I gazed through the darkness until there was a hint of daylight, indicating the way forward.
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In 1946 she already proposed that they aim at universal brotherhood, indicating the way that this can be done.
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Road signs in towns were removed or painted over—except for those indicating the way to Moscow.See Paul Chan, "Fearless Symmetry" Artforum International vol. 45, March 2007. Many small villages renamed themselves "Dubcek" or "Svoboda"; thus, without navigational equipment, the invaders were often confused.
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A "Walk this way" sign on a brick building in Holt, Norfolk, indicating the way to the Holt Foot Clinic. "Walk this way" is a recurrent pun in a number of comedy films and television shows. It may be derived from an old vaudeville joke. It refers to the double usage of "way" in English as both a direction and a manner.
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This move was also significant in indicating the way in which electric folk personnel had become assimilated into the folk revival. It is notable that almost all the members of Fairport Convention have toured the folk club circuit solo or in smaller units and the line up at Cropredy includes as many acoustic acts as electric.M. Brocken, The British Folk Revival 1944–2002 (Ashgate, Aldershot, 2003), p. 108.
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Allon Road near intersection of Routes 508 and 458, south of Migdalim A road sign indicating the way to Alon Road Allon Road is the name given by Israel to Routes 458, 508, and 578 in the West Bank, running roughly south-north along the eastern watershed of the Samarian and Judaean Mountains between Highway 1 near Kfar Adumim east of Jerusalem and Highway 90 at Mehola in the central Jordan Valley.
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This is a typical local station with four tracks and two side platforms. During station renovations in 1988, the beige tiles were removed and the original, white ones restored. It has IND- style signs indicating the way to the exits at 22nd and 23rd Streets. An ornate fare control grille on the southbound side is a piece of artwork entitled Long Division by artist Valerie Jaudon, which was installed during the renovation.
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In Thailand it is called lot chong (, ) which can be translated as "gone through a hole", indicating the way it is made by pressing the warm dough through a sieve into a container of cold water. In Burma, it is known as mont let saung or . In Cambodia, it is known as lot (លត /lɔːt/), bang-aem lot (បង្អែមលត /bɑŋʔaɛm lɔːt/), nom lot (នំលត /nɷm lɔːt/), and banh lot (បាញ់លត /baɲ lɔːt/).
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Aleksandra Namysło, Grzegorz Berendt (red.): Rejestr faktów represji na obywatelach polskich za pomoc ludności żydowskiej w okresie II wojny światowej. Warszawa: Instytut Pamięci Narodowej i Instytut Studiów Strategicznych, 2014. . Sebastian Piątkowski, relying on preserved documents of the special court in Radom, pointed out that especially in the case of small and disposable forms of assistance – such as providing food, clothing or money to the escapees, indicating the way, accepting correspondence – the punishment could be limited to imprisonment or exile to a concentration camp.
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Reversing the direction would be too expensive, in particular for interlocking, so circulation and signals remained on the right. In several stations and on several line sections, when the local layout requires it, signals can be set on the right. They are then equipped with a white arrow indicating the way to which they are addressed. On some double-track line sections equipped with "permanent counter-track installations" (IPCS), signals are placed normally on the right for counter-track circulations.
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She argued that this was one symptom of a widespread phenomenon that "keeps women from speaking up and from being heard when they dare; that crushes young women into silence by indicating, the way harassment on the street does, that this is not their world. It trains us in self-doubt and self-limitation just as it exercises men's unsupported overconfidence." In 2018, during a lecture at Moe's Books in Berkeley, California, Solnit said, “I’m falsely credited with coining the term ‘mansplaining’. It was a 2010 New York Times word of the year.
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Plastic Travel Pet Carrier, Labelled Pets are transported within a carrier that meets the International Air Transport Association standards, ensuring safety throughout travel. The International Air Transport Association requires the carrier to be large enough for the animal to sit, stand and lie comfortably within it, with a solid floor base. 14% of the floor and walls must be open to allow adequate ventilation and airflow, with shelter for protection. Handles are required for the crate to be carried, a label (with the owners details) for identification, an arrow (indicating the way it should be placed and carried), and food and water bowls for long journeys.
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In one of Augustine's late works, Retractationes, he made a significant remark indicating the way he understood difference between spiritual, moral libido and the sexual desire: "Libido is not good and righteous use of the libido" ("libido non-est bonus et rectus usus libidinis"). See the whole passage: Dixi etiam quodam loco: «Quod enim est cibus ad salutem hominis, hoc est concubitus ad salutem generis, et utrumque non-est sine delectatione carnali, quae tamen modificata et temperantia refrenante in usum naturalem redacta, libido esse non-potest». Quod ideo dictum est, quoniam "libido non-est bonus et rectus usus libidinis". Sicut enim malum est male uti bonis, ita bonum bene uti malis.
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Augustine of Hippo, Nisi radicem mali humanus tunc reciperet sensus ("Contra Julianum", I, 9.42; PL 44, 670) Their nature was wounded by concupiscence or libido, which affected human intelligence and will, as well as affections and desires, including sexual desire.In one of Augustine's late works, Retractationes, he made a significant remark indicating the way he understood difference between spiritual, moral libido and the sexual desire: "Libido is not good and righteous use of the libido" ("libido non-est bonus et rectus usus libidinis"). See the whole passage: Dixi etiam quodam loco: «Quod enim est cibus ad salutem hominis, hoc est concubitus ad salutem generis, et utrumque non-est sine delectatione carnali, quae tamen modificata et temperantia refrenante in usum naturalem redacta, libido esse non-potest». Quod ideo dictum est, quoniam "libido non-est bonus et rectus usus libidinis".
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Angers Apocalypse Tapestry (1372–82) The third Horseman rides a black horse and is popularly understood to be Famine as the Horseman carries a pair of balances or weighing scales (Greek ζυγὸν, zygon), indicating the way that bread would have been weighed during a famine. Other authors interpret the third Horseman as the "Lord as a Law-Giver" holding Scales of Justice. In the passage, it is read that the indicated price of grain is about ten times normal (thus the famine interpretation popularity), with an entire day's wages (a denarius) buying enough wheat for only one person (one choenix, about 1.1 litres), or enough of the less nutritious barley for three, so that workers would struggle to feed their families. Of the Four Horsemen, the black horse and its rider are the only ones whose appearance is accompanied by a vocal pronunciation.
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In the Frari the painting was intended to hang in the Cappella di Crocefisso ("Chapel of the Crucifix"), where Titian was buried, and where his monument now stands. Like his much earlier masterpiece, the Pesaro Altarpiece, which was diagonally across the church, the painting was designed to be viewed in passing by people moving through the huge church, as well as those stopping in front of it. Those entering at the back and moving forward would pass the painting on the second altar on their right, seeing the triangle of figures rising to a termination in Mary Magdalene. Indeed, she looks and gestures roughly in the direction of the Pesaro Altarpiece, further up the church on the other side, while the statues, both looking to the left at a sharper angle, have been seen as indicating the way to the Assunta on the high altar.
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Burnham High and Burnham Low initially functioned as leading lights for vessels entering the River Parrett. In 1839, the lighthouses in line were described as indicating the way through a narrow entrance channel to the river, which lay between extensive mud flats: Berrow Flats to the north, Stert Flats to the south. As early as April 1844, however, Trinity House issued a notice warning that the Gore Sand (at the southernmost tip of Berrow Flats) had extended itself in a southerly direction to such an extent that the two lighthouses in line no longer indicated the deep water passage between the flats. The High light was visible for , and was given an arc of visibility north of the line of transit, so as to provide a fix for vessels navigating between the Culver Sand and Steepholm (two hazards in the middle of the Bristol Channel).
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It presents a dramatic intensity, with an armed angel who hovers over Adam and Eve indicating the way out of the Garden of Eden: the crying fornicators leave at their backs the gates of Paradise. This work represents a neat separation from the past International Gothic style; Masolino's serene composures are also left behind, and the two biblical progenitors are portrayed in dark desperation, weighed down under the angel's stern sight, who, with his unsheathed sword, forcibly expels them, with such a tension never seen before in painting. Gestures are eloquent enough: on exiting Paradise's Gates, from where some divine rays are shooting forward, Adam covers his face in desperation and guilt; Eve covers her nudity with shame and cries out, with a pained face. The bodies' dynamism, especially Adam's, gives an unprecedented passion to the figures, firmly planted on ground and projecting shadows from the violent light modelling them.
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