They're more matter-of-fact and way more in-depth about how my data is used.
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Her end of the dialogue is more matter-of-fact, and sometimes more Socratic, than that.
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Nevertheless, and despite a brief visit from two goddesses, "Cemetery of Splendor" is more matter-of-fact than visionary.
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The artsy shots he favored before the crisis have given way to these more matter-of-fact updates and offerings.
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As such, he is unfazed by his celebrity encounters and has a more matter-of-fact, objective take on the subject.
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The two remaining volumes in the series — "Under Wildwood" and "Wildwood Imperium" — are read in a more matter-of-fact tone by the author.
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And if you've only seen "Titanic," check out the riveting "A Night to Remember" (on Sunday, Wednesday and April 20), a more matter-of-fact, procedural account of the ship's sinking.
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And as acceptance of sexuality has become more widespread in culture generally, many younger artists have eschewed the need for major coming-out announcements in favor of more matter-of-fact acknowledgment.
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"This emperor seems to want to make it easier and make it more matter of fact," said Sheila A. Smith, senior fellow for Japan studies at the Council on Foreign Relations in Washington.
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Forrest Tucker, whose serial bank jobs punctuate "The Old Man & the Gun," declines to give a reason, but his motive seems to be something more mysterious — or maybe more matter-of-fact — than simple greed.
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In the book, Mia is principled, but as portrayed by Kerry Washington, she is even more matter-of-fact, refusing to give the Richardsons the sort of comfort and assurance to which they have become accustomed.
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In the present, we see the adult, more matter-of-fact Tan in a cab where she announces to the camera that she is about to take us down memory lane searching for clues to her past.
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"I went back and reread '100 Years of Solitude,' and it made me think about what it would be like if I didn't turn the dial up to 10, but kept the fantasy much more matter-of-fact," he said.
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The concerns, as presented, are more matter of fact, with tutorials on how to prepare a "bug out bag" or a "get home" bag (the essential supplies for 72 hours of survival in the event of a catastrophe), or tie a tourniquet.
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The artist has produced other works combining romantic sentiments with electronic epigrams—"I Can't Believe How Much You Loved Me" (2012), and the more matter-of-fact "People Like You Need to Fuck People Like Me" (2007)—but the location of this work afforded it a resonance beyond the sweet nothings of a lover.
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" The same article suggested that traditional valentines were for bumpkins and that city sophisticates had moved on: "Our country cousins, judged by St. Valentine's Day, still retain that primitive sentimentality which prompts this bashful mode of confessing even vaguely to the existence of the tender passion, while the more matter-of-fact denizen of the Metropolis either has more nerve to openly declare his or her love, or, with the spirit of cosmopolitanism, considers the time-honored custom of sending valentines as befitting only past and more puerile ages and peoples.
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Charlotte travels back to 1918 (p. 77). In Charlotte's time the year is 1963, for the book states that Clare's time is more than 40 years before Charlotte's, and that 14 September was a Saturday in both years. The events take place about a year after those in The Summer Birds, set in southern England in the early 1960s. Another World War I time-slip novel of the same period is the more matter-of-fact Jessamy (1967) by Barbara Sleigh.
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The house is for sale and their parents have recently moved to a condo in Florida. Will is more matter-of-fact regarding the heirlooms that the quiet house holds, while Donna expresses her teen daughter Tallie's (Annalise Basso) sadness over losing the one place that holds so many memories. Will stays overnight in the barren house, while Donna drives back to her own home. The next day, Tallie tries to joins them in sorting through keepsakes, but she is unable to connect with the many things that are older than she is.
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In the post-war period and particularly in Switzerland a revival in Akzidenz-Grotesk's popularity took hold, in what became known as the "Swiss International Style" of graphic design. This style often contrasted Akzidenz-Grotesk with photographic art, and did not use all caps as much as many older posters. Graphic designers of this style such as Gerstner, Josef Müller-Brockmann and Armin Hofmann all used Akzidenz-Grotesk heavily. Like Tschichold, Gerstner argued that the sans-serifs of the nineteenth century were more "matter-of-fact" () than the more "personal" recent sans-serifs of the previous decades.
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At that time, he replaced his earlier introduction with a new one, which was clearer and more matter-of-fact and to the point, but he also made further changes to the Halbertsma's text and choice of words, which he had smoothed and simplified somewhat already for the 1944 edition. This intervention (or interference) of Wiersma's led to a large amount of criticism, although there is a case to be made that these changes were actually beneficial to the uninitiated reader.Breuker 1993, pp. 609–610. The publishers of the 1958 edition were Van der Velde and A. J. Osinga Publishers of Bolsward.Breuker 1993, p. 610. Afterwards two facsimile editions were published in 1969 and 1978, which were direct photocopies of the 1958 edition (in 1969), and the 1969 edition (in 1978) respectively.
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Tawaststjerna notes Sibelius's success at characterizing the sea: the "playful flutes" that bring the oceanides to life but which feel "alien" in the landscape's vastness; the "powerful swell" of wind and water conveyed by oboe and clarinet over undulating strings and harp glissandi; the sustained wind chord symbolizing the "limitless expanse of the sea"; and, the "mighty climax" of the storm, the final wave crash which "always exceeds one's expectations". The Finnish composer Kalevi Aho has argued in favor of the D major Yale version, feeling as though the piece loses "something essential" in terms of orchestral color in D major: "The orchestral tone in D major is veiled, somehow mysterious and impressionistic. Compared with it D major sounds clearer, but also more matter-of-fact". The conductor Osmo Vänskä also has noted the difference between the two keys, comparing the D major version to a "large lake" and the D major to a "mighty ocean".
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