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_e7v32ehmqzb53komofza7jm6su | It was nearly the same amount of cars on each lane, and for a curious reason I thought why ca n’t those cars just make an exchange with each other? |
| work_sst7m6nd7jcixaiwplj44l4aoa | The Knightly Turk? |
| work_ojg3j2ynv5difkqdwy2vfxu5ja | Greenwood BM, Marsh K, Snow RW: Why do some African children develop severe malaria? |
| work_tc24q7jqwjhvrl3zmfjtoxue3i | My creativity started to talk – how could I express myself using that material? |
| work_suyuohbobrbchktyj6t6vam3qm | In 1720 Dr Charles Peters( 1695- 1746?) |
| work_oujff3afzfe6zpmivcnq6qqjxe | 31 Writing about the context to which A AP responded, Kalaw- Ledesma asked: What was the future of the artist of that period? |
| work_pegjwmrxqbfibkzi4o4c6lvoju | Seventeenth- Century Christian Hebraists: Philosemites or Antisemites? |
| work_pegjwmrxqbfibkzi4o4c6lvoju | What Is a Book? |
| work_6h6rylvfore63mfuo3wncgjhhm | Heinrich Schreyber — aus Erfurt oder aus Herbsleben? |
| work_6h6rylvfore63mfuo3wncgjhhm | Pur Versus Appliqué? |
| work_6h6rylvfore63mfuo3wncgjhhm | [ Heinrich Schreyber — From Erfurt or from Herbsleben? |
| work_2hgwzdb25zflxkohpnbd37sac4 | What is history? |
| work_ljqs4pzhqzbnhdclxxwpdcifja | c o m/ w a t c h? |
| work_mdz5t7mwtzd7npjuxjxsqmx3oi | Cambridge, MA 2001; grafton, a.: What Was History? |
| work_mdz5t7mwtzd7npjuxjxsqmx3oi | Leiden 2017; PaPy, J.: An Antiquarian Scholar between Text and Image? |
| work_77waapdnkff2dpz3n7owc7ouni | What concepts and values should genuinely"German"architecture express? |
| work_77waapdnkff2dpz3n7owc7ouni | What was the ideal or typical"German"style? |
| work_4mpikdh3efbmpirqtrp2nhuv3m | ACUTE ADAPTATIONS ON PHYSICAL EFFORTS — DOES THE DOSE REALLY MATTER? |
| work_4mpikdh3efbmpirqtrp2nhuv3m | ARE GENETICS THE KEY? |
| work_4mpikdh3efbmpirqtrp2nhuv3m | Troponin release following endurance exercise: is inflammation the cause? |
| work_ebyqgudypbabngkhjcl3n26ebu | Had Venturi or Tikkanen already made Strzygowski ’s acquaintance in Rome, as seems likely? |
| work_ebyqgudypbabngkhjcl3n26ebu | How to present the history of art history? |
| work_ag675eypmfhd5odalnbtlqsckq | 22 chastity should be considered a greater disobedience than lust? |
| work_ag675eypmfhd5odalnbtlqsckq | 23 S. Georgia Nugent, “ Virtus or Virago? |
| work_w345pjuslbbp3nljy6ibpdxnw4 | And do you stand by what you wrote? |
| work_w345pjuslbbp3nljy6ibpdxnw4 | But what was it for? |
| work_w345pjuslbbp3nljy6ibpdxnw4 | Pointing to a stack of books, an official asked Luther two questions: Did you write these books? |
| work_zaoy2pqhjvdk7pu527thsq3g5q | Eine andere Moderne? |
| work_zaoy2pqhjvdk7pu527thsq3g5q | Stil? |
| 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_n7aqni2sybbwfgfs7q3coipra4 | 7 Cosmè Tura, An Allegorical Figure( Muse?)(Calliope? |
| work_n7aqni2sybbwfgfs7q3coipra4 | Art In The Making: A Muse( Calliope?). |
| work_n7aqni2sybbwfgfs7q3coipra4 | Cosmè Tura, An Allegorical Figure( Muse?)(Calliope? |
| work_n7aqni2sybbwfgfs7q3coipra4 | However, is this, as the inventory suggests, a Resurrection scene or is it, as its more commonly used title suggests, an Entombment scene? |
| work_e7ab7hrowrar5pxir2vjsbdf2y | Can such connections be shown using modern methods and approaches on specific illustrative case studies? |
| work_e7ab7hrowrar5pxir2vjsbdf2y | Was Thompson completely wrong in his conviction? |
| work_e7ab7hrowrar5pxir2vjsbdf2y | What are these ‘ laws ’ and why might this concept still be important today? |
| work_e7ab7hrowrar5pxir2vjsbdf2y | What do they tell us about the role of development in morphological evolution? |
| work_e7ab7hrowrar5pxir2vjsbdf2y | What is the role of modularity in the generation of diversity? |
| work_cdwkomwxxrhovfgdzfhwiiczsq | 48 Mario Carpo, How Do You Imitate a Building That You Have Never Seen? |
| work_cdwkomwxxrhovfgdzfhwiiczsq | How does the acanthus function within the body of architectural knowledge presented in Ryff ’s Vitruvian text? |
| work_cdwkomwxxrhovfgdzfhwiiczsq | What can it tell us about the evolving scope and methods of early modern architectural fieldwork? |
| work_pucdxmnwxbe2vldnkj2mzxbtsy | 57. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx? |
| work_pucdxmnwxbe2vldnkj2mzxbtsy | Art for All? |
| work_pucdxmnwxbe2vldnkj2mzxbtsy | Clayton, T. “ The London Printsellers and the Export of English Graphic Prints. ” In Loyal Subversion? |
| work_pucdxmnwxbe2vldnkj2mzxbtsy | Jahrhundert ”: Kunstgeschichte Oder Kampfgeschichte? |
| work_pucdxmnwxbe2vldnkj2mzxbtsy | Lewis, Art for All?, 76, 91, 143–57; Schulz- Hoffmann, et al., Simplicissimus, 221–52, 287–310. |
| work_isr6wlmplnffdmw5iecchcs32e | ( Wer wäre als Septimaner nicht Atheist gewesen?) |
| work_isr6wlmplnffdmw5iecchcs32e | ( Who would n''t have been an atheist as a Septiman?) |
| work_isr6wlmplnffdmw5iecchcs32e | 2), 85- 170 ’, Český časopis historický 18:1, 1912, 94- 100; 96: ‘ Co rozumí slovy „ rakouský barok"? |
| work_xkr2tvayefftnnw6kgqabipyjm | Andrew Astley(? – 1633)( 1588, Bodleian Library) → son Thomas Astley 11. |
| work_xkr2tvayefftnnw6kgqabipyjm | Jenny Myll(?) |
| work_xkr2tvayefftnnw6kgqabipyjm | John Dyson(?) |
| work_xkr2tvayefftnnw6kgqabipyjm | Phebe Challoner(?) |
| work_xkr2tvayefftnnw6kgqabipyjm | Robert(us) Thorne(?) |
| work_xkr2tvayefftnnw6kgqabipyjm | William Goodman(?) |
| work_dcilbsvcsfdvlnapnswm6wv5w4 | Can democracy survive without reliable information? |
| work_dcilbsvcsfdvlnapnswm6wv5w4 | Empathy in the classroom: Why should I care? |
| work_dcilbsvcsfdvlnapnswm6wv5w4 | How do physicians teach empathy in the primary care setting? |
| work_dcilbsvcsfdvlnapnswm6wv5w4 | Is found information reliable? |
| work_dcilbsvcsfdvlnapnswm6wv5w4 | Miller( 2010), writing for Youth Media Reporter, asks: How do we know what information is trustworthy? |
| work_dcilbsvcsfdvlnapnswm6wv5w4 | What can learning designers and practi- tioners do to foster recovery and strengthen our collective civic sensibilities now and for the future? |
| work_5bme66qivvba5mg6e4fjiik2zu | 21 readings of prominent facial features: what disposition, for example, does a large forehead, small forehead, curved eyebrow, bulging eye indicate? |
| work_5bme66qivvba5mg6e4fjiik2zu | 77 Who was Holbein‘s audience? |
| work_5bme66qivvba5mg6e4fjiik2zu | How is his naturalism achieved, and to what end? |
| work_5bme66qivvba5mg6e4fjiik2zu | How, and why, might an audience have looked to Holbein‘s images for physiognomic ‗truths ‘? |
| work_5bme66qivvba5mg6e4fjiik2zu | What is its interaction with physiognomic theory? |
| work_k66vqzcgdzavjfpvpxsa43mrga | FISCHER and Benno TORGLER: Does Envy Destroy Social Fundamentals? |
| work_k66vqzcgdzavjfpvpxsa43mrga | Which Ways and Methodologies for Mapping these Contexts? |
| work_is6ydrym6fegppsdidfeutitji | 750–51 and Yve- Alain Bois, “ Whose Formalism?, ” Art Bulletin 78( 1996), pp. |
| work_is6ydrym6fegppsdidfeutitji | I am not that. ”3 Is Wölfflin ’s resistance the only discernible form of political thought in his work? |
| work_is6ydrym6fegppsdidfeutitji | Or is the political system the uncon- scious of formalism — always already present, but in a repressed form? |
| work_is6ydrym6fegppsdidfeutitji | Part two is concerned with the undergirding of the Baroque in cultural history, posing the question Why does style change? |
| work_is6ydrym6fegppsdidfeutitji | That is, is the description of the form of the state one of the purposes of formalism? |
| work_is6ydrym6fegppsdidfeutitji | The most important question, though, is this: should we think of the politi- cal in Wölfflin ’s work as political formalism? |
| work_is6ydrym6fegppsdidfeutitji | What would it mean to art history if its foundational formalist, Heinrich Wölfflin, also turned out to be a political thinker? |
| work_is6ydrym6fegppsdidfeutitji | Wölfflin Against the “ Great State ” How to characterize the politics that emerge from Wölfflin ’s pages? |
| work_xrjxcc4hbfaazblfa3xdokljxu | But is it, I ask you, honourable to make such aacks on a friend who does not deserve them? |
| work_xrjxcc4hbfaazblfa3xdokljxu | How did one get these starting points, as the basis for anal- ogy? |
| work_xrjxcc4hbfaazblfa3xdokljxu | If he did not edit the book, what colleagues in Basle might have done the job? |
| work_xrjxcc4hbfaazblfa3xdokljxu | Nam absque rerum naturalium et cosmographiae scientia quis est locus in poetis, quem recte possit exponere grammaticus? ”. |
| work_xrjxcc4hbfaazblfa3xdokljxu | So who helped Froben prepare and correct the text? |
| work_xrjxcc4hbfaazblfa3xdokljxu | Verum ut haec sileantur, qui candor omnium, quae festivitas, quae concordia? |
| work_xrjxcc4hbfaazblfa3xdokljxu | What was Erasmus ’ actual aitude towards the mathematical sci- ences? |
| work_xrjxcc4hbfaazblfa3xdokljxu | What, then, did mathematics look like among the Erasmi- ans? |
| work_lk7q7rybt5ampdm4zgvy4lgz5y | Are there any costs involved or how long does it take to retrieve the data? |
| work_lk7q7rybt5ampdm4zgvy4lgz5y | How can I access these information? |
| work_lk7q7rybt5ampdm4zgvy4lgz5y | How can I decide if it is even useful? |
| work_lk7q7rybt5ampdm4zgvy4lgz5y | How can I make use of the load of information provided? |
| work_lk7q7rybt5ampdm4zgvy4lgz5y | How can I present the information in a way that suits my needs? |
| work_lk7q7rybt5ampdm4zgvy4lgz5y | How were the data changed on the way or are there more details available when accessing the separate systems? |
| work_lk7q7rybt5ampdm4zgvy4lgz5y | In 1950 Attneave stated in[ Att50]: The question ’ What makes things seem alike or seem different? ’ is 40 CHAPTER 3. |
| work_lk7q7rybt5ampdm4zgvy4lgz5y | In this case, the question is: which substrings are appropriate? |
| work_lk7q7rybt5ampdm4zgvy4lgz5y | Typical questions can be: where does the data come from? |
| work_yeth7vk2yveevnqvc4xxwukemm | ( …) Whence the whole habit of inventing a new writing all the time when the old one still[ has] so many possibilities? |
| work_yeth7vk2yveevnqvc4xxwukemm | And again with false assumptions? |
| work_yeth7vk2yveevnqvc4xxwukemm | Architektur als Symbol is in fact a pamphlet resulting from the polemic arisen by his intervention Was ist modern?. |
| work_yeth7vk2yveevnqvc4xxwukemm | However, the arguments are not assertive: Yet, can we speak of a ‘ decline ’ of architecture? |
| work_yeth7vk2yveevnqvc4xxwukemm | I ask him, why do they open up the wall and weaken the structure to make windows? |
| work_yeth7vk2yveevnqvc4xxwukemm | See Walter Riezler, ‘ Werkbundkrisis? ’, Die Form, 6: 1, 1931, 1- 3. |
| work_yeth7vk2yveevnqvc4xxwukemm | Well, if you can let me have more light with less weakening the fabric, are n’t you making a mistake giving me an inconvenience of this kind? |
| work_yeth7vk2yveevnqvc4xxwukemm | ‘ Do we want to start over again from the beginning? |
| work_mukiufmxdnfldog4jciljjr7d4 | But beyond that, what has space travel achieved for the improvement of the human soul? |
| work_mukiufmxdnfldog4jciljjr7d4 | But who perceives that beauty, and Humanities 2012, 1 58 who can help the individuals living there to recognize those hidden treasures? |
| work_mukiufmxdnfldog4jciljjr7d4 | Can we define love, or death, joy or God? |
| work_mukiufmxdnfldog4jciljjr7d4 | However, is there any way to define what these fundamental aspects in our lives might be? |
| work_mukiufmxdnfldog4jciljjr7d4 | Is there any possibility to specify what the basic emotional experiences truly are, perhaps by means of a mathematical or chemical formula? |
| work_mukiufmxdnfldog4jciljjr7d4 | What does art, what does music bring about, and why would they be important for all people? |
| work_mukiufmxdnfldog4jciljjr7d4 | What might go through his/ her mind while s/ he is traveling in space? |
| work_mukiufmxdnfldog4jciljjr7d4 | What role do the humanities play both inside and outside the academy? |
| work_mukiufmxdnfldog4jciljjr7d4 | Who would deny the soothing, uplifting, enthralling, empowering, saddening, and illuminating power of music? |
| work_mukiufmxdnfldog4jciljjr7d4 | Why do we need the humanities as an academic discipline in the university, or in our educational system at large? |
| work_mukiufmxdnfldog4jciljjr7d4 | Yet, what does someone do with an education in the humanities? |
| work_rj6x66hr4zhktm2yofuekjdmwu | 32 riegl, alois, Spätrömisch oder orientalisch? |
| work_rj6x66hr4zhktm2yofuekjdmwu | 48 riegl, Spätrömisch oder Orientalisch?, 154. |
| work_rj6x66hr4zhktm2yofuekjdmwu | 57 riegl, Spätrömisch oder orientalisch?, 154. |
| work_rj6x66hr4zhktm2yofuekjdmwu | 6 Früchtl, andreas, Strzygowski als Wegbereiter einer vergleichenden Weltkunstgeschichte? |
| work_rj6x66hr4zhktm2yofuekjdmwu | 81 riegl, Spätrömisch oder orientalisch?, 154. |
| work_rj6x66hr4zhktm2yofuekjdmwu | Was ist Kunstentwicklung? |
| work_rj6x66hr4zhktm2yofuekjdmwu | [ alois riegl – Father of art Historical National- ism?] |
| work_rj6x66hr4zhktm2yofuekjdmwu | bakoš, Jan, alois riegl – otec umeleckohistorického nacionalizmu? |
| work_bjkselntrfhbbbwlnl4nodvzgq | ( Was ist in einem Programm- Element angelegt?) |
| work_bjkselntrfhbbbwlnl4nodvzgq | ): Die Zuschauer als Fernseh- regisseure? |
| work_bjkselntrfhbbbwlnl4nodvzgq | The morality of the normal people? |
| work_bjkselntrfhbbbwlnl4nodvzgq | The successful con- man? |
| work_bjkselntrfhbbbwlnl4nodvzgq | The vulnerable girl? |
| work_bjkselntrfhbbbwlnl4nodvzgq | What are the mechanisms which combine the variety of elements into a coherent space? |
| work_bjkselntrfhbbbwlnl4nodvzgq | What does this model of socialisation contribute to the explanation of the phenomenon, which is in the main focus of this paper? |
| work_bjkselntrfhbbbwlnl4nodvzgq | What is relevant for an 11 year old boy? |
| work_bjkselntrfhbbbwlnl4nodvzgq | What is the basic socialisation model behind the cultural historical development? |
| work_bjkselntrfhbbbwlnl4nodvzgq | What is the main argument? |
| work_bjkselntrfhbbbwlnl4nodvzgq | What is the methodological difference of these complex arrangements to a traditional coherent media like a movie? |
| work_hfjie4jqubglndtadcyyhrp5hm | 15 choices open to humanity in the winter of civilisation? |
| work_hfjie4jqubglndtadcyyhrp5hm | 17 through worker- protection laws? |
| work_hfjie4jqubglndtadcyyhrp5hm | And was the SPD not organised rather like a military machine under Bebel? |
| work_hfjie4jqubglndtadcyyhrp5hm | How does Spengler try and make the case for his anti- republican alternative, a socialist monarchy? |
| work_hfjie4jqubglndtadcyyhrp5hm | Indeed, if socialism is in some way predetermined, why would he produce a pamphlet to try and alter the course of events? |
| work_hfjie4jqubglndtadcyyhrp5hm | Is Spengler ’s socialism not typical of the Young Conservative movement and its struggle against all notions of a democratically organised society? |
| work_hfjie4jqubglndtadcyyhrp5hm | Lassalle and Lensch In order to boost his Prussian- socialist credentials, Spengler cites Ferdinand Lassalle ’s 1862 What Next? |
| work_hfjie4jqubglndtadcyyhrp5hm | Opportunist Socialism? |
| work_hfjie4jqubglndtadcyyhrp5hm | What is possible and what is not? |
| work_hfjie4jqubglndtadcyyhrp5hm | Yet how did it address the need for a German national resurgence? |
| work_up37c36mrrhzrh2yyxrzacqqba | Is it into Faustinus ’ bosom that you flee? |
| work_up37c36mrrhzrh2yyxrzacqqba | See James Boyle, Foreword: The Opposite of Property?, 66 LAW& CONTEMP. |
| work_up37c36mrrhzrh2yyxrzacqqba | See Lee Davis, Should the Logic of ‘ Open Source ’ Be Applied to Digital Cultural Goods? |
| work_up37c36mrrhzrh2yyxrzacqqba | See Michael A. Heller& Rebecca S. Eisenberg, Can Patents Deter Innovation? |
| work_up37c36mrrhzrh2yyxrzacqqba | See PETER DRAHOS& JOHN BRAITHWAITE, INFORMATION FEUDALISM: WHO OWNS THE KNOWLEDGE ECONOMY? |
| work_up37c36mrrhzrh2yyxrzacqqba | See Steve Mizrach, Is There a Hacker Ethic for 90s Hackers?, HACKER KULTURE, http://www.dvara.net/hk/90shackers.asp( last visited Feb. 9, 2016). |
| work_up37c36mrrhzrh2yyxrzacqqba | What Is Kickstarter?, KICKSTARTER, https://www.kickstarter.com/about( last visited Feb. 9, 2016). |
| work_up37c36mrrhzrh2yyxrzacqqba | Yet of what advantage is it to me? |
| work_xkdakconsreujhkteyjfqeela4 | ( However, the glaze on the tiles of the stove from Besztercebánya that were probably made earlier, probably also locally, does not(?) |
| work_xkdakconsreujhkteyjfqeela4 | It is possible that for around 70 years they obtained the cobalt needed for the blue colour from the same source(?). |
| work_xkdakconsreujhkteyjfqeela4 | Its dominant element is a multi- layered lance- shaped fl ower of oriental appearance with hems seen from the side( leaf fl ower, pomegranate?) |
| work_xkdakconsreujhkteyjfqeela4 | Large jugs with miners ’ symbols: 1724,(... s?) |
| work_xkdakconsreujhkteyjfqeela4 | So far we have found three dishes with craft symbols( NM 54.105.2, 1732, miner? |
| work_xkdakconsreujhkteyjfqeela4 | WHERE WERE THE PIECES OF THE “ MINING TOWN WORKSHOP ” MADE? |
| work_xkdakconsreujhkteyjfqeela4 | We also included here the damaged, burnt tankard( MNM 1961.3330) with a date that is diffi cult to decipher, 1651(?) |
| work_xkdakconsreujhkteyjfqeela4 | What do we know? |
| work_xkdakconsreujhkteyjfqeela4 | Where could the cobalt ore containing uranium have been mined? |
| work_xkdakconsreujhkteyjfqeela4 | n. IMM 2871 Tankard, 1651(?). |
| work_lhfcyktodndynghc53yqmc2awa | 2), why do n’t they come here to impose some sanctions for breaking the law? |
| work_lhfcyktodndynghc53yqmc2awa | 9), Did they do something? |
| work_lhfcyktodndynghc53yqmc2awa | Can you give any examples of ways in which the public opinion fought back to protect the building? |
| work_lhfcyktodndynghc53yqmc2awa | How good does it sound: the priest and the casino, right? |
| work_lhfcyktodndynghc53yqmc2awa | To what extent do you think that the regional and national decision makers were involved in the protection of the building? |
| work_lhfcyktodndynghc53yqmc2awa | To what extent were the residents of the city and of the region involved in the process of protecting and preserving the building? |
| work_lhfcyktodndynghc53yqmc2awa | To what extent were they involved in the protection and conservation of the monument? |
| work_lhfcyktodndynghc53yqmc2awa | Were there times when representatives of these institutions came to see the state of the building and take some measures to remedy the situation? |
| work_lhfcyktodndynghc53yqmc2awa | What actions have the local decision makers taken in order to protect the building? |
| work_lhfcyktodndynghc53yqmc2awa | What were the most important measures they took regarding the future of the building? |
| work_lhfcyktodndynghc53yqmc2awa | Who are currently the owners of the building? |
| work_lhfcyktodndynghc53yqmc2awa | Why are there any laws if they are not applied? |
| work_lhfcyktodndynghc53yqmc2awa | Why is the built heritage important for the Land of Dorna? |
| work_lhfcyktodndynghc53yqmc2awa | Why legal norms? |
| work_lhfcyktodndynghc53yqmc2awa | Why moral norms? |
| work_2fhjmdc2avbb3eaeciynb643mm | 27 Bhambra, ‘ Historical sociology ’; Gurminder K. Bhambra, ‘ Talking Among Themselves? |
| work_2fhjmdc2avbb3eaeciynb643mm | 34 Justin Rosenberg, ‘ Why is There no International Historical Sociology? ’, European Journal of Inter- national Relations, 12:3( 2006), pp. |
| work_2fhjmdc2avbb3eaeciynb643mm | 36 Hobson, ‘ What ’s at Stake? ’, p. 153. |
| work_2fhjmdc2avbb3eaeciynb643mm | 40 Rosenberg, ‘ Why? ’, p. 313. |
| work_2fhjmdc2avbb3eaeciynb643mm | 45 Rosenberg, ‘ Why? ’, p. 313. |
| work_2fhjmdc2avbb3eaeciynb643mm | 51 Alex Anievas and Kerem Nisancioglu, ‘ What ’s at Stake in the Transition Debate? |
| work_2fhjmdc2avbb3eaeciynb643mm | 69–88; John Hobson, ‘ What ’s at Stake in the Neo- Trotskyist Debate? |
| work_2fhjmdc2avbb3eaeciynb643mm | Was this a prophetic, if unwitting, forecast of feudalism ’s imminent decline? |
| work_2fhjmdc2avbb3eaeciynb643mm | What of the supposed Eurocentrism of U&CD itself? |
| work_2fhjmdc2avbb3eaeciynb643mm | Who will make the English love the French? |
| work_2fhjmdc2avbb3eaeciynb643mm | Who will reconcile the Germans with the Hungarians and Bohemians? |
| work_2fhjmdc2avbb3eaeciynb643mm | Who will unite the Genoese and the Aragonese? |
| work_7s5neclpeffurhfzydqg6gemzi | B. side Is the window framed at the side by columns or pilasters? |
| work_7s5neclpeffurhfzydqg6gemzi | C. sill Is there a sill below the window, or is there a sill with additional decorations below it? |
| work_7s5neclpeffurhfzydqg6gemzi | D. above Is there a cornice above the window, or a pediment, or a combination of the two? |
| work_7s5neclpeffurhfzydqg6gemzi | Does that frame have a visible keystone at the top? |
| work_7s5neclpeffurhfzydqg6gemzi | E. frieze Is there additional space, a frieze, or an architrave be- low that cornice or pediment( Figure 4(a))? |
| work_7s5neclpeffurhfzydqg6gemzi | H. frame Is there is an added frame around the opening? |
| work_7s5neclpeffurhfzydqg6gemzi | How can this situation be improved? |
| work_7s5neclpeffurhfzydqg6gemzi | K. pediment3 Is there a open pediment, or a keystone? |
| work_7s5neclpeffurhfzydqg6gemzi | L. cornice Is the cornice broken in the center? |
| work_7s5neclpeffurhfzydqg6gemzi | M. below- cornice Are there brackets that symbolically support the cornice? |
| work_7s5neclpeffurhfzydqg6gemzi | N. below- sill Are there brackets that symbolically support the window sill? |
| work_7s5neclpeffurhfzydqg6gemzi | The question now is, how do we synthesize a function library that reproduces these windows? |
| work_7s5neclpeffurhfzydqg6gemzi | each line in the table, can be interpreted as a question that can be asked about a window: A. count How many windows are there? |
| work_jg5dunqmgzddxdtomagnvvecpy | 81 CHAPTER 5 A P r o t e s t a n t Venus? |
| work_jg5dunqmgzddxdtomagnvvecpy | A P r o t e s t a n t Venus? |
| work_jg5dunqmgzddxdtomagnvvecpy | A R i s i n g C l a s s?" |
| work_jg5dunqmgzddxdtomagnvvecpy | B.-M. Baumunk,"Hauptstadt- aber wo l i e g t s i e?" |
| work_jg5dunqmgzddxdtomagnvvecpy | Baumunk, B.-M."Hauptstadt- aber wo l i e g t s i e?" |
| work_jg5dunqmgzddxdtomagnvvecpy | Helen P. L i e b e l,"The B o u r g e o i s i e i n Southwestern Germany, 1500- 1789: A R i s i n g C l a s s?" |
| work_jg5dunqmgzddxdtomagnvvecpy | How i s p a r t i c i p a t i o n i n the f e s t i v a l c o n s t r u c t e d by the t e x t s and by the engravings? |
| work_jg5dunqmgzddxdtomagnvvecpy | Were the primary r e c i p i e n t s o f the show of power the c o u r t i e r s and a d v i s o r s of the duke? |
| work_jg5dunqmgzddxdtomagnvvecpy | What c o u l d the v i s u a l r e p r e s e n t a t i o n o f f e r and what d i d i t o f f e r beyond the t e x t u a l m a t e r i a l? |
| work_hebxtavfszdpla5s3vglmcixby | 48 Lucas van Leyden? |
| work_hebxtavfszdpla5s3vglmcixby | And where is Christ? |
| work_hebxtavfszdpla5s3vglmcixby | But what is the significance of this kind of engagement with religious paintings? |
| work_hebxtavfszdpla5s3vglmcixby | But what might be claimed of painting in Bruegel ’s invocation of Rogier and other predecessors? |
| work_hebxtavfszdpla5s3vglmcixby | Does one listen to the Word of God, as spoken by St. John, or does one let visual distractions block access to God? |
| work_hebxtavfszdpla5s3vglmcixby | Or will he or she be distracted by the anecdotal groups of people along the diagonal path to Golgotha? |
| work_hebxtavfszdpla5s3vglmcixby | Should the viewer emulate the mourning group at the foot of Christ ’s cross in the background? |
| work_hebxtavfszdpla5s3vglmcixby | What does the invocation of Lucas contribute to the viewer ’s understanding of the Sermon of St. John the Baptist? |
| work_hebxtavfszdpla5s3vglmcixby | Who was part of this circle, and why would they find Bruegel ’s work so appealing? |
| work_hebxtavfszdpla5s3vglmcixby | Why would Bruegel use the single event strategy instead of another, such as the continuous narrative? |
| work_hebxtavfszdpla5s3vglmcixby | With so much distraction, how might the faithful viewer find his or her way to the Word of God? |
| work_qyqvrq7om5hm5mspqieyhs3kxu | 19 However, if creative decisions are not the decisions of individual, biographical humans, then who makes them? |
| work_qyqvrq7om5hm5mspqieyhs3kxu | And they did not have many students left in Germany. ’ Otto Gerhard Oexle: ‘ Was There anything to Learn? |
| work_qyqvrq7om5hm5mspqieyhs3kxu | Are singulars perhaps mere manifestations of the group they belong to? |
| work_qyqvrq7om5hm5mspqieyhs3kxu | Can it happen that a historiographical claim satisfies all three requirements but is nevertheless not insecurity motivated? |
| work_qyqvrq7om5hm5mspqieyhs3kxu | Daß das Rom Julius II kulturell schwergewichtiger gewesen sei als das Paris Ludwigs des Heiligen? |
| work_qyqvrq7om5hm5mspqieyhs3kxu | If holist tendencies were a result of Weimar- era scholars ’ interaction with their environment, what happened when that environment changed? |
| work_qyqvrq7om5hm5mspqieyhs3kxu | Is a multitude just a joint name for the individuals that constitute it? |
| work_qyqvrq7om5hm5mspqieyhs3kxu | It included questions such as: ‘ If Columbus had made his discovery in 1492 B.C., what Pharaoh would now be on the throne of America? |
| work_qyqvrq7om5hm5mspqieyhs3kxu | Or maybe we should conceive of singulars as constituted into what they are through their membership in a multitude? |
| work_3jrjdouewfcy7egu7yyfkjceti | Giebt es Volkscharakter in der Bildenden Kunst? |
| work_3jrjdouewfcy7egu7yyfkjceti | What Is German History? work_3jrjdouewfcy7egu7yyfkjceti Did social hierarchies in place during the 19th century in fact influence the composition of Charles V''s re- imagined procession? work_3jrjdouewfcy7egu7yyfkjceti How and by whom were these photographs seen? work_3jrjdouewfcy7egu7yyfkjceti In this context, historian James Sheehan has noted in a 1981 essay entitledWhat is German History?" |
| work_3jrjdouewfcy7egu7yyfkjceti | James J. Sheehan,"What is German History? |
| work_ppuzhzc7lrbm3kriww5kbeoybe | ( Why does this look a certain way? |
| work_ppuzhzc7lrbm3kriww5kbeoybe | And how much wiggle room could we allow and go on believing that the statement says anything? |
| work_ppuzhzc7lrbm3kriww5kbeoybe | And what of people who call the Renaissance the early modern period? |
| work_ppuzhzc7lrbm3kriww5kbeoybe | But how will that mass of detail help the harried survey lecturer? |
| work_ppuzhzc7lrbm3kriww5kbeoybe | Gombrich may be guilty but does Bagley do better? |
| work_ppuzhzc7lrbm3kriww5kbeoybe | What is his purpose in doing so? |
| work_ppuzhzc7lrbm3kriww5kbeoybe | Why? |
| work_ppuzhzc7lrbm3kriww5kbeoybe | Would Bagley tell these painters that they are deluded in their adherence to a ‘ style ’? |
| work_ppuzhzc7lrbm3kriww5kbeoybe | Would an interpreter who confidently explains eyes on prehistoric objects be equally ready to tell us the meaning of eyes on an Egyptian coffin? |
| work_d2uczvlcfbgopppvtj43m4zczm | ), the royal Majesty, the excellent, the Lord, the royal, the diligent, the royal, the excellent, the victorious(? |
| work_d2uczvlcfbgopppvtj43m4zczm | - “ A proposal for Starnina: exit the Maestro del Bambino Vispo? ”, The Burlington Magazine, CXVI, London 1974. |
| work_d2uczvlcfbgopppvtj43m4zczm | 117 The royal Majesty, the excellent, the victorious(? |
| work_d2uczvlcfbgopppvtj43m4zczm | 263 J. van Waadenoijen, “ A proposal for Starnina: exit the Maestro del Bambino Vispo? ”, The Burlington Magazine, CXVI( 1974), pp. |
| work_d2uczvlcfbgopppvtj43m4zczm | 43 I. Dolezalek, “ Textile Connections? |
| work_d2uczvlcfbgopppvtj43m4zczm | 7 that time? |
| work_d2uczvlcfbgopppvtj43m4zczm | 83 fig.255 Detail of the word al- nāṣir(?) |
| work_d2uczvlcfbgopppvtj43m4zczm | But what is the origin of this decoration? |
| work_d2uczvlcfbgopppvtj43m4zczm | Dolezalek I., “ Textile Connections? |
| work_d2uczvlcfbgopppvtj43m4zczm | Is it important to know that Italian artists copied real inscriptions? |
| work_d2uczvlcfbgopppvtj43m4zczm | Or an acculturated copy implying variations or interpretations? |
| work_d2uczvlcfbgopppvtj43m4zczm | The inscriptions that we find in the Virgin and Child352 in the Los Angeles County Museum are more complex: al- nāṣir al-ʿālī mā(?) |
| work_d2uczvlcfbgopppvtj43m4zczm | Was it a form of cultural appropriation? |
| work_d2uczvlcfbgopppvtj43m4zczm | al- māl(ikī)? |
| work_bk6h2pegcfemteu4wciwpqxpby | Altarpiece: A valid Category?" |
| work_bk6h2pegcfemteu4wciwpqxpby | Fierce is the struggle and hot the disputing; the question Does father, does son- or do both- the pre- eminence win? |
| work_bk6h2pegcfemteu4wciwpqxpby | Or does it? |
| work_bk6h2pegcfemteu4wciwpqxpby | Richard Britnell, The Closing of the Middle Ages? |
| work_bk6h2pegcfemteu4wciwpqxpby | The Closing of the Middle Ages? |
| work_bk6h2pegcfemteu4wciwpqxpby | The End of the Middle Ages? |
| work_bk6h2pegcfemteu4wciwpqxpby | The End of the Middle Ages? |
| work_bk6h2pegcfemteu4wciwpqxpby | The End of the Middle Ages? |
| work_bk6h2pegcfemteu4wciwpqxpby | Thomas Lovell( c. 1449- 1524) A New Man in a New Monarchy?" |
| work_bk6h2pegcfemteu4wciwpqxpby | Was it the dementia of a court painter or the devotional eccentricities of a Tudor king? |
| work_bk6h2pegcfemteu4wciwpqxpby | What could have occasioned this unsettling painting? |
| work_bk6h2pegcfemteu4wciwpqxpby | Who are the viewers intended to embark on this visionary venture? |
| work_bk6h2pegcfemteu4wciwpqxpby | Who is St. George? |
| work_bk6h2pegcfemteu4wciwpqxpby | Why is he conjured up here for our viewing edification and what could have precipitated this strange depiction? |
| work_bh5f2jz74nbebm2qucayfs44im | 20 Derrida specifically questioned the ability of a person to conceive of his or her own death by positing: “ Is my death possible? |
| work_bh5f2jz74nbebm2qucayfs44im | 20 Jacques le Goff, Must We Divide History into Periods? |
| work_bh5f2jz74nbebm2qucayfs44im | 24 “ Cernere vis, hospes, simulacra simillima vivis? |
| work_bh5f2jz74nbebm2qucayfs44im | 27 Tarald Rasmussen, “ Hell Disarmed? |
| work_bh5f2jz74nbebm2qucayfs44im | 56 Kathleen Canning, “ The Body as Method? |
| work_bh5f2jz74nbebm2qucayfs44im | 8 Iain Thomson, “ Can I Die? |
| work_bh5f2jz74nbebm2qucayfs44im | Am I allowed to talk about my death? |
| work_bh5f2jz74nbebm2qucayfs44im | Can I, myself, pose it? |
| work_bh5f2jz74nbebm2qucayfs44im | Can we understand this question? |
| work_bh5f2jz74nbebm2qucayfs44im | Must We Divide History into Periods? |
| work_bh5f2jz74nbebm2qucayfs44im | See Bryan Ward- Perkins, “ Why Did the Anglo- Saxons Not Become more British? ” The English Historical Review 115, no. |
| work_bh5f2jz74nbebm2qucayfs44im | What does the syntagm ‘ my death ’ mean? |
| work_bh5f2jz74nbebm2qucayfs44im | “ Beyond the Ontology of the Image? ” Either/ And( 2013). |
| work_bh5f2jz74nbebm2qucayfs44im | “ Can I Die? |
| work_bh5f2jz74nbebm2qucayfs44im | “ Hell Disarmed? |
| work_bh5f2jz74nbebm2qucayfs44im | “ The Body as Method? |
| work_bh5f2jz74nbebm2qucayfs44im | “ Why Did the Anglo- Saxons Not Become More British? ” The English Historical Review 115, no. |
| work_pol3drfvfjawxb7jy3dp6zafom | A GOOD DEATH Can death be good? |
| work_pol3drfvfjawxb7jy3dp6zafom | After all, can we ever be 100% sure what will happen? |
| work_pol3drfvfjawxb7jy3dp6zafom | Are there other things? |
| work_pol3drfvfjawxb7jy3dp6zafom | But does it make any sense to view death as a friend when it comes to a baby who is dying? |
| work_pol3drfvfjawxb7jy3dp6zafom | Do I, then, deserve no place above the earth? |
| work_pol3drfvfjawxb7jy3dp6zafom | How can death possibly be good? |
| work_pol3drfvfjawxb7jy3dp6zafom | How can we make sense of this temporal value of dying? |
| work_pol3drfvfjawxb7jy3dp6zafom | If we do, that is potentially because a prolonged dying phase is objectively bad.v Why does all of this matter? |
| work_pol3drfvfjawxb7jy3dp6zafom | In what way? |
| work_pol3drfvfjawxb7jy3dp6zafom | Is there any additional sense in which Bland ’s prolonged dying was bad? |
| work_pol3drfvfjawxb7jy3dp6zafom | That would surely solve the problem of the weak heart muscle? |
| work_pol3drfvfjawxb7jy3dp6zafom | What else? |
| work_pol3drfvfjawxb7jy3dp6zafom | What would it mean for a death to be good? |
| work_pol3drfvfjawxb7jy3dp6zafom | Would we feel sympathy for such a person? |
| work_pol3drfvfjawxb7jy3dp6zafom | Would we feel sympathy for such a person? |
| work_pol3drfvfjawxb7jy3dp6zafom | com/ watch? |
| work_ugekyvphl5cidl6dkve4c4raem | As regards Morelli, did his new nomenclature of marking smallish details in paintings as significant, belong to connoisseurship or modern art history? |
| work_ugekyvphl5cidl6dkve4c4raem | But how much does all this pertain to the actual, to the particular scientific contents of the new Wissenschaft? |
| work_ugekyvphl5cidl6dkve4c4raem | Ganz in Hegelscher Tradition stehend, wird die Kunst als Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | History Writing Once again the basic question: What is the Wissenschaft component in the new art history? |
| work_ugekyvphl5cidl6dkve4c4raem | Journal of Art Historiography Number 9 December 2013 Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | Stefan Muthesius Towards an ‘ exakte Kunstwissenschaft ’(?) |
| work_ugekyvphl5cidl6dkve4c4raem | To what extent should the methods or the ethos of the natural- the ‘ exact ’- sciences be used for the human sciences as well? |
| work_ugekyvphl5cidl6dkve4c4raem | What types of writings were now being published? |
| work_ugekyvphl5cidl6dkve4c4raem | What was new about them? |
| work_ugekyvphl5cidl6dkve4c4raem | Where should the borderlines between the two groups be drawn? |
| work_kpjc6dnuifhs5pyumsbunar6vq | 1 Not a l l i t s members were Catholics and i t was not always regard- ed? work_kpjc6dnuifhs5pyumsbunar6vq Does Young Germany Want War?" |
| work_kpjc6dnuifhs5pyumsbunar6vq | 1 How c o u l d t h i s comparison be made, when so many N a z i s were h o s t i l e t o C a t h o l i c i s m? |
| work_kpjc6dnuifhs5pyumsbunar6vq | 1 They believed? |
| work_kpjc6dnuifhs5pyumsbunar6vq | 1 What, or who, could r e s t o r e t h i s s e c u r i t y? |
| work_kpjc6dnuifhs5pyumsbunar6vq | 138. Who were"t h e N a z i s"? |
| work_kpjc6dnuifhs5pyumsbunar6vq | 170 c e n t u r y? |
| work_kpjc6dnuifhs5pyumsbunar6vq | ? |
| work_kpjc6dnuifhs5pyumsbunar6vq | ? Hitler, Mein Kampf. |
| work_kpjc6dnuifhs5pyumsbunar6vq | But did i t ever live? |
| work_kpjc6dnuifhs5pyumsbunar6vq | But how many were a c t u a l l y c o n v i n c e d by t h e Weltanschauung? |
| work_kpjc6dnuifhs5pyumsbunar6vq | Can i t be assumed that this indicates the Nazi fear of Catholic strength? |
| work_kpjc6dnuifhs5pyumsbunar6vq | Did not his p o l i t i c a l machine achieve miraculous, providential successes? |
| work_kpjc6dnuifhs5pyumsbunar6vq | H o w was t h i s p o s s i b l e? |
| work_kpjc6dnuifhs5pyumsbunar6vq | How d i d an o t h e r w i s e l a u d a b l e l o v e o f c o u n t r y become a s u i c i d a l r e s p e c t f o r a u t h o r i t y? |
| work_kpjc6dnuifhs5pyumsbunar6vq | How, p r e c i s e l y, did Nazism appeal to the young? |
| work_kpjc6dnuifhs5pyumsbunar6vq | I f a l l men were t o l e a r n t h e new p h i l o s o p h y o f l i f e, what was t o happen t o C h r i s t i a n i t y? |
| work_kpjc6dnuifhs5pyumsbunar6vq | N i e m O l l e r o r H i t l e r?" |
| work_kpjc6dnuifhs5pyumsbunar6vq | To these defenders of the Church,? |
| work_kpjc6dnuifhs5pyumsbunar6vq | Were the Nazis surprised at the tractability of the Catholic Church? |
| work_kpjc6dnuifhs5pyumsbunar6vq | Why not? |
| work_kpjc6dnuifhs5pyumsbunar6vq | Why was t h i s so? |
| work_kpjc6dnuifhs5pyumsbunar6vq | Why was this step not taken? |
| work_qpc4j5ywjvhxphdxtnaxaiut2e | And how is this skin composed? |
| work_qpc4j5ywjvhxphdxtnaxaiut2e | Embodiment( Chapter 4): What is the connection between architectural space and embodiment from a theoretical or conceptual point of view? |
| work_qpc4j5ywjvhxphdxtnaxaiut2e | How Does HyperLoop Design Fit in the HyperCell Framework? |
| work_qpc4j5ywjvhxphdxtnaxaiut2e | How to materialized an organic body- like space as an interactive architecture? |
| work_qpc4j5ywjvhxphdxtnaxaiut2e | HyperCell= HyperLoop? |
| work_qpc4j5ywjvhxphdxtnaxaiut2e | Is now the time to take both Reality and Virtual Reality into account while conceiving spatial/ architecture designs? |
| work_qpc4j5ywjvhxphdxtnaxaiut2e | TOC 45 Introduction A Rule- Based Design Framework? |
| work_qpc4j5ywjvhxphdxtnaxaiut2e | What would a future party look like? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | 110 Martin Heidegger, “ What Calls for Thinking? ” trans. |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | 15 [ W]hat becomes of the divinity when it reveals itself in icons, when it is multiplied in simulacra? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | 17 the image … are we only thinking metaphorically? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | 55 Latour addresses the possible problem rupture poses to non- moderns, asking “ but how can we retrace our steps? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Are you sure you understand the dictates of your God? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Behemoth and Leviathan? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | But what could this presence mean? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Do you really believe I ignore their origin? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Do you really believe that this lowly origin weakens their claims to reality? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Does it remain the supreme power that is simply incarnated in images as a visible theology? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Does n’t it break definitively with the past? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Does n’t it consume the past? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Has n’t history already ended? ”( We Have Never Been Modern, p. 67). |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Is n’t the modern world marked by the arrow of time? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Or Is There a World Beyond the Image Wars? ” in Beyond the Image Wars in Science, Religion and Art, ed. |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Or Is There a World Beyond the Image Wars? ” in Beyond the Image Wars in Science, Religion and Art, ed. |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | Or metonymically? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | The End of the History of Art?, trans. |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | The orders of creation? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | What Do Pictures Want? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | What would happen if, when saying that some image is human- made, you were increasing instead of decreasing its claim to truth? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | ‘ No future ’: this is the slogan added to the moderns ’ motto ‘ No past. ’ What remains? |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | “ What Calls for Thinking? ” trans. |
| work_n4lnsqdzenc2vfcmeovb4pxdxu | “ What is Iconoclash? |
| work_o66gdqmijjbnref57ub3q2issi | /Geert) Three Answers to the Question: What is Future Art? |
| work_o66gdqmijjbnref57ub3q2issi | 13 Linda Leung, “ Tactics and Technologies of Resistance: the Web as Minority Media ”, in Where Am I? |
| work_o66gdqmijjbnref57ub3q2issi | 13 What is jazz? |
| work_o66gdqmijjbnref57ub3q2issi | 13 What is jazz? |
| work_o66gdqmijjbnref57ub3q2issi | 58 IF I DIE ON THE BOAT( 1920) Ah if I die what will they say? |
| work_o66gdqmijjbnref57ub3q2issi | Are there forms of sequential structures that are linear but not narrative? |
| work_o66gdqmijjbnref57ub3q2issi | Are these visual metaphors, the bases of operating systems worldwide, legible across cultures? |
| work_o66gdqmijjbnref57ub3q2issi | But can we take this analogy back in time and across cultures? |
| work_o66gdqmijjbnref57ub3q2issi | Can concepts of dramaturgy be applied to linear structures that are non- narrative? |
| work_o66gdqmijjbnref57ub3q2issi | Can somebody please explain this? |
| work_o66gdqmijjbnref57ub3q2issi | Future art will be both individual and collaborative-- in collaborative? |
| work_o66gdqmijjbnref57ub3q2issi | It contains the key to questions about ‘ what went wrong ’? |
| work_o66gdqmijjbnref57ub3q2issi | Le Grice also asks the big question, is linearity synonymous with narrative? |
| work_o66gdqmijjbnref57ub3q2issi | Linda Leung, “ Tactics and Technologies of Resistance: the Web as Minority Media ”, in Where Am I? |
| work_o66gdqmijjbnref57ub3q2issi | Linda Leung, “ Tactics and Technologies of Resistance: the Web as Minority Media ”, in Where Am I? |
| work_o66gdqmijjbnref57ub3q2issi | Nina Voice:[ trans- Atlantic accent echoes, the tone is intimate/ confessional]: … do you remember me … grandmother … am I Western? |
| work_o66gdqmijjbnref57ub3q2issi | Screen Text: What does the heart search for? |
| work_o66gdqmijjbnref57ub3q2issi | Screen Text: … Rose the dancer in the club where Serge ’s jazz orchestra played … her mother was Chinese … was her father a Russian musician? |
| work_o66gdqmijjbnref57ub3q2issi | So I thought it might be best if I simply let musicians explain it: ” What is jazz? |
| work_o66gdqmijjbnref57ub3q2issi | So I thought it might be best if I simply let musicians explain it: ” What is jazz? |
| work_o66gdqmijjbnref57ub3q2issi | Tatiana:[ Begins] You are not Indigenous … you are not Indian …[Ends] … have you entered? |
| work_o66gdqmijjbnref57ub3q2issi | What is the girl searching for and what does she discover in the metropolis? |
| work_o66gdqmijjbnref57ub3q2issi | What is the girl searching for, and why the sojourn in the garden? |
| work_o66gdqmijjbnref57ub3q2issi | Why should most of the funding these days go to opera? |
| work_o66gdqmijjbnref57ub3q2issi | Why should techno and''urban culture''be left to the market? |
| work_o66gdqmijjbnref57ub3q2issi | http://www.stmoroky.com/reviews/music/jazz.htm[ accessed 18 January 2005] 14What is jazz? |
| work_o66gdqmijjbnref57ub3q2issi | http://www.stmoroky.com/reviews/music/jazz.htm[ accessed 18 January 2005] 14What is jazz? |
| work_o66gdqmijjbnref57ub3q2issi | … am I Asian? … do you remember what I am? |
| work_o66gdqmijjbnref57ub3q2issi | … am I Asian? … do you remember what I am? |
| work_yojo26p6xrfcjjcjta7m45dxhi | 104 do these creations themselves have an identifiable sex? |
| work_yojo26p6xrfcjjcjta7m45dxhi | 142 What about the self of the giant high- tech, mechanical body, EVA 01? |
| work_yojo26p6xrfcjjcjta7m45dxhi | 143 All episodes start with the opening comment, “ Is memory soul or ghost? |
| work_yojo26p6xrfcjjcjta7m45dxhi | 176 reconsider the meaning of body? |
| work_yojo26p6xrfcjjcjta7m45dxhi | But why does the narrative erase female characters? |
| work_yojo26p6xrfcjjcjta7m45dxhi | Can an inorganic, human- shaped body have a mind and “ love ” others? |
| work_yojo26p6xrfcjjcjta7m45dxhi | Can this unchangeable thing be understood to be human, or at least a part of a human? |
| work_yojo26p6xrfcjjcjta7m45dxhi | Does he become a masculine person as a strong combatant? |
| work_yojo26p6xrfcjjcjta7m45dxhi | Does his gender show some influence of post- gender( posthuman) discourse? |
| work_yojo26p6xrfcjjcjta7m45dxhi | Does the hybrid body have more than one selfhood? |
| work_yojo26p6xrfcjjcjta7m45dxhi | For example, when Kaoru asked Shinji “ Are you going for a bath now? |
| work_yojo26p6xrfcjjcjta7m45dxhi | His sex is male, and his gender is masculine; then what about his sexuality? |
| work_yojo26p6xrfcjjcjta7m45dxhi | How can a hybrid body, composed of more than one person/ living thing, identify itself? |
| work_yojo26p6xrfcjjcjta7m45dxhi | How can we know whether there is one or more selfhoods in the 139 body? |
| work_yojo26p6xrfcjjcjta7m45dxhi | How does the anime express her selfhood when she is digits or particles of light? |
| work_yojo26p6xrfcjjcjta7m45dxhi | How much of your body can be replaced with inorganic or artificial parts before 9 it is no longer human? |
| work_yojo26p6xrfcjjcjta7m45dxhi | However, if the human brain keeps excluding its naturalness, what will be left? |
| work_yojo26p6xrfcjjcjta7m45dxhi | However, if we do not encounter the characters ’ selfhood through their material body, how can we understand them as a “ person ”? |
| work_yojo26p6xrfcjjcjta7m45dxhi | In a fantasy sequence, Misato, Rei and Asuka come to him one by one, asking him “ Do you want our hearts and bodies to become one? |
| work_yojo26p6xrfcjjcjta7m45dxhi | In other words, who has power over Shiba ’s life? |
| work_yojo26p6xrfcjjcjta7m45dxhi | Is there different way of expressing self in Ghost in the Shell? |
| work_yojo26p6xrfcjjcjta7m45dxhi | It is a form of technology that can save a person ’s memories, but once the memories become information, are they still a part of the person? |
| work_yojo26p6xrfcjjcjta7m45dxhi | Or can inorganic bodies or bodiless creatures still love and have feelings? |
| work_yojo26p6xrfcjjcjta7m45dxhi | The main question is, how does the anime make the audience understand and believe that the doll is Motoko? |
| work_yojo26p6xrfcjjcjta7m45dxhi | The point is, who has let doctors put him into the technological coffin? |
| work_yojo26p6xrfcjjcjta7m45dxhi | What about during emergencies, when he has to pilot an EVA? |
| work_yojo26p6xrfcjjcjta7m45dxhi | What do we know about her sex, and how do we know it? |
| work_yojo26p6xrfcjjcjta7m45dxhi | What does this mean to modern human beings? |
| work_yojo26p6xrfcjjcjta7m45dxhi | What is the relationship between the enhanced/ altered body and memory or identity? |
| work_yojo26p6xrfcjjcjta7m45dxhi | What is the self? |
| work_yojo26p6xrfcjjcjta7m45dxhi | What kind of relation do selfhood and the body have? |
| work_yojo26p6xrfcjjcjta7m45dxhi | What then about Shinji ’s gender? |
| work_yojo26p6xrfcjjcjta7m45dxhi | Who are/ were they? |
| work_yojo26p6xrfcjjcjta7m45dxhi | Without a material body, how has the self been depicted in the narratives? |
| work_yojo26p6xrfcjjcjta7m45dxhi | mother( Oedipal bliss or nightmare? |
| work_yojo26p6xrfcjjcjta7m45dxhi | “ Definitions of what Science Fiction is and is not ” in What is ScF? |
| work_yojo26p6xrfcjjcjta7m45dxhi | “ When We Have Never Been Human, What Is to Be Done? ” Theory, Culture& Society 2006 23: 135- 158. |
| work_yojo26p6xrfcjjcjta7m45dxhi | “ Who Does the Feeling When There ’s No Body There? |
| 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_24hpzglhsfbnjb3txa6cyomk34 | Who was Robert Hooke? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 2) What is this house made of? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 282 What is perspective supposed to help with? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 3) Who lets these things grow upon the earth? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 4) Can a person be constructed out of wood? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 40 See Jones, 5& 18 and especially Pierre Hadot ’s What is Ancient Philosophy? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 41 Hadot, What is Ancient Philosophy? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 5) What purpose do these houses serve? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 50 host? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 6) Can one live in a small house as merrily as one can live in a beautiful palace? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 7) Does God know what happens inside all houses? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 8) Can God allow us to be expelled from our houses and hunted down? |
| work_24hpzglhsfbnjb3txa6cyomk34 | 9) What happens to houses during war? |
| work_24hpzglhsfbnjb3txa6cyomk34 | ? 1628) remained quite influential in the German context. |
| work_24hpzglhsfbnjb3txa6cyomk34 | But I would like to ask, where has this been written down? |
| work_24hpzglhsfbnjb3txa6cyomk34 | Daniel Ernst Jablonski ( 16601741) Founder Danzig, Lissa, Königsberg, Berlin 500+ Gottfried Kirch ( 16? |
| work_24hpzglhsfbnjb3txa6cyomk34 | Halle: Selbst Verlag der MartinLutherUniversität, 196?. |
| work_24hpzglhsfbnjb3txa6cyomk34 | How do I define it? |
| work_24hpzglhsfbnjb3txa6cyomk34 | How have others defined it? |
| work_24hpzglhsfbnjb3txa6cyomk34 | Ideale Akademie: Vergangene Zukunft oder konkrete Utopie? |
| work_24hpzglhsfbnjb3txa6cyomk34 | Ideale Akademie: Vergangene Zukunft oder konkrete Utopie? |
| work_24hpzglhsfbnjb3txa6cyomk34 | See Reinhard ’s “ Zwang zur Konfessionalisierung? |
| work_24hpzglhsfbnjb3txa6cyomk34 | See also his essay „ Wie bringen wir den Kopf in das Herz? “ in Gerhard Kurz ed. |
| work_24hpzglhsfbnjb3txa6cyomk34 | See his “ Eclecticism or Skepticism? |
| work_24hpzglhsfbnjb3txa6cyomk34 | Sturm, Kurzer Begriff ( 1707): 323: “ Wie wird Mechanica rechtmässig eingetheilet? |
| work_24hpzglhsfbnjb3txa6cyomk34 | The lesson writer then formulated two questions: “ where is the focus in convex glasses? |
| work_24hpzglhsfbnjb3txa6cyomk34 | What if the senses perceived a need to direct a pious action where there was none? |
| work_24hpzglhsfbnjb3txa6cyomk34 | What is Ancient Philosophy? |
| work_24hpzglhsfbnjb3txa6cyomk34 | What is Pietism anyway? |
| work_24hpzglhsfbnjb3txa6cyomk34 | What is a Pietist? |
| work_24hpzglhsfbnjb3txa6cyomk34 | What is the virtual focus of the concave? |
| work_24hpzglhsfbnjb3txa6cyomk34 | What should the focus be by converse glasses? |
| work_24hpzglhsfbnjb3txa6cyomk34 | “ Charity universal? |
| work_24hpzglhsfbnjb3txa6cyomk34 | “ Eclecticism or Skepticism? |
| work_24hpzglhsfbnjb3txa6cyomk34 | “ Was ist Pietismus? ” Pietismus und Neuzeit 21 ( 1994): 220231. |
| work_24hpzglhsfbnjb3txa6cyomk34 | “ Wie bringen wir den Kopff in den Herz? ” in Gerhard Kurz ed. |
| work_24hpzglhsfbnjb3txa6cyomk34 | “ Zwang zur Konfessionalisierung? |
| work_24hpzglhsfbnjb3txa6cyomk34 | „ Wie bringen wir den Kopff in den Herz? “ in Gerhard Kurz ed. |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | ( But, one might ask again, which visual modes before the Renaissance are supposed to have been “ more absorptive ”? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | ( Buthow, onemightask, lookingatapaint- ing, are we supposed to know about this supposed withdrawal? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | 11 Mitchell, “ What is Visual Culture? ”, 211. |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | 14 Svetlana Alpers, “ Is Art History? ” in Daedalus 106( 1977), 1- 13. |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | 20 Mitchell, “ What Do Pictures Really Want? ”, 82. |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | 31 Often known as realism, although Alpers does not wholly agree with this, Alpers dis- cusses this in detail in “ Describe or Narrate? ”. |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | 34 Beyond the Mirror for humanity to develop the means for plausible rendering of visual effects, to createthe illusionof“lifelikeness ”? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | 38 Mark Roskill, What is Art History? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | 6 Mitchell, “ What is Visual Culture? ”, 208. |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Alpers, Svetlana, “ Is Art History? ” in Discoveries and Interpretations. |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Alpers, Svetlana,“Describe or Narrate? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | And nor does the question of the Ones recognizing the discriminated identities of the Others that was( and still is?) |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | And what does Alpers do? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | And what does she need it for? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | And what might be the contribution of visual culture studies to this project? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | But are they not subject, instead, to other constraints, such as those imposed by the museum and other administrative institutions? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | But can or must this be the only way for the subjects practising visual culture studies to relate visually to the objects of the world? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | But is it “ merely ” a question here of 24 Svetlana Alpers, “ Describe or Narrate? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | But what are these visual realities? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | But what is the nature of an interpreta- tion that does not acknowledge its object as Other? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | But what status does seeing have within this concept and within the resulting practice of vi- sual culture studies as a discipline? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | But where does he see this unseen becoming visible? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Do they feature in visual culture studies only as evidence of seeing and being seen? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Does it counteract it? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Does it imply a concept of truth? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Does seeing have to do, for ex- ample, with authenticity or purity? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Does the concept of seeing in question bring context into its interpretation, or does it view art in isolation? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Does this object then take on the function of a mirror for the viewer? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Experience and the Visual 55 stepping into the academic breach to defend undervalued works? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Gombrich begins with a question: Why does pictorial representation have a history? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Hall, Stuart, “ Who Needs Identity? ” in Stuart Hall, Paul du Gay( eds. |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | He continues by asking: “ Was representation possible only through a heroic male body or could others represent? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How can Bryson ’s view of the relationship between gaze and object be summed up? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How can such a position deal with objects that do not narrate, that do not use narrative to produce meaning and thus identity? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How does Berger construct this evidence? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How does Bryson connect this argument with the sign? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How does Haraway use seeing as a metaphor? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How does seeing an individ- ual artwork and reaching specific conclusions relate to arriving at conclusions that apply to a group of works? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How does today ’s seeing relate to the unfamil- iarity of a historically remote culture whose artistic legacy one is looking at? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How is it conceived of: as a process, as an activity, as a relationship? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How is it( explic- itly or implicitly) “ constructed ” as a presupposition of method and practice? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How is seeing( all three kinds) historicized? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How is the act of seeing situated within the basic assumptions of scholarly research? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How is the threefold seeing that“surrounds”an artwork( making, viewing, interpret- ing) dealt with? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | How, then, were differences within groups to be dealt with? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | If something is unfamiliar, why, and from which viewpoint? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | If there is no hidden meaning in Dutch painting, Alpers asks, how should we view it? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | In Bryson ’s model, will it coincide indistinguishably with the screen of the network of signs( which he sees as a threat to the subject)? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | In What is Visual Culture? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | In this constellation, what becomes of the unfamiliarity or alterity of the object? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Instead, a look back to an article published in 1976, Describe or Narrate? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Introduction 21 is the passive side of seeing( i.e.being seen),especially in connection with the identity politics of visibility? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Is an observing, attentive focus on an object only pos- sible when narrative is not possible? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Is it possible to exit this dynamic by creating a “ new ” self- image? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Is it ultimately a matter of contesting the myth of the autonomy of the object/ art- work that results from the myth of purity? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Is this political or symbolic representation? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Loreck, Hanne, “ Bild- Andropologie? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Medieval stained glass windows? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Mitchell, W.J.T., “ What Do Pictures Really Want? ” in October 77( 1996), 71- 82 Mitchell, W.J.T., What Do Pictures Want? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Mitchell, W.J.T., “ What Do Pictures Really Want? ” in October 77( 1996), 71- 82 Mitchell, W.J.T., What Do Pictures Want? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Mitchell, W.J.T., “ What is Visual Culture? ” in Irving Lavin( ed.) |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Mitchell, “ What do pictures really want? ” in October 77( 1996), 71- 82, and What Do Pictures Want? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Mitchell, “ What do pictures really want? ” in October 77( 1996), 71- 82, and What Do Pictures Want? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Mitchell, “ What is Visual Culture? ” in Irving Lavin( ed. |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Must others be individuals or could there be a collec- tive representation? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | My questions are: where in this model is it possible to situate seeing or visuality more broadly? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Part One: How do Art Historians See? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Roskill, Mark, What is Art History? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | SR: You hate visual culture? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | See Hanne Loreck, “ Bild- Andropologie? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Several metaphors in “ Describe or Narrate? ” offer clues to additional, implicit mo- tives. |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | So could visualculture be analogous to Barthes ’s Text as the object of visual cul- ture studies? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | So how can this visual field be conceived of in relation to seeing in art history? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | So what does the oppositional gaze do? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | So why do I take it seriously? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Soon after, Mitchell was to ask a question that seemed to reverse this direction: What do pictures really want? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Spivak, Gayatri Chakravorty, “ Can the Subaltern Speak? ” in Cary Nelson and LawrenceGrossberg(eds. |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | This too is knowledge we make. ”18 Why mention this debate? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | To what extent is seeing conceived of as an activity? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Visual Culture Studies ’ Operational Concept What is visual culture? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Visual Culture Studies ’ Operational Concept................................ 139 What is visual culture? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | We could ask a different question: What does Panofsky actually see? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What does he class as “ white ” representations? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What does such analytic seeing focus on? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What does this looking out of the picture have to do with one- point perspective? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What does this mean? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What does this visuality have to do with seeing, whether as a biological or a sociocultural practice? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What importance does this “ battle ” against the concept of autonomous art still have at the end of the 1980s? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What is the relationship between seeing and sociality? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What is the situation concerning the verifiability of such findings and their claim to scholarly rigor? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What is visual culture? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What kind of subject- object( and subject- sub- ject) relationship does this imply? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What of the relationship between artist/ object/ interpreter? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What, I would ask, is he writing against? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | What, for Kemp, had changed since 1983, 1985 or 1988? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Where and how should such evidence be looked for? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Where was the questioning of the elitist distinction between high and popular art? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Which kinds of evidence can be found for questions concerning new political subjects and the visual representations of their identities? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Which objects does he con- sult in his search for evidence? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Which raises the well- known question: Is there such a thing as a critique of capitalism from inside? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Which relationship between subject( artist/ viewer) and object do these assumptions imply? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Whose icons? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Whose museums and whose aesthetics? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Whose values? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Why is this? |
| work_4b7qzu3jfvct5bz4t3tmxk7bna | Will the object( here the object of art history) become another mirror of the subject? |
| work_7pyey2pb4bdmpouzsepu2xamay | ( Maybe Tyndall, aware of his limitations, would not have considered this remark so cutting?) |
| work_7pyey2pb4bdmpouzsepu2xamay | ( p. 177) Was a conciliation to be found? |
| work_7pyey2pb4bdmpouzsepu2xamay | ( p. 97) ‘ Have I crazed myself over their horrible infidel writings? |
| work_7pyey2pb4bdmpouzsepu2xamay | - 114- therefore, that the poetry of Maxwell seems to find its model in the more devout Metaphysi- cals: Donne, to an extent, but especially Herbert? |
| work_7pyey2pb4bdmpouzsepu2xamay | / Is it turning a fainter red? |
| work_7pyey2pb4bdmpouzsepu2xamay | / What hope of answer, or redress? |
| work_7pyey2pb4bdmpouzsepu2xamay | 117- 18) How, though, was a figure like Maxwell able to maintain a kindred complacency? |
| work_7pyey2pb4bdmpouzsepu2xamay | 28 March[ 1844- 46?]. |
| work_7pyey2pb4bdmpouzsepu2xamay | And he said unto them, Know ye not this parable? |
| work_7pyey2pb4bdmpouzsepu2xamay | And on this earth there is nothing except this earth? |
| work_7pyey2pb4bdmpouzsepu2xamay | And was it in fact as ‘ un- coddled ’ as he liked to think? |
| work_7pyey2pb4bdmpouzsepu2xamay | And what did they accentuate as most novel about the kinds of discoveries they were seeking to elucidate? |
| work_7pyey2pb4bdmpouzsepu2xamay | And, not always implicitly – and at times with grim or forebod- ing insistence – about the metaphysical one as well? |
| work_7pyey2pb4bdmpouzsepu2xamay | Are the lattermost, one must wonder, eager to rejoin more ‘ energetic ’ comrades on the microcosmic dancefloor? |
| work_7pyey2pb4bdmpouzsepu2xamay | But what is the burning matter which can thus sustain itself? |
| work_7pyey2pb4bdmpouzsepu2xamay | But where are we to stop? ’( p. 64). |
| work_7pyey2pb4bdmpouzsepu2xamay | But, either way, the answer to such a riddle, due to limitations( theoretical? |
| work_7pyey2pb4bdmpouzsepu2xamay | CLIFFORD ’S ‘ MIND- STUFF ’: THE IDEAL MATERIALISM? |
| work_7pyey2pb4bdmpouzsepu2xamay | Carlyle put it thusly, his half- rhetorical ponderings closely in line with Tyndall ’s: ‘ Or was the smith idle, hammering only wartools? |
| work_7pyey2pb4bdmpouzsepu2xamay | Carlyle? |
| work_7pyey2pb4bdmpouzsepu2xamay | Could the blue sky above be the residue of that haze? |
| work_7pyey2pb4bdmpouzsepu2xamay | Could, however, this invocation of ‘ prose ’ say something about the variety of science be- ing critiqued? |
| work_7pyey2pb4bdmpouzsepu2xamay | Did the thought which thus ran back through the ages simply return to its primeval home? |
| work_7pyey2pb4bdmpouzsepu2xamay | Do the following lines from Emerson ’s ‘ Monadnoc ’, however, allude to Goethe? |
| work_7pyey2pb4bdmpouzsepu2xamay | Do you think you do n’t know whether you are alive or not? |
| work_7pyey2pb4bdmpouzsepu2xamay | Does he, in other words, indict or censure prosy- science because prosaic-- 27- science? |
| work_7pyey2pb4bdmpouzsepu2xamay | Does not this Fit,& is not this Fitting most Exquisitely too, but to what? |
| work_7pyey2pb4bdmpouzsepu2xamay | Dost thou, does man, so much as well know the Alphabet thereof? ’( Sartor, p. 195). |
| work_7pyey2pb4bdmpouzsepu2xamay | EDGAR Or image of that horror? |
| work_7pyey2pb4bdmpouzsepu2xamay | For such thinkers, materialism, a stripping away of some( now outgrown or irrelevant?) |
| work_7pyey2pb4bdmpouzsepu2xamay | Frankland said that if a little nitrate of[?] |
| work_7pyey2pb4bdmpouzsepu2xamay | From dust, they told thee, man was born? |
| work_7pyey2pb4bdmpouzsepu2xamay | He later expanded ‘ Is Life Worth Living? ’, already formidable, to book- length. |
| work_7pyey2pb4bdmpouzsepu2xamay | He, in the Address, before ‘ embattled ’ peers, was attempting to stress the disjunction, even as he hinted – blue- sky thinking? |
| work_7pyey2pb4bdmpouzsepu2xamay | How came it to evaporate, and not lie motionless? |
| work_7pyey2pb4bdmpouzsepu2xamay | How could they not? |
| work_7pyey2pb4bdmpouzsepu2xamay | How did they view them? |
| work_7pyey2pb4bdmpouzsepu2xamay | How did you get on? ” Second Ditto. |
| work_7pyey2pb4bdmpouzsepu2xamay | How is the perennial loss[ of mass through ‘ combus- tion ’] made good? |
| work_7pyey2pb4bdmpouzsepu2xamay | I have said to myself, Can it be possible that man ’s knowledge is the greatest knowledge – that man ’s life is the highest life? |
| work_7pyey2pb4bdmpouzsepu2xamay | I wonder does science really injure a man ’s imagination? |
| work_7pyey2pb4bdmpouzsepu2xamay | IS THE WORLDLY NOT ENOUGH? |
| work_7pyey2pb4bdmpouzsepu2xamay | If a thrush on a branch is not a sign, But just a thrush on the branch? |
| work_7pyey2pb4bdmpouzsepu2xamay | If night and day Make no sense following each other? |
| work_7pyey2pb4bdmpouzsepu2xamay | If so, had we not better recast our definitions of life and force? |
| work_7pyey2pb4bdmpouzsepu2xamay | If this is so, it raises the question: for a materialist, what happens to the ‘ water ’( memories, learned skills, and the like) after death? |
| work_7pyey2pb4bdmpouzsepu2xamay | In 1875, the scientist, responding in The Fortnightly to a critique of his unshakeable – when was it not? |
| work_7pyey2pb4bdmpouzsepu2xamay | Is Life Worth Living? |
| work_7pyey2pb4bdmpouzsepu2xamay | It hardly seems a quibble to inquire: can not poetry serve as a conduit for truth( of some sort)? |
| work_7pyey2pb4bdmpouzsepu2xamay | KENT Is this the promis’d end? |
| work_7pyey2pb4bdmpouzsepu2xamay | No man, Donne tells us in Meditation XVII, may be an island, but could he perhaps be a wave? |
| work_7pyey2pb4bdmpouzsepu2xamay | One wonders, having heard this, what of the Second Law? |
| work_7pyey2pb4bdmpouzsepu2xamay | Or, conversely, can not science be the source of ‘ immediate pleasure ’? |
| work_7pyey2pb4bdmpouzsepu2xamay | SALVAGE OR SYNTHESIS? |
| work_7pyey2pb4bdmpouzsepu2xamay | Shall death lay hold on me, after you, Till you shine again, and the fresh warm rays Revive me too? |
| work_7pyey2pb4bdmpouzsepu2xamay | Shall there not be a new revelation of a great and more perfect cosmos, a universe fresh- born, a new heaven and a new earth? |
| work_7pyey2pb4bdmpouzsepu2xamay | Shall we not then be really seeing something new? |
| work_7pyey2pb4bdmpouzsepu2xamay | Stoffkraft, Hermann[?]. |
| work_7pyey2pb4bdmpouzsepu2xamay | TWIN PROPHETS OF THE COSMOS AS STEAM- ENGINE? |
| work_7pyey2pb4bdmpouzsepu2xamay | The synthesising, ‘ labouring ’ theorist reasserts himself – encoding a generic modula- tion from scientific pastoral into scientific georgic? |
| work_7pyey2pb4bdmpouzsepu2xamay | Thinkest thou there is aught motionless; without Force, and utterly dead? |
| work_7pyey2pb4bdmpouzsepu2xamay | This is surely too precious( did he realise this? |
| work_7pyey2pb4bdmpouzsepu2xamay | Verdict? |
| work_7pyey2pb4bdmpouzsepu2xamay | Was this, however, one for the better? |
| work_7pyey2pb4bdmpouzsepu2xamay | We note, for instance, behind its pages, and often only barely overwritten( or suppressed? |
| work_7pyey2pb4bdmpouzsepu2xamay | What built these marigolds? |
| work_7pyey2pb4bdmpouzsepu2xamay | What clothed these knolls With fiery whortle leaves? |
| work_7pyey2pb4bdmpouzsepu2xamay | What did such authors, not ourselves, mean by a ‘ poetic ’ sensibility or ‘ universal ’ applicability? |
| work_7pyey2pb4bdmpouzsepu2xamay | What did the scientific writers of that century say about the ‘ status ’ of their own writings, however? |
| work_7pyey2pb4bdmpouzsepu2xamay | What gave the heath- 191- Its purple bloom – the Alpine rose its glow? |
| work_7pyey2pb4bdmpouzsepu2xamay | What if this combining and organizing is first to become habitual, then organic and unconscious, so that the sense of law becomes a direct perception? |
| work_7pyey2pb4bdmpouzsepu2xamay | What is it to a man that the wave of which he forms a part will have its flashing crest for a moment as it rolls in on some resounding beach? |
| work_7pyey2pb4bdmpouzsepu2xamay | What is the origin of this crystalline architecture? ’( p. 79). |
| work_7pyey2pb4bdmpouzsepu2xamay | What made it? |
| work_7pyey2pb4bdmpouzsepu2xamay | What of its decree, wholly unanswerable, that all order – including molecular order – must in the end dissolve? |
| work_7pyey2pb4bdmpouzsepu2xamay | What sort of text, for instance, is the following, an evocative extract from Tyndall ’s Glaciers of the Alps( 1860)? |
| work_7pyey2pb4bdmpouzsepu2xamay | What, however, was the nature of the materialism – and the ‘ Darwinism ’ – he ranged against faith? |
| work_7pyey2pb4bdmpouzsepu2xamay | What, however, was the nature of this change? |
| work_7pyey2pb4bdmpouzsepu2xamay | Whence comes it? |
| work_7pyey2pb4bdmpouzsepu2xamay | Whence the craft That shook these gentian atoms into form, And died the flower with azure deeper far Than that of heaven itself on days serene? |
| work_7pyey2pb4bdmpouzsepu2xamay | Where else, though, beyond the monumentally sublime, was ‘ poetry ’ to be found in Tyndall ’s accounting? |
| work_7pyey2pb4bdmpouzsepu2xamay | Whither goes it? |
| work_7pyey2pb4bdmpouzsepu2xamay | Who chiselled these mighty and picturesque masses out of a mere protuberance of earth? |
| work_7pyey2pb4bdmpouzsepu2xamay | Why do I not name thee GOD? |
| work_7pyey2pb4bdmpouzsepu2xamay | Why should this have been? |
| work_7pyey2pb4bdmpouzsepu2xamay | Why was it predominately the materialistic sentiments in his phi- losophy which drew public attention, and ridicule, in the 1870s and beyond? |
| work_7pyey2pb4bdmpouzsepu2xamay | Why, then, were they so easy to overlook? |
| work_7pyey2pb4bdmpouzsepu2xamay | Would the azure which deepens on the heights sink into utter darkness beyond the atmosphere? |
| work_7pyey2pb4bdmpouzsepu2xamay | [ 1883?]. |
| work_7pyey2pb4bdmpouzsepu2xamay | [ 1885?]. |
| work_7pyey2pb4bdmpouzsepu2xamay | [ 1890?]. |
| work_7pyey2pb4bdmpouzsepu2xamay | [ H]ow is its[ the sun ’s][ …][ fire] maintained? |
| work_7pyey2pb4bdmpouzsepu2xamay | [ London? |
| work_7pyey2pb4bdmpouzsepu2xamay | [ London? |
| work_7pyey2pb4bdmpouzsepu2xamay | [ May 1862?]. |
| work_7pyey2pb4bdmpouzsepu2xamay | [ and trans.?] |
| work_7pyey2pb4bdmpouzsepu2xamay | ]:[ Royal Institution of Great Britain? |
| work_7pyey2pb4bdmpouzsepu2xamay | ]:[ Royal Institution of Great Britain? |
| work_7pyey2pb4bdmpouzsepu2xamay | and how then will ye know all parables? |
| work_7pyey2pb4bdmpouzsepu2xamay | both? |
| work_7pyey2pb4bdmpouzsepu2xamay | in relation to the literary tradition? |
| work_7pyey2pb4bdmpouzsepu2xamay | in relation to the philosophical? |
| work_7pyey2pb4bdmpouzsepu2xamay | informational? |
| work_7pyey2pb4bdmpouzsepu2xamay | is that perhaps why it was left incomplete? |
| work_7pyey2pb4bdmpouzsepu2xamay | neither? |
| work_7pyey2pb4bdmpouzsepu2xamay | or Tyndallic delight? |
| work_7pyey2pb4bdmpouzsepu2xamay | or ‘ romantically ’ compelled? |
| work_7pyey2pb4bdmpouzsepu2xamay | outwardly lacking originality? ’( p. 573). |
| work_7pyey2pb4bdmpouzsepu2xamay | so be it, but when shall we lay/ The Ghost of the Brute that is walking and haunting us yet, and be free? ’[ p. 1453; ll. |
| work_7pyey2pb4bdmpouzsepu2xamay | whose pristine seeds, they say Were sown amid the flames of nascent stars – How came ye thence and hither? |
| work_7pyey2pb4bdmpouzsepu2xamay | – And if there is no lining to the world? |
| work_7pyey2pb4bdmpouzsepu2xamay | – Or what is nature? |
| work_7pyey2pb4bdmpouzsepu2xamay | ‘ Architecturally ’ arrayed? |
| work_7pyey2pb4bdmpouzsepu2xamay | ‘ Is Life Worth Living? ’ The Nineteenth Century 2( August- De- cember 1877): 251- 73; 3( January- June 1878): 146- 68. |
| work_7pyey2pb4bdmpouzsepu2xamay | ‘ The language ’, Gillian Beer notes in one of her essays, ‘ Translation or Transformation? |
| work_7pyey2pb4bdmpouzsepu2xamay | ‘ What Determines Molecular Motion? |
| work_7pyey2pb4bdmpouzsepu2xamay | ‘ What is the Nature of Evidence of Design? ’. |
| work_7pyey2pb4bdmpouzsepu2xamay | “ Cut the thing entirely, lest yon College Don should put the question, Why not stick to what you ’re best on? |
| work_7pyey2pb4bdmpouzsepu2xamay | “ On the ’ Eath was yer? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | ( What is the soul ’s equivalent of a spider ring?) |
| work_y5xjdv2rqjajxn2bcc5n3urqde | - Can I read this out loud in 3 to 4 minutes? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | - Did I give the Lord enough credit for the change in my life? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | - Have I exaggerated? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | - Is it disjointed? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | 113 How alike does something have to be to be a double? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | 126 I wondered that morning: was anyone else around the playa reading the KJV to calm down? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | 150 What ’s for dinner? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | A sign on a booth on the Esplanade: Got Guilt? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | A snack? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | All day long I ask clarifying questions of Ciprian, noting dates and names I will probably never need again but who knows? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Also I wondered, would I go blind if I looked at the red laser pointer? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Am I doing Burning Man right? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Am I living every moment to its full potential? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Am I wringing every bit of meaning? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | And more to the point: Why could n’t I relax? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | And please could we give him some money for ice cream? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | And will that be one King or two Double beds? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Anyone? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Are n’t you listening? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Are you blind or can you see? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Are you giving your all for Jesus? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Are you lost or not? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Are you still in there? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Are you still in there? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | As I annihilated the two patties, I thought, should n’t a Double Double actually be a double of a double? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | As in four patties with cheese instead of only two? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Because they forgot to get some ashes from the Burn? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | But too much space? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | But what about a desert that is a city? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Buy oneself a round at the Tap Room?). |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Can I have a Coke? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Christian, if you do n’t share your faith now, when? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Christian, you may be saved, but are you living like each day is your last? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Could God undo salvation? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Did the Germans give him a barrack in which to compose in quiet? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Did you see her clutch her handbag to her chest with those bony hands? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Do I know anyone who can help? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Do my joys outweigh my regrets? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Do n’t you have bacon? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Do n’t you want your coat? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Do you have any money? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Do you know the Messiah? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Do you know what it means? ” she asked. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Do you remember? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Do you understand the rudiments of his functioning? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Do you want to come? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Does it make sense? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Even if it ’s a scam, even if he is n''t a kind boy looking out for his blind sister, so what? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Even in a place of such creative excess, in a place where one is exempt from asking “ Is this weird? ” these guys were going too far. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | For a hair- styling product? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | For a souvenir? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Got Jesus? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Got faith? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Got peace? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Had n’t I taught them any better than this? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Have your sins been washed in the blood of the Lamb? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | He shot me a look like have some dignity, will you? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Hello, are you joking? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Hey, do you know about that composer? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | His shirt says “ Got me? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | How can you reclaim and keep that feeling? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | How do you memorize the letters? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | How do you practice patience in your day- to- day life? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | How do you recognize them as such? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | How to recognize one? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | How ’s my truth- telling? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I considered Princess Fallopia( too Pynchon?) |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I get the look that asks “ Did n’t anyone tell you the 90s are over? ” My mom ’s West Virginia answering machine voice is one of grace. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I guess I should say a “ playlist ” rather than tapes, right? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I have a class to teach but how can I refuse? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I have wondered: who turned Baptists loose with tapes( now CDs and mp3s) and thought this was a good idea? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I know I could halve the recipe, but what good is half a head of cauliflower/ half a brain? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I shift my weight from foot to foot, thinking: does Jesus have a reservation? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I slept a little after dinner, then at 11:30 my host brother Mihai opened the door and called to me from the hallway: Are you going? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I still have too much Sunday School in my head for adultery, though I wonder if I sleep with Vlad too perhaps it would cancel out? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I was 29 too, and what did I have to show for it? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I wonder: am I a single star or a double star? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I wondered: was I a member of the Golden Tribe? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I wondered: what is Burning Man about? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I ’m writing on Christy ’s celestial wall: Christy, spirited away, I ’m still at the mill, where are you? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | I ’ve really been asking: What is a double? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | If not here, where? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | If not you, who? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | If not, why not? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Is it realistic for his girlfriend to find a job with an NGO in Moldova while her son completes his Peace Corps service? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Is it under His name? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Is it well with your soul today, friend? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Is non- smoking OK? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Is n’t it too much space? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Is this thing on? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Jesus is a personal Savior, so why should n’t His Word be a personal Word? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Jesus is knocking on your heart; will you answer? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Like they have n’t absorbed enough? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Maybe I had an undiagnosed Andrew Lloyd Webber allergy? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | My students, the dean, the director of the institute where I teach all hint that I need to get busy in terms of my personal life: Maybe you? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Nana giggled and asked: Honey, are you hungry? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Need More? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | OK, what? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Once I turned onto pavement I heard the scraping: The muffler? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Or was he, as his second wife Yvonne Loriod maintained, writing music in a latrine used by 3000 prisoners? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Professor, you are writing a book? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Really? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Sad music? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Shall the dust praise thee? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | She stopped me one day in the hall after class: Could I find some money for her heating bill? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Should we go up? ” 33 “ No, give me a minute. ” She leans slightly to one side and then the other. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | So what ’s the problem with baking? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | So, Steve, I said, you ’re telling me the whole thing is the monument? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | The door was open; would I walk through? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | The minister speaks over the organist slowly spilling chords: If you died tonight, do you know for sure you would go to heaven? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | The other woman stands with hands upraised in a gesture of what will we do? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | The past out in front, see? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | The pet adoption form asks: Will you be responsible for your pet for the rest of its life? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | The pizza delivery. ” “ Do you want to stay here? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | The shrill sound of his hollow masculinity? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | They kept photos of their late husbands( “ late for what? ”) on top of the TV or the coffee table or near a wicker elephant, depending. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | They leave me voice mail: Did you see Nana lock eyes with the EMT as he placed the oxygen mask over her face like a lid on a cookie jar? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | WOULD YOU LIKE TO MEET MY BEST FRIEND? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Walk self naked through Temple Square? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Was I running from Corinth only to end up at Thebes? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Was I so uptight precisely because I was loath, like many foundlings, to take possession of my true identity? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Was it some phallic intrusion of power? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Was the Man a mirror, reflecting us back to ourselves? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Was the Man an empty center around which rituals crystallized in order to justify an extended hippie party in the desert? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | We need a guide, of course we need a guide, and I inquire, shyly, might he be available to go with us? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Were these people my destiny? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What about the meat? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What are you saying? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What are your “ virtuous procrastination ” habits? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What can I say? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What did you learn from the experience? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What did you make? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What do they mean to me? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What does it mean? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What else can I do? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What if you had to face Jesus before that NASCAR race ever gets started on TV this afternoon? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What is your name? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What were the circumstances? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | What would you do if it were your mom? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | When God looks down on you, does He see your sins, or does He see “ Paid In Full ” written in red with the blood of Jesus? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | When Messiaen digs into non- retrogradables, I wonder: How much variation does symmetry withstand? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | When else do people hear the message of salvation and have a chance to act on it? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Whence such light? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Where ’s Jeanne? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Where ’s your sense of oo- MOR? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Who Will Save Your Soul? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Who am I to judge? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Who made this cranberry salad? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Who told me I ’d see everything? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Who would expect that? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Whose territory is this anyway? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Why court the darkness? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Why do you come here? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Why not come up and pray for them? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Why red? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Why was she jeopardizing her health when she had a child at home? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Why, I wondered, was Utah dedicating a week to this French guy? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Will you be responsible for your pet for the rest of its life? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Will you be responsible for your pet for the rest of its life? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Will you give us your address? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Would I also, he asked, pick up his wife? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Would I pick him up at the airport? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Would I take him shopping? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Would Jesus like extra towels for the fitness center? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Would you like to meet my best friend? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Would you lock her away? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Would you prefer foreplay or just sex? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Would you prefer to study or sleep? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | Would you rather learn a Romance language or a Slavic one? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | You got a car? ” moderately hot postal worker asks me. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | You may ask, was sticking to our plan worth the wear on our bikes and bodies? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | and decided on Candy( Who does n’t like a little Candy?). |
| work_y5xjdv2rqjajxn2bcc5n3urqde | and get married? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | and stay with us? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | shall it declare thy truth? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | will meet a Moldovan man? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Are you busy? ” she asks. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Are you running toward or running away from? ” Adam, my then- boyfriend, asked me once. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Brooklyn ’s not here, is she? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Christy? ” “ I ’m sorry, I ’m talking to everybody, ” she says. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Do you have a minute? ” she asked. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Do you know what you ’re singing about? |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Do you need help? ” I do n’t want to stay down here too long. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Does that name come with its own trailer? ” he asked. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ How do you know which faucet to use? ” I ask from the kitchen. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Please, you have cacao? ” I ’d asked. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ What are the different colors? ” I parroted back to Shannon. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ What is muzhik? ” I ask. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ What ’s John 3:16? ” John(ny) asked. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ What ’s that? ” I ask, slipping the packet from her hands. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Where are you going? ” It ’s getting dark. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Who gave these nice Catholics guitars? ” Dillard asks. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Who would fake this? ” she asks. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Why are you here? ” I asked him on the way to coffee hour. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ Would you like to meet my best friend? ” I ask my brother, and hold out my hand, palm upturned like my voice at the end of the question. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ You do n’t work with kids, do you? ” she said, but not in a snarky way. |
| work_y5xjdv2rqjajxn2bcc5n3urqde | “ You know where else- uh is hot- uh? ” my dad asked, channeling his best fundamentalist preacher voice. |