And those are the three cruxes of its new platform.
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It's the cruxes that make history spark and come alive.
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That evolves and morphs, right now it's all about Kinda Tropical and Las Cruxes.
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His ferociously annotated versions of the Pentateuch and of the Psalms chaperone the Hebrew-less reader through many dense cruxes.
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Payne flits between the two cataclysms, first with slow precision, and then, as the cruxes approach, back and forth cinematically, the borders showing some slippage.
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Anthropologists suspect these sites, which boast distinct complexes of menhirs (large, upright standing stones), were the cruxes of astronomical ceremonies conducted by Neolithic and Bronze Age peoples.
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From the release: The research team reconstructed the most challenging sections or "cruxes" of two expert climbing sites outside, New Hampshire's "Things As They Are Now (TATAN)" and Utah's "Pilgrimage," on a climbing wall indoors.
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"I found myself responding to certain motifs, landscapes, cruxes — the sun as a kind of presiding force, yes, but with specific Adirondack towns, forests, mountains, lakes, New York city streets also showing up," explains McLane.
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For over a decade Ortuno's been an active member of Austin's music community, but in recent years her focus has shifted towards electronic sounds, booking DJs and producers for in-stores at her boutique Las Cruxes, recording online radio show Cease to Exist, and DJing live under her own name.
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But for such rare symbolic cruxes, we generally ignore the authors of sports photographs unless they are moonlighting artists of the camera: Jacques Henri Lartigue (whose pictures in the show depict rich folks at play, circa the nineteen-tens and twenties); Henri Cartier-Bresson (cunningly poetic coverage of a bicycle race, in 1957); Rineke Dijkstra (a young Portuguese matador, blood-smeared and tired but happy, portrayed in 2000); or Leni Riefenstahl, whose classicist images of the 1936 Berlin Olympics, from a book that she made for presentation to Hitler, both awe and sicken.
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Oxford English Dictionary, s.v. 3a Cruxes occur in a wide range of pre-modern (ancient, medieval, and Renaissance) texts, printed and manuscript.
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There are also routes, however, that have a very consistent level of difficulty with no sections that stand out as harder than the rest. In planning a route it is important to know how far it is before the crux is reached, because cruces, also called cruxes,The term is Latin, so strictly the plural is cruces. However, climbing references also use cruxes can only be overcome with sufficient reserves of strength.Kurt Winkler / Hans-Peter Brehm / Jürg Haltmeier: Technik, Taktik, Sicherheit, SAC Verlag 2008, , pp.
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Black Flower () is Taiwanese novel by Yu Wo and illustrated by Monto C3. It was published in 2009. It has writing in a different style from another series of Yu Wo. It is rather heavy and has many cruxes. Black Flower is a dark fantasy.
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In 1872 a Catholic Misión arrived to Lobos and left wooden cruxes each with a brick basis as clue of its presence, located at the northern part of the city near Salgado Channel’s bank and there is another crux at the southern part of the city.
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The Topsell books can serve to correct a misapprehension about Jaggard's work: from the number of typographical errors and cruxes in the First Folio, it is sometimes inferred that Jaggard did poor-quality work. The Topsell volumes show another side of Jaggard's professional accomplishment; his firm was capable of high- quality craftmanship.
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A crux is a textual passage that is corrupted to the point that it is difficult or impossible to interpret and resolve. Cruxes are studied in palaeography, textual criticism, bibliography, and literary scholarship. A crux is more serious or extensive than a simple slip of the pen or typographical error. The word comes from Latin crux, Latin for "cross", used metaphorically as a difficulty that torments one.
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Though widely exposed to readers and scholars, the texts of William Shakespeare's plays yield some of the most famous literary cruxes. Some have been resolved fairly well. In Henry V, II.iii.16-7, the First Folio text has the Hostess describe Falstaff on his death-bed like this: Lewis Theobald's editorial correction, "and 'a [he] babbl'd of green fields", has won almost universal acceptance from subsequent editors,Blakemore Evans, Riverside Shakespeare, pp. 945, 973.
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If we restrict ourselves to what is 'given', appealing to the poem as a 'whole', we shall fail probably to resolves its various cruxes. Hence, there is a temptation to look for 'external' influences ... The trouble with all these approaches is that they tend finally to lead away from the poem itself."Yarlott 1967 pp. 127–128 When describing specifics, he argued, "The rhythmical development of the stanza, too, though technically brilliant, evokes admiration rather than delight.
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Silence is about 45 m long, curving up the cave wall and along part of the underside of its roof. The first 20 m are about along the beginning of the established routes Nordic Flower and Change, before branching off into a 5 move . It then transitions into a hard sequence of three distinct boulder problems (also called "cruxes" by Ondra): an extremely hard , a "burly 4-move" and a with slippery feet. The first one was described by Ondra as the hardest he ever climbed.
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There were about 500 corrections made to the Folio in this way. These corrections by the typesetters, however, consisted only of simple typos, clear mistakes in their own work; the evidence suggests that they almost never referred back to their manuscript sources, let alone tried to resolve any problems in those sources. The well-known cruxes in the First Folio texts were beyond the typesetters' capacity to correct. The Folio was typeset and bound in "sixes" – 3 sheets of paper, taken together, were folded into a booklet- like quire or gathering of 6 leaves, 12 pages.
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In the book, "The Gaze of the Listener: Shakespeare's Sonnet 128 and Early Modern Discourses of Music and Gender" by Regula Hohl Trillini, Trillini argues that throughout her section on Sonnet 128 that, "[the] much deprecated cruxes and mixed metaphors are read not as an authorial oversights but as a significant elaboration of contradictions in the English discourse on musical performance, particularly when undertaken by women". Sonnet 128 is one of the sonnets in the Dark Lady series. Sonnet 128 has often been said to be a complimentary sonnet to the Dark Lady and her musical talents. Shakespeare uses this sonnet as a comparison of his lust for the Dark Lady through musical metaphors.
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