzgi4w2osloi | Bound by M W( meaning Melchior Wagner, Leipzig?) |
work_g6dfophsb5divdrzgi4w2osloi | Justitia and Fortuna on the upper and lower cover, respectively, of a German Renaissance binding by H W( meaning Hans Welcker, Nuremberg?) |
work_g6dfophsb5divdrzgi4w2osloi | W h o is capable o f u n d e r s t a n d i n g h i m?" |
work_g6dfophsb5divdrzgi4w2osloi | or C2,(? 3, Ca. |
work_kataom5thfha7fdsfu4a4jsznu | Baronii vero iniquitatem nescio dicam, an supinitatem incredibilem, quis ferat? |
work_kataom5thfha7fdsfu4a4jsznu | What was the appeal of Josephus, and when and how was he read? |
work_kataom5thfha7fdsfu4a4jsznu | Why was he the most popular of the ancient historians? |
work_zi5jhvshknakhboctp76hdq5ya | Do some urban farmers maintain relations with kin elsewhere in the country, and what are the economic dimensions of such relations? |
work_zi5jhvshknakhboctp76hdq5ya | To what extent is residence in the city a reaction to in- tolerable conditions in the rural areas, and what is it that was intolerable? |
work_zi5jhvshknakhboctp76hdq5ya | To what extent is the move an attempt to seek a better life in the city? |
work_urjxnvi55jal7ipxpboqqayntu | 11 So how does Anne ’s manuscript relate to Annius ’ popularity in France and the dissemination of the Antiquities in the early sixteenth century? |
work_urjxnvi55jal7ipxpboqqayntu | And as a gift, what might it then tell us about Anne ’s own literary interests and her marriage to Pierre de Balsac? |
work_urjxnvi55jal7ipxpboqqayntu | • User may use extracts from the document in line with the concept of ‘ fair dealing ’ under the Copyright, Designs and Patents Act 1988(?) |
work_qfew4w2mzbhotfqo2kpuk6hipi | 3 See, for example, the discussion in STEPHEN W. SILLMAN, “ Cultural contact or colonialism? |
work_552um5cl5vh4jatyxt7zxmlgra | ( 23)"Ten minutes?" |
work_552um5cl5vh4jatyxt7zxmlgra | How is a writer to respond to a society in which the absurd has become commonplace? |
work_552um5cl5vh4jatyxt7zxmlgra | Is it paradoxical to demand restraint of a work whose underlying mode is excess? |
work_552um5cl5vh4jatyxt7zxmlgra | When Baldy Li and Song Gang arrive and recognize the body by its clothes, they are mocked by bystanders for asking"Is that my father?" |
work_szohlnsamrhhxbhmefpvms4kim | ( I m welchem Style sollen wir bauen?). |
work_szohlnsamrhhxbhmefpvms4kim | ( I m welchem Style sollen wir bauen?). |
work_szohlnsamrhhxbhmefpvms4kim | 2b), dzie- lił ją na dwa przęsła, a dodatkowo stanowił podporę dla „ re ne san sowej ” niszy, w której umieszczono posąg Dionizo- sa(?). |
work_uql34i43n5httnbxeqyqcponcy | 92 Cushner, Why Have You Come Here? |
work_uql34i43n5httnbxeqyqcponcy | America posed a problem to this claim: was it possible that the Apostles missed a landmass? |
work_uql34i43n5httnbxeqyqcponcy | Cushner, Nicholas P., Why Have You Come Here? |
work_uql34i43n5httnbxeqyqcponcy | Two important questions thus had to be asked: could a market be created for yerba mate, and was such a market desirable? |
work_q75dxl3b3fcqvkqvi2sjd35psu | - El Panteffn Real de las Huelgas c??? |
work_q75dxl3b3fcqvkqvi2sjd35psu | - El Panteffn Real de las Huelgas c??? |
work_q75dxl3b3fcqvkqvi2sjd35psu | - El Panteffn Real de las Huelgas c??? |
work_q75dxl3b3fcqvkqvi2sjd35psu | 14)-+ Some early examples of th? |
work_q75dxl3b3fcqvkqvi2sjd35psu | ? |
work_q75dxl3b3fcqvkqvi2sjd35psu | b: Spanish? |
work_q75dxl3b3fcqvkqvi2sjd35psu | b: Spanish? |
work_s567f3sxfrhnfjverv652bkwum | 25 John W. O’Malley, ‘ Was Ignatius Loyola a Church Reformer? |
work_s567f3sxfrhnfjverv652bkwum | A. de Leon Pinelo, Vida del Illustrissimo i Reverendissimo D. Toribio Alfonso Mogrovejo([ Madrid? |
work_s567f3sxfrhnfjverv652bkwum | But marke … the cause of his affection towards Rome: to wite the bodies of the Apostles lying there, and why the bodies? |
work_jjjp7vixsrawfjwewfvy5tnlvi | ( 1990: 409) A luciole is a firefly, but what is a fulgore — perhaps a sort of lightening spirit? |
work_jjjp7vixsrawfjwewfvy5tnlvi | Feu des sorciers, ton père est où? |
work_jjjp7vixsrawfjwewfvy5tnlvi | Francophonie or négritude? |
work_jjjp7vixsrawfjwewfvy5tnlvi | Qui t’a nourri? |
work_jjjp7vixsrawfjwewfvy5tnlvi | Ta mère est où? |
work_jjjp7vixsrawfjwewfvy5tnlvi | Where did the texts come from? |
work_m6wcbhclbfgr7edspafmbvwbke | Au lieu de ma grand ’ robbe avoir ceste cuirasse? |
work_m6wcbhclbfgr7edspafmbvwbke | Comment expliquer cette transformation? |
work_m6wcbhclbfgr7edspafmbvwbke | Pour la plume en la main ceste pesante masse? |
work_igr2gyy23be5zg5kwgrybncswu | As a young c i t y, was Vancouver concerned.about a"p u b l i c park"open- space f o r i t s c i t i z e n s? |
work_igr2gyy23be5zg5kwgrybncswu | I L L U 3 1 I? |
work_igr2gyy23be5zg5kwgrybncswu | VAMCocjLMGR C l T^ ARCtAiV6S- m-- 1 9 7--/ |
work_igr2gyy23be5zg5kwgrybncswu | Were there d i r e c t design i n f l u e n c e s from B r i t a i n, Europe, the U.S.? |
work_igr2gyy23be5zg5kwgrybncswu | When the land f o r V i c t o r i a Park was acquired, the Commission f o r the Improvement of the M e t r o p o l i s was set up? |
work_iqzuoh7f4naqvnr5vxkcvhdqx4 | But is this evidence strong enough to suggest the existence of a deliberate ennoblement policy? |
work_iqzuoh7f4naqvnr5vxkcvhdqx4 | Did Imperial Government Regulate Noble Status? |
work_iqzuoh7f4naqvnr5vxkcvhdqx4 | See Gerhard Dilcher, “ Der alteuropäische Adel — ein verfassungs- geschichtlicher Typus? ” in Europäischer Adel 1750–1950, ed. |
work_iqzuoh7f4naqvnr5vxkcvhdqx4 | What does the fact that noble status was bought and sold teach us about the idea of nobility? |
work_iqzuoh7f4naqvnr5vxkcvhdqx4 | What returns did they expect when they applied for ennoblement in the seventeenth or eighteenth century? |
work_n4cdi57q2ja5bd357tfyvhqeti | A t: 0 1: 5 2 1 4 A p r i l 2 0 1 0 Capital and the Transfiguring Monumentality of Raffles Hotel 179 cultural flows? |
work_n4cdi57q2ja5bd357tfyvhqeti | The Straits Times( 1980a) Incentive offer to preserve Raffles? |
work_n4cdi57q2ja5bd357tfyvhqeti | The Straits Times( 1987a) Restoration of Raffles to start soon? |
work_n4cdi57q2ja5bd357tfyvhqeti | What kind of derivative memories, histories, meaning- values, translat- ability, authority and power are therefore produced? |
work_n4cdi57q2ja5bd357tfyvhqeti | Why did they opt for the portico over the ballroom? |
work_n4cdi57q2ja5bd357tfyvhqeti | Why was the portico so fetishized by the urban planners and restoration architects? |
work_oqaujrhgnrfwvirpy3caexw2bu | And where did the nerve cells come in? |
work_oqaujrhgnrfwvirpy3caexw2bu | But how to prove this postulated continuity between nerve fibres? |
work_oqaujrhgnrfwvirpy3caexw2bu | Did this knee- kick really implicate an anatomical reflex arc in keeping with his definition? |
work_oqaujrhgnrfwvirpy3caexw2bu | HoFFMANN, PAUL( 1884? |
work_oqaujrhgnrfwvirpy3caexw2bu | TscHnEw[ CHnuv], SERGEI IvANovicH( 1850? |
work_oqaujrhgnrfwvirpy3caexw2bu | Was the soul not the one and only ruler over man''s entire behaviour? |
work_oqaujrhgnrfwvirpy3caexw2bu | Was this truly one of Hall''s prophetic reflexes? |
work_44plwco6b5f2pjx4qt532tzwde | 1140? |
work_44plwco6b5f2pjx4qt532tzwde | In this, he emulates his father, Moses Yahia, who, in the recent plague( 1559? |
work_44plwco6b5f2pjx4qt532tzwde | The author[ Joseph ibn Nagrella?] |
work_44plwco6b5f2pjx4qt532tzwde | They describe the character or type: Someone who is “ with me ” here[ in his house?] |
work_44plwco6b5f2pjx4qt532tzwde | Who is the pesado? |
work_44plwco6b5f2pjx4qt532tzwde | imply a snowy landscape rather than a muddy one? |
work_n3khfbviwze4vkk5v7li3n4mx4 | ( A r r a s?) |
work_n3khfbviwze4vkk5v7li3n4mx4 | , p. 9? |
work_n3khfbviwze4vkk5v7li3n4mx4 | 1?. |
work_n3khfbviwze4vkk5v7li3n4mx4 | 2 Monluc, Commentaires, I I, 402; Commentaires et L e t t r e s, IV, 11?. |
work_n3khfbviwze4vkk5v7li3n4mx4 | 8? |
work_n3khfbviwze4vkk5v7li3n4mx4 | ? |
work_n3khfbviwze4vkk5v7li3n4mx4 | ? 6 f u n c t i o n of v i g u i e r f o r the enseigne was denied. |
work_n3khfbviwze4vkk5v7li3n4mx4 | Que sais- je? |
work_n3khfbviwze4vkk5v7li3n4mx4 | Should not N o a i l l e s, as mayor of the town, l i v e i n the mayor''s residence? |
work_n3khfbviwze4vkk5v7li3n4mx4 | ^Doucet, I n s t i t u t i o n s, I I, 64?. |
work_w6gefjam6jhiteyypdivv45piq | Camden, opposing the argument for common law copyright in , asked rhetorically, “[ C]an the purchaser lend his Book to his Friend? |
work_w6gefjam6jhiteyypdivv45piq | Can he let it out for Hire as the circulating Libraries do? |
work_w6gefjam6jhiteyypdivv45piq | I asked if this was not unlucky: would they not hurt one another? ” James Boswell, Journal of a Tour to the Hebrides, ed. |
work_w6gefjam6jhiteyypdivv45piq | Linda L. Berger, “ The Lady, or the Tiger? |
work_w6gefjam6jhiteyypdivv45piq | how far the liberty of Borrowing may extend? |
work_uqmnp5nvynhihj7b4x4t4p6kyq | Balzac, what do you want from me? ’ It is unbearable. |
work_uqmnp5nvynhihj7b4x4t4p6kyq | Finally, Gozlan,"Le château de Monte- Cristo ”, 35, commented:"Which architect in the world would have designed such a monument? |
work_uqmnp5nvynhihj7b4x4t4p6kyq | The great man pursues you day and night like Banquo ’s shadow: ‘ Dumas, what have I done to you? |
work_uqmnp5nvynhihj7b4x4t4p6kyq | – Right here, where we are now? |
work_uqmnp5nvynhihj7b4x4t4p6kyq | – What do you want? |
work_uqmnp5nvynhihj7b4x4t4p6kyq | – What is a very literary park, my dear Dumas? |
work_7ialjddep5hfrbkvgztdrbqrxa | *=-..= 5I QB ’; J;Y~*''° ”"‘4 ‘*_ g:.''/?. |
work_7ialjddep5hfrbkvgztdrbqrxa | ..... 235 Q? “ Lex Hermans Dynastic Pride in the FarneseTheatre at Parma. |
work_7ialjddep5hfrbkvgztdrbqrxa | : ‘ iZ@;.I6''¥ Kg ‘._~_;W i%''55? ‘ J F=-.—§=é:£=t “ 7,_,. |
work_7ialjddep5hfrbkvgztdrbqrxa | :-F;\ iF.=,"-"72"hm,";.-_=- I A “ M=,, ‘"""''i Ti? |
work_7ialjddep5hfrbkvgztdrbqrxa | ;{'': wf''“, an ‘ W “ F‘F, Ir- Q; lF%=§ “ IL,-? |
work_7ialjddep5hfrbkvgztdrbqrxa | ?_,.,=‘g{,- ’_ 1 A( 1655) J___ 4 TE! |
work_7ialjddep5hfrbkvgztdrbqrxa | A~ V- aw: W---._>‘~*< |
work_7ialjddep5hfrbkvgztdrbqrxa | Yet, this leads to a further prob~ lem: if 19"‘ century critics missed these differences, would 16 ° ‘ century observers be aware of them? |
work_nk7bxfb4kjem3pp7sxpmjsma5u | 8 Would you not make obeisance before the East- erners who have discovered the beauty of letters and of philosophy itself? |
work_nk7bxfb4kjem3pp7sxpmjsma5u | But do you not understand that Athens alone of all Greece was able to give birth to more philosophers than all Italy had or has? |
work_nk7bxfb4kjem3pp7sxpmjsma5u | Who among the Europeans is wiser than Socrates, Timaeus, and Pythagoras? |
work_nk7bxfb4kjem3pp7sxpmjsma5u | Who among the Westerners is equal to Plato and Aristotle and Zeno; who equal to Herodotus, Thucydides, and Xenophon? |
work_nk7bxfb4kjem3pp7sxpmjsma5u | Who can be compared with Cyril, Gregory, and Basil; who, in the field of grammar, can equal or approach Herodian, Apollonius, and Trypho? |
work_nk7bxfb4kjem3pp7sxpmjsma5u | Who can rival Antiphon, Hyperides, and Demos- thenes? |
work_2gxoaqdmkrgmtlyivpoaa2kblq | If Valerius Maximus is included among the historians, then Aulus Gellius, another commonplacer, perhaps deserves a place there too? |
work_2gxoaqdmkrgmtlyivpoaa2kblq | Is this a product of the southern, rather than the northern, Renaissance, and particular networks of producers? |
work_2gxoaqdmkrgmtlyivpoaa2kblq | What does this mean for statistical analyses using the USTC? |
work_2gxoaqdmkrgmtlyivpoaa2kblq | – ; see also Grafton, What was history? |
work_2gxoaqdmkrgmtlyivpoaa2kblq | –; Fred Schurink, ‘ War, what is it good for? |
work_775ebxatm5aidbdilc6dskaxpi | Dark Emu Black Seed: Agriculture or Accident? |
work_775ebxatm5aidbdilc6dskaxpi | Early on in my research it became clear I needed to ask: what is a garden? |
work_775ebxatm5aidbdilc6dskaxpi | How as a painter could I best exploit such highly composed gardens? |
work_775ebxatm5aidbdilc6dskaxpi | John Glover, Detail from John Glover ’s sketchbook( 1834?) |
work_775ebxatm5aidbdilc6dskaxpi | Left: Detail from John Glover ’s sketchbook( 1834? |
work_775ebxatm5aidbdilc6dskaxpi | What could my painting practice contribute to my understanding and practice as a gardener? |
work_l5m4zqbegzaw5i6tlyu6xmhu2i | Alas why loved I? ’ ’( NA, 432), we may, in context, scarcely notice the repetition. |
work_l5m4zqbegzaw5i6tlyu6xmhu2i | Or could she con- spire without somebody to conspire with? ’ ’( OA, 389). |
work_l5m4zqbegzaw5i6tlyu6xmhu2i | Or had she a practice without conspiracy? |
work_l5m4zqbegzaw5i6tlyu6xmhu2i | So did Pamphilius really have to inflict that final twist of the knife? |
work_l5m4zqbegzaw5i6tlyu6xmhu2i | Vivit? |
work_l5m4zqbegzaw5i6tlyu6xmhu2i | When in the New Arcadia( 1593) Pyrocles exclaims, ‘ ‘ Why lived I, alas? |
work_l5m4zqbegzaw5i6tlyu6xmhu2i | no practice to lead her unto it? |
work_6t54xbqp4baf7ibkg27kqqg2sa | 174 political platforms, such as should small plots be collectively folded into larger operations? |
work_6t54xbqp4baf7ibkg27kqqg2sa | 181 Now what shall I say about your little piece about the plants and the rain? |
work_6t54xbqp4baf7ibkg27kqqg2sa | Had he been seduced by the impasto? |
work_6t54xbqp4baf7ibkg27kqqg2sa | Is n’t that wonderful? |
work_6t54xbqp4baf7ibkg27kqqg2sa | Is the viewer within and looking down or glancing across a field? |
work_6t54xbqp4baf7ibkg27kqqg2sa | Ought or may the association have a commercial character, yes or no? |
work_6t54xbqp4baf7ibkg27kqqg2sa | Pencil, watercolor, chalk, brush and ( oil?) |
work_6t54xbqp4baf7ibkg27kqqg2sa | Pencil, watercolor, chalk, brush and ( oil?) |
work_2lq2dwwrrrgpto2i3rialvoos4 | 68 Lucien Romier, La Conjuration d''Amboise( Paris: Perrin, 1923) 167 as cited in Philip Benedict, “ Qui étaient les députés? |
work_2lq2dwwrrrgpto2i3rialvoos4 | Also see Max Engammare( “ Calvin monarchomaque? |
work_2lq2dwwrrrgpto2i3rialvoos4 | Can one comment on other reasons? |
work_2lq2dwwrrrgpto2i3rialvoos4 | Or, indeed, shall we risk our lives? ” If we reduce. |
work_2lq2dwwrrrgpto2i3rialvoos4 | Philip Benedict, “ Prophets in Arms? |
work_2lq2dwwrrrgpto2i3rialvoos4 | What meanness would you not commit, to Stamp out meanness? |
work_2lq2dwwrrrgpto2i3rialvoos4 | Why would they do this? |
work_2lq2dwwrrrgpto2i3rialvoos4 | “ What! ” they say, “ Shall we all depart and run away to an unknown place? |
work_lyz56oyuqnfq3gktvtnn5n4zsu | But how well do we really know these people and their achievements? |
work_lyz56oyuqnfq3gktvtnn5n4zsu | Did he die not knowing? |
work_lyz56oyuqnfq3gktvtnn5n4zsu | Did he know he had discovered something deeply profound about nature? |
work_lyz56oyuqnfq3gktvtnn5n4zsu | How do we get answers to these often non- technical and perhaps seemingly personal questions? |
work_lyz56oyuqnfq3gktvtnn5n4zsu | How would you like that? |
work_lyz56oyuqnfq3gktvtnn5n4zsu | It is interesting to ponder, even momentarily, upon questions like: What were they like as people? |
work_lyz56oyuqnfq3gktvtnn5n4zsu | One often wondered: Did he stumble onto his law? |
work_lyz56oyuqnfq3gktvtnn5n4zsu | What lead them to make their discover- ies? |
work_lyz56oyuqnfq3gktvtnn5n4zsu | What motivated them? |
work_lyz56oyuqnfq3gktvtnn5n4zsu | What thoughts did they have about the state of science in their time? |
work_lyz56oyuqnfq3gktvtnn5n4zsu | What visions did they have for the future of hydrogeology? |
work_jzb6bfs7jze3nivbdruimip4iu | Constance Hamilton D’où viens- tu, bergère?/ Whence, O shepherd maiden? |
work_jzb6bfs7jze3nivbdruimip4iu | Dusseau( b. Ruth Cleveland, 1893-?) |
work_jzb6bfs7jze3nivbdruimip4iu | Hamilton S’ébahiton si je vous aime/ Is it a wonder I should love thee? |
work_jzb6bfs7jze3nivbdruimip4iu | Laquelle marierons- nous? |
work_jzb6bfs7jze3nivbdruimip4iu | Sommeiles- tu, ma petite Nanon?/ Are you asleep my so dainty Nanon? |
work_jzb6bfs7jze3nivbdruimip4iu | What art though, little Chiefling, babe of my heart? |
work_jzb6bfs7jze3nivbdruimip4iu | What shall I sing to thee, son on my back? |
work_jzb6bfs7jze3nivbdruimip4iu | Where art though, little Chiefling, Babe of my heart? |
work_jzb6bfs7jze3nivbdruimip4iu | do you want a nosegay? |
work_jzb6bfs7jze3nivbdruimip4iu | “ What ’s the difference? |
work_gsgkk6yknrceph4ts3cc2ld7uq | !- but go to the baynes and p l a y at d i c e? |
work_gsgkk6yknrceph4ts3cc2ld7uq | 0 ye k n i g h t s of England, where i s the custome and usage of noble c h i v a l r y that was used i n those days? work_gsgkk6yknrceph4ts3cc2ld7uq What''s the t r o u b l e? |
work_gsgkk6yknrceph4ts3cc2ld7uq | Is i t j u s t that Hollywood i s a low pressure a r e a i n our n a t i o n a l c u l t u r e? |
work_gsgkk6yknrceph4ts3cc2ld7uq | The most famous poet of t h i s p e r i o d i s the Frenchman, F r a n c o i s V i l l o n( d.1462?) |
work_lpyeymq45zavljkk6t5lupvide | Beyond Cultural History? |
work_lpyeymq45zavljkk6t5lupvide | Determining sex became more complicated, leading to the question: Who had the power to decide: doctor or patient? |
work_lpyeymq45zavljkk6t5lupvide | Finally, does it pay due attention to the material aspect of racial research? |
work_lpyeymq45zavljkk6t5lupvide | So what does this approach offer historians of the body? |
work_lpyeymq45zavljkk6t5lupvide | To what extent is praxiography useful for historians to get around the opposition between social constructionism and essentialism in body history? |
work_lpyeymq45zavljkk6t5lupvide | “ Microstudies versus big picture accounts? ” Studies in History and Philosophy of Biological and Biomedical Sciences 40( 2009): 13–19. |
work_lpyeymq45zavljkk6t5lupvide | “ The Body as Method? |
work_g63tefd7ibgvflhishzolnsr6e | 2 So, how were fictions and poems employed to imagine the apocalyptic end or to approach revelation? |
work_g63tefd7ibgvflhishzolnsr6e | But what would such reading look like? |
work_g63tefd7ibgvflhishzolnsr6e | How did apocalyptic expectation shape conceptions of poetic prophecy or of fiction? |
work_g63tefd7ibgvflhishzolnsr6e | If I have s poken to you earthl y thi ngs, and you bel i eve not: how wi l l you bel i eve, i f I s hal l s peak to you heavenl y thi ngs? |
work_g63tefd7ibgvflhishzolnsr6e | Introduction Can fictions ‘ prophesy ’? |
work_g63tefd7ibgvflhishzolnsr6e | So, how might reading allow for this role of the literal? |
work_g63tefd7ibgvflhishzolnsr6e | So, how should readers engage with this ‘ revelation ’? |
work_g63tefd7ibgvflhishzolnsr6e | What can we deduce about the mechanisms for playing with words and seeking truth? |
work_g63tefd7ibgvflhishzolnsr6e | What relationship might they have to apocalypse, in the sense of both the end of the world and also revelation? |
work_g63tefd7ibgvflhishzolnsr6e | What relationships existed between literary and non- literary prophecy? |
work_g63tefd7ibgvflhishzolnsr6e | ii Can Novel i s ts Predi ct the Future? |
work_fdviy55ao5favbz54qgnw2zavy | ''Is not this carrying the separation a little too far?'' |
work_fdviy55ao5favbz54qgnw2zavy | 76''... should the mistress not have the fun of her own house? |
work_fdviy55ao5favbz54qgnw2zavy | BUILDING AN IMAGE? |
work_lpcgo4mfujdgljpngpmvgyp3qe | He[ Confucius] asked Tze- Kung: who comprehends most, you or Hui? |
work_lpcgo4mfujdgljpngpmvgyp3qe | Is Pound perhaps alluding to the Song of Songs, Cantar de los Cantares? |
work_lpcgo4mfujdgljpngpmvgyp3qe | [ or?] |
work_lpcgo4mfujdgljpngpmvgyp3qe | gilded? ”[ 708]). |
work_lpcgo4mfujdgljpngpmvgyp3qe | “ Quis erudiet without documenta? ”, he asks in Canto LXXXVI/581,33 a phrase in 30 The Sacred Edict, 5 n.9. |
work_glrpzdim5zf7jdkbzqvtur3m5e | ), Perspektiven in der Fremde? |
work_glrpzdim5zf7jdkbzqvtur3m5e | 37 JEFFERIES, Hamburg, 2011, p. 150; Jefferies, Hamburg: a city held together by brick? |
work_glrpzdim5zf7jdkbzqvtur3m5e | Bemühten sie sich um die Schaffung eines eigenen, lokalen Stadtbildes, das sich von anderen abhob? |
work_glrpzdim5zf7jdkbzqvtur3m5e | HINKKANEN, Merja- Liisa; Expressions of Longing, Sources of Anxiety? |
work_glrpzdim5zf7jdkbzqvtur3m5e | How did the trading function of port cities affect the construction of urban space and the proliferation of architectural styles? |
work_glrpzdim5zf7jdkbzqvtur3m5e | JEFFERIES, Matthew; Hamburg: a city held together by brick? |
work_glrpzdim5zf7jdkbzqvtur3m5e | Wie wirkte sich der Handel auf die Bebauung des öffentlichen raumes in Hafenstädten und auf die Verbreitung bestimm- ter Baustile aus? |
work_glrpzdim5zf7jdkbzqvtur3m5e | aber in wie großem Umfange bedienten sich die Praktiker in den Hafenstädten dabei internationaler Symbo- lik und moderner Bautechniken? |
work_4x6rk5t43jfytin6q7jpmqhsoy | 94 Belleforest, 2013, 540: “ adaptés à nos façons. ” 95 Belleforest, 2013, 548: “ Quoy? |
work_4x6rk5t43jfytin6q7jpmqhsoy | Are you destined to be the Spaniards ’ slaves? |
work_4x6rk5t43jfytin6q7jpmqhsoy | Are you less brave than these Africans? |
work_4x6rk5t43jfytin6q7jpmqhsoy | Are you weaker than the blacks? |
work_4x6rk5t43jfytin6q7jpmqhsoy | Can you see their slaves the Moors who are ready to rebel, because they can no longer bear the or- ders or the tyranny of these cruel lords? |
work_4x6rk5t43jfytin6q7jpmqhsoy | Enriquillo directly ad- dresses Judge Vadillo, decrying his unjust sentence: “ What? |
work_4x6rk5t43jfytin6q7jpmqhsoy | Est- ce l’office d’un magistrat d’estre accepteur de personnes? |
work_4x6rk5t43jfytin6q7jpmqhsoy | How and why did the New World become the theater of violent conflicts that replicated the wars of the Old? |
work_4x6rk5t43jfytin6q7jpmqhsoy | How then can a just sentence be passed on those who have not abided by them? |
work_4x6rk5t43jfytin6q7jpmqhsoy | Is it a magistrate ’s duty to judge in view of one ’s status? |
work_4x6rk5t43jfytin6q7jpmqhsoy | What were the merits of attempting to master such a harsh environment and hostile nature as those described in the tale of the damoiselle? |
work_4x6rk5t43jfytin6q7jpmqhsoy | Will it be said that you now let your courage and resolve be defeated, without showing the slightest bit of bravery? |
work_4x6rk5t43jfytin6q7jpmqhsoy | Will you suffer slaves to be bolder than you, who stood up to the Caribs, and terrified the armies of the very same men who now want to enslave you? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | / Ces barbares pour se conduire/ N’ont pas tant que nous de raison,/ Mais qui ne voit que la foison/ N’en sert que pour nous entrenuire? ”. |
work_qu73tzemafcp3ecaz7kb2yy2a4 | / Sebastian: No marrying ‘ mong his subjets? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | / Will money buy them? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | 66 “ Gonzalo: Who would believe that there were mountaineers/ Dew- lapp ’s like bulls, whose throats had hanging at them/ Wallets of flesh? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | 67 “ Gonzalo: And where the king on’t, what would I do? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | En vez de trabajar para subsistir se pasan las semanas en absurdas discusiones: ¿ Cómo se debe interpretar la Cena? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | Supone, pero hay un problema: ¿ como vencer a los salvajes sin volverse como ellos? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | También: “ What things are these, my lord Antonio? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | or that there were such men/ Whose heads stood in their breasts? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | ¿ Cómo explicar esta formidable fortuna del canibalismo en el imaginario colectivo del Renacimiento? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | ¿ Hay que mezclar el agua y el vino para la Consagración? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | ¿ Por qué Colón se orienta hacia esta nueva explicación? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | ¿ Por qué esa obsesión por la antropofagia que acompaña toda la conquista del Nuevo Mundo, desde el primer viaje de Colón? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | ¿ Por qué? |
work_qu73tzemafcp3ecaz7kb2yy2a4 | ¿ Que relación hay entre la visión cosmográfica de un Alter Orbis y la reiteradas acusaciones a sus habitantes de comer carne humana? |
work_avergtn2kzg2hkqvfm6xfh5miy | Are men than we in greater grace with Heaven? |
work_avergtn2kzg2hkqvfm6xfh5miy | Humanities 2018, 7, 61 13 of 17 Keeps me from being the Arabian ’s wife? |
work_avergtn2kzg2hkqvfm6xfh5miy | Or can not women hate as well as men? |
work_avergtn2kzg2hkqvfm6xfh5miy | Or give they but their body, not their mind, Reserving that, though best, for others ’ prey? |
work_avergtn2kzg2hkqvfm6xfh5miy | Or given to them, why barred from women then? |
work_avergtn2kzg2hkqvfm6xfh5miy | Or will you submit to the will, the laws, the customs, even the whims of authority, as you patiently and obediently wait for death? |
work_avergtn2kzg2hkqvfm6xfh5miy | Why do you not as well our battles fight, And wear our armor? |
work_avergtn2kzg2hkqvfm6xfh5miy | Why should such privilege to man be given? |
work_avergtn2kzg2hkqvfm6xfh5miy | You ’d rather have them inside you than me? |
work_5ml7vqictrbvzblwhch76fnm6u | H o w a r e s u c c e s s f u l t h e a t r e r e s t o r a t i o n p r o j e c t s h a n d l e d i n C a n a d a a n d t h e U n i t e d S t a t e s? |
work_5ml7vqictrbvzblwhch76fnm6u | H o w c a n w e l i v e w i t h o u t o u r l i v e s? |
work_5ml7vqictrbvzblwhch76fnm6u | H o w w i l l t h e h i s t o r i c m o v i e t h e a t r e b e v i e w e d f r o m t h e s e p e r s p e c t i v e s? |
work_5ml7vqictrbvzblwhch76fnm6u | H o w w i l l w e k n o w i t''s u s w i t h o u t o u r p a s t? |
work_5ml7vqictrbvzblwhch76fnm6u | H o w? |
work_5ml7vqictrbvzblwhch76fnm6u | R e a d i n g i n H i s t o r i c P r e s e r v a t i o n: W h y? |
work_5ml7vqictrbvzblwhch76fnm6u | T h e m o p p e t a s k s,"M o m m y- d o e s G o d l i v e h e r e?" |
work_5ml7vqictrbvzblwhch76fnm6u | T i c k e t s t o P a r a d i s e: M o v i e P a l a c e s, D i d n''t W e H a v e F u n? |
work_5ml7vqictrbvzblwhch76fnm6u | W h a t a b o u t h e r i t a g e p o h c i e s? |
work_5ml7vqictrbvzblwhch76fnm6u | W h a t f a t e t h e a g e i n g d o w a g e r? |
work_5ml7vqictrbvzblwhch76fnm6u | W h a t i s t h e l e s s o n to b e l e a r n e d f r o m t h i s? |
work_5ml7vqictrbvzblwhch76fnm6u | W h a t? |
work_5ml7vqictrbvzblwhch76fnm6u | W h y s h o u l d w e w a n t t o i n v e s t t i m e a n d m o n e y t o p r e s e r v e t h i s s y m b o l o f f o r e i g n d o m i n a t i o n? |
work_5ml7vqictrbvzblwhch76fnm6u | W i t h o u t O u r P a s t? |
work_g3q46dkhm5du5lvlfgtrnesry4 | $ 7.95 arvard University PrpssI I Cambridge, Massachusetts 02138 MOVING? |
work_g3q46dkhm5du5lvlfgtrnesry4 | .? |
work_g3q46dkhm5du5lvlfgtrnesry4 | 4? |
work_g3q46dkhm5du5lvlfgtrnesry4 | 4? |
work_g3q46dkhm5du5lvlfgtrnesry4 | Alabama, January 1977,$ 8.00 WHAT IS ROMANTICISM?, by Henri Peyre, trans, from the French by Roda P. Roberts. |
work_g3q46dkhm5du5lvlfgtrnesry4 | Epilogue: What Does the Future Hold? |
work_g3q46dkhm5du5lvlfgtrnesry4 | IJI? |
work_g3q46dkhm5du5lvlfgtrnesry4 | J L 4? |
work_g3q46dkhm5du5lvlfgtrnesry4 | Montreal, 1976,$ 4.50 AVEZ- VOUS RELU DUCHARME?, Revue Etudes franQaises. |
work_g3q46dkhm5du5lvlfgtrnesry4 | The Polymorphic Worlds of John Brunner: How Do They Happen?... |
work_g3q46dkhm5du5lvlfgtrnesry4 | The result? |
work_g3q46dkhm5du5lvlfgtrnesry4 | Who does n''t need a workbook? |
work_g3q46dkhm5du5lvlfgtrnesry4 | Why has THE COMPLETE STYLIST AND HANDBOOK found its room at the top? |
work_2t4ypvns7be7lgoquav7dw4v2e | Are n’t I lucky? ”), it is because he knows how to exploit what is unfolding in the world around him as a comedic prompt. |
work_2t4ypvns7be7lgoquav7dw4v2e | As each day of the campaign passes, news consumers want to know: Who did Trump offend this time? |
work_2t4ypvns7be7lgoquav7dw4v2e | But did Dean really sound so out of control? |
work_2t4ypvns7be7lgoquav7dw4v2e | But would any of these actions have damaged Trump ’s candidacy? |
work_2t4ypvns7be7lgoquav7dw4v2e | Did Donald Trump call for Hillary Clinton ’s assassination? |
work_2t4ypvns7be7lgoquav7dw4v2e | Do you want that for your president? |
work_2t4ypvns7be7lgoquav7dw4v2e | Excerpt 2: The Food- Shoveling Governor Now you look at Kasich, I do n’t think he knows what — you know, did you see him? |
work_2t4ypvns7be7lgoquav7dw4v2e | Gesture What is it about Trump ’s public movements that allow him to appear comedic yet serious enough to become the Republican Party candidate? |
work_2t4ypvns7be7lgoquav7dw4v2e | Haugerud poses the question: What follows “ after satire ”? |
work_2t4ypvns7be7lgoquav7dw4v2e | How do we explain the success of Trump ’s divergence from what appears to be normative gestural behavior for politicians seeking the Oval Office? |
work_2t4ypvns7be7lgoquav7dw4v2e | Media scholar Robert Thompson asks in a recent documentary on fatal campaign blunders( History Channel 2016): What must Howard Dean be thinking now? |
work_2t4ypvns7be7lgoquav7dw4v2e | The same ambiguity offered a peculiar advantage to Trump during the Republican primaries: Was Trump ’s bullying behavior reality or performance? |
work_2t4ypvns7be7lgoquav7dw4v2e | This is fourteen years ago he still — They did n’t do a retraction? |
work_2t4ypvns7be7lgoquav7dw4v2e | Were n’t his poll numbers already fading? |
work_2t4ypvns7be7lgoquav7dw4v2e | Would anyone vote for that? ”). |
work_2t4ypvns7be7lgoquav7dw4v2e | “ Does political humor matter? |
work_2t4ypvns7be7lgoquav7dw4v2e | “ Where did she go? ” he asks the crowd. |
work_c7wlyvoei5apzouddn5gvorqy4 | And how are we going to do that? |
work_c7wlyvoei5apzouddn5gvorqy4 | Is n''t she a technician? |
work_c7wlyvoei5apzouddn5gvorqy4 | What shall I do? |
work_c7wlyvoei5apzouddn5gvorqy4 | Where are you going? |
work_c7wlyvoei5apzouddn5gvorqy4 | A G E N E R A T I V E D I S T I N C T I O N? |
work_c7wlyvoei5apzouddn5gvorqy4 | E L E K T R O N I S C H E M U S I K: A G E N D E R E D D I C H O T O M Y? |
work_c7wlyvoei5apzouddn5gvorqy4 | How accurate was Schaeffer''s definition of the other studio? |
work_c7wlyvoei5apzouddn5gvorqy4 | If the cricket had come from my own garden, had a name and would talk to me every day, would I still be able to slow it down? |
work_c7wlyvoei5apzouddn5gvorqy4 | Is this because of Westerkamp''s contextual soundscape approach to composing, which is often misunderstood? |
work_c7wlyvoei5apzouddn5gvorqy4 | Is this simply manipulation? |
work_c7wlyvoei5apzouddn5gvorqy4 | Oliveros asks"did you know there are over one hundred spe- cies of fish which change sex regularly? |
work_c7wlyvoei5apzouddn5gvorqy4 | One person was quite upset and said"Why do you have to write music like this?" |
work_c7wlyvoei5apzouddn5gvorqy4 | To what extent is it possible to speak of shared practices among composers, artists, producers and mixers? |
work_c7wlyvoei5apzouddn5gvorqy4 | What Can She Know? |
work_c7wlyvoei5apzouddn5gvorqy4 | What significance can these shifts in ideas about the role of the soundmaker have for the acceptance of electroacoustic genres? |
work_c7wlyvoei5apzouddn5gvorqy4 | Why would I slow down the crickets voice but not my daughters? |
work_c7wlyvoei5apzouddn5gvorqy4 | Would I need to? |
work_c7wlyvoei5apzouddn5gvorqy4 | but what will we do?" |
work_4jdcjrygnbh4rdhxbxalq6xa2i | 10 Who, then, were those other exceptionally skilled female aviation pioneers who remain largely underrepresented in writings on aviation history? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | 107 And what about Barbette himself? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | 34 C. D. Chamberlin, “ Shall We All Fly Soon?, ” North American Review 226( 4)( 1928): 410. |
work_4jdcjrygnbh4rdhxbxalq6xa2i | 42 Jacques Patin, “ Cirque Medrano: Barbette? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | 62 Denise Heikinen, “ Is Bakhtin a Feminist or Just Another Dead White Male? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | 67 Brady, “ Is a Hard Woman Good to Find?, ” 217. |
work_4jdcjrygnbh4rdhxbxalq6xa2i | And my knees? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | Et les genoux? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | Houndmills, Basingstoke, Hampshire: Macmillan Press LTD, 1997, 60- 61; Jacqueline Brady, “ Is a Hard Woman Good to Find? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | How can I use this work to promote feminist thinking 61 without having to excuse him? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | It was just a fact, and how could full transport dependability be expected in the face of it? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | Was it a fully clothed Charmion- meaning she would perform her disrobing act- or was it ‘ just ’ Charmion the trapeze performer? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | Who can better perform this task than our girl pilots? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | “ Cirque Medrano: Barbette? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | “ Is Bakhtin a Feminist or Just Another Dead White Male? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | “ Is a Hard Woman Good to Find? |
work_4jdcjrygnbh4rdhxbxalq6xa2i | “ Shall We All Fly Soon? ” North American Review 226( 4)( October 1928): 409- 415. |
work_grrln3bepza2pos3egh5wpz3ru | 74 1985"Pragmatism and literary theory III: A reply to R o r t y: What is pragmatism?" |
work_grrln3bepza2pos3egh5wpz3ru | A n d first of all what is it''to write''? |
work_grrln3bepza2pos3egh5wpz3ru | A n orator uses ink to write out his compositions: does that mean ink is a very eloquent liquid? |
work_grrln3bepza2pos3egh5wpz3ru | C a v e l l, Stanley 1969 Must We Mean What We Say? |
work_grrln3bepza2pos3egh5wpz3ru | Does one paint a principle( produce its''genuine reproduction'')? |
work_grrln3bepza2pos3egh5wpz3ru | How is it that the f a c t of writing can disturb the very question''what is?'' |
work_grrln3bepza2pos3egh5wpz3ru | L a n g, C a n d a c e 1983"A b e r r a n c e in c r i t i c i s m?" |
work_grrln3bepza2pos3egh5wpz3ru | Miller 1985"The role of theory in the study of literature?" |
work_grrln3bepza2pos3egh5wpz3ru | Our considerations are certainly intended to represent something, but could they constitute a document, or the thing represented, a thing? |
work_grrln3bepza2pos3egh5wpz3ru | Perhaps a warrant for identifying Derrida''s work with the literary should therefore be sought in some explicit statement or manifesto? |
work_grrln3bepza2pos3egh5wpz3ru | Posed in this c o n t e x t, the question"What is literature?" |
work_grrln3bepza2pos3egh5wpz3ru | R y a n, M a r i e- L a u r e 1979"Is there l i f e for Saussure after structuralism?" |
work_grrln3bepza2pos3egh5wpz3ru | Since the consequences of such a leveling are well known, how can a body of work proposing it be taken seriously in the final analysis?'' |
work_grrln3bepza2pos3egh5wpz3ru | T o what and to whom is this due? |
work_grrln3bepza2pos3egh5wpz3ru | The text above continues, giving some sense of the scope of Derrida''s interest: What is literature? |
work_grrln3bepza2pos3egh5wpz3ru | What is to be made, when writing already has a place in sociology, of the place of writing in sociology? |
work_grrln3bepza2pos3egh5wpz3ru | Will it do to construe this text in turn as a f a c t about H a b e r m a s, damning or otherwise? |
work_grrln3bepza2pos3egh5wpz3ru | Would it not in the 58 same moment lose all possibility of savouring its success? |
work_grrln3bepza2pos3egh5wpz3ru | and even''what does it mean?'' |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | Article: “ Écoles d’Art Américaines en sursis? ” January 31, 1994. |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | Boulanger ’s master classes: are they to exploit her one or two most talented and make complete fools of the others[?] |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | Finally, where would students come from? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | How could any serious musician resist the lure of studying under such a figure? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | How large would scholarships be, and how would they be overseen and dispersed? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | How many does she have to bring to get free lessons? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | I go someplace else unexpectedly, somebody says oh, I was in Fontainebleau in ’ 73, remember me? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | I said, excuse me? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | In determining the course of action to take, the brief history of the school undoubtedly was considered: was it worth preserving, and at what cost? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | Is that the aim of teaching of Jean- Pierre Marty? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | Remember me ’ 73, ’ 74? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | Should Mrs. Dorey get free les- sons? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | Should n’t the Conservatoire Américain admit them individually rather than as a group? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | Was Boulanger, after all, a figure to be idolized without dissent? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | Was the Conservatoire Américain, that great adventure in international relations and exchange, of value in the rapidly changing world? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | Was this the kind of past policy the Alumni Association wanted to re- create? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | What are we to do? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | What are you thinking about here? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | What constituted a viable number of students to assure success each summer? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | What has caused the Conservatoire Américain to be- come such an unknown among these summer schools? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | What kind of deal could be worked out? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | [ Marty said,] “ No, I do not want this, we will have an independent office. ” Where are you going to get the money? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | ’ 76? |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | “ Est- ce le Palais de Fontainebleau un menace d’incendie? ” — — —. |
work_t4q3lc5vqbcpha3cpg7sgd7zjq | “ Will the Écoles d’Art Américaines be forced to suspend operations? ” asked the paper. |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | C o m b i e n e s t i m e s- t u t o u t l''h o n n e u r t e r r i e n? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | Q u i v e r r a t e s S e c r e t s dans c e s t Ombre v o l a g e? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | Que d o i- j e f a i r e a f i n d''y a c c o r d e r ma L y r e? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | Que p o u r r a i- j e t r o u v e r aus e s c r i s d''E p i c u r e? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | 0 p a r f a i t e Unite q u i t e p e u t i m i t e r? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | 0 p a r f a i t e Unite"q u i t e p e u t i m i t e r? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | 2 2 1- 2 5 7; H e n r y Weber, 58"Y a- t- i l une p o £ s i e herme''tique au X V I s i e c l e en F r a n c e?" |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | 23''? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | 27) Thus w i l l h i s w o r k p r o v e o f l a s t i n g v a l u e:"O u se p o u s s e n t l e s C h a n t s de t o n e s p r i t s c a v a n t?" |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | P e u s- t u f a i r e c e l a, e t D i e u ne l e p e u t pas? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | Q u e l l e forme v o i s- t u p l u s p a r f a i c t e ny b e l l e, Que c e l l e q u i c o n t i e n t t o u t e a u t r e forme en e l l e? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | Q u i es t u q u i r£ponds? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | Se d o i t- o n e s t o n n e r que p a r s e c r e t e amorce E l l e en f a c e s e n t i r aux Animaux l a f o r c e? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | Y a- t- i l une p o e s i e h e r m e t i q u e au X V I s i e c l e en F r a n c e?" |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | a d m i r e s- t u p o i n t en t o y s i grande chose? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | c a r p o i n t j e ne t e v o y? |
work_dz3c3zrbkbdedf5h6fhdu2hg7a | u n i t y o f t r u t h and o f t h e harmony o f t h e w o r l d w h i c h t h a t u n i t y i m p l i e s: E t que d i r a i- j e p l u s? |
work_3bqkrd7ikndhrl755rjtvovwua | ( Or was she seduced, or abducted? |
work_3bqkrd7ikndhrl755rjtvovwua | 7 The matter under dispute was not: Did Adam and Eve have sexual relations before the Fall? |
work_3bqkrd7ikndhrl755rjtvovwua | And how would they know what to do? |
work_3bqkrd7ikndhrl755rjtvovwua | And, if they would have engaged in sex, what would their sexual relations have been like? |
work_3bqkrd7ikndhrl755rjtvovwua | Beauvoir ’s essay “ Must We Burn Sade? ” helped garner for the Divine Marquis a scholarly appreciation, at least among French scholars. |
work_3bqkrd7ikndhrl755rjtvovwua | Could it be worth thinking about Kant on sex and marriage? |
work_3bqkrd7ikndhrl755rjtvovwua | Hence, for Freud, “ Why are there homosexuals? ” is the wrong question. |
work_3bqkrd7ikndhrl755rjtvovwua | How did Augustine arrive at his philosophy? |
work_3bqkrd7ikndhrl755rjtvovwua | Is n’t rape wrong precisely because it is involuntary by force or otherwise lacks consent? |
work_3bqkrd7ikndhrl755rjtvovwua | Is sex necessary? |
work_3bqkrd7ikndhrl755rjtvovwua | Must we burn Sade? |
work_3bqkrd7ikndhrl755rjtvovwua | Naming the animals? |
work_3bqkrd7ikndhrl755rjtvovwua | Or why “ shut out ” the third instead of inviting him or her in? |
work_3bqkrd7ikndhrl755rjtvovwua | Or( nearly equivalently) if Adam and Eve had stayed longer in Eden, would they eventually have engaged in sex? |
work_3bqkrd7ikndhrl755rjtvovwua | Should Murdoch be included among the canonical philosophers of sex? |
work_3bqkrd7ikndhrl755rjtvovwua | The psychological issue raised by Murdoch creating a high justification for his impossible attachment? |
work_3bqkrd7ikndhrl755rjtvovwua | What if Aquinas had argued from dogs and cats to humans? |
work_3bqkrd7ikndhrl755rjtvovwua | What was on Adam and Eve ’s daily schedule or routine from which they would be distracted by inordinate, squandering sex? |
work_3bqkrd7ikndhrl755rjtvovwua | Where does the philosophy of sex stand today? |
work_3bqkrd7ikndhrl755rjtvovwua | Where is the difference in their “ philosophies ” or their approach? |
work_3bqkrd7ikndhrl755rjtvovwua | White( 1899- 1985) wrote a small book( Is Sex Necessary? |
work_3bqkrd7ikndhrl755rjtvovwua | Why did a U.S. president slink around the White House in search of sexual experiences? |
work_3bqkrd7ikndhrl755rjtvovwua | Why did beautiful Helen take up with handsome Paris, leaving family, child, and husband? |
work_3bqkrd7ikndhrl755rjtvovwua | Why do we have to be tricked into having sex? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Hulin de Loo, Bruges 1902:..., LVIII: Est- ce par inconscience ou par insouciance qu''elle laisse les tresors dans I''oubli? work_o6jhzbypjjdfph2ovtzjkyy2yi Ou en est l''histoire de I''art en France?" |
work_o6jhzbypjjdfph2ovtzjkyy2yi | 11 all? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | 116 frangais change or expand the way in which the term primitif was understood and applied to fifteenth century art production? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | 18 Ecole de Nicolas Froment, Pieta, avec saint Jean, la Vierge, la Madeleine et un donateur, 1470?. |
work_o6jhzbypjjdfph2ovtzjkyy2yi | An examination of this exhibition, its construction, representation and milieu provokes a series of questions: Why was this exhibition held? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | But did it change the canon? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | But did the public at large share that opinion? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Cet incomparable et merveilleux tresor, do nt les monarchies abolies ont enrichi la France, n''a- t- il rein a attendre de la democratie? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Did the claims succeed in''re- writing''art history? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Ecole de Nicolas Froment, Pieta, avec saint Jean, la Vierge, 138 la Madeleine et un donateur, 1470?. |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Ford, Caroline C."Which Nation? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | How were the journals of the day aligned in response to the claims? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Impasses methodologique ou renouvellement des modeles theoriques?" |
work_o6jhzbypjjdfph2ovtzjkyy2yi | In Quels Musees, pour quelles fins aujourd''hui? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Is this a religious painting because of the donor is depicted? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Italian Masters Galerie d''Altenburg and Galerie Lindenau( Commercial) Jan? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Or is it a secular painting because of the portrait- like depiction of the donor? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Q1RARD D''ORLfeANS?, vers i35o. |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Qu''est- ce qu''une Nation? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | This incomparable and marvellous treasure, with which the abolished monarchs enriched France, does it have nothing to look forward to from democracy? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | To add further injury, he asked disingenuously: Is it by ignorance or thoughtlessness that[ France] neglects its treasures? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | To what end and to whose benefit was this event contemplated? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | To what end was it organized and what was the outcome or result or effect of the claims made there? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | What differentiates this 6 exhibition from others in this period? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | What does this textual absence signify for the Exposition des Primitifs frangais? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | What is worth noting about this particular collection exhibited at this time? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | What was the climate which supported collecting so many works of art into one location? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | What was the lasting impact, if any, of this event and its circumstances? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Why were the fundamental claims about the primacy of French cultural production made in this exhibition being asserted( or reasserted) in 1904? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | Why, in other words, did this exhibition occur when and how it did? |
work_o6jhzbypjjdfph2ovtzjkyy2yi | [ 190?]. |
work_o6jhzbypjjdfph2ovtzjkyy2yi | [ 190?]. |
work_o6jhzbypjjdfph2ovtzjkyy2yi | •''. VSE? |
work_rpskhcjnwze7ra6nvdhuifjqey | Are not these names significant enough to challenge comparison? |
work_rpskhcjnwze7ra6nvdhuifjqey | But are we, one may ask, always actively engaged in putting our patience to the tests? |
work_rpskhcjnwze7ra6nvdhuifjqey | But are you sure you want seventeen copies of this book? ’ What do you think of that for business? |
work_rpskhcjnwze7ra6nvdhuifjqey | But are you sure you want seventeen copies of this book? ’ What do you think of that for business? |
work_rpskhcjnwze7ra6nvdhuifjqey | Can the literary and linguistic culture of the ages be safely entrusted to our keeping? |
work_rpskhcjnwze7ra6nvdhuifjqey | European scholars with whom “ it would be unfair to suggest comparison, ” what about Whitney, Child, Gummere, Kittredge and Shorey? |
work_rpskhcjnwze7ra6nvdhuifjqey | How do we appear to the more intelligent members of the public, whose interests we may be supposed to serve? |
work_rpskhcjnwze7ra6nvdhuifjqey | However, who is to blame for this quixotic thrust at the grist- mill of our Ph.D. ’s? |
work_rpskhcjnwze7ra6nvdhuifjqey | If the sciences have their “ romance, ” what shall we say of philology? |
work_rpskhcjnwze7ra6nvdhuifjqey | Is not the the author justified in asking the publisher to assume some part of the risk in putting out such works? |
work_rpskhcjnwze7ra6nvdhuifjqey | Nevertheless, how do we stand today as measured by the demon, Success? |
work_rpskhcjnwze7ra6nvdhuifjqey | Of what value to others is my knowledge of the Arthurian Cycle, unless I am giving a course on Geoffrey of Monmouth, Chretien de Troyes, or Tennyson? |
work_rpskhcjnwze7ra6nvdhuifjqey | Or am I, in the terms of the French adage, knocking at an open door? |
work_rpskhcjnwze7ra6nvdhuifjqey | Or is there an inherent difference in scholarship, according to whether it has the European or American trade- mark? |
work_rpskhcjnwze7ra6nvdhuifjqey | That being the case, has not the time come for less modesty and more asseveration and adjuration on our own part? |
work_rpskhcjnwze7ra6nvdhuifjqey | Thus, admitting that the mantle of the classics has fallen on the shoulders of the moderns, the question is: Are we equal to the occasion? |
work_rpskhcjnwze7ra6nvdhuifjqey | What are some of these means of cooperation? |
work_rpskhcjnwze7ra6nvdhuifjqey | What are the difficulties that confront the publishers? |
work_rpskhcjnwze7ra6nvdhuifjqey | What is the actual state of affairs? |
work_rpskhcjnwze7ra6nvdhuifjqey | What recognition and encouragement are legiti mately ours? |
work_rpskhcjnwze7ra6nvdhuifjqey | What remedies may be applied to conditions now prevailing? |
work_rpskhcjnwze7ra6nvdhuifjqey | Where can he arrange for the publication of such books? |
work_rpskhcjnwze7ra6nvdhuifjqey | Where does the scholar at present obtain serious books of this character? |
work_rpskhcjnwze7ra6nvdhuifjqey | Where, for example, should the high school leave off and the college begin — in subjects like French and Spanish? |
work_rpskhcjnwze7ra6nvdhuifjqey | Who cares whether X is an authority on the Peasant Vocabulary of George Sand, if the works of George Sand are never the subject of his teaching? |
work_rpskhcjnwze7ra6nvdhuifjqey | Why leave this role to the French prepositions or to H. L. Mencken ’s oscillations in American Philology? |
work_rpskhcjnwze7ra6nvdhuifjqey | “ Is Shelley ’s Prometheus Unbound an Allegory? ” By Newman I. |
work_rpskhcjnwze7ra6nvdhuifjqey | “ What is Realism? ” by Professor Olin H. Moore. |
work_3oxui22exzftbmtkxwsqdpljxy | ("nous re- duirons- nous a dire que l e synthgtisme se ramene tout entire a l a teinte plate?". |
work_3oxui22exzftbmtkxwsqdpljxy | : E s t- c e a d i r e que l e s r e s u l t a t s s o i e n t m e i l l e u r s? |
work_3oxui22exzftbmtkxwsqdpljxy | But how f l a t?" |
work_3oxui22exzftbmtkxwsqdpljxy | But why would"i m p r e s s i o n i s t print- makers,"as Reff d e s c r i b e s them, be l e s s b i a s e d than o t h e r s? |
work_3oxui22exzftbmtkxwsqdpljxy | Come now, s e r i o u s l y, do you t h i n k he has a l l t h a t many i d e a s? |
work_3oxui22exzftbmtkxwsqdpljxy | D i d Cezanne f u l f i l the c o n d i t i o n s t h a t l e d e a s e l p a i n t e r s toward p a i n t i n g- d e c o r a t i o n? |
work_3oxui22exzftbmtkxwsqdpljxy | D i d he not c l a i m f o r h i m s e l f t h e t i t l e o f i n v e n t o r o f C l o i s o n i s m? |
work_3oxui22exzftbmtkxwsqdpljxy | Did Cezanne f u l f i l the conditions that led easel painters toward V painting- decoration? |
work_3oxui22exzftbmtkxwsqdpljxy | Do Cezanne''s P a i n t i n g s F i t t h e"D e c o r a t i o n Paradigm"? |
work_3oxui22exzftbmtkxwsqdpljxy | Do Cezanne''s p a i n t i n g s f i t the"d e c o r a t i o n paradigm"? |
work_3oxui22exzftbmtkxwsqdpljxy | Do Cezanne''s paintings f i t the"Decoration Paradigm"?. |
work_3oxui22exzftbmtkxwsqdpljxy | In January 1896, L u c i e n wrote to h i s f a t h e r: What are you doing i n t h a t beer- garden? |
work_3oxui22exzftbmtkxwsqdpljxy | In h i s book on d e c o r a t i o n( La D e c o r a t i o n, p u b l i s h e d i n t h e e a r l y 1 8? |
work_3oxui22exzftbmtkxwsqdpljxy | M o r i c e w r o t e: A q u o i bon b r o u i l l e r l e s morts? |
work_3oxui22exzftbmtkxwsqdpljxy | Ou 1''i n d u s t r i e commence- t- elle? |
work_3oxui22exzftbmtkxwsqdpljxy | So what d i d he p r o v e? |
work_3oxui22exzftbmtkxwsqdpljxy | V i o l l e t- l e- D u c answered t h e q u e s t i o n"What i s- 40- a t a b l e a u?" |
work_3oxui22exzftbmtkxwsqdpljxy | W h i l e i t i s t r u e t h a t Gasquet i s not a r e l i a b l e w i t n e s s( but who w a s?) |
work_3oxui22exzftbmtkxwsqdpljxy | Was Cezanne o u t s i d e t h i s g e n e r a l t r e n d? |
work_3oxui22exzftbmtkxwsqdpljxy | What do you t h i n k? |
work_3oxui22exzftbmtkxwsqdpljxy | Who was t h i s e l i t e? |
work_3oxui22exzftbmtkxwsqdpljxy | Why? |
work_3oxui22exzftbmtkxwsqdpljxy | Y e t, Denis asks a r h e t o r i c a l q u e s t i o n,"are t h e r e s u l t s any b e t t e r?" |
work_3oxui22exzftbmtkxwsqdpljxy | ^ I t i s r e l a t e d t o t h e fundamental q u e s t i o n: f o r whom d i d t h e s e a r t i s t s produce t h e i r a r t? |
work_3oxui22exzftbmtkxwsqdpljxy | e s s e n t i a l t h a t he s h o u l d be armed i n advance w i t h a l l t h e most r a p i d means o f t r a n s l a t i o n? |
work_3oxui22exzftbmtkxwsqdpljxy | n''est- ce pas? |
work_3oxui22exzftbmtkxwsqdpljxy | v e r s l a q u e l l e de ces concep- t i o n s s o c i a l e s d o i v e n t a l l e r l e s p r e f e r e n c e s de 1''a r t i s t e?" |
work_hkdcdmm5zncn7fs7lzrnuxsekm | ; where and when is restoring connectivity an appropriate strategy( Kondolf et al., 2006)? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | A key question that arises when quantifying connectivity is: compared with what? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | Are structural connectivity and func- tional connectivity more or less amenable to a standardized mea- surement approach? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | Bedrock versus superfi- cial deposits in the Swiss Jura Mountains: what is the legitimate soil parent material? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | Connectivity between landscapes and riverscapes – a unifying theme in integrating hydrology and ecology in catchment science? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | Do we need a suite of metrics that can cap- ture the cause and effect relationships among the drivers, attri- butes, and effects of connectivity? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | Does hydrolog- ical connectivity improve modelling of coarse sediment delivery in upland environments? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | Examples of more specific questions include: are deltas inherently more connected than dendritic drainage networks( Passalacqua, 2017)? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | How have human activities modified natural connectivity relationships in that system? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | How have these changes impacted upon the evolutionary trajectory of the system and over what timeframe? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | How important is connectivity for surface water fluxes? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | How much subsidence is enough to change the morphology of river deltas? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | How sensitive are connectivity metrics to the methods and tools of data collection and the temporal and spatial scales of analysis? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | How should we measure landscape con- nectivity? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | In any given geomorphic system, is there a maximum or optimum level of connectivity to compare with? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | Is enhanc- ing sediment disconnectivity required? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | Is enhancing sed- iment connectivity required? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | Is it possible, or desirable, for human activities to manage or reverse these traits? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | Quantifying fluvial non linearity and finding self organized criticality? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | Resilience in ecology: abstraction, distrac- tion, or where the action is? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | The remains of the dam: what have we learned from 15 years of US dam removals? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | What controls the transition from con- fined to unconfined flow? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | What do we still need to know? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | What should these rivers look like? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | sediment slugs, headcuts)? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | what is expected in any given system)? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | what is realistically possible)? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | ‘ But what do you measure? ’ Prospects for a constructive critical physical geography. |
work_hkdcdmm5zncn7fs7lzrnuxsekm | ‘ Out with the Old? ’ Why coarse spatial datasets are still useful for catchment- scale investigations of sediment( dis)connectivity. |
work_hkdcdmm5zncn7fs7lzrnuxsekm | • From where will the sediment be sourced and dispersed to enhance river recovery in the study reach? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | • How will rehabilitation of the treatment reach affect down- stream reaches? |
work_hkdcdmm5zncn7fs7lzrnuxsekm | • Where should sediment conveyance be suppressed to pro- tect other reaches and minimize off- site impacts? |
work_tuxy7gne3jfddfunkur2dmpyxe | ( at least 1933)( summers) Sampson, Peggie( Scotland, 1912–2004) Fontainebleau? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1925–1999) rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1925–27 Doyon, Paul( 1903–86) École normale rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | 192? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1930? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1930? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1930–34? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1932–35 Ronan, John( 1894–1962) rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1938? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1942–43 Lavoie, Claude( 1918 —?) |
work_tuxy7gne3jfddfunkur2dmpyxe | 1946–48 Blackburn, Maurice( 1914–88) rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1948–49 Heller, Irving( Rhode Island, 1926–BC, 2003) Paris Conserva- toire and rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1950? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1951 Renshaw, Rosette( 1920–1998) rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1951? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1952–53? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1953–54 Berry, Wallace( Wisconsin, 1928 – Vancouver, 1991) rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1954? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1954–55 Rogers, William Keith rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1955–57 Schermann, Paul( 1907–96) rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1959–60 Winters, Kenneth( 1929–2011) rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1960, 1962 Buczynski, Walter( 1933 –) rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | 1969–71 Koprowski, Peter Paul( Poland, 1947 –) rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | Gilbert, Kenneth( 1931 –) rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | Landry, Hélène( Ottawa,? –?) |
work_tuxy7gne3jfddfunkur2dmpyxe | Landry, Hélène( Ottawa,? –?) |
work_tuxy7gne3jfddfunkur2dmpyxe | Taught in Ottawa( Uni- versity of Ottawa, 1931 –?) |
work_tuxy7gne3jfddfunkur2dmpyxe | Weisz, Robert( Roumania, 1925 –) rue Ballu? |
work_tuxy7gne3jfddfunkur2dmpyxe | Wood, Robin( 1924–2004) rue Ballu? |
work_rq243gupinfetb46vacza5sao4 | & Root, T.L( 2002) No Orioles in Baltimore? |
work_rq243gupinfetb46vacza5sao4 | ( 2001) What is “ dangerous ” climate change? |
work_rq243gupinfetb46vacza5sao4 | ( 2002) Are the economic costs of stabilizing the atmosphere prohibitive? |
work_rq243gupinfetb46vacza5sao4 | ) 19 The policy question is: Who cares? |
work_rq243gupinfetb46vacza5sao4 | ) 23 In summary, experts should answer three questions for citizens: 1) What can happen? |
work_rq243gupinfetb46vacza5sao4 | ) 9 When will climate impacts become “ dangerous ”? |
work_rq243gupinfetb46vacza5sao4 | 2) What are the odds? |
work_rq243gupinfetb46vacza5sao4 | But does that justify ignoring it? |
work_rq243gupinfetb46vacza5sao4 | But what are the probabilities of the less severe or more catastrophic possibilities both shown in this figure? |
work_rq243gupinfetb46vacza5sao4 | But what happens if the forecast proves true( or even was too optimistic) when we bet on it being wrong? |
work_rq243gupinfetb46vacza5sao4 | But what if the forecast proves true? |
work_rq243gupinfetb46vacza5sao4 | Do the media accounts accurately represent the scientific debate? |
work_rq243gupinfetb46vacza5sao4 | Do we really have to wait two generations before we have cheaper 21 and more benign technologies and organizations to prevent this? |
work_rq243gupinfetb46vacza5sao4 | How long will it take to substantially narrow the climate sensitivity range? |
work_rq243gupinfetb46vacza5sao4 | How many years of economic growth would it take to catch up with the no- climate policy case? |
work_rq243gupinfetb46vacza5sao4 | How much is it worth to have Baltimore orioles in the city of their namesake? |
work_rq243gupinfetb46vacza5sao4 | If there ’s a 10% chance that there is salmonella bacteria in your salmon, are you going to eat it? |
work_rq243gupinfetb46vacza5sao4 | In order to know what will happen, we have to forecast what kind of energy systems will be in use: Will it be wind energy? |
work_rq243gupinfetb46vacza5sao4 | In other words, how do you value nature? |
work_rq243gupinfetb46vacza5sao4 | Microsoft Word- SchneiderFinalUnformatted.doc 1 Climate Change: Do We Know Enough for Policy Action? |
work_rq243gupinfetb46vacza5sao4 | Notice the bar for the A1FI scenario? |
work_rq243gupinfetb46vacza5sao4 | Photograph: Terry Root What else that might happen in the future must we estimate to project climate change? |
work_rq243gupinfetb46vacza5sao4 | So why is protecting the climate different? |
work_rq243gupinfetb46vacza5sao4 | So, the big question we ’re left with is: What probabilities and from whom? |
work_rq243gupinfetb46vacza5sao4 | So, what is$ 20 trillion relative to$ 320 trillion? |
work_rq243gupinfetb46vacza5sao4 | The debate is: what fraction of that warming is natural and what fraction of that warming is attributable to us? |
work_rq243gupinfetb46vacza5sao4 | The other major question in the climate change debate is: What is fair? |
work_rq243gupinfetb46vacza5sao4 | Then, there are the normative judgments, or the value judgments: What is safe? |
work_rq243gupinfetb46vacza5sao4 | What about A1FI? |
work_rq243gupinfetb46vacza5sao4 | What are the probabilities of these events happening? |
work_rq243gupinfetb46vacza5sao4 | What is dangerous? |
work_rq243gupinfetb46vacza5sao4 | What rational person or society would take that kind of risk with our life support system? |
work_rq243gupinfetb46vacza5sao4 | When are we going to resolve these uncertainties? |
work_rq243gupinfetb46vacza5sao4 | Without probabilities attached, how can decision- makers assess their risk and create policy initiatives? |
work_rq243gupinfetb46vacza5sao4 | and 3) How do we know? |
work_rq243gupinfetb46vacza5sao4 | and b) What are the odds? |
work_wztmim6ulbgmfmwer3em3gb3wm | Computer Printouts as Evidence: Stricter Foundation or Presumption of Reliability? |
work_wztmim6ulbgmfmwer3em3gb3wm | Motivation, Leadership, and Organization: Do American Theories Apply Abroad? |
work_wztmim6ulbgmfmwer3em3gb3wm | Should Creating Agencies Keep Electronic Records Indefinitely? |
work_wztmim6ulbgmfmwer3em3gb3wm | What are Historical Facts?'' work_wztmim6ulbgmfmwer3em3gb3wm ( 2) Did he believe what he said? work_wztmim6ulbgmfmwer3em3gb3wm ( 3) W a s he justified in believing whatever he did believe? work_wztmim6ulbgmfmwer3em3gb3wm 1 1 7 Felix Gilbert, History: Politics or Culture? work_wztmim6ulbgmfmwer3em3gb3wm 1 5 R.J. Morris,Electronic Documents and the History of the Late 20 Century: Black Holes or Warehouses~ What do Historians Really Want?" |
work_wztmim6ulbgmfmwer3em3gb3wm | 6 2 Adrian A.S. Zuckerman,"Law, Fact or Justice?" |
work_wztmim6ulbgmfmwer3em3gb3wm | 7 8 Jean Samuel,"Electronic Mail: Information Exchange or Information Loss?" |
work_wztmim6ulbgmfmwer3em3gb3wm | 8 9 Paul Marsden,"What is the Future? |
work_wztmim6ulbgmfmwer3em3gb3wm | Because it is close to- what? |
work_wztmim6ulbgmfmwer3em3gb3wm | Do reports or allegations that an event has occurred correspond to the best evidence of the existence of such an event? |
work_wztmim6ulbgmfmwer3em3gb3wm | Elton, Which Road to the Past? |
work_wztmim6ulbgmfmwer3em3gb3wm | Elton,"Two Kinds of History,"in Which Road to the Past? |
work_wztmim6ulbgmfmwer3em3gb3wm | For example, how can the essential link between a record and its profile be maintained intact over time and through migrations? |
work_wztmim6ulbgmfmwer3em3gb3wm | Hans Meyerhoff( New York: Doubleday, 1959), 150- 151; Carl Becker,"What are Historical Facts?" |
work_wztmim6ulbgmfmwer3em3gb3wm | How can the link between the profiles of the records belonging in the same dossier be maintained intact over time and through migrations? |
work_wztmim6ulbgmfmwer3em3gb3wm | How can the periodic migration of electronic records be conducted in a way that their archival bond with non- electronic records will remain intact? |
work_wztmim6ulbgmfmwer3em3gb3wm | If color is an essential attribute of the document, must the exact color scheme be retained or are degrees of degradation acceptable? |
work_wztmim6ulbgmfmwer3em3gb3wm | Into which class of event does the event fall? |
work_wztmim6ulbgmfmwer3em3gb3wm | Knowing what the author of the document has said, we ask( 1) What did he mean? |
work_wztmim6ulbgmfmwer3em3gb3wm | Some of the specific questions Hedstrom identifies include: under what circumstances is lossy compression an acceptable storage format? |
work_wztmim6ulbgmfmwer3em3gb3wm | What are the lines of causality to be drawn in respect of the event? |
work_wztmim6ulbgmfmwer3em3gb3wm | What degrees of responsibility do or can particular persons bear? |
work_wztmim6ulbgmfmwer3em3gb3wm | Who and what are responsible for it? |
work_wztmim6ulbgmfmwer3em3gb3wm | Zuckerman, Adrian A.S."Law, Fact or Justice?" |
work_plit6wwwo5dhjjmjb2bemv2fla | And what i s your subject? |
work_plit6wwwo5dhjjmjb2bemv2fla | Yes, Mr. Rose, you''re not going to deprive us of a l l our shops, I hope? |
work_plit6wwwo5dhjjmjb2bemv2fla | ( Ineffable Youth goes into testacies oner an extremely Old Master''—say, Fai PORCINBLLO BABARAGIANNO, A.D. 1206—1231?) |
work_plit6wwwo5dhjjmjb2bemv2fla | 13 Macdonald, Art Education, 60- 185; Gordon Sutton, A r t i s a n or 202 A r t i s t? |
work_plit6wwwo5dhjjmjb2bemv2fla | 69 Durant, V i c t o r i a n Ornamental Design, 75? |
work_plit6wwwo5dhjjmjb2bemv2fla | 6? |
work_plit6wwwo5dhjjmjb2bemv2fla | A r t i s a n o r A r t i s t? |
work_plit6wwwo5dhjjmjb2bemv2fla | Bowen: Are the pictures works of a r t? |
work_plit6wwwo5dhjjmjb2bemv2fla | Bowen: Is the picture i n your judgment worth two hundred guineas? |
work_plit6wwwo5dhjjmjb2bemv2fla | But what was t h i s human element, and what a c t u a l l y comprised the hand imprint i n design? |
work_plit6wwwo5dhjjmjb2bemv2fla | But where was the beauty i n disorder and what was the a e s t h e t i c pleasure to be had from disease? |
work_plit6wwwo5dhjjmjb2bemv2fla | Day to answer the q u e s t i o n — what can be done programmatically to improve the manufactured a r t s 5 and the l i v e s of the producers? |
work_plit6wwwo5dhjjmjb2bemv2fla | Ewart: I t i s not necessary that a person should be an a r t i s t to enable him to cut^ e card of a pattern? |
work_plit6wwwo5dhjjmjb2bemv2fla | Ewart: The a u x i l i a r y branch of the business i s purely mechanical, the c u t t i n g of the card? |
work_plit6wwwo5dhjjmjb2bemv2fla | Ewart: You have not stated any sum that i s given to these persons[ Gibson''s designers], but you say i t v a r i e s according to circumstances? |
work_plit6wwwo5dhjjmjb2bemv2fla | H e n r y B o w l e r, T h e D o u b t; C a n T h e s e D r y B o n e s Y e t L i v e? |
work_plit6wwwo5dhjjmjb2bemv2fla | How much d i d the copyright add, i f anything, to the market price of a painting? |
work_plit6wwwo5dhjjmjb2bemv2fla | How much, i f anything, d i d f r i e n d s h i p count i n a transaction? |
work_plit6wwwo5dhjjmjb2bemv2fla | I f the a r t i s t retained the copyright i n a sale, was the p a i n t i n g worth less? |
work_plit6wwwo5dhjjmjb2bemv2fla | I r v i n g an Arrangement i n B l a c k?" |
work_plit6wwwo5dhjjmjb2bemv2fla | If i t was in fact a"movement", what was its part in Victorian culture and what meaning did i t have for those who knew it? |
work_plit6wwwo5dhjjmjb2bemv2fla | London: Studio, H 1.9- 34. »- 3"?. |
work_plit6wwwo5dhjjmjb2bemv2fla | Parry: Is i t worth one thousand guineas? |
work_plit6wwwo5dhjjmjb2bemv2fla | Parry: What i s the value of t h i s picture of T i t i a n''s? |
work_plit6wwwo5dhjjmjb2bemv2fla | S i r John: Is two hundred guineas a pretty good price f o r an a r t i s t of reputation? |
work_plit6wwwo5dhjjmjb2bemv2fla | S i r John: Not a view of Cremorne? |
work_plit6wwwo5dhjjmjb2bemv2fla | S i r John: What i s the subject of the Nocturne i n Black and Gold? |
work_plit6wwwo5dhjjmjb2bemv2fla | S i r John: You do n''t approve of c r i t i c i s m? |
work_plit6wwwo5dhjjmjb2bemv2fla | W h y* w h e n m e d i o c r i t i e s w e r e s o p e r c e p t i v e* w a s g e n i u s s o b l i n d? |
work_plit6wwwo5dhjjmjb2bemv2fla | What matter i f there i s gold or s i l v e r i n the neglected working, i f i t i s brass or pewter which happens to be the fashion? |
work_plit6wwwo5dhjjmjb2bemv2fla | Why t h i s l i f t i n g of the brow i n deprecation of the p r e s e n t — t h i s pathos i n reference to the past? |
work_plit6wwwo5dhjjmjb2bemv2fla | Why were W. Mi Rossetti and Edward Burne- Jones on 5 opposite sides and why were they both such reluctant'';,witnesses? |
work_plit6wwwo5dhjjmjb2bemv2fla | [ Laughter] S i r John: A r t i s t s do not endeavour to get the highest price f o r t h e i r work i r r e s p e c t i v e of value? |
work_6efcnzdc2zabtjhyszxngnai5y | 2 Music Encoding Conference Proceedings 2020 3 The forgotten classroom? |
work_6efcnzdc2zabtjhyszxngnai5y | And, for scholars interested in machine learning and AI, the obvious next step is: can one predict fame, especially for musicians today? |
work_6efcnzdc2zabtjhyszxngnai5y | Are there broader patterns of attaining fame particular to specific artforms or, in the case of music, genres? |
work_6efcnzdc2zabtjhyszxngnai5y | But how could these models be developed without any advanced experience in measuring difference of mensural music? |
work_6efcnzdc2zabtjhyszxngnai5y | But what kind of error did Beethoven see? |
work_6efcnzdc2zabtjhyszxngnai5y | But why would both manners be used side by side? |
work_6efcnzdc2zabtjhyszxngnai5y | But, what in that particular context is the source and what features of it need to be maintained? |
work_6efcnzdc2zabtjhyszxngnai5y | Did musical works acquire fame in view of criticism or performance? |
work_6efcnzdc2zabtjhyszxngnai5y | Digital pedagogy? |
work_6efcnzdc2zabtjhyszxngnai5y | Do the subcommunities have similar structural patterns or do some of them differ( and why?). |
work_6efcnzdc2zabtjhyszxngnai5y | Do we profess it? |
work_6efcnzdc2zabtjhyszxngnai5y | Do we profess it? |
work_6efcnzdc2zabtjhyszxngnai5y | Do we profess to teach it? |
work_6efcnzdc2zabtjhyszxngnai5y | Do we profess to teach it? |
work_6efcnzdc2zabtjhyszxngnai5y | Does the behaviour of musical communities change over the course of time? |
work_6efcnzdc2zabtjhyszxngnai5y | Even so, as Rebecca Frost Davis asked, “.. but how do you teach collaboration? ”. |
work_6efcnzdc2zabtjhyszxngnai5y | For example, are there any direct connections between Gluck and Johann Adam Hiller? |
work_6efcnzdc2zabtjhyszxngnai5y | How did we get here? |
work_6efcnzdc2zabtjhyszxngnai5y | How should such different levels of objectivity be mod- elled? |
work_6efcnzdc2zabtjhyszxngnai5y | Introduction How do we teach music encoding? |
work_6efcnzdc2zabtjhyszxngnai5y | Is it more “ whole- tone ” sounding? |
work_6efcnzdc2zabtjhyszxngnai5y | Is it “ fifthy? ” Applying the DFT to macroharmo- nies allows us to see a broad overview of a composition ’s sound. |
work_6efcnzdc2zabtjhyszxngnai5y | My presentation today is therefore not going to answer the questions outlined 1 Hirsch ’s original quote is “... do we teach digital humanities? |
work_6efcnzdc2zabtjhyszxngnai5y | Now, for a more complex example: did Mozart have connections to Berlin? |
work_6efcnzdc2zabtjhyszxngnai5y | So, what is the music encoding community to do? |
work_6efcnzdc2zabtjhyszxngnai5y | Some interesting ques- tions might include: did communities for symphonic music look different than communities concerned with opera? |
work_6efcnzdc2zabtjhyszxngnai5y | The question that lies at the heart of my current project is: how did music become famous at the time of the emergence of the classic? |
work_6efcnzdc2zabtjhyszxngnai5y | This was back in the 1960s, and what else were two college students to do with a bucket of sodium? |
work_6efcnzdc2zabtjhyszxngnai5y | What does “ digital pedagogy ” mean? |
work_6efcnzdc2zabtjhyszxngnai5y | What to compare? |
work_6efcnzdc2zabtjhyszxngnai5y | “ Digital Pedagogy? ”. |
work_6efcnzdc2zabtjhyszxngnai5y | “ Matthesons Probstücke als Partimenti? ” Schola Cantorum Basiliensis, 2013. |
work_6efcnzdc2zabtjhyszxngnai5y | • Are there non- musical reasons which explain a modification, for example additional hints for a copyist? |
work_6efcnzdc2zabtjhyszxngnai5y | • Into which categories could we classify Beethoven ’s entries? |
work_e5b7czkqx5f3jo7iosf55vrj2m | 1 Chapter 2 On Whose Authority? |
work_e5b7czkqx5f3jo7iosf55vrj2m | 102 Audrey Oldfield, Woman Suffrage in Australia: A Gift or a Struggle? |
work_e5b7czkqx5f3jo7iosf55vrj2m | 33 Chapter 3 In Their Own Image: Did the delegates to the Federal Conventions see themselves as models of an ideal senator? |
work_e5b7czkqx5f3jo7iosf55vrj2m | 70 Charles Arrowsmith Bernays, Queensland Politics During Sixty( 1859–1919) Years,( Brisbane: Queensland Government Printer, 1920? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Again we must ask: Why? |
work_e5b7czkqx5f3jo7iosf55vrj2m | But did they? |
work_e5b7czkqx5f3jo7iosf55vrj2m | But why does n’t Tasmania? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Chapter 2: On Whose Authority 33 Chapter 2 On Whose Authority? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Chapter 3 final Chapter 3 In Their Own Image: did the delegates to the Conventions see themselves as models of an ideal senator? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Did it emerge fully fledged from the minds of the Convention delegates and was there ever really any choice? |
work_e5b7czkqx5f3jo7iosf55vrj2m | George Reid interrupted saying: ‘ Is that in Bryce? ’ Reid: They sound exactly like Bryce. |
work_e5b7czkqx5f3jo7iosf55vrj2m | If it was not necessary why was it established? |
work_e5b7czkqx5f3jo7iosf55vrj2m | La Nauze,''Who Are the Fathers? ’ Historical Studies, Vol.13, No.51, October,( 1968). |
work_e5b7czkqx5f3jo7iosf55vrj2m | Produced in the Hansard tradition using reporters from the Colonial parliaments... H. Chapter 2 final Chapter 2 On Whose Authority? |
work_e5b7czkqx5f3jo7iosf55vrj2m | R. An Attack Upon the Legislative Council: Do the Facts Justify It? |
work_e5b7czkqx5f3jo7iosf55vrj2m | The following two chapters ask: what other models were discussed in the Convention debates and what issues were they introduced in relation to? |
work_e5b7czkqx5f3jo7iosf55vrj2m | The question is: would Britain have accepted a unicameral legislature for New South Wales if a serious proposal had been made? |
work_e5b7czkqx5f3jo7iosf55vrj2m | To what extent did their vision of an ideal parliament draw upon these factors? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Turning from the Canadian model what did the delegates learn from the United States example? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Vic 1891 Zeal, William Vic 1897- 98 Chapter 1: Introduction 1 Chapter 1 Introduction Why does Australia have a Senate? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Was it another example, if by a circuitous route, of path dependence? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Was this another example of path dependence? |
work_e5b7czkqx5f3jo7iosf55vrj2m | What did Australia learn from their examples and what did it copy or adopt for its own Constitution? |
work_e5b7czkqx5f3jo7iosf55vrj2m | What influence did the United States example have on the Convention delegates? |
work_e5b7czkqx5f3jo7iosf55vrj2m | What then were the experiences of the delegates of these structures and how, if at all, did they affect their decisions on the Federal Senate? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Who were these authorities and in what context were they introduced? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Why does Australia have a Senate? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Why is there a silence on the creation of the Australian Senate? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Why? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Will they, like Parkes and Forrest, betray their vision of men like themselves as ‘ ideal senators ’? |
work_e5b7czkqx5f3jo7iosf55vrj2m | Woman Suffrage in Australia: A Gift or a Struggle? |
work_e5b7czkqx5f3jo7iosf55vrj2m | ‘ Who Are the Fathers? ’ Historical Studies, vol.13, no.51, October 1968, pp.333—52. |
work_lmtu7ehrifghnfk3za7uabkzaa | ), 1488(? |
work_lmtu7ehrifghnfk3za7uabkzaa | 225 Pairs of shoes already made are scattered on the floor between them, while a finished(?) |
work_lmtu7ehrifghnfk3za7uabkzaa | 239 W as his wealth acquired through his printing enterprise? |
work_lmtu7ehrifghnfk3za7uabkzaa | 289 Did Marchant finance the first edition of the Danse alone? |
work_lmtu7ehrifghnfk3za7uabkzaa | 295 This seems all the more likely since Vérard had published his own editions of the Danse macabre books: 1485/86(?) |
work_lmtu7ehrifghnfk3za7uabkzaa | 505 W ho exactly was doing the satirizing and why? |
work_lmtu7ehrifghnfk3za7uabkzaa | Although the inker is not actually seized by Death( yet? |
work_lmtu7ehrifghnfk3za7uabkzaa | Although there has been much debate as to the status of the dead in the Danse – do they represent Death personified or the dead in general? |
work_lmtu7ehrifghnfk3za7uabkzaa | And how much did it take to set up a printing workshop in the first place? |
work_lmtu7ehrifghnfk3za7uabkzaa | And, if not, why? |
work_lmtu7ehrifghnfk3za7uabkzaa | Are the Printers and the Bookseller somehow part of the same procession as the other figures? |
work_lmtu7ehrifghnfk3za7uabkzaa | Are they mirror images of the living in the Danse or merely their dead companions? |
work_lmtu7ehrifghnfk3za7uabkzaa | But, where does the Danse lead? |
work_lmtu7ehrifghnfk3za7uabkzaa | Did Vérard offer financial backing or other form of support to Marchant? |
work_lmtu7ehrifghnfk3za7uabkzaa | Did he have a financial backer or a publisher with whom he collaborated? |
work_lmtu7ehrifghnfk3za7uabkzaa | Fooling with Death At what point, we might ask, did the Fool begin to dance in the Danse? |
work_lmtu7ehrifghnfk3za7uabkzaa | How accurate was this placement? |
work_lmtu7ehrifghnfk3za7uabkzaa | How did Marchant fund the publication of the Danse? |
work_lmtu7ehrifghnfk3za7uabkzaa | How long will it last? |
work_lmtu7ehrifghnfk3za7uabkzaa | How popular was the Danse macabre series? |
work_lmtu7ehrifghnfk3za7uabkzaa | How then are we to read Husz ’s image? |
work_lmtu7ehrifghnfk3za7uabkzaa | How was his business organized and what kind of books did he make? |
work_lmtu7ehrifghnfk3za7uabkzaa | If so, why are they in different spaces? |
work_lmtu7ehrifghnfk3za7uabkzaa | In other words, are the Four Dead Musicians really making music or merely producing noise? |
work_lmtu7ehrifghnfk3za7uabkzaa | Is it the dance of death or the dance of the dead? |
work_lmtu7ehrifghnfk3za7uabkzaa | Of what value are notarial inventories when it comes to assessing the popularity of a given title? |
work_lmtu7ehrifghnfk3za7uabkzaa | Que signifiait danse au quinzième siècle? |
work_lmtu7ehrifghnfk3za7uabkzaa | Should this concept not be extended to printed books? |
work_lmtu7ehrifghnfk3za7uabkzaa | The Ambiguous Image of Death What exactly is the Dance of Death? |
work_lmtu7ehrifghnfk3za7uabkzaa | The Question of Audience Who were the readers of the Danse books? |
work_lmtu7ehrifghnfk3za7uabkzaa | The woodcuts for the women ’s Danse, however, appear to be more crudely executed, as if another( lesser?) |
work_lmtu7ehrifghnfk3za7uabkzaa | W as Marchant paying a tribute to his family ’s trade or constructing a clever allegory, the meaning of which is now lost? |
work_lmtu7ehrifghnfk3za7uabkzaa | W hat accounts for so many adaptations not only within the medium of illustrated books, but in other media as well? |
work_lmtu7ehrifghnfk3za7uabkzaa | W hat costs were involved in running an illustrated edition? |
work_lmtu7ehrifghnfk3za7uabkzaa | W hat is the meaning of this? |
work_lmtu7ehrifghnfk3za7uabkzaa | W hat made the subject so appealing to Marchant and later other printers that they would decide to make multiple editions of the books? |
work_lmtu7ehrifghnfk3za7uabkzaa | W hat made the theme of the Dance of Death so appealing that the early printers would return to it with such frequency at the turn of the century? |
work_lmtu7ehrifghnfk3za7uabkzaa | W hat role did the Fool serve in the composition that already relied on humor and satire even before the jester was added to the roster of figures? |
work_lmtu7ehrifghnfk3za7uabkzaa | W hat use is honor, what use worldly glory? |
work_lmtu7ehrifghnfk3za7uabkzaa | W hat was his strategy? |
work_lmtu7ehrifghnfk3za7uabkzaa | W hy the Danse and not some other subject? |
work_lmtu7ehrifghnfk3za7uabkzaa | W ill they die at the same time as their counterparts? |
work_lmtu7ehrifghnfk3za7uabkzaa | Why did Marchant decide to publish an illustrated book on the Dance of Death? |
work_lmtu7ehrifghnfk3za7uabkzaa | chapter 2; Jane H. M. Taylor, “ Que signifiait danse au quinzième siècle? |
work_lmtu7ehrifghnfk3za7uabkzaa | “ ‘ Fro Paris to Inglond ’? |
work_b6pyge6pmrgavjx7rrfswkig5i | 118 It would be a mistake, though, to think that the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 168 Frontman, Buzz Osborne, was quoted as saying, “ What are the odds of us being in TWO major earthquakes on TWO continents in about TWO weeks? |
work_b6pyge6pmrgavjx7rrfswkig5i | 283 “ How many awards has Scribe got? |
work_b6pyge6pmrgavjx7rrfswkig5i | 358 Ciaran Fox, interviewed on 18 Dec 2015, at the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 364 For the full range of All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 365 “ Outrageous Burst: The Ten Tenors, ” All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 368 “ Outrageous Burst: BYO CSO, ” All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 374 As the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 375 “ Compliments, ” All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 376 “ Walking Festival, ” All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 383 Physical activity is one of the ‘ five ways to wellbeing ’ that underpinned the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 386 The festival ’s artistic director, Adam Hayward, was “ delighted with the collaboration between the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 389 In both 2014 and 2015, the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 390 “ Do a Little Dance Workplace Challenge, ” All Right?, n.d. ca. |
work_b6pyge6pmrgavjx7rrfswkig5i | 396 Macfie, “ Can Christchurch be revitalised? ”. |
work_b6pyge6pmrgavjx7rrfswkig5i | 398 Macfie, “ Can Christchurch be revitalised? ”. |
work_b6pyge6pmrgavjx7rrfswkig5i | 42 George H. Lewis, “ Who do you love? |
work_b6pyge6pmrgavjx7rrfswkig5i | 435 “ A summary of All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 438 There is no reliable, scientific method of determining how much of an effect the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 442 One thing the study ’s authors did not mention is the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 443 The goals of the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 444 “ A summary of All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 446 The All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 64 Songs such as Do You Know What it Means to Miss New Orleans? |
work_b6pyge6pmrgavjx7rrfswkig5i | 65 Jack Sullivan, “ In New Orleans, did the Music die?, ” Chronicle of Higher Education 53 no. |
work_b6pyge6pmrgavjx7rrfswkig5i | 69 with the line: ‘ How many dudes you know roll like this? |
work_b6pyge6pmrgavjx7rrfswkig5i | 93 oversaw the creation of the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | 97 telegrams on the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | A key tool of the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | After the initial disaster phases, when electricity supply and internet connections had been restored, Fox says the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | As McGrath recalls, “ We just wanted to play music, you know? |
work_b6pyge6pmrgavjx7rrfswkig5i | As Summer Starter co- ordinator, Jo Blair, says, 378 “ The Summer Starter, ” All Right?, n.d. ca. |
work_b6pyge6pmrgavjx7rrfswkig5i | As well as working with a planned evening event in a traditional performance space, the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | During her time in Christchurch, Ladi6 was shown around the city by the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | Gap Filler Like the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | In the billions? ”. |
work_b6pyge6pmrgavjx7rrfswkig5i | Lewis, George H. “ Who do you love? |
work_b6pyge6pmrgavjx7rrfswkig5i | Much of the early work done by the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | One of the early All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | Several of the campaign events organised by the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | Starting the run in 373 “ Little Burst: Singing Telegrams, ” All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | The All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | The All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | The All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | The All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | The lack of previous long- term and co- ordinated examples in similar post- disaster contexts meant the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | The latest research conducted for the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | There is most definitely still a need for some bursts of All Right?. |
work_b6pyge6pmrgavjx7rrfswkig5i | To Fox, it presented the perfect venue for another ‘ Outrageous Burst of All Right? ’, this time a flashmob featuring members of the CSO. |
work_b6pyge6pmrgavjx7rrfswkig5i | Two key organisations – All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | While the latest All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | Who Loves Who the Most? |
work_b6pyge6pmrgavjx7rrfswkig5i | Why Does Love do This to Me? |
work_b6pyge6pmrgavjx7rrfswkig5i | With an active and engaged community congregating and finding comfort through the All Right? |
work_b6pyge6pmrgavjx7rrfswkig5i | posters featured a dancing granny in curlers and pyjamas, and posed the question: “ Had a good boogie lately? ”. |
work_b6pyge6pmrgavjx7rrfswkig5i | “ Communities in Disasters: Helpless or Helping? ” Perspectives on Global Development and Technology 10( 2011): 429- 440. |
work_b6pyge6pmrgavjx7rrfswkig5i | “ In New Orleans, did the Music die? ” Chronicle of Higher Education 53 no. |
work_b6pyge6pmrgavjx7rrfswkig5i | “ What Ever Happened to Tracy? ”. |
work_ykei74fc7zd2vc6qc6ad27rwpq | A: Do you like these plums? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Ar tai realus dalykas, ar diskusijos objektas? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Ar tokie klausimai turi prasmę? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Arba karelų kalba: ar tai suomių ar nesuo- mių kalba, o azerbaidžianiečių kalba: ar tai turkų kalba, ar dvi skirtingos kalbos? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Are ideologies reflected in metaphors? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Beprotis? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Bet jeigu jie jau nebėra liaudies( pavyzdžiui, rusų) nariai, tada kyla klausimas: kokia kalba jie kalba? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Bet tada iškyla klausimas, kas yra tos „ tautos “ daugiskaitoje? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Būti ar nebūti postmodernizmui? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Economy metaphors: what associated conceptions underlie Lithuanian business? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Faut- il que les langues aient un nom? |
work_ykei74fc7zd2vc6qc6ad27rwpq | He gives the following examples: A: It was an interesting exhibition, was n’t it? |
work_ykei74fc7zd2vc6qc6ad27rwpq | How does a verbal lie function within Brown and Levinson ’s Theory of Poli- teness? |
work_ykei74fc7zd2vc6qc6ad27rwpq | I asked my informants the following question: What does “ a polite lie ” mean to you? |
work_ykei74fc7zd2vc6qc6ad27rwpq | I think everyone is familiar with typical- ly Polish responses to the question How ’s life? |
work_ykei74fc7zd2vc6qc6ad27rwpq | If so, what are its linguistic realizations? |
work_ykei74fc7zd2vc6qc6ad27rwpq | In this respect, the conference “ Towards a Eu- ropean Society? |
work_ykei74fc7zd2vc6qc6ad27rwpq | In: Нано- технологии в лингвистике и лингводидактике: миф или реальность? |
work_ykei74fc7zd2vc6qc6ad27rwpq | In: Нано- технологии в лингвистике и лингводидактике: миф или реальность? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Kaip aš galėčiau nežinoti Puškino eilių? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Kaip galima mylėti kalbą, kuri nėra gimtoji, taip, tarsi tai būtų gimtoji kalba? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Kaip ją pasiekti? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Kalbos pabaiga? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Kas yra tauta, kas yra kalba, jei jų ribos gali būti keičiamos suinteresuotųjų noru ar administraciniu sprendimu? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Kodėl Radzevičius? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Kokia tai kalba, jei jos vienybei, vientisumui, panašiai kaip tėvynei, gali grėsti pavojus? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Kokia tai visuma, apie kurią galime pasakyti, kad ją mylime? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Konservatyvus diskursas apie visuomenę? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Kur yra kalba? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Ką daryti? “; „ Jis vis reikalauja naujų žaislų “). |
work_ykei74fc7zd2vc6qc6ad27rwpq | Laikas valgo, geria, jaučia alkį, nuovargį: kai širdį vakaras valgo,/ aš klausiu – kodėl? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Man neduoda ramybės mintis: argi ji[ močiutė – M. G.] manė, kad jos anūkas ją taip greitai pamirš? “( „ Kaltė “, p. 74). |
work_ykei74fc7zd2vc6qc6ad27rwpq | Mane labiau domino šuo...<...> – Na ir kas? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Milner 1978)? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Net smalsu, kas yra tasai kitas? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Pavyzdžiui, moldavų kalba: kas ji? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Pourquoi la langue russe est- elle grande? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Reklama … Rekla- ma? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Tamsybių pasiuntinys? “( Gavelis 1990, p. 61). |
work_ykei74fc7zd2vc6qc6ad27rwpq | Tačiau kas atsitiks, jei kylant vandens lygiui pastebėsime, kad mūsų ekonomikos valtis yra visiškai skylėta? |
work_ykei74fc7zd2vc6qc6ad27rwpq | The Landscapes of Language If we reject the onto- theological estimation of the notion of truth, then what status do we assign to language? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Už ką? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Viename kitame pavyzdyje ryški in- telektinė percepcija: apie ką tu galvoji rugsėji( Jonynas 1991, p. 56); intelekto požymiai: kas tie jie? |
work_ykei74fc7zd2vc6qc6ad27rwpq | What, indeed, will happen when, as the waters rise, we discover that our economic boat is full of holes? |
work_ykei74fc7zd2vc6qc6ad27rwpq | o gal visiškai skirtinga kalba? |
work_ykei74fc7zd2vc6qc6ad27rwpq | rumunų kalba ar jos atmaina, ar atskiras dialektas? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Čto takoe obščestvennaja priroda jazyka? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Šis „ nesurandamas“6 objektas, kurį griebiamasi ginti ir puoselėti nuolat jį „ konstruojant “ ir nurodant gaires to, kas draudžiama? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Žvėris ar de- monas? |
work_ykei74fc7zd2vc6qc6ad27rwpq | А в среднем роде с ударением на « о » – конкретные, вот эти, деньги? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Значит ли это, что поляки – народ, склонный к мечтательности? |
work_ykei74fc7zd2vc6qc6ad27rwpq | К какого рода жанрам – первичным или вторичным – относится поздравление? |
work_ykei74fc7zd2vc6qc6ad27rwpq | МАС, хвойный во втором значении) прилагательное « хвойный »? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Могут сказать, к чему, мол, заморачиваться из- за такой ерунды? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Нанотехнологии в лингвистике и лингводи- дактике: миф или реальность? |
work_ykei74fc7zd2vc6qc6ad27rwpq | О чем говорят запахи? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Приведем текст с некоторыми купюра- ми: – Ну что, евро- то накрылось? |
work_ykei74fc7zd2vc6qc6ad27rwpq | С.)? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Хотел я, было, переспросить: а ведь евро, кажется, мужского рода? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Чего же желают в литов- ских текстах? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Чего же нам не хватает? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Чем? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Что входит в правильное счастье? |
work_ykei74fc7zd2vc6qc6ad27rwpq | Что принесли нам кровопролития? |
work_ykei74fc7zd2vc6qc6ad27rwpq | ‘ Battered hero ’ or ‘ innocent victim ’? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 122 So should the interpretation of episodes such as Australia ’s Federation marches only be viewed as communal? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 123 Dilthey was also asking: how is historical knowledge possible? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 13 Ann Curthoys and Andrew Markus: Who are our Enemies? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 152 Does this type of observation really convey the relevant information clearly to the spectator? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 167 However, are they often too close for objective evaluation; so close that they often do not notice the established codes under which they operate? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 18 What were attitudes of ordinary Australians at the turn of the century? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 20 Have you seen the Bush by moonlight, from the train, go running by, Here a patch of glassy water, there a glimpse of mystic sky? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 203 merchants and a shaving strop manufacturer? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 21 and effective? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 261 being presented in the media of today, and which are overlooked by current commentators? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 29 which it relates? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 294 So with both cities ’ primary cathedrals occupying such notable sites, what can we learn from a thick description of the two structures? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 306 Did this actually reflect the hopes and aspirations of the citizens of the city, or for that matter, the nation? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 360 Ann Curthoys and Andrew Markus: Who are our Enemies? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 40 Did Australians always wish to think of themselves as being tolerant; and how would they have evaluated this tolerance? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 43 Ann Curthoys and Andrew Markus: Who are our Enemies? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 44 Ann Curthoys and Andrew Markus: Who are our Enemies? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 50 So, are the created myths perpetuated through the same communication pathways? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 50 THE IMAGINED AUSTRALIAN COMMUNITY What have we learned about this Australian community that was being imagined at the time? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 52 Are there, however, new attitudes that can be gleaned from a new approach to what actually constitutes historical records? |
work_dp2m4gdo7vgnfmtjr62p2niedm | 68 Ann Curthoys and Andrew Markus: Who are our enemies? |
work_dp2m4gdo7vgnfmtjr62p2niedm | A rapidly lost enthusiasm? |
work_dp2m4gdo7vgnfmtjr62p2niedm | And are we truly certain that the questions we are asking remain valid? |
work_dp2m4gdo7vgnfmtjr62p2niedm | And did you see the fearsome crowd At Robbie Burns ’s statue? |
work_dp2m4gdo7vgnfmtjr62p2niedm | And will such processes provide new insights, or simply re- iterate what has gone before? |
work_dp2m4gdo7vgnfmtjr62p2niedm | And will this provide new insights, or simply re- iterate what has gone before? |
work_dp2m4gdo7vgnfmtjr62p2niedm | Ann Curthoys and Andrew Markus: Who are our Enemies?, 1978, Hale& Iremonger, Sydney, Australia. |
work_dp2m4gdo7vgnfmtjr62p2niedm | Are footstepping and thick description effective processes for researching other previously inaccessible sources of historical evidence? |
work_dp2m4gdo7vgnfmtjr62p2niedm | As a result, what attitudes developed and changed with these changing circumstances and to what the degree did national myths reflect this reality? |
work_dp2m4gdo7vgnfmtjr62p2niedm | But what is more ridiculous than some of the pickles into which Jack Tar gets himself? |
work_dp2m4gdo7vgnfmtjr62p2niedm | By adopting an empirical approach, 1 I will be asking, what can we learn about the Australian society that existed a century ago? |
work_dp2m4gdo7vgnfmtjr62p2niedm | Can this evidence be relied upon to tell us what we want to know? |
work_dp2m4gdo7vgnfmtjr62p2niedm | Gilbert Ryle: The Thinking of Thoughts – What is ‘ Le Penseur ’ Doing? |
work_dp2m4gdo7vgnfmtjr62p2niedm | HISTORY AND THE COMMUNITY How does this notion of historical myth relate to the evaluation of communities? |
work_dp2m4gdo7vgnfmtjr62p2niedm | How have this methodology and the results of my investigation added to the historical record of the time? |
work_dp2m4gdo7vgnfmtjr62p2niedm | How then do we discover the meaning historical events have, or have had for others? |
work_dp2m4gdo7vgnfmtjr62p2niedm | If so, how can we go about this, and will the results be useful for both the practicing historian and the readers from the present period? |
work_dp2m4gdo7vgnfmtjr62p2niedm | In describing what we are seeing, we have to employ terms that spectators know what was really happening? |
work_dp2m4gdo7vgnfmtjr62p2niedm | In particular, what have we learned by footstepping that may have been previously overlooked or even ignored? |
work_dp2m4gdo7vgnfmtjr62p2niedm | In summary, I will be asking; whose social history is it, and how do we collect and collate the evidence that comprises this history? |
work_dp2m4gdo7vgnfmtjr62p2niedm | Is the gardening being done primarily to create a garden, or for exercise, or as an excuse to get out of the house? |
work_dp2m4gdo7vgnfmtjr62p2niedm | Note the opinion of the Communist Party of Australia in 1922: “ The blacks are by no means as bad as they are painted. ” Painted by whom? |
work_dp2m4gdo7vgnfmtjr62p2niedm | Rodolphe C Escouflaire: Ireland: an enemy of the Allies? |
work_dp2m4gdo7vgnfmtjr62p2niedm | So the question arises; to what degree were my own investigations a party to these same historical evidential limitations? |
work_dp2m4gdo7vgnfmtjr62p2niedm | The much older inner city Victorian professional residences would have been long gone; but replaced by what? |
work_dp2m4gdo7vgnfmtjr62p2niedm | The official table of precedence was so much departed from that certain dignitaries refused 42 Ann Curthoys and Andrew Markus: Who are our Enemies? |
work_dp2m4gdo7vgnfmtjr62p2niedm | Were the imaginings of the whole population really being expressed? |
work_dp2m4gdo7vgnfmtjr62p2niedm | What are the common features of human experience that we can use for the understanding of historical processes? |
work_dp2m4gdo7vgnfmtjr62p2niedm | What kind of society was being imagined at the time and who was to be considered part of this society? |
work_dp2m4gdo7vgnfmtjr62p2niedm | What was Collingwood referring to when he spoke of the process of re- enactment in the mind? |
work_dp2m4gdo7vgnfmtjr62p2niedm | What was considered necessary for membership of the Australian community as it developed from isolated colonies into a modern nation state? |
work_dp2m4gdo7vgnfmtjr62p2niedm | Wilhelm Dilthey is therefore asking, how is such historical knowledge possible? |
work_dp2m4gdo7vgnfmtjr62p2niedm | “ So was Garibaldi ever found? |
work_cujgdvepijfyxiunn4gedllleq | & que tard j’entendisse Ton parler double& tes chantz de chasseur? |
work_cujgdvepijfyxiunn4gedllleq | 113–14 of “ ‘ Des postes ’ et ‘ Des pouces ’: Plaisanteries ou points de repère?, ” in Columbia Montaigne Conference Papers, ed. |
work_cujgdvepijfyxiunn4gedllleq | 16 Did I say that? |
work_cujgdvepijfyxiunn4gedllleq | 16 O l’ai je dict? |
work_cujgdvepijfyxiunn4gedllleq | ? |
work_cujgdvepijfyxiunn4gedllleq | ?] |
work_cujgdvepijfyxiunn4gedllleq | ?] |
work_cujgdvepijfyxiunn4gedllleq | A 1588 and a post-1588 addition continue the discussion: “[ B] Que ne diroit on, que ne feroit on pour fuyr à si griefves douleurs? |
work_cujgdvepijfyxiunn4gedllleq | And I, too simple, had to try it out Upon myself, and all too late would hear Your double speech and your songs of the hunt? |
work_cujgdvepijfyxiunn4gedllleq | And so you were your sister ’s sister still? |
work_cujgdvepijfyxiunn4gedllleq | And when Montaigne seemed not to understand: “ mon frere, me refusez- vous doncques une place? ”[ my brother, are you then refusing me a place? |
work_cujgdvepijfyxiunn4gedllleq | And when Montaigne seemed not to understand: “ mon frere, me refusez- vous doncques une place? ”[ my brother, are you then refusing me a place? |
work_cujgdvepijfyxiunn4gedllleq | And why does the statement in II: 9 about how some nations go to war without it find its only specific illustration in II: 29? |
work_cujgdvepijfyxiunn4gedllleq | Antoine Compagnon once asked, “ How are we to read the Essays? |
work_cujgdvepijfyxiunn4gedllleq | Are these just minor, decorative details and does the real sense of the chapters lie elsewhere? |
work_cujgdvepijfyxiunn4gedllleq | As Montaigne once said of his cat( II: 12, 452c; 331), who knows if his text is playing with the reader or the reader with the text? |
work_cujgdvepijfyxiunn4gedllleq | Book One 71( would a charge give one ’s soldiers greater momentum or would it merely waste their strength?). |
work_cujgdvepijfyxiunn4gedllleq | Book Three 213 se tenir là? |
work_cujgdvepijfyxiunn4gedllleq | Book Two 189 dying of anguish? |
work_cujgdvepijfyxiunn4gedllleq | But can a crime like mine seek clemency? |
work_cujgdvepijfyxiunn4gedllleq | But how does this help us to read these two chapters? |
work_cujgdvepijfyxiunn4gedllleq | But is Montaigne even telling the truth about what happened to him? |
work_cujgdvepijfyxiunn4gedllleq | But what did he really think? |
work_cujgdvepijfyxiunn4gedllleq | But what does he mean by “ crotesques ”? |
work_cujgdvepijfyxiunn4gedllleq | Can one really believe their publication was a mere stop- gap? |
work_cujgdvepijfyxiunn4gedllleq | Can you see how the winds play with her at their whim? |
work_cujgdvepijfyxiunn4gedllleq | Combien de belles actions particulieres s’enseve- lissent dans la foule d’une bataille? |
work_cujgdvepijfyxiunn4gedllleq | Comment de toy pourrois j’estre content? |
work_cujgdvepijfyxiunn4gedllleq | Constat ou signe? ” Nouveau Bulletin de la Société Internationale des Amis de Montaigne 50( July – December 2009): 91–107. |
work_cujgdvepijfyxiunn4gedllleq | Constat ou signe? ” Nouveau Bulletin de la Société Internationale des Amis de Montaigne 50( July – December 2009): 91–107. |
work_cujgdvepijfyxiunn4gedllleq | Could he have known about the symmetrical arrangement of 107 harpoons? |
work_cujgdvepijfyxiunn4gedllleq | Could then these two crime victims be the same? |
work_cujgdvepijfyxiunn4gedllleq | Diriez vous pas qu’elle se meurt d’angoisse? |
work_cujgdvepijfyxiunn4gedllleq | Do we want to take away from them the occasion for desiring our death? |
work_cujgdvepijfyxiunn4gedllleq | Do you imagine that I could bear more? |
work_cujgdvepijfyxiunn4gedllleq | Does not the fact which is about to be related reveal a very express act of Fortune ’s favor, of her singular kindness and piety? |
work_cujgdvepijfyxiunn4gedllleq | Does she not sometimes address our plans and correct them?] |
work_cujgdvepijfyxiunn4gedllleq | Does this mean that his friendship with La Boétie had something conjugal about it? |
work_cujgdvepijfyxiunn4gedllleq | En ce faict icy se descouvre il pas une bien expresse application de sa faveur, de bonté et pieté singuliere? |
work_cujgdvepijfyxiunn4gedllleq | Et moy trop simple il failloit que j’en fisse L’essay sur moy? |
work_cujgdvepijfyxiunn4gedllleq | Given that they occupy the center of Book One, what might be the center of this center? |
work_cujgdvepijfyxiunn4gedllleq | He was speaking of his desire to name his beloved before the world: Quand viendra ce jour la, que ton nom au vray passe Par France, dans mes vers? |
work_cujgdvepijfyxiunn4gedllleq | How could I ever be happy with you? |
work_cujgdvepijfyxiunn4gedllleq | How could so many details be true of both stories? |
work_cujgdvepijfyxiunn4gedllleq | How then might we readers understand this rien that we read? |
work_cujgdvepijfyxiunn4gedllleq | If I ca n’t feel, why think you I could love? |
work_cujgdvepijfyxiunn4gedllleq | If a musician liked only one kind, what would he have to say? |
work_cujgdvepijfyxiunn4gedllleq | If we do not soon begin to tend ourselves, when will we have provided for so many sores and so many maladies? |
work_cujgdvepijfyxiunn4gedllleq | In “ What does Montaigne mean by ‘ marqueterie ’?, ” Studies in Philology 67. |
work_cujgdvepijfyxiunn4gedllleq | Is it by chance that Montaigne calls these comparisons “ essays ” made “ les uns contre les autres ”[ each against the other]? |
work_cujgdvepijfyxiunn4gedllleq | Is this really a case of saying the same thing twice by inadvertence? |
work_cujgdvepijfyxiunn4gedllleq | Is this to say that in comparing his book to those “ grotesques ” Montaigne admits to having adopted a resolutely ludic and ornamental agenda? |
work_cujgdvepijfyxiunn4gedllleq | Journey to the Center of the Book 14 O coeur leger, o courage mal seur, Penses tu plus que souffrir je te puisse? |
work_cujgdvepijfyxiunn4gedllleq | Journey to the Center of the Book 233 Does my heart race ahead, my fingers itch to write? |
work_cujgdvepijfyxiunn4gedllleq | Le musi- cien qui n’en aymeroit que les uns, que voudroit il dire? |
work_cujgdvepijfyxiunn4gedllleq | Les saillies poetiques, qui emportent leur autheur mesme& le ravissent hors de soy, pourquoy ne les atribuerons nous à son bon heur? |
work_cujgdvepijfyxiunn4gedllleq | Mais un tel faict, faut il qu’il se pardonne? |
work_cujgdvepijfyxiunn4gedllleq | N’adresse elle pas quelque fois nos conseils& les corige? |
work_cujgdvepijfyxiunn4gedllleq | Or are they to be considered as some sort of sign pointing to what makes these chapters parts of a single text? |
work_cujgdvepijfyxiunn4gedllleq | Or did in fact I speak such blasphemy? |
work_cujgdvepijfyxiunn4gedllleq | Or is it not rather another instance of the myriad of symmetrically and intentionally placed echoes in the text? |
work_cujgdvepijfyxiunn4gedllleq | Osereois tu m’ayant ainsi traicté Parler à moi jamais de fermeté? |
work_cujgdvepijfyxiunn4gedllleq | Ou si pour vrai j’ai dict blaspheme telle? |
work_cujgdvepijfyxiunn4gedllleq | P. 147 of Barbara Bowen, “ What does Montaigne mean by ‘ marqueterie ’?, ” Studies in Philology 67. |
work_cujgdvepijfyxiunn4gedllleq | Poetic sallies, which transport their author and ravish him out of himself, why shall we not attribute them to his good luck? |
work_cujgdvepijfyxiunn4gedllleq | Qui apprendra ton coeur d’estre constant, Puis que le mien ne le luy peut aprendre? |
work_cujgdvepijfyxiunn4gedllleq | Qu’est ce meshuy que je pourrois attendre? |
work_cujgdvepijfyxiunn4gedllleq | Richard Regosin put the question this way: “ Why did he choose not to modify his opening remarks by explaining his change of mind? |
work_cujgdvepijfyxiunn4gedllleq | Si je ne sens, commant veux tu que j’aime? |
work_cujgdvepijfyxiunn4gedllleq | Simply put, what is their unity? |
work_cujgdvepijfyxiunn4gedllleq | Since the day that I started to love you I would have conquered the waves of the sea, But from now on what can I hope to gain? |
work_cujgdvepijfyxiunn4gedllleq | So how does it happen that Montaigne finds himself talking about armor — specifi- cally, the lack thereof — in a chapter on virtue? |
work_cujgdvepijfyxiunn4gedllleq | Surpassa elle pas Protogenes en la science de son art? |
work_cujgdvepijfyxiunn4gedllleq | The book, the chapter, the sentence? |
work_cujgdvepijfyxiunn4gedllleq | The question arises, why did he not also put it there in 1580? |
work_cujgdvepijfyxiunn4gedllleq | To what purpose do we dis- member by divorce a building whose fabric of such conjoined and brotherly correspondence? |
work_cujgdvepijfyxiunn4gedllleq | To what purpose do we dismember by divorce a building made up of such close and brotherly correspondence?] |
work_cujgdvepijfyxiunn4gedllleq | Tu estois donc tousjours soeur de ta soeur? |
work_cujgdvepijfyxiunn4gedllleq | Voy tu comme à leur gré les vans se joüent d’elle? |
work_cujgdvepijfyxiunn4gedllleq | Was it a dream? |
work_cujgdvepijfyxiunn4gedllleq | Was one a true story and the other a fiction concocted to match so many details of the first? |
work_cujgdvepijfyxiunn4gedllleq | We have seen that the two chapters talk about the same thing; do they also talk about it in opposite ways, as do I: 1 and I: 57? |
work_cujgdvepijfyxiunn4gedllleq | What causes do we not invent for the misfortunes that befall us?] |
work_cujgdvepijfyxiunn4gedllleq | What good does it do a man to lay in a supply of paints if he does not know what he is to paint?] |
work_cujgdvepijfyxiunn4gedllleq | What good does it do us to have our belly full of meat if it is not digested, if it is not transformed into us?] |
work_cujgdvepijfyxiunn4gedllleq | What is the point behind this delicate choice of echoing words? |
work_cujgdvepijfyxiunn4gedllleq | What place should be given to trustworthiness in dealings with the enemy? |
work_cujgdvepijfyxiunn4gedllleq | What would be the odds of this happening by chance? |
work_cujgdvepijfyxiunn4gedllleq | Where did Montaigne see this painter of his create such a work? |
work_cujgdvepijfyxiunn4gedllleq | Where else could they have been seen( apart from the earlier editions)? |
work_cujgdvepijfyxiunn4gedllleq | Where else do we find a “ forte lumiere ” in the Essays? |
work_cujgdvepijfyxiunn4gedllleq | Who could ever teach your heart constancy, When mine was such a failure at that task? |
work_cujgdvepijfyxiunn4gedllleq | Why did he not simply issue one book with 94( 57+ 37) chapters? |
work_cujgdvepijfyxiunn4gedllleq | Why do we not likewise judge a man by what is his own?] |
work_cujgdvepijfyxiunn4gedllleq | Why does Montaigne pretend to discover the theft at the last minute? |
work_cujgdvepijfyxiunn4gedllleq | Why not just go count the teeth? |
work_cujgdvepijfyxiunn4gedllleq | Would you dare then, in light of what you ’ve done, Entreat me now to have a steadfast heart? |
work_cujgdvepijfyxiunn4gedllleq | [ Did she not surpass Protogenes in the science of his art? |
work_cujgdvepijfyxiunn4gedllleq | [ Do we want to be loved by our children? |
work_cujgdvepijfyxiunn4gedllleq | [ Is it not an error to consider some actions less worthy because they are necessary? |
work_cujgdvepijfyxiunn4gedllleq | [ When will that day come, when your name will truly pass Through France, in my verse? |
work_cujgdvepijfyxiunn4gedllleq | combien& quantesfois S’en empresse mon coeur, s’en demangent mes doits? |
work_cujgdvepijfyxiunn4gedllleq | c’est par nostre beauté ”[ Then it is no longer by our reason, our intel- ligence, and our soul that we excel over the beasts? |
work_cujgdvepijfyxiunn4gedllleq | helas l’ai je songé? |
work_cujgdvepijfyxiunn4gedllleq | le souverain bien de nature? |
work_cujgdvepijfyxiunn4gedllleq | seul appuy de nostre liberté? |
work_cujgdvepijfyxiunn4gedllleq | “ Qui ne voit qu’en un estat tout dépend de l’education& nourriture des enfans? |
work_cujgdvepijfyxiunn4gedllleq | “ What does Montaigne mean by ‘ marqueterie ’? ” Studies in Philology 67. |
work_w7bsiz2vzffkfan7hugr6efvli | ''Quid dormitis? work_w7bsiz2vzffkfan7hugr6efvli A sagitta uolante per diem?... |
work_w7bsiz2vzffkfan7hugr6efvli | An Unnoticed Tract of the Tyndale- More Dispute? |
work_w7bsiz2vzffkfan7hugr6efvli | Did Munday Compose Sir Thomas More? |
work_w7bsiz2vzffkfan7hugr6efvli | Is Heywood''s Hand in Sir Thomas More? |
work_w7bsiz2vzffkfan7hugr6efvli | John Aubrey''s Brief Life of More: Facts, Half- Truths, or Fictions? |
work_w7bsiz2vzffkfan7hugr6efvli | La. Bt sich die Utopia des Thomas More` Okumenisch''deuten? |
work_w7bsiz2vzffkfan7hugr6efvli | More''s Utopia: Persuasion or Polyphony? |
work_w7bsiz2vzffkfan7hugr6efvli | Opening of the Roper Vault in St Dunstan''s Canterbury and Thoughts on the Burial of William and Mary(?) work_w7bsiz2vzffkfan7hugr6efvli Sir Thomas More: une enigme resolue?" |
work_w7bsiz2vzffkfan7hugr6efvli | The Restive Wife in Erasmus''Colloquy: Mistress More or Lady Mountjoy? |
work_w7bsiz2vzffkfan7hugr6efvli | Was More a Utopian or a Realpolitiker? |
work_w7bsiz2vzffkfan7hugr6efvli | Was Sir Thomas More a''Roman lawyer?'' |
work_w7bsiz2vzffkfan7hugr6efvli | What,I said,"were you ever in our country?" |
work_w7bsiz2vzffkfan7hugr6efvli | Why is There No University in Utopia? |
work_w7bsiz2vzffkfan7hugr6efvli | With a Coal? work_w7bsiz2vzffkfan7hugr6efvli nonne praestiterit egisse mutam personam, quam aliena recitando talem fecisse tragicomoediam? |
work_w7bsiz2vzffkfan7hugr6efvli | ( 249/31- 250/1) The Messenger then asks"Why quod your frende[ the Messenger] what thyng dyd I graunt hym that I sholde not?" |
work_w7bsiz2vzffkfan7hugr6efvli | 110. e qua cum ipso usu sublata penitus omni auiditate pecuniae, quanta moles molestiarum recisa, quanta scelarum seges radicitus euulsa est? |
work_w7bsiz2vzffkfan7hugr6efvli | 18 Chancellor More asks the Messenger: Dyd you quod I rede that law your selfe? |
work_w7bsiz2vzffkfan7hugr6efvli | 33. uides inquit hunc? |
work_w7bsiz2vzffkfan7hugr6efvli | 3? |
work_w7bsiz2vzffkfan7hugr6efvli | 53 Raphael does not fall for the bait and replies:"''Should I,''said Raphael,''make it more prosperous by a way which my soul abhors? |
work_w7bsiz2vzffkfan7hugr6efvli | 57 The second, third and fourth temptations are interpreted( Homily 68): Nor the arrow that flies by day?... |
work_w7bsiz2vzffkfan7hugr6efvli | 64. quid aliud quaeso quam facitis fures,& ijdem plectitis? |
work_w7bsiz2vzffkfan7hugr6efvli | 79. quam procul aberit felicitas, si philosophi regibus nec dignentur saltem suum impartiri consilium? |
work_w7bsiz2vzffkfan7hugr6efvli | 8? |
work_w7bsiz2vzffkfan7hugr6efvli | ? |
work_w7bsiz2vzffkfan7hugr6efvli | ? |
work_w7bsiz2vzffkfan7hugr6efvli | ? |
work_w7bsiz2vzffkfan7hugr6efvli | ? |
work_w7bsiz2vzffkfan7hugr6efvli | After such toil how and why could he have been fooled by the deceiver?... |
work_w7bsiz2vzffkfan7hugr6efvli | Also? |
work_w7bsiz2vzffkfan7hugr6efvli | And also couldest y U enuy a perpetual sick man,... a man that is but a prysoner damned to deth, a man that is in ye cart alredy carying forward?" |
work_w7bsiz2vzffkfan7hugr6efvli | And how knowe you quod he[ the Unnamed Critic] yt the chyrche sayth trouth? |
work_w7bsiz2vzffkfan7hugr6efvli | And may the nepheus be sure of their vncle? |
work_w7bsiz2vzffkfan7hugr6efvli | And than why sholde good workes be ioyned to fayth/ or why shold god exacte good workes of vs? |
work_w7bsiz2vzffkfan7hugr6efvli | And ye wordes of Cryst to his apostles were they not his wordys tyll they were wryten?" |
work_w7bsiz2vzffkfan7hugr6efvli | But howe knowe you that saynt Luke made it? |
work_w7bsiz2vzffkfan7hugr6efvli | But if their heresies were once accepted, how much suffering would befall before the World were set once again in order and peace? |
work_w7bsiz2vzffkfan7hugr6efvli | But to those who persevered in professing Christ, what could the sword do, by killing the body at one stroke, and sending the soul to God? |
work_w7bsiz2vzffkfan7hugr6efvli | Chancellor More is just about ready to throw his hands up:"Are ye there yet agayne quod I?" |
work_w7bsiz2vzffkfan7hugr6efvli | Could anything be more clever or profound or sophisticated than Linacre''s mind? |
work_w7bsiz2vzffkfan7hugr6efvli | Did Nature ever create anything kinder, sweeter, or more harmonious than the character of Thomas More? |
work_w7bsiz2vzffkfan7hugr6efvli | Felicioremne inquit Raphael, ea uia facerem, a qua abhorret animus? |
work_w7bsiz2vzffkfan7hugr6efvli | Figure 3.1)? |
work_w7bsiz2vzffkfan7hugr6efvli | For who would sin if he truly believed that sin should bring him to Hell? |
work_w7bsiz2vzffkfan7hugr6efvli | Hic igitur, quo pacto, quave ratione post tantos labores ab insidiatore delusus,...? |
work_w7bsiz2vzffkfan7hugr6efvli | Hoc faciebant et diuturna tormenta; sed quis tandem inueniretur qui duraret aduersus tantos et tam longos cruciatus? |
work_w7bsiz2vzffkfan7hugr6efvli | How can there be a sufficient supply of goods when each withdraws himself from the labor of production? |
work_w7bsiz2vzffkfan7hugr6efvli | How coud they say that onely fayth suffyseth/ yf they shold meane that without charyte and good workis no fayth suffyseth? |
work_w7bsiz2vzffkfan7hugr6efvli | How knowe I quod he other bokys/ but by that they here the names of theyr authors wrytten vppon them? |
work_w7bsiz2vzffkfan7hugr6efvli | How knowe you that quod I? |
work_w7bsiz2vzffkfan7hugr6efvli | I parceiue The History of Richard III/ 51 not whereunto his painted processe draweth? |
work_w7bsiz2vzffkfan7hugr6efvli | I) 1977?,( Supp. |
work_w7bsiz2vzffkfan7hugr6efvli | I: 1977?, supp. |
work_w7bsiz2vzffkfan7hugr6efvli | If while on earth the saints were free to help others"wene[ suppose] we yt in heuen they stande tyed to a post?" |
work_w7bsiz2vzffkfan7hugr6efvli | In Grocino quis ilium absolutum disciplinarum orbem non miretur? |
work_w7bsiz2vzffkfan7hugr6efvli | Is he an idealistic dreamer like Hythloday or does he take a more pragmatic attitude like Persona More or Peter Giles in Book I? |
work_w7bsiz2vzffkfan7hugr6efvli | Knowe ye that any other wyse than by scrypture? |
work_w7bsiz2vzffkfan7hugr6efvli | Knowe you it well therby quod I? |
work_w7bsiz2vzffkfan7hugr6efvli | Linacri iudicio quid acutius, quid altius, quid emunctius? |
work_w7bsiz2vzffkfan7hugr6efvli | Mea uero oratio... alioquin quid habuit, quod non ubiuis dici, uel conueniat, uel oporteat? |
work_w7bsiz2vzffkfan7hugr6efvli | Modern spelling?] |
work_w7bsiz2vzffkfan7hugr6efvli | Nam quo pacto suppetat copia rerum, unoquoque ab labore subducente se? |
work_w7bsiz2vzffkfan7hugr6efvli | Nonne enim si propriam cogitat conditionem, dicturus est sibi: Quid superbis, terra et cinis? |
work_w7bsiz2vzffkfan7hugr6efvli | Nonne si propriam consideret corruptionem, fateatur necesse est quoniam non est in eo bonum?" |
work_w7bsiz2vzffkfan7hugr6efvli | Obsecro inquam, fuisti apud nos? |
work_w7bsiz2vzffkfan7hugr6efvli | Or Provokers of Thought?" |
work_w7bsiz2vzffkfan7hugr6efvli | P. Schaff( 1888? |
work_w7bsiz2vzffkfan7hugr6efvli | P. Schaff, and H. Wace( 1888? |
work_w7bsiz2vzffkfan7hugr6efvli | P. Schaff, and H. Wace( 1888? |
work_w7bsiz2vzffkfan7hugr6efvli | Perseuerantibus autem in non negando Christum, quid facturus erat gladius, uno ictu occidendo corpus, animam ad Deum mittendo? |
work_w7bsiz2vzffkfan7hugr6efvli | Quos si laesam iustitiam, si leges uiolatas, hac rependi poena dicant, haud pecuniam: quid ni merito summum illud ius, summa uocetur iniuria? |
work_w7bsiz2vzffkfan7hugr6efvli | Richard'': Shakespeare Play or Morton Tract?" |
work_w7bsiz2vzffkfan7hugr6efvli | See also D. Grace,"More''s Richard III: A''Satirical Drama?''" |
work_w7bsiz2vzffkfan7hugr6efvli | The Lutheran Preacher is then asked: Was than all the laboure and the payne that the appostles toke in prechynge/ all naught and synfull? |
work_w7bsiz2vzffkfan7hugr6efvli | The Omega Letter[ Chicago] 1( 1966): 31- 32.(?) |
work_w7bsiz2vzffkfan7hugr6efvli | The creature replied"But what&[ if] he cal it an horn, wher am I then?" |
work_w7bsiz2vzffkfan7hugr6efvli | The wordes that god spake to Moyses were they not goddes wordys all/ tyll they were wryten? |
work_w7bsiz2vzffkfan7hugr6efvli | This was the result of protracted tortures also: yet who could be found able to resist such cruel and continued torments? |
work_w7bsiz2vzffkfan7hugr6efvli | Thomae Mori ingenio quid vnquam finxit natura vel mollius, vel dulcius, vel felicius?" |
work_w7bsiz2vzffkfan7hugr6efvli | Thomas More Bibliography/ 292[ 110] Fletcher, H."The Earliest(?) |
work_w7bsiz2vzffkfan7hugr6efvli | Thomas More Bibliography/ 320[ 504] Renkle, M."Did Utopian Chickens Dance?" |
work_w7bsiz2vzffkfan7hugr6efvli | Thomas More Bibliography/ 360[ 1049] Marc''hadour, G."Fuitne Thomas Morus in Aulam Pertractus?" |
work_w7bsiz2vzffkfan7hugr6efvli | What if I told them the kind of things which Plato creates in his republic or which the Utopians actually put in practice in theirs? |
work_w7bsiz2vzffkfan7hugr6efvli | When Peter Giles saw More, he came up to him and said that he was just going to introduce the stranger to him:"Do you see this man?" |
work_w7bsiz2vzffkfan7hugr6efvli | Who could fail to be astonished at the universal scope of Grocyn''s accomplishments? |
work_w7bsiz2vzffkfan7hugr6efvli | Who does not know that fear, anxiety, worries, toils, and sleepless nights will also perish at the same time as money? |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1020] Marc''hadour, G."Thomas More''s Birth: 1477 or 1478?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1042] Hastings, M."Sir Thomas More: Maker of English Law?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1113] Conesa, S. H."Did Thomas More Have a Cervical Disc Lesion?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 111] Grace, D."Subjects or Citizens? |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1122] Flegel, K. M."Thomas More: Was a Sick Man Beheaded?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1128] Knowles, D."For What So Silently Died More?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 117] Kinney, D."More''s Epigram on Brixius''Plagiarism: One Poem or Two?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1258] Thecla[ Smith? |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1387] Martinet, M.-M."Le livre dans les tableaux de la Renaissance: Perspective directe ou prespective inverse?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1428] Condren, C."Dame Alice More and Xanthippe: Sisters to Mistress Quickly?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1431] Marc''hadour, G."Supplique de Dame Alice More au Chancelier Audley( 1538?)." |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1436] Warnicke, R."The Harpy in More''s Household: Was it Lady Alice?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1539] Forker, C. R."Webster or Shakespeare? |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1572] Merriam, T."Chettle, Munday, Shakespeare, and Sir Thomas More?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1604] Wright, G. T."Can Sir Thomas More be by Shakespeare?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1619] Smith, C."A Drama for All Times? |
work_w7bsiz2vzffkfan7hugr6efvli | [ 188] Grace, D."More''s Richard III: A''Satirical Drama?''" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 1938?]. |
work_w7bsiz2vzffkfan7hugr6efvli | [ 229] Condren, C."Cornwallis''Paradoxical Defence of Richard III: A Machiavellian Discourse on Morean Mythology?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 273] Marc''hadour, G."Thomas More convertit Martin Dorp a l''humanisme erasmien?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 39] Edwards, A. S. G."Middle English Pageant''Picture?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 449] Hammond, E. R."Hythloday''s Questions: Clues to his Character? |
work_w7bsiz2vzffkfan7hugr6efvli | [ 45] Meulon, H."Un poem inedit de Thomas More?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 654] Merriam, T."Did Shakespeare Model Camillo in The Winter''s Tale on Sir Thomas More?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 684] Morgan, A. E."[ Is Utopia an Account of the Inca Empire?]" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 734] Sieber, M."Realitat oder Utopie? |
work_w7bsiz2vzffkfan7hugr6efvli | [ 740] Elton, G. R."The Real Thomas More?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 942] Purcell, M."Dialogue of Comfort for Whom?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ 96] Bek, L."Thomas More on the Double Portrait of Erasmus and Pierre Gillis: Humanist Rhetoric or Renaissance Art Theory?" |
work_w7bsiz2vzffkfan7hugr6efvli | [ A structuralist? |
work_w7bsiz2vzffkfan7hugr6efvli | [ An epigram on the death of More''s mother( 1497? |
work_w7bsiz2vzffkfan7hugr6efvli | [ In German, elaborates on"The Real Thomas More?"] |
work_w7bsiz2vzffkfan7hugr6efvli | [ Modernization of Robynson?] |
work_w7bsiz2vzffkfan7hugr6efvli | [ Modernized version of 1557? |
work_w7bsiz2vzffkfan7hugr6efvli | [ On the painter of two copies( 1593- 98?) |
work_w7bsiz2vzffkfan7hugr6efvli | [ One is original, the other retold from Roper or Harpsfield?] |
work_w7bsiz2vzffkfan7hugr6efvli | [ Robert Basset? |
work_w7bsiz2vzffkfan7hugr6efvli | [ Robert Basset?] |
work_w7bsiz2vzffkfan7hugr6efvli | all the dedys of charyte that Cryste shall( as hym selfe sayth) reward with euerlastynge lyfe at the generall iudgement be they synne all togyther? |
work_w7bsiz2vzffkfan7hugr6efvli | all the turmentys that the martyrs suffered in theyr passyon all togyther syn? |
work_w7bsiz2vzffkfan7hugr6efvli | as"[ Utopia: Game, Chart, or Prayer?]" |
work_w7bsiz2vzffkfan7hugr6efvli | by D. Grace"More''s Richard III: A''Satirical Drama?''" |
work_w7bsiz2vzffkfan7hugr6efvli | do you not byleue it bycause it sayth trouth? |
work_w7bsiz2vzffkfan7hugr6efvli | of More''s family portrait made by Holbein( 1526- 27?).] |
work_w7bsiz2vzffkfan7hugr6efvli | the Decretum]? |
work_w7bsiz2vzffkfan7hugr6efvli | wherof shold they serue yf they be nothyng plesaunt to god? |
work_z3etjcracjelhhst2l3yowfavm | - need for integration How do the two layers interact with geomorphology? |
work_z3etjcracjelhhst2l3yowfavm | - potential for integration Where are The Connector and The Sponge missing? |
work_z3etjcracjelhhst2l3yowfavm | / Aveți vreo sugestie bibliografică în legătură cu temele discutate? |
work_z3etjcracjelhhst2l3yowfavm | / Care considerați că sunt cele mai importante trei potențiale ale râului Dâmbovița/ Colentina? |
work_z3etjcracjelhhst2l3yowfavm | / Care considerați că sunt cele mai importante trei probleme ale râului Dâmbovița/ Colentina? |
work_z3etjcracjelhhst2l3yowfavm | / Ce proiecte/ strategii/ inițiative cunoașteți care încearcă să integreze cele două râuri în oraș? |
work_z3etjcracjelhhst2l3yowfavm | / Considerați că Dâmbovița/ Colentina este o barieră fizică în oraș? |
work_z3etjcracjelhhst2l3yowfavm | / Considerați că inundațiile sunt o problemă în cazul celor două râuri? |
work_z3etjcracjelhhst2l3yowfavm | / Credeți că cele două râuri joacă un rol important în aceste potențiale/ probleme? |
work_z3etjcracjelhhst2l3yowfavm | / Cu cine îmi recomandați să mai stau de vorbă? |
work_z3etjcracjelhhst2l3yowfavm | / Cum ați descrie relația spațială dintre Dâmbovița/ Colentina și țesutul urban înconjurător? |
work_z3etjcracjelhhst2l3yowfavm | / Cum utilizați ( ca locuitor al orașului) cele două râuri? |
work_z3etjcracjelhhst2l3yowfavm | / Există strategii sau planuri multi- scalare pentru integrarea Dâmboviței/ Colentinei în oraș? |
work_z3etjcracjelhhst2l3yowfavm | / Se folosește orașul de serviciile de ecosistem pe care cele două râuri le oferă? |
work_z3etjcracjelhhst2l3yowfavm | / În ce măsură spațiile adiacente râurilor atrag activități social- economice? |
work_z3etjcracjelhhst2l3yowfavm | / În ce măsură spațiile adiacente râurilor permit dezvoltarea proceselor ecologice? |
work_z3etjcracjelhhst2l3yowfavm | And how can they be translated into indicators of social- ecological integration? |
work_z3etjcracjelhhst2l3yowfavm | And how can they address those elements and relations in their design of or in URCs? |
work_z3etjcracjelhhst2l3yowfavm | And how can this knowledge be used in design? |
work_z3etjcracjelhhst2l3yowfavm | And is more space only a matter of quantity? |
work_z3etjcracjelhhst2l3yowfavm | Are these principles useful for designers? |
work_z3etjcracjelhhst2l3yowfavm | Are they applied in the right order? |
work_z3etjcracjelhhst2l3yowfavm | But is it really? |
work_z3etjcracjelhhst2l3yowfavm | Chapter 3 SQ3: How has the social- ecological relation- ship between Bucharest and its rivers evolved through time? |
work_z3etjcracjelhhst2l3yowfavm | Chapter 4 SQ4: What is the current state of knowledge on Bucharest ’s URCs? |
work_z3etjcracjelhhst2l3yowfavm | Chapter 6 SQ6: To what extent are the URCs of Bucharest social- ecologically integrated? |
work_z3etjcracjelhhst2l3yowfavm | Chapter 8 SQ8: How do design instruments aid the design of better integrated URCs? |
work_z3etjcracjelhhst2l3yowfavm | Did you find the seminar useful for approaching your design assignment? |
work_z3etjcracjelhhst2l3yowfavm | Do they enable or constrain the design process? |
work_z3etjcracjelhhst2l3yowfavm | Do you consider that Dâmbovița/ Colentina is a physical barrier? |
work_z3etjcracjelhhst2l3yowfavm | Do you have any other recommendations or observations? |
work_z3etjcracjelhhst2l3yowfavm | Do you have any suggestions for literature on planning for/ with the two rivers in Bucharest? |
work_z3etjcracjelhhst2l3yowfavm | Do you know about any projects/ strategies/ initiatives that try to integrate the rivers into the city? |
work_z3etjcracjelhhst2l3yowfavm | Do you think that flooding is an issue along the two rivers of Bucharest? |
work_z3etjcracjelhhst2l3yowfavm | Does scale exist? |
work_z3etjcracjelhhst2l3yowfavm | Does the city make use of the ecosystem services provided by the two rivers? |
work_z3etjcracjelhhst2l3yowfavm | From Metaphor to Measurement: Resilience of What to What? |
work_z3etjcracjelhhst2l3yowfavm | How do you work together? |
work_z3etjcracjelhhst2l3yowfavm | How do you work together? |
work_z3etjcracjelhhst2l3yowfavm | How to apply? |
work_z3etjcracjelhhst2l3yowfavm | How can the connectivity of the two rivers be improved? |
work_z3etjcracjelhhst2l3yowfavm | How can the development dynamics of the two rivers be accommodated spatially? |
work_z3etjcracjelhhst2l3yowfavm | How can the knowledge gained from assessment inform design and planning for social- ecological resilience? |
work_z3etjcracjelhhst2l3yowfavm | How can the scalar qualities of the two URCs be improved? |
work_z3etjcracjelhhst2l3yowfavm | How clear was the theme of the day connectivity? |
work_z3etjcracjelhhst2l3yowfavm | How did the city react to past disturbances? |
work_z3etjcracjelhhst2l3yowfavm | How do these results add to the knowledge on the post- communist transformation of the two rivers? |
work_z3etjcracjelhhst2l3yowfavm | How do you personally use the two rivers? |
work_z3etjcracjelhhst2l3yowfavm | How much human intervention is acceptable to a river to be still considered natural? |
work_z3etjcracjelhhst2l3yowfavm | How should we manage urban river corridors? |
work_z3etjcracjelhhst2l3yowfavm | How to evaluate whether and how those properties are in place? |
work_z3etjcracjelhhst2l3yowfavm | How useful was the theoretical introduction on today ’s topic? |
work_z3etjcracjelhhst2l3yowfavm | How would you evaluate the workload today? |
work_z3etjcracjelhhst2l3yowfavm | How would you rate team work today? |
work_z3etjcracjelhhst2l3yowfavm | How would you rate the afternoon design session of today? |
work_z3etjcracjelhhst2l3yowfavm | If so, which one and why? |
work_z3etjcracjelhhst2l3yowfavm | If it is more that is required, than how much more? |
work_z3etjcracjelhhst2l3yowfavm | If yes, which one? |
work_z3etjcracjelhhst2l3yowfavm | In what sense? |
work_z3etjcracjelhhst2l3yowfavm | Is there a comprehensive multi- scalar plan/ strategy for Dâmbovița/ Colentina? |
work_z3etjcracjelhhst2l3yowfavm | Moreover, is it ‘ in control ’ that it should be? |
work_z3etjcracjelhhst2l3yowfavm | Or should it be? |
work_z3etjcracjelhhst2l3yowfavm | Or, how does corridor- scale social- ecological integration contribute to city- scale resilience? |
work_z3etjcracjelhhst2l3yowfavm | Or, what kind of small- scale interventions can a system at large afford? |
work_z3etjcracjelhhst2l3yowfavm | Practical tool for landscape planning? |
work_z3etjcracjelhhst2l3yowfavm | Q13 What did you dislike about the Sponge? |
work_z3etjcracjelhhst2l3yowfavm | Q14 What would you improve in the Sponge? |
work_z3etjcracjelhhst2l3yowfavm | Q21 What would you improve in the Integrator? |
work_z3etjcracjelhhst2l3yowfavm | Q27 What did you dislike about the Scaler? |
work_z3etjcracjelhhst2l3yowfavm | Q28 What would you improve in the Scaler? |
work_z3etjcracjelhhst2l3yowfavm | Q34 Did you find the order of the instruments correct? |
work_z3etjcracjelhhst2l3yowfavm | Q6 What did you dislike about the Connector? |
work_z3etjcracjelhhst2l3yowfavm | Q7 What would you improve in the Connector? |
work_z3etjcracjelhhst2l3yowfavm | Quantifying Landscape Spatial Pattern: What Is the State of the Art? |
work_z3etjcracjelhhst2l3yowfavm | Questions? |
work_z3etjcracjelhhst2l3yowfavm | Resilience: A Bridging Concept or a Dead End? |
work_z3etjcracjelhhst2l3yowfavm | SQ2: What are the spatial- morphological conditions for achieving social- ecological integration along urban rivers? |
work_z3etjcracjelhhst2l3yowfavm | SQ3: How has the social- ecological relationship between Bucharest and its rivers evolved through time? |
work_z3etjcracjelhhst2l3yowfavm | SQ3: How has the social- ecological relationship between Bucharest and its rivers evolved through time? |
work_z3etjcracjelhhst2l3yowfavm | SQ3: How has the social- ecological relationship between Bucharest and its rivers evolved through time? |
work_z3etjcracjelhhst2l3yowfavm | SQ4: What is the current state of Bucharest ’s URCs? |
work_z3etjcracjelhhst2l3yowfavm | SQ4: What is the current state of knowledge on Bucha- rest ’s URCs? |
work_z3etjcracjelhhst2l3yowfavm | SQ4: What is the current state of knowledge on Bucharest ’s URCs? |
work_z3etjcracjelhhst2l3yowfavm | SQ5: How can the social- ecological integration of URCs be spatially assessed? |
work_z3etjcracjelhhst2l3yowfavm | SQ5: How can the social- ecological integration of URCs be spatially assessed? |
work_z3etjcracjelhhst2l3yowfavm | SQ5: How can the social- ecological integration of URCs be spatially assessed? |
work_z3etjcracjelhhst2l3yowfavm | SQ6: To what extent are the URCs of Bucharest social- ecologically integrated? |
work_z3etjcracjelhhst2l3yowfavm | SQ6: To what extent are the URCs of Bucharest social- eco- logically integrated? |
work_z3etjcracjelhhst2l3yowfavm | SQ6: To what extent are the URCs of Bucharest social- ecologically integrated? |
work_z3etjcracjelhhst2l3yowfavm | SQ7: How can the design of URCs be guided towards social- ecological integration? |
work_z3etjcracjelhhst2l3yowfavm | SQ7: How can the design of URCs be guided towards social- ecological integration? |
work_z3etjcracjelhhst2l3yowfavm | SQ8: To what extent do the four design instruments aid the design of better integrated URCs? |
work_z3etjcracjelhhst2l3yowfavm | SQ8: How do design instruments aid the design of better integrated URCs? |
work_z3etjcracjelhhst2l3yowfavm | SQ8: How do design instruments aid the design of better integrated URCs? |
work_z3etjcracjelhhst2l3yowfavm | SUB- QUESTION AND OBJECTIVES: Sub- question 3: How has the relationship between Bucharest and its rivers evolved through time? |
work_z3etjcracjelhhst2l3yowfavm | SUB- QUESTION AND OBJECTIVES: Sub- question 4: What is the current state of knowledge on Bucharest ’s URCs? |
work_z3etjcracjelhhst2l3yowfavm | SUB- QUESTION AND OBJECTIVES: Sub- question 5: How can the social- ecological integration of URCs be spatially assessed? |
work_z3etjcracjelhhst2l3yowfavm | SUB- QUESTION AND OBJECTIVES: Sub- question 6: To what extent are the URCs of Bucharest social- ecologically integrated? |
work_z3etjcracjelhhst2l3yowfavm | SUB- QUESTION AND OBJECTIVES: Sub- question 7: How can the design of URCs be guided towards social- ecological integration? |
work_z3etjcracjelhhst2l3yowfavm | SUB- QUESTION AND OBJECTIVES: Sub- question 8: How do design instruments aid the design of social- ecologically integrated URCs? |
work_z3etjcracjelhhst2l3yowfavm | TOC 263 Designing Urban River Corridors SQ7: How can the design of URCs be guided towards social- ecological integration? |
work_z3etjcracjelhhst2l3yowfavm | TOC 361 Post- workshop evaluation form Q20 What did you dislike about the Integrator? |
work_z3etjcracjelhhst2l3yowfavm | TOC 362 Integrated Urban River Corridors Q33 Is there something missing from the set of instruments? |
work_z3etjcracjelhhst2l3yowfavm | The Compact City: A Sustainable Urban Form? |
work_z3etjcracjelhhst2l3yowfavm | The Genetic Code for Cities: Is it simpler than we think? |
work_z3etjcracjelhhst2l3yowfavm | The explorer 1- 2- 3 The enforcer 1- 2- 3 The gatherer 1- 2- 3 Q5 What did you like about the Connector? |
work_z3etjcracjelhhst2l3yowfavm | The livability of spaces: Performance and/or resilience? |
work_z3etjcracjelhhst2l3yowfavm | The politics of resilient cities: Whose resilience and whose city? |
work_z3etjcracjelhhst2l3yowfavm | To what extent did you understand the property of interconnectedness? |
work_z3etjcracjelhhst2l3yowfavm | To whom else should I talk to? |
work_z3etjcracjelhhst2l3yowfavm | Urban and Regional Resilience – A New Catchword or a Consistent Concept for Research and Practice? |
work_z3etjcracjelhhst2l3yowfavm | Urban resilience for whom, what, when, where, and why? |
work_z3etjcracjelhhst2l3yowfavm | Was the instrument easy to use? |
work_z3etjcracjelhhst2l3yowfavm | Was the instrument useful? |
work_z3etjcracjelhhst2l3yowfavm | Were you missing something during today ’s sessions? |
work_z3etjcracjelhhst2l3yowfavm | What do you consider most challenging in work- ing on the corridor? |
work_z3etjcracjelhhst2l3yowfavm | What do you consider to be most challenging about your site? |
work_z3etjcracjelhhst2l3yowfavm | What do you consider to be most challenging about your site? |
work_z3etjcracjelhhst2l3yowfavm | What do you consider to be most challenging in working on the corridor? |
work_z3etjcracjelhhst2l3yowfavm | What do you consider to be the highest potential of your site? |
work_z3etjcracjelhhst2l3yowfavm | What do you consider to be the highest potential of your site? |
work_z3etjcracjelhhst2l3yowfavm | What is river restoration? |
work_z3etjcracjelhhst2l3yowfavm | What is scale? |
work_z3etjcracjelhhst2l3yowfavm | What is your favorite instrument? |
work_z3etjcracjelhhst2l3yowfavm | What was your favorite instrument? |
work_z3etjcracjelhhst2l3yowfavm | What was your favorite workshop moment? |
work_z3etjcracjelhhst2l3yowfavm | What was your favorite workshop moment? |
work_z3etjcracjelhhst2l3yowfavm | What Is a Natural River? |
work_z3etjcracjelhhst2l3yowfavm | What are the disturbances acting upon the urban environment? |
work_z3etjcracjelhhst2l3yowfavm | What are the scales of action/ relevance of the two URCs? |
work_z3etjcracjelhhst2l3yowfavm | What did you find most difficult today? |
work_z3etjcracjelhhst2l3yowfavm | What did you find most interesting today? |
work_z3etjcracjelhhst2l3yowfavm | What do the results mean for URCs as defined in this thesis? |
work_z3etjcracjelhhst2l3yowfavm | What do you think are the three main potentials of Dâmbovița/ Colentina? |
work_z3etjcracjelhhst2l3yowfavm | What do you think are the three main problems of Dâmbovița/ Colentina? |
work_z3etjcracjelhhst2l3yowfavm | What do you think are the three most important potentials of Bucharest in terms of urban development? |
work_z3etjcracjelhhst2l3yowfavm | What do you think are the three most important problems of Bucharest in terms of urban development? |
work_z3etjcracjelhhst2l3yowfavm | What do you think are three main function that Dâmbovița/ Colentina should provide to the city? |
work_z3etjcracjelhhst2l3yowfavm | What is hydrologic connectivity and why is it ecologically important? |
work_z3etjcracjelhhst2l3yowfavm | What is it exactly that needs to gain resilience? |
work_z3etjcracjelhhst2l3yowfavm | What is your opinion about the way current urban plans/ strategies address the two rivers? |
work_z3etjcracjelhhst2l3yowfavm | What would you improve? |
work_z3etjcracjelhhst2l3yowfavm | Whatever happened to the ( post)socialist city? |
work_z3etjcracjelhhst2l3yowfavm | Where are the urban system ’s boundaries and who is included? |
work_z3etjcracjelhhst2l3yowfavm | Where can more space be gained from? |
work_z3etjcracjelhhst2l3yowfavm | Which do you consider the best part about working together? |
work_z3etjcracjelhhst2l3yowfavm | Which do you consider the difficult parts about your teamwork? |
work_z3etjcracjelhhst2l3yowfavm | Which do you consider the difficult parts about your teamwork? |
work_z3etjcracjelhhst2l3yowfavm | Which do you consider to be the greatest quality/ potential of your team? |
work_z3etjcracjelhhst2l3yowfavm | Which do you consider to be the greatest strength of your team? |
work_z3etjcracjelhhst2l3yowfavm | Why rehabilitate urban river systems? |
work_z3etjcracjelhhst2l3yowfavm | [ …] Why radial- concentric?! |
work_z3etjcracjelhhst2l3yowfavm | how are routes classified as minor/ major? |
work_z3etjcracjelhhst2l3yowfavm | what is the optimal spatial relationship/ distance between the water edge and minor/ major routes?) |
work_z3etjcracjelhhst2l3yowfavm | x S2: How do the instruments rank in terms of attractiveness and why? |
work_z3etjcracjelhhst2l3yowfavm | x S3: Should any of the four instruments be left out? |
work_z3etjcracjelhhst2l3yowfavm | x S4: Is there something missing from the instrument set? |
work_z3etjcracjelhhst2l3yowfavm | x S5: How can the instrument set be improved? |
work_z3etjcracjelhhst2l3yowfavm | x x I2: How useful are the instruments in designing( in) URCs? |
work_z3etjcracjelhhst2l3yowfavm | x x I3: To what extent does the use of the instruments lead to results which would otherwise not be achieved? |
work_z3etjcracjelhhst2l3yowfavm | x x Instrument set in the design process S1: In what order, if any, should the instruments be applied in the design process? |
work_z3etjcracjelhhst2l3yowfavm | x x x x x I4: How can the design instruments be improved? |
work_z3etjcracjelhhst2l3yowfavm | – Have you had any professional experience connected to the rivers of Bucharest? |
work_z3etjcracjelhhst2l3yowfavm | – How do you see the future of the two rivers? |
work_z3etjcracjelhhst2l3yowfavm | – What do you think are the main challenges that the two rivers of Bucharest face? |
work_z3etjcracjelhhst2l3yowfavm | – What is your experience with working in multi- disciplinary teams? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | At seventeen years old I''m amazed----You really want to hear this? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ( Noticing the flowers) Oh are those for me? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ( Noticing the notes) Are you mocking him? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ( Pause as it sinks in) Would you like some more banana bread? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ( Pause)) How''d you meet? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ( She jingles the bells again) THOMAS: How are you doing Mom? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ( To Thomas) It''s a comfort to you is it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | A little piece of slutass lad? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | After all he''s done? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Am I right Mrs. Mahoney? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | And you mock him with your reckless dishonour? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Anyone? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Are n''t you afraid? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Are you a boy like me? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Are you all deaf? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Are you going to be home for Graduation? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Are you making it back in time for Graduation? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Are you ready to live in the world? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Are you with me!? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Are you with me? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | BOY: But what will I do? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | BOY: Did you make that up? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | BOY: WHERE AM I? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | BOY: WHERE? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | BOY: Who are you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | BOY: Will you let me go? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Bad dreams keeping you awake? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Better than what? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Better than who? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Blast you, what''s the noise? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Boys, Thomas, what''s the matter? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Bring some more water will you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | But what could possiby be missing in yours so soon? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | But what is it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | But why spoil now? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: Am I supposed to believe anything you say? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: Forgiveness? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: How could we forget? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: Is this supposed to be a come- on? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: That I love you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: We''ve thought about this so many times before, have n''t you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: Well so you know Mrs. Mahoney? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: What are you asking Thomas? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: What are you on? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: What else would you do? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: What''s the matter with your face Dante? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN: When? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN:( Speaking into a phone) Mom? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | COLLEEN:( To Thomas) You hit him? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Call the cops? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Can you answer my question? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Can you make a wish on a last star? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Candles in the treefort? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Colleen enters looking stunning in her formal graduation gown THOMAS: You guys, what are you doing here? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Did he get last rights? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Did you hear that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Gon na hit me again little bro? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Is that all you''re going to say him? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Jesus, Did you speak? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Maybe we should bury Dad in his deluxe recliner? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Oh so you know about — — THOMAS:--That''s all you can say — no denials?? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Oh so you know about — — THOMAS:--That''s all you can say — no denials?? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Plans? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Shall we try the Mahoney Typewriter Torture? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Srew your friends, what do they know? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Trouble? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: What are you going to do? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: What are you saying? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: What are you talking about, you wuss? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: What did I say? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: What did you say Mom? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: What''s wrong Colleen? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: When is the funeral? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Who the hell are you to talk?? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Who the hell are you to talk?? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Who the hell is that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: Yeah — COLLEEN: Not missing much am I? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: You ca n''t hear him? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE: You what? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE:( Continued) Best you can do? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE:( He smiles) Hmmmm, hey what do you think of my lips? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | DANTE:( Teasing) Top of your list was it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Dad''s gone, but-- MAURA:--He''s on the sauce? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Dad, you''re going to bloody haunt my head forever? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Dad?! |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Did I hear you right? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Did you say she was wailing? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Did you see that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Did you see that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do I have to stand on a rock? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do they take you aback? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do we have to go our separate ways? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do we try? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do you hate your father? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do you know what time it is? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do you know what you have done? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do you like the box? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do you plan to stay in Ladysmith all your life Thomas? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do you see anything? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do you think they''re full enough? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Do you think we will feel free when it happens? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ECHO: WHERE AM I, I, I, I, I?? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ECHO: WHERE AM I, I, I, I, I?? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | FATHER THEO: Are they supposed to? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | FATHER THEO: Do you have anything to say for yourself? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | FATHER THEO: I might know something here Thomas THOMAS: Damn rights Father, is that so? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | FATHER THEO: Is this a confession? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | FATHER THEO: Pardon? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | FATHER THEO: To help you — THOMAS:--Why did you become a priest Father? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | FATHER THEO: What do you mean? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | FATHER THEO: What''s a relief? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | FATHER THEO: Where''s your faith son? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | First your mother long distance, young Thomas here and now you-- COLLEEN: Everything good at the mill? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | GULLY MONSTER: But why ca n''t I laugh anymore? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Have you forgotten so soon? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Have you written it yet? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Hear that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Hell forget that-- I love you too-- okay? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | His Dad has entered THOMAS:( Noticing his father staring) Whacha looking at? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | How can I write about what I do n''t understand? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | How can you do this to me? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | How do we do that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | How goes the battle? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | How much did this cost? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | How old were you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | I become wind, rain, and ocean-- But hell, what do I know what he was thinking? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | I will need to move on? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | I''ll see them again at maybe Thomas''s wedding, and a few more Christmas times-- How did I get into this family? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | I''m going for a walk to the back of the property? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | In four days I''m working in Toronto''s Yorktown Hotel, then over to Queens... THOMAS: That''s what you want to do? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | In the darkness, we hear Thomas) THOMAS: What time is it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Is everyone okay? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Is it entertaining? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Is that the best you can do? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Is that true Dad? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Is the penis part of some Greenpeace protest? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Is this feeling true? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Is this heaven? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | JAMES: A few courses? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | JAMES: That''s a long time is n''t it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | JAMES: We both know where you stand with Colleen now do n''t we? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | JAMES: What was that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | JAMES: What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | JAMES:( Continued) Challenge me will you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | JOHN:( Colleen''s Father) Where is he? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Just like chocolate cake-- THOMAS: Colleen is that you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Look what do you see? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: A detour? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Believe what? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Ca n''t you think about how I feel? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Did you like the dinner I made? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Is it too much to ask? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Of course I am, why should n''t I be? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Ooh the artiste wants to be left alone-- No need for clean Stanfield''s then? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Sorry, is it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Sorry? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: That''s all you can say? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Thomas? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: What do you care? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: What kind of question is that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: What would you know little rich girl? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: What''s that you got there? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: When? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Where do I begin?! |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Who asked your opinion? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Who could that be? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Why wo n''t you come? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA: Zane is that you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | MAURA:( RUNNING IN) What is it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Maybe the school about grad night? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Middle of a Forest) THOMAS: How did we get here? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Miss, is it true your boyfriend lost his penis? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Mom, are you O.K.? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Mom? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | My little bro treating you right Colleen? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Next time, could you write something funny, happy? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Not all your life? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Oh Jesus Dad, are you ever going to shut up? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Oh Thomas why did you go Thomas? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Oh, Thomas-- You know that Mr. Jerry Macelrath? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Okay is it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Or Mrs. Josef about her pie, Or The Hotel About Cleaning Shifts? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Or any of your other dreams? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Or are you as insane as your dad? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Or was it Sadie? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Out to the clubs-- THOMAS:--Looking for anyone? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | PETER: You insult my town faggot? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | PETER:( Leaning to his ear) Smell that boy? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-ELEVEN-22 THOMAS: Last leg? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-FIVE-11 THOMAS: What hour is that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-THIRTY- SIX-120 THOMAS: I think I''m happy, and you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-THIRTY- THREE-112 MAURA: All right what do you want to talk about? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-THIRTY-101 THOMAS: Your dad? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY- EIGHT-76 THOMAS: Man, I mean guy or girl? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY- FIVE-54 THOMAS: What do you mean Dad? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY- FIVE-59 DANTE: Who are you calling straight? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY- NINE-89 DANTE: Do we half to go too? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY- NINE-92 FATHER THEO: What was the question? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY- NINE-94 FATHER THEO: Do you really make comparisons? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY- NINE-97 DANTE: Those are your caring hands Mom? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY- NINE-98 ZANE: May I try Father Theo? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY- SIX-68 MAURA: Blast you boy, you dare to ask? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY- THREE-46 COLLEEN: Is he okay? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY- TWO-41 ZANE: Would you like a ride somewhere Miss? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY-34 SEAN: Another hen party was it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Printed Sept 4th 2008--TAMZ, by DM, Print 17-TWENTY-36 SEAN: Is that a crime? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Promise? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | REPORTER 1: Why are you in a tree? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | REPORTER 2: Did you cut it off? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | REPORTER 3: Is his penis being held hostage by Lesbian re- education separatists? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | REPORTER 4: Are you a Lesbian? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Really? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Run away now why do n''t you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SCENE: 16 THOMAS: This is it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: Oh, you say now does it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: Onomatopoeia? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: So I hear your essay on Canada''s Uncertain Identity won first prize in The Sun Student Essay competition? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: Something eating you son? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: Son, life... THOMAS: Yes? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: What is life without poetry? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: What makes you read this? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: What was that son? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: When did you get so old? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: Why do we need to go anywhere? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN: Yes son? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN:( Calling from his bedroom) Thomas? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | SEAN:( Continued) Where are you going? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Scared the hell out of me, does n''t care if other people might be hurting, might need-- I ought to tell him-- COLLEEN:--What are you talking about? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Shall I sew his mouth shut? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Should we? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Sis? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | So our family owns all this? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | So this is post University life? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Sorry son, you have somewhere to be? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Ssh, hear that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: A monster? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: And now? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: And you''re a stripper? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Away? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: But how do you —? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Can we? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Can you answer my question? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Colleen, do you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Colleen, shoot, I-- COLLEEN: Promise me-- THOMAS: What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Could we be--? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Dad, are you okay? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Dad, you think that maybe you could call me by my name instead of son all the time? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Dad? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Do they have prostitutes in Saskatoon? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Do you ever feel something is missing in your life? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Do you want to talk some more? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Do? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Doctor, Lawyer, Chief BOTH: Who are we going to be? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Does your dad know you''re here? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Forgive him? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Got any apples? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: He did get last rights with Father Theo? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Hear what? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Hello? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: How did he call you Father? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: How did you know? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: How long are you going for? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: I love the forest, burst of wet, source of life and breath, I could — COLLEEN: Live here? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: I mean did he call you collect, did he give you a dream, was there a burning bush, did you have a conversion on a ferry ride? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: In life, with people, power, taking charge-- what I mean is, how do you give in, without giving up all the time? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Is Dad there? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Is it really her? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Is that you, you''re there Mom, you''re speaking to me? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: It really is raining — Can you hear it on the roof? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Manor? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Mom are you allright? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Mom, do you really believe it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Monster? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Move on? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Mr. Avery, Sir? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: My mom? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Other places? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Really? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Sadie? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Sean, what''s it like? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Should n''t we call the ambulance? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Since she, I mean you, that is, your family... JAMES: Do I make you nervous? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: So is it true, do you —? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: So what do you do over there then? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Splortchalaork-- I made it up, onomatopoeia SEAN: Did they teach you that in that high school of leftover hippies? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: The splortchalaork of the sand as we walk over the clam holes-- SEAN: What kind of word is that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Thomas?? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Thomas?? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What are doing here? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What are you doing? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What did you put in that banana bread Zane? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What do we now? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What does that mean? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What does that mean? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What hour? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What is it Dad? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What one was that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What talk is that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What time is it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What was that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Where is everyone else? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Where is here? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Who are talking to? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Why could n''t you come home decently? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Why not, its damn funny? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Why''d you love Dad? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Why? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Yes? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: You forgot my question? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: You talked with it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: You were with my brother? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Your dad is waving guns, my girlfriend is playing with my brother, my dad is dying-- have you been listening to me? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS: Zane? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS:( Continued) Grad Night? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS:( Continued) Home early today Sir? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | THOMAS:( Continued) You just going to sleep? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | That God''s son walked the earth, that-- MAURA: Stop it will yah stop? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | That allright with you Thomas? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | That''s what your grade skipping mind tells you is it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Then, where''d you be? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | This feeling does it last forever? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | This is all you''ve done? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Thomas goes over to Colleen) THOMAS:( Continued) You''re not surprised to see me? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Thomas, I do n''t have words for this, have you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Trying to earn a medal boy? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Want another punch? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Want to go swimming? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | We''re doing it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Were the little people teasing you again? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What am I hearing said in my house? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What are these notes? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What are you doing alone out here so early? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What are you writing in your journal? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What courses would they be? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What do I care? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What do you really want from me Father? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What do you say to that? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What does she want? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What does that make me? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What escape? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What gives? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What happened? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What have you got to be sorry about? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What have you got to say to me? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What in blazes are you doing there lad? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What in the blazes did that mean anyway? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What in the world are you two doing? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What is it anyway? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What plans boy? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What profit? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What shall I do? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What shall we do Father? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What the hell are you talking about? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What three- dollar word are you pulling out there? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What will you do when you meet her? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What''s Up? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What''s that noise? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What''s this? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What''s wrong with Thomas? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | What''s wrong with you son? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | When? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Where are you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Where are you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Where have you been for almost a whole week? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Where is here? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Where the fuck were you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Where''s Sadie, where''s everyone? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Where''s a candle, anybody got a candle? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Where? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Who am I kidding? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Who are you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Who is here? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Who was it? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Who''s the graduate? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Who''s there? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Why are doing this? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Why are we breaking up? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Why are you laughing? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Why ca n''t I write poetry? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Why ca n''t you be more like him? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Why do you have to go through this alone? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Why the questions Thomas? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Why''d it have to? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Will you forgive me? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Women like that, eh? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Would n''t you agree Father? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Would you like an apple, late winterfall? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You Dante? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You could n''t sleep? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You got any gum? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You got the priest in your sight today have you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You know you could have just picked up my grad tuxedo without me? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You liked that did n''t you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You need to laugh, where''s your laugh? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You needed a piece of her did you before she goes? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You see it boys? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You want the whole town to hear all of yee going loonie? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You wanted more, did n''t you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You would n''t be going to University like my daughter Colleen would you? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You''ll call him wo n''t you Thomas? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You''ll look after the house wo n''t you Thomas? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | You''re not sure? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE: Cause of the ghost? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE: Cross Canada? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE: Do you guys like the bread? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE: Do you need a ride somewhere Miss? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE: If you''re not going to do with her because of her Dad, Why do n''t you two break up? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE: Lip meeting? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE: Now you''re fighting? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE: What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE: Yeah sure, Thomas you got a knife —? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE: You think that''s going to make it all better? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE:( Continued) What? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | ZANE:( Humming a tune we recognize it as Taking care of business) PETER: You want to see your friend alive again Tommy boy? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Zane awakens ZANE: Is this real? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | Zane? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | homegrown, longhair? |
work_6tcgzb46wnhbrpnpxhbwr2oczq | — why am I a target? |