But one figure is disquietingly absent: an accurate death toll.
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But for the past week, one figure was disquietingly absent: an accurate death toll.
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Critics include some very highly placed people, who are disquietingly nervous of criticising the government publicly.
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The confrontations of the Maduro years have exacerbated the city's class divisions, resulting in a disquietingly visible political geography.
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Others, however, were and are able to love both the popularly entertaining and the disquietingly avant-garde aspects of Mr. Taylor.
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Disquietingly, the gazes that fall upon her are almost without exception male, an inevitability that exposes both their projections and her objectification.
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It is simultaneously intimate and disquietingly removed, at times playing out like an homage to Eggleston rather than a straight biography of him.
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Disquietingly, legislation now being considered by the Senate - and pushed hard by device manufacturers - as one of several medical innovation bills dilutes this designation.
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Hewing disquietingly close to the volcano over four days in 2014, the helicopter's winch held a sizable hoop that could electrically excite the rocks below.
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But it does say something about the disarray within a movement that last August had a disquietingly large turnout at a Unite the Right rally in Charlottesville.
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By day, it is a massive, shaggy elk, its many horns blooming above its head like coral branches, its face resembling an ancient Japanese carved mask, with disquietingly human eyes.
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"Growth is disquietingly dependent on the housing sector, and the country's financial system will likely need to restructure bad debts created during the post-crisis credit boom eventually," Adams wrote in a note.
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There was something so disquietingly familiar about the place that I felt gooseflesh rise on my arms and legs.
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"Brenda Zlamany," The New Yorker , December 21, 1998, p. 16, 18. in psychological terms, they described the paintings as "disquietingly seductive,"Condon, Elisabeth. "Small, Really Small, Tiny," New Art Examiner, March 1993, p. 32–3.
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Upon close investigation, this negative circle space appears imperfect, implying possible organic origins. The circle detail is unique to the piece. The other notable eccentricity is a long stick at the top right portion of the work. It protrudes far more than any other element, almost disquietingly so in its exaggerated gesture.
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She is also disquietingly followed by a Stranger who may be real or a figment of her unsteady imagination. Although her feet only fleetingly leave Hollywood Boulevard, by sundown Our Gal will piece together the revelatory truth about her existence and the reason for her awakening, forcing her to make choices that will literally result in either her life or death.
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" Mindy Laube of Australian newspaper The Sydney Morning Herald was critical of the book, writing "while the characterisation can't be faulted, A Spot of Bother fails to fulfil its early promise. What initially shapes up as a disquietingly soft stab in the human heart turns obvious and formulaic. Haddon's examination of the contours of love is forensic in its insight but a sentimental undertow proves too alluring to resist." Patrick Ness of The Guardian criticised the book for being "unsurprising.
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I'm a woman first, then comes nationality and the profession. My choices come from places of what I face as a woman.” Noting that Tasneem "is an out and out grey character and I had to train myself to be comfortable playing the part", Kaur said of the character: Described as "nefarious", "dastardly", "odious", "sinister", "terrifying", "quietly frightening", and "scarily beautiful", Tasneem is established as a Taliban sympathizer, colluding with wanted Taliban commander Haissam Haqqani (Numan Acar). David Crow of Den of Geek described Tasneem's concern for Haqqani's safety as "disquietingly uncomfortable (and believable)".
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Reviewing Next to Normal in 2016, Cary Ginell of BroadwayWorld wrote, "Briones gives a disquietingly effective, achingly nuanced portrayal" of her character, Natalie. Margaret Gray of the Los Angeles Times called Briones the "breakout star" of the production in May 2017: "Briones played the role before ... and she has a lock on it." Her dual performances in Hamilton brought praise from Judith Newmark of the St. Louis Post-Dispatch: she "effectively plays Peggy Schuyler as a cupcake and Maria Reynolds as a flambé." Cincinnati CityBeats Rick Pender wrote, "Briones brings a sultry alto to her second role as Maria Reynolds," Hamilton's mistress.
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Amanda Sebestyen wrote in The Women's Review of Books that at first glance the ideas in The Good Terrorist appear deceptively simple, and the plot predictable. But she added that Lessing's strength is her "stoic narrat[ion] of the daily effort of living", which excels in describing day-to-day life in a squat. Sebestyen also praised the book's depiction of Alice, who "speak[s] to me most disquietingly about myself and my generation". In a review in off our backs, an American feminist publication, Vickie Leonard called The Good Terrorist a "fascinating book" that is "extremely well written" with characters that are "exciting" and "realistic".
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He rediscovered the epiphany developed during his tour with Kerry and applied it to the philosophy of his new group, Angels & Airwaves, while he redefined himself as he learned to play piano and self-produce and formed his own home studio. In September 2005, after spending months avoiding publicity, DeLonge announced his new Angels & Airwaves project and promised "the greatest rock and roll revolution for this generation". His statements—containing predictions that the album would usher in an "entire new culture of the youth" and lead to the band's dominance—were regarded as highly grandiose in the press and mocked. Thoroughly utilized by the band, DeLonge often discussed minor details and plans for accompanying films and other promotional matter, and his managers approached him having an "intervention" in which they disquietingly questioned his frame of mind.
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If there are practical problems caused by this "static" view of Jewish law, that is part of the price of exile: the question is not whether a given reform would be desirable, but whether there is constitutional authority to make it, and in their view there is not. 5\. A final criticism is that the Dor Dai version of Judaism is disquietingly reminiscent of militant Islamic trends such as Salafism. Both started out as modernising movements designed to remove some of the cobwebs and allow the religion to compete in the modern world, and both have ended up as fundamentalist groups lending themselves to alliances with political extremism. Both disapprove of mysticism (Kabbalah or Sufism) and praying at tombs; both tend to dismiss more moderate coreligionists as unbelievers (see Takfir); both cut out centuries of sophisticated legal scholarship in favour of an every-man-for-himself "back to the sources" approach.
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To preserve Sherwood's memory, her friends established the Rachel Sherwood Poetry Prize at Cal State Northridge; the award is given annually to a student poet. Poet David Trinidad also created Sherwood Press in her honor and published (in collaboration with Greg Boyd's Yarmouth Press) a book of Rachel Sherwood's poems, Mysteries of Afternoon and Evening, in 1981. Reviewing Mysteries of Afternoon and Evening in the Los Angeles Times Book Review, Peter Clothier praised Sherwood's “attentive eye and sharp ear for language” and pointed out that, given the circumstance of her death, “the prescience of her vision is disquietingly accurate in several of these poems.” One such poem, “The Usual,” concludes: “it’s the usual: spilt liquor, / broken dishes, wrecked cars.” In his introduction to the book, Arthur Lane noted that Sherwood's “wit was mordant—properly so, given the time and place of her maturing, Los Angeles in the 1970’s.
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Shestack, #153 The Embrace, showing a couple embracing in a small but expensively-furnished room, has been found an enigmatic image by many critics. The man's face cannot be seen, and the woman looks out at the viewer with an ambiguous expression, with half her face in shadow. The fashionable lüsterweibchen chandelier above them,photo of real example made of the bust of a woman holding a coat of arms and antlers (often real ones), may evoke the traditional use of horns and antlers as the symbol of the cuckold. This may be an illicit embrace, whether between lovers or a courtesan and her client, the last perhaps suggested by "the woman's off-the- shoulder dress and long, loose hair".Russell, 195 (quoted); Orenstein, 29; Hutchison, 61; Shestack, # 149 The room may be found "homey", or disquietingly small; though it seems as though the fourth wall has been removed for the viewer, the gap has been given an architectural frame.
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