That starts with being frank about something politicians use patronisingly tortuous insincerities to describe: some voters just don't like immigrants.
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I think that people are starting to catch on to the insincerities of IG and Twitter so you have to be really real with your followers.
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At its worst, CES is an insufferable barrage of cliches, buzzwords, and other rehearsed insincerities, but today I saw a little glimpse of the big technology show at its best, and I really enjoyed it.
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At its worst, CES is an insufferable barrage of cliches, buzzwords, and other rehearsed insincerities, but yesterday I saw a little glimpse of the big technology show at its best, and I really enjoyed it.
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Insincerities, also known as Four Insincerities, is a solo modern dance work created by Martha Graham. The piece consists of four sections: Petulance, Remorse, Politeness and Vivacity performed to music by Serge Prokofiev. It premiered on January 20, 1929, at the Booth Theatre in New York City. Louis Horst accompanied Graham on piano.
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Almost all of Graham's early works, including Insincerities, are lost. It is known the solo drew on the idea of Delsartean tableaus, objective representations of mood and emotion. As she constructed her own movement vocabulary, Graham rejected the concepts of her teachers Ruth St. Denis and Ted Shawn by initially referencing previous dance forms. Insincerities is also known to be one of Graham's first efforts at incorporating humor into her dances, and revealed her talent for parody and comedy.
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These "pure objective Delsarte vignettes, depictions of moods and emotions" were "not quite camouflaged by their foreign titles and modern music." The mostly late-1920s works include Fragilité, Lugubre, Scherza and Four Insincerities.
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Rejecting her teachers' Denishawn (Ruth St. Denis and Ted Shawn) forms, Graham initially drew on older, simpler dance concepts. These "pure objective Delsarte vignettes, depictions of moods and emotions" were "not quite camouflaged by their foreign titles and modern music." The mostly late-1920s works include Fragilité, Lugubre, Scherza and Four Insincerities.
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Members of the group included: Kitty Reese, Irene Emery, Ethel Rudy, Lillian Ray, Hortense Bunsick, Sylivia Wasserstrom, Mary Rivoire, Ruth White, Lillian Shapero, Virginia Briton, Sylvia Rosenstein, Evelyn Sabin, Betty Macdonald and Rosina Savelli. The program included a total of 13 works. Graham performed the solos Dance, Four Insincerities, Fragments, Adolescence (Prelude and Song) and Resurrection. Sabin, Macdonald and Savelli appeared in Danse Languide, Dance Piece, Spires and Ronde.
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Figure of a Saint was a modern dance solo choreographed by Martha Graham to the music of George Frideric Handel. The work premiered on January 24, 1929 at The Bennett School in Millbrook, New York. The all solo program also included: Valse Noble, Maid with the Flaxen Hair, Fragilite, In a Boat, Insincerities (Petulance, Remorse, Politeness, Vivacity), Tanagra (Gnossienne 1 and 2), Scherzo Waltz, Deux Valses Sentimentales, Prelude and La Cancion. Louis Horst accompanied Graham on piano.
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Whereas the Japanese concept of haragei denotes a deliberate form of nonverbal communication, ishin-denshin refers to a passive form of shared understanding. Ishin-denshin is traditionally perceived by the Japanese as sincere, silent communication via the heart or belly (i.e. symbolically from the inside, uchi), as distinct from overt communication via the face and mouth (the outside, soto), which is seen as being more susceptible to insincerities. The introduction of this concept to Japan (via China) is related to the traditions of Zen Buddhism, where the term ishin-denshin refers to direct mind transmission.
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As Michael Newton, Lecturer in English, University College London, has written, the book is "a brilliant, and often comic, record of the small diplomacies of home: those indirections, omissions, insincerities, and secrecies that underlie family relationships." "[B]rilliantly written, and full of gentle wit," the book is "an unmatched social document, preserving for us whole the experience of childhood in a Protestant sect in the Victorian period....Above all, it is one of our best accounts of adolescence, particularly for those who endured...a religious upbringing."Edmund Gosse, Father and Son, ed. Michael Newton (New York: Oxford University Press, 2004), x-xi.
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The film starts with Siegfried Sassoon's open letter (Finished with the War: A Soldier’s Declaration) dated July 1917, inveighing "against the political errors and insincerities for which the fighting men are being sacrificed". The letter has been published in The Times and received much attention because Sassoon is considered a hero for (perhaps suicidally rash) acts of valour - and has received the Military Cross, which we see Sassoon throwing away. With the string-pulling and guidance of Robert Graves, a fellow poet and friend, the army sends Sassoon to Craiglockhart War Hospital, a psychiatric facility, rather than court-martialling him. There, Sassoon meets Dr. William Rivers, a Freudian psychiatrist who encourages his patients to express their war memories as therapy.
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