This eerily prefigures the current trend of schools serving fast food.
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Whether this moment also prefigures a beginning is up to us.
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The story of Noah's ark prefigures many modern fantasies of interstellar colonization.
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Andrei's spiritual awakening unfolds with a visual poetry that prefigures Terrence Malick.
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It prefigures his excellent work under the Trevino alias, which I will sorely miss.
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The film's long, continuous shots prefigures extended single-shot sequences in The Bread Factory.
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Core inflation, which excludes food and energy prices (and usually prefigures the headline measure), is 1.53%.
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It prefigures hallmarks of the artist's self-portraits, including winged eyebrows and the full frontal gaze.
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In a dream sequence that prefigures their Manhattan reunion, Manganiello and Pee-wee ride purple piñatas.
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His "Wall Street, New York" (1915) prefigures years of American painting, from Edward Hopper to Rothko's color field canvases.
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Musical numbers are presented as vaudevillian vignettes, in a way that prefigures "Chicago" and the work of Stephen Sondheim.
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The smell of masala spices that wafts from the plate prefigures succulent pieces of meat sautéed with onions and potatoes.
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Remixed and recontextualized, he gives them new meanings that, in a way, prefigures the shifting sands of contemporary online culture.
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His more overtly pop albums utilise the sounds of the Americas in a way that prefigures the work of David Byrne.
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Car theft prefigures vandalism elsewhere, when a veteran tries to mend his son's marriage using tactics he learned as a paratrooper.
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His skittish, prickly, armed imagery, most evident in "Umbral" (28), prefigures the formal edginess of the weaponized letters in Rammellzee's Gothic Futurism.
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The work, whose subject is about 13 or 14, prefigures hallmarks of Kahlo's self-portraits, including winged eyebrows and a full frontal gaze.
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One of his last purely realist works, "Shoes" prefigures the way Kelly would go on to pair chance operations with an assured selectivity.
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A wine stain on a tablecloth prefigures a bloody bedsheet; teenagers twirling around subway poles are echoed by strippers in a later scene.
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The 19th-century resentment so keenly described by Friedrich Nietzsche prefigures the homicidal dandyism of "Jihadi John", Mohammed Emwazi, who broadcast his victims being executed.
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The image prefigures what was to come in her life in the US, where she assumed the role of housewife and produced very little art.
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The death of a near-stranger is echoed by a later accident much closer to home, and Julieta's alienation from her father prefigures her eventual estrangement from Antia.
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Money is already voting with its feet and pouring out of sterling and the UK. In the dance that prefigures negotiations, each side is displaying its instruments of torture.
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It prefigures "Castle Gripsholm," featuring a young couple vacationing in the countryside where they bicker in a patois of their own devising, make love and poke fun at bourgeois mores.
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And that status-quo-conscious Mommy, incarnated with steely silliness by Ms. Fraser, prefigures a host of hypocritical, life-stifling society ladies whom Mr. Albee will also render again and again.
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Mr. Bennet's recusal from most of these matters of the heart prefigures his erasure from the property; he acts out his disappearance on a daily basis by hiding in his library.
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The company challenged the order in court and, after much legal back and forth, several questions were referred to Europe's top court for a preliminary ruling — which today's advocate general opinion prefigures.
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The building, with its overlapping pair of stone-and-concrete cylinders on a wooded lot, was one of three he designed for the community and prefigures his work on the Guggenheim Museum.
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In part, such omissions may reflect the pressure we feel to explain the literary past through our literary present: Landon can only be a captivating subject if she prefigures a later style.
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Anyone looking for tips on navigating the workplace as a woman is rewarded with the occasional stunning insight about how meetings are often bad, but mainly with quasi-scientific bromides about how happiness prefigures success.
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In this way, Virgil's Homeric riff prefigures James Joyce's, twenty centuries later: whatever the great passages of intense humanity, there are parts that feel like a treasure hunt designed for graduate students of the future.
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The first section, "Strange Object/Post-Human Body," confronts visitors with "Electric Dress," a multicolored cluster of lights, created in 1956 by Atsuko Tanaka, that prefigures today's evolving relationship between the physical and the digital.
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The battle between the Rajneeshees and the citizens of Antelope prefigures, in a funhouse-mirror way, our current cultural and political landscape — notions of American liberty and morality were being defended against perceived (and actual) outside threats.
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The technology prefigures a time when most passengers wouldn't be able to take control for the simple reason that they won't know how to drive a car — or because the steering wheel and pedals have been removed.
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Disregarding the structural tropes of music that prefigures it sonically—the measured plod of industrial music, the twitchy energy of more experimental forms of techno— Pure Expenditure stretches out, moving more free-associatively between themes and sounds.
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And maybe before you roll out of bed you pause to wonder how much the great online divide represents reality, or how much it prefigures reality; whether They really have all lost their minds and their moral compasses.
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Jones, whose right arm cradles a copy of the Bible in a pose that uncannily prefigures that of the Statue of Liberty, is a contemporaneous rebuke to the racist hypocrisies that tainted the Enlightenment principles infusing the creation of the Constitution.
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That's the only way I can justify the series' eternal reliance on setting one narrative trap after another that eternally encircles John within Sherlock's story, and prefigures all the series' minor players as willful, oblivious extensions of Sherlock's mind games.
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His forms are wired into taut outlines, his characters' gestures are theatrical and expository, his palette prefigures mid-century Disney, and his trick of containing different episodes of a story into architecture is just like the multiple panels of a strip.
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Perhaps the state will try to crush the dissent that prefigures desirable social change—as America's FBI tried to destroy Martin Luther King by sending a letter, supposedly from a disillusioned admirer, that accused him of being a "colossal fraud and an evil, vicious one at that".
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It helps that Kate Attwell's "Jesus in Manhattan" — in which the son of God's return, in the form of a little girl, prefigures the apocalypse — is also the most ambitious of the five entries in this last installment of Ensemble Studio Theater's marathon of one-act plays.
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Rou's amazement at the breadth of the expansive exhibition prefigures the widespread influence that the Academy's display, known as the Salon, would hold in the progression of European art in the 18th and 19th centuries until its decline following avant-garde and independent exhibitions of fin de siècle Paris.
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The psychedelic, tortured Christ hanging in agony and/or ecstasy on Fontana's churning crosses also prefigures the emergence of body art performance in the '70s as a major form in which the human physique was exploited as an integral and expandable perceptual instrument — stimulated to reach states of euphoric, erogenous frenzy.
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The poem "My Body's Production" illustrates a kinship between Alcalá and poet-journalist-novelist Muriel Rukeyser, whose incorporation of transcribed testimony in The Book of the Dead and elsewhere prefigures documentary poetics as we understand it in the United States, by folding into its form a brief, italicized question-and-answer.
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This design scheme is more than a trendy aesthetic choice — it prefigures the menu's bold and decisive flavors and signals that the dishes are clearly rooted in their location: the San Giovanni neighborhood southeast of central Rome, which was laid out during the Fascist era to house working-class families.
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A small, devastating collection of handmade greeting cards from gulag camps — one for Easter depicts a baby chick breaking free of its shell, with a chain around its neck — prefigures the envelope art of today: Both seem made to be sent to loved ones, and both repurpose generic imagery for personal expression.
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Not a jot of randomness is allowed within the bounds of the movie, and everything is made to match; a splash of red paint on the wall of Jonathan's bedroom, at home, prefigures the ragged hole in a wall through which the machine gun is aimed, as well as the bloodshed that it may yet unleash.
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" In his 1993 book Beautiful Losers, Samuel T. Francis, one of Buchanan's key intellectual advisors, advocated a foreign policy stance that prefigures Trumpism: "Economic nationalism and the struggle to preserve national sovereignty and cultural identity are likely to be more important issues for Middle American nationalists than fighting communists, anti-American plug-uglies from the Third World, and international terrorists.
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I was repeatedly struck by the extent to which Israel prefigures trends that are spreading around much of the world: the rise of religion and nationalism; the coexistence of a high-tech sector with orthodox communities; the division of society into rival communities that are so hostile to each other that they need to be kept apart by a wall; and the rise of strongmen leaders who argue, in effect, that the imperatives of national security override namby-pamby worries about civil rights.
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The longevity of the Optimen prefigures Leto II of the Dune saga.
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George Wyndham was unable to explain the capitalization of "Commend," one of only three such failures in his interpretation. The poem prefigures the flower language of the more famous Sonnet 94.
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Baird, p. 293 note 27. In this respect the film prefigures wartime films such as Wunschkonzert, having a secondary propaganda focus on wholesome and appropriate women's lives and relationships with men.Fox, p. 84.
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Its dark palette is reminiscent of Spanish Golden Age works as well as Antoine Watteau's Gilles (Louvre). Produced early in the painter's career, the work's execution is sketchy in places and prefigures his later Impressionist work.
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The question of whether it is possible for machines to think has a long history, which is firmly entrenched in the distinction between dualist and materialist views of the mind. René Descartes prefigures aspects of the Turing test in his 1637 Discourse on the Method when he writes: Here Descartes notes that automata are capable of responding to human interactions but argues that such automata cannot respond appropriately to things said in their presence in the way that any human can. Descartes therefore prefigures the Turing test by defining the insufficiency of appropriate linguistic response as that which separates the human from the automaton. Descartes fails to consider the possibility that future automata might be able to overcome such insufficiency, and so does not propose the Turing test as such, even if he prefigures its conceptual framework and criterion.
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Though relatively unknown today, Sociological Art is thoroughly emblematic of the historical upheavals of the late 1960s and 1970s in France and Europe generally and prefigures many of the most prominent trends in art since the mid-1990s.
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Orvieto, Museo dell'Opera del Duomo). "A fanfare raising sculpture from its slumber", as Rudolf Wittkower called it,Wittkower, Art and Architecture in Italy, 1600–1750 3rd ed. (Penguin) 1973:85. it prefigures the baroque with its restrained emotiveness.
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The movement progresses by revisiting and varying these elements, at the same time introducing an octave-leap element that prefigures the main characteristic of the second movement. The movement closes with a diminuendo recapitulation of the violin's opening figures.
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Goya's (And it can't be helped) from "The Disasters of War" (Los desastres de la guerra), c. 1810–1812, prefigures elements of The Third of May.Bareau, pp. 48–50. The Third of May 1808 (also known as ' or ',Prado, p. 141\.
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This sonata consists of three movements: # Allegro con brio # Adagio con molto sentimento d'affetto – Attacca # Allegro – Allegro fugato While this sonata is more accessible and conventionally structured, the concluding fugue prefigures the fugal finales of the Hammerklavier Sonata and the late string quartets.
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This instrumental line-up prefigures that of the sextetos which appeared later, rather than the older típicas. The members would be based on university students, probably reinforced by talent from other quarters. Similar Estudiantina groups were formed in other provincial towns.Orovio, Helio 1981.
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Each side panel showed a pair of saints - Saint Prosdocimus and Saint Peter (North Carolina Museum of Art) and Saint John the Baptist and Saint Jerome (now lost). Its colouring prefigures that of Giorgione AA.VV., Brera, guida alla pinacoteca, Electa, Milano 2004.
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In its portrait of a medieval-level society in the shadow of a technologically advanced one, "Divide and Rule" prefigures de Camp's later Krishna series, even down to such details as elephant-drawn trains (replaced by the elephant- analog "bishtars" in the Krishna stories).
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This odd choice prefigures the corner pavilions of classical architecture. A spiral staircase probably existed before the current Renaissance staircase. The ground floor and courtyard side cellars permit control of navigation on the Loire. One of those rooms has direct access to the river.
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The novel prefigures Greene's later, more famous, work, Brighton Rock, wherein Pinkie Brown's killing of Hale sets the events of the novel in motion in much the same way that Raven's assassination of the Minister of War sows the seeds for conflict in A Gun for Sale.
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Though on first publication it met with mixed reviews, it is now recognised as a pioneering work of scientific anthropology, treating of its subject in an acute and analytical way which prefigures later scholarship on the subject, as well as presenting a highly readable collection of supernatural anecdotes.
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The group's incorporation of rock and soul into traditional black gospel music prefigures the crossover success of such artists as Amy Grant, Andrae Crouch, and The Winans. In 1978, the group had a Top 30 R&B; hit, "I Belong to You." The group released Miracle Worker in spring 2000.
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Enzo Carli, Sienese Painting, (New York: Scala Books, 1983), 38. Maestà, 1335 In his Maestà, completed in 1335, his use of allegory prefigures Effects of Bad Government in the City. Allegorical elements reference Dante,Chiara Frugoni, Pietro and Ambrogio Lorenzetti, (Florence: Scala Books, 1988), 48. indicating an interest in literature.
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As not doing so in certain cohorts can have extremely high mortality rates from inadvertently caused hyperinfection via immunosuppression of application of certain steroids. Thus extreme caution with respect to iatrogenic risks is crucial to avoiding deaths or other adverse consequences in treatment, that of course prefigures a correct diagnosis.
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Maria dreams of driving "into the hard white empty core of the world". Before terminating her pregnancy, she sleeps between "immaculate" white sheets in "white crepe pajamas", hoping to induce a miscarriage. A recurring dream figure is the "man in white duck pants" from her abortion. Whiteness prefigures nothingness and obliteration of memory.
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This includes Rott's Symphony in E major, and sketches for a second Symphony that was never finished. The completed symphony is remarkable in the way it anticipates some of Mahler's musical characteristics. In particular, the third movement prefigures the second movement of Mahler's First Symphony. The Finale includes references to Brahms's First Symphony.
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Lo speziale (The Apothecary), Hob. 28/3, is a three-act opera buffa by Joseph Haydn, with a libretto by Carlo Goldoni. A love triangle between the poor apprentice Mengone, the rich and assured dandy Volpino, and the local apothecary's ward, Grilletta, Lo speziale is a comedy of great warmth and ebullience. Lo speziale prefigures Mozart.
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Ilija creates the anti-illusionistic, the abstract. He does not use perspective; he eliminates reminiscences; he generalizes and prefigures by using symbols. Two-headed beings denote the duplicity of everything presented. In Biblical scenes or Serbian myths, legends and epics, the dynamics and morale prevail, while in scenes from Iliad we find humor, irony and grotesque.
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For his > hundreds of songs alone – including the haunting cycle Winterreise, which > will never release its tenacious hold on singers and audiences – Schubert is > central to our concert life... Schubert's first few symphonies may be works > in progress. But the Unfinished and especially the Great C major Symphony > are astonishing. The latter one paves the way for Bruckner and prefigures > Mahler.
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The hospital featured a roof parapet that prefigures Ryan and Roberts' work in Florida, as well. Ryan was active in the women's suffrage movement, a member of the Waltham Equal Suffrage League and the Political Equality Association of Massachusetts. Her recreational activities included camping and traveling.Woman's Who's Who of America: A Biographical Dictionary, Volume 1, by John William Leonard, p.
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In the New Testament, Jonah is mentioned in and and in . In the Gospel of Matthew, Jesus makes a reference to Jonah when he is asked for a sign by some of the scribes and the Pharisees. Jesus says that the sign will be the sign of Jonah: Jonah's restoration after three days inside the great fish prefigures His own resurrection.
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Bloomington, IN: iUniverse, 2016: 183–4. The book's central character, Harvey Birch, prefigures many of the qualities that Cooper would use in his more famous character, Natty Bumppo, who stars in Cooper's series of books known as Leatherstocking Tales. Birch is an adventurer who resists marrying and traditional society to withdraw into his own natural, moral world.Ruland, Richard and Malcolm Bradbury.
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Three connected movements: the first, Con moto largamente, sustained and profound, slowly developing motion and energy; the second an Interludium, Allegro, molto sostenuto, misterioso quotes the first movement and prefigures the finale; a lengthy Allegro molto. Svegliando, eroico vigorously concludes the work. Medtner recorded all three Concertos with the Philharmonia Orchestra in 1947. Violin Sonata No. 3 in E minor, Op. 57 (1938).
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Jesus and two disciples have nimbi; transverse lines, forming a cross, pass beyond the circumference of the nimbus behind Jesus' head. #The window, in the sacristy for altar servers, left of the main altar, depicts Canaanite priest Melchizedek, a type of Christ. His offering of bread and wine prefigures the Eucharist. He is mentioned in the Canon of the Mass.
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Whitehead's work The design and use of instruments, published in 1934, was primarily written while he was still at the Admiralty. It prefigures the care in accurate measurement that Whitehead put into his work on the Hawthorne experiments. In this, Whitehead's "golden rule" was to "never measure more than is absolutely necessary". The Hawthorne experiments studied worker productivity at a Western Electric factory.
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This prefigures the use of the concept of precognition in the science-fiction short story The Minority Report published by Philip K Dick in 1956 and made into the film Minority Report directed by Steven Speilberg in 2002. He married Kate Selwyn. They have three sons and one daughter, including Stewart Buckle Carne Ross, the Postmasters-General of Hong Kong.
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Although it belongs to the late classical period rather than the Koine Greek period, Boeotian phonology is shown here as it prefigures several traits of later Koine phonology. By the 4th century BC, Boeotian had monophthongized most diphthongs, and featured a fricative . In contrast with Ionic-Attic and Koine, had remained a back vowel in Boeotian (written ). Long and short vowels were still distinguished.
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In all these works Greenshield's Hainaut expedition becomes the mythical foundation of the British empire, the first foreign venture to expand British influence in the world. Hainaut was also important to Elizabethans because the Earl of Leicester had led Elizabeth's army against the Spanish there in 1579, so "the Greenshield episode thus prefigures Merlin's prophecy that Elizabeth shall 'stretch her white rod over the Belgicke shore'".
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Firstly, the vessel is a work in the impasto style which was typical of the Villanova culture. As was the norm, very fine-grained clay was used and it was turned on a potter's wheel, not just moulded by hand. The surface was polished in the manner of prehistoric art. The shape is known among scholars as bucchero impasto and prefigures later Bucchero pottery.
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This final complete canto is followed by the two fragments of the 1940s. The first of these, "Addendum for C", is a rant against usury that moves a bit away from the usual antisemitism in the line "the defiler, beyond race and against race". The second is an untitled fragment that prefigures the Pisan sequence in its nature imagery and its reference to Jannequin. Notes for Canto CXVII et seq.
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To the left, a brawl involves two to four people. To her left, a drunken sot attempts to court her with ridiculous airs, notwithstanding his holding a dog up by the tail. The suspended dog, positioned directly below the gibbet in the picture, prefigures another "cur" who is about to be hanged. Behind them a massive riot goes on while a woman assaults the man pushing over her cart of fruit.
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Documentary records for the property are unclear whether this house or another was standing at the earlier date. The house was originally built as a saltbox, and was only raised to have a full second floor at a later date, evidenced by changes in the brick used. Even with a 1760 construction date, this house stylistically prefigures the later Federal period brick houses that are more numerous in Windsor.
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Savoldo was noted during his lifetime for his mastery of nocturnal effects.Bayer & Metropolitan Museum of Art (2005), p. 33 His Saint Matthew and the Angel (1534; Metropolitan Museum of Art), which Andrea Bayer has called "one of the most evocative nocturnal scenes in Italian painting", prefigures Caravaggio's famous painting in the Contarelli Chapel in Rome, with a luminescent gown standing in contrast to the dark background. His Mary Magdalene (ca.
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152 Later in 1989, Daniel Watkins claimed the poem as "one of [Keats's] most beautiful and problematic works."Watkins 1989 p. 105 Andrew Bennett, in 1994, discussed the poem's effectiveness: "What is important and compelling in this poem is not so much what happens on the urn or in the poem, but the way that a response to an artwork both figures and prefigures its own critical response".Bennet 1994 p.
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According to Amélie Tsaag Valren, the novel "prefigures in a certain way the disappearance of the horse in the city. Anna Sewell shows that this animal of flesh and blood, who feels pain and sadness, does not have a place in the urban environment and the industrial society of London". The novel provoked controversy in England upon publication. It was only over time that it became a best seller.
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The banqueters are "elegantly dressed" male-female couples attended by two nude boys carrying serving implements. The women are depicted as fair-skinned and the men as dark, in keeping with the gender conventions established in the Near East, Egypt and Archaic Greece. The arrangement of the three couples prefigures the triclinium of Roman dining. Musicians are pictured on the walls to the left and right of the banquet.
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Worse than Palinurus, who can be at rest after he is reburied, Virgil's soul can never be at ease since he was unbaptized and thus is eternally "suspended" in Limbo.Martinez 598. Christian commentators saw "an anticipation of the sacrifice of Christ" in Palinurus-- unum pro multis dabitur caput prefigures the biblical "that one man should die for the people" (). Palinurus's request to Aeneas, "save me from this vile doom",Virgil's Aeneid 6.365.
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Shakespeare's Sonnets Sonnet 25 is one of 154 sonnets published by the English playwright and poet William Shakespeare in the Quarto of 1609. It is a part of the Fair Youth sequence. In the sonnet the poem expresses the poet's contentedness in comparison to others, though they may have titles, honors, or are favored at court, or are noted warriors. It prefigures the more famous treatment of class differences found in Sonnet 29.
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The opera is on an epic scale and contains many experimental elements. For instance, in Act Four has visions of heroes and bards in a cave behind a backlit curtain of gauze. The score also calls for 12 harps as the bards hymn the rising sun. According to the musicologist David Charlton, Les bardes turns away from the classical aesthetic of Gluck (the dominant operatic influence of the time in France) and prefigures grand opera.
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Influenced by Duchamp, Man Ray, and Max Ernst, Klapheck's "ironic treatment of everyday mechanics" prefigures Pop art in its magnification of the trivial. He was also close to French Surrealism and André Breton wrote his last published text about a Klapheck's exhibition at Galerie Sonnabend in 1965. Between 1992 and 2002, he has painted friends, colleagues, and celebrities from the international art scene. He became a professor at the Kunstakademie Düsseldorf in 1979.
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Love versus duty is the overriding theme of the book. An attractive and thoughtful young woman is torn between her desire for another man and her responsibilities as a wife. In this, she prefigures both the author's later novel The Princess of Cleves and the tragic heroines in the plays of Jean Racine. Her fate reflects the danger of uncontrolled emotion in a strictly regulated society, where a woman's reputation is destroyed by perceived imprudence.
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The Arca Musarithmica as depicted in "Musurgia Universalis" The Arca Musarithmica (also Arca Musurgia or Musical Ark) is an information device that was invented by Jesuit scholar Athanasius Kircher in the mid 17th century. Its purpose was to enable non musicians to compose church music. Through simple combinatoric techniques it is capable of producing millions of pieces of 4-part polyphonic music. Like other calculating aids of the period, the Arca prefigures modern computing technology.
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Scientific study It belongs to a group of small-format Madonnas by the painter, produced for private devotion. As in Madonna with Sleeping Child (Berlin) and Madonna and Child (Bergamo), the Virgin is touching her face to her son's, a pose drawn from Donatello, particularly his Pazzi Madonna. Her expression is pensive and melancholic, perhaps foreseeing her son's passion - the white cloth around him prefigures the sudarium. Ettore Camesasca, Mantegna, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007.
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The composition of the painting is innovative for the oblique trapezoid form of the figure of the saint. The angular forms contrast with the sinuous form of the lion which transcribes an "S" across the bottom of the painting. The lion is also a symbol of power and strength associated with the Gospel of Mark which Jerome translated into Latin. The form of Saint Jerome prefigures that of the Virgin Mary in the Virgin of the Rocks.
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69–70 The move, she notes, "prefigures" Eminescu's poems. Somewhat different accounts are provided by scholars George Călinescu and Eugen Simion: the poem "Mirodonis", adapted from earlier Romanian folklore, seems to them a direct precursor of the Dionis narrative, especially when it comes to the poetic landscape.G. Călinescu, p. 20; Simion, pp. 235–236 Researchers, beginning with Garabet Ibrăileanu, also describe Poor Dionis as a reprisal of Eminescu's "youthful novel", Geniu pustiu, from which it borrowed whole fragments.
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Crecquillon was retired by 1555, and most likely he died in 1557, probably a victim of the serious outbreak of the plague in Béthune that year. The location of his burial remains a mystery, and no likeness of Crecquillon is known to exist. Crecquillon's music was highly regarded by his contemporaries, and shows a harmonic and melodic smoothness which prefigures the culminating polyphonic style of Palestrina. He wrote twelve masses, more than 100 motets and almost 200 chansons.
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Case, labeled a classicist by his colleague and friend Ramsey Campbell, uses graphic imagery to convey directly as possible what the character feels. His work, as in The Hunter, prefigures the early novels of David Morrell by several years. Case vanished from the horror field for a decades time after the publication of Fengriffen. In 1980, he returned with his werewolf novel Wolf Tracks, and the following year Arkham House published his work The Third Grave.
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Pen & Sword. 2006. p.176. The Cornfield, held by the Tate Gallery, was the first painting Nash completed that did not depict the theme of war. The picture with its ordered view of the landscape and geometric treatment of the corn stooks prefigures his brother Paul's Equivalents for the Megaliths. Nash said that he and Paul used to paint for their own pleasure only after six o'clock, when their work as war artists was over for the day.
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The author proposes that the relationship between Dante and Virgil, in the Divine Comedy, is analogous to the relationship between client and therapist in psychotherapy. The client's journey into self-knowledge is a journey into hell. Dante's masterpiece prefigures the process of psychotherapy. "A person's hell may consist of confronting the fact that his mother never loved him; or it may consist of fantasies of destroying those a person loves most, like Medea destroying her children" (p 155).
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"On the Pathos of Truth" (German: Über das Pathos der Wahrheit) is a short essay by Friedrich Nietzsche concerning the motivation of philosophers to seek knowledge as an end in itself. Nietzsche identifies this motivation with pride.Wilkinson, Dale, Nietzsche and the Greeks (Continuum International Publishing Group, 2006), p. 101. On this point the essay prefigures theories concerning a destructive "will to truth" that Nietzsche discusses in On the Genealogy of Morals, Beyond Good and Evil, and The Gay Science.
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This prefigures some of the work later undertaken by the Albion Band and Home Service. It is chiefly notable for its experimental nature, demonstrating some of the diverse attempts at fusion at the time which resulted in subgenres such as folk jazz and medieval folk rock. It is most similar in its sound to medieval folk and progressive rock bands like Gryphon and Gentle Giant.P. Stump, Gentle Giant: Acquiring the Taste (SAF Publishing Ltd, 2005), p. 78.
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The novel's blend of realistic narrative, incisive social commentary, and psychological complexity makes The Awakening a precursor of American modernist literature; it prefigures the works of American novelists such as William Faulkner and Ernest Hemingway and echoes the works of contemporaries such as Edith Wharton and Henry James. It can also be considered among the first Southern works in a tradition that would culminate with the modern works of Faulkner, Flannery O'Connor, Eudora Welty, Katherine Anne Porter, and Tennessee Williams.
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Vital to the position is the idea that organicistic elements are not dormant "things" per se but rather dynamic components in a comprehensive system that, too, is ever-changing. Organicism is related to, although remains distinct from, holism insofar as organicism prefigures holism; and the latter concept is applied within a broader scope to universal part-whole interconnections—such as anthropology and sociology—and the former is traditionally confined to philosophical and biological applications.Charles Wolfe. HOLISM, ORGANICISM AND THE RISK OF BIOCHAUVINISM. Verifiche.
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Sweeney Cassidy starts out as a freshman at University, where she meets the mysterious Angelica and falls in love with the strange and beautiful Oliver. She gets tangled up in sinister, supernatural events involving the awakening of an ancient, malevolent goddess. According to the afterword for the short story "The Bacchae", found in the collection Last Summer At Mars Hill, it is another trope on ancient Greek myth that prefigures Waking the Moon. They both involve murderous cults of women.
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His earliest known work is the Cypris and Eros (1561, private collection). This small-scale marble statue was made not long after his return from Italy and shows the influence of Michelangelo's allegorical statues on tombs in Florence as well as Titian's Danaë. At the same time the nude figure prefigures the voluptuous beauties of the Flemish painters Rubens and Jordaens. Ten years later van den Broecke made the terracotta Anatomical study (Kunsthistorisches Museum), an écorché of a standing man.
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Critics have spent a great deal of effort attempting to identify the Poet. One possibility is William Wordsworth, since the poem is framed with direct quotations from Wordsworth's poetry, and Shelley had a deeply ambivalent reaction to Wordsworth's poetry, as witnessed in his sonnet "To Wordsworth". Another is Robert Southey, whom Shelley had much admired and whose Thalaba the Destroyer, a favourite poem of Shelley's, prefigures Alastor in imagery and quest-narrative. Shelley sent a copy of the book to Southey.
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The ritornello for horn obbligato at the outset (bars 1 to 9) prefigures the melody sung by Caesar. The horn subsequently also echoes Caesar every time the word "cacciator" (hunter) is sung. As pointed out by Richard Taruskin, the use of a natural instrument such as the horn "sets ... narrow limits on the harmony, virtually confining it to ... the "primary" chords – tonic, dominant, subdominant",Taruskin (2010), p. 166. and this is reflected in the harmony and orchestration of the aria.
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Belinda was itself in the tradition of society novelsI. Ousby, The Cambridge Guide to Literature in English (1995) p. 289 by writers such as Frances Sheridan and Frances Burney, who also charted the travails of bright young women in search of a good marriage. Perhaps Edgeworth's best courtship novel, Belinda replaces mercenary fortune-hunting with a deeper quest for marital compatibility, valorising irrationality and love over reason and duty in a way that prefigures Austen's treatments of the same theme.
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He also issued a decree chastising the Palestinians for allowing a person who was not ordained to preach. The Palestinian bishops, in turn, issued their own condemnation, accusing Demetrius of being jealous of Origen's fame and prestige. While in Jericho, Origen bought an ancient manuscript of the Hebrew Bible which had been discovered "in a jar", a discovery which prefigures the later discovery of the Dead Sea Scrolls in the twentieth century. Shown here: a section of the Isaiah scroll from Qumran.
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Mythological hybrids became very popular in Luwian and Assyrian art of the Late Bronze Age to Early Iron Age. The angel (human with birds' wings, see winged genie) the mermaid (part human part fish, see Enki, Atargatis, Apkallu) and the Shedu all trace their origins to Assyro-Babylonian art. In Mesopotamian mythology the urmahlullu, or lion-man served as a guardian spirit, especially of bathrooms. The Old Babylonian Lilitu demon, particularly as shown in the Burney Relief (part-woman, part-owl) prefigures the harpy/siren motif.
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In his works Dymond extended the pacifist argument against war beyond the purely Christian insight of earlier generations of Quakers to wider more rationalist arguments, as in this against the notion of a distinction between aggressive and defensive war from the Inquiry: Dymond was a fervent antimilitarist. He saw armies as enemies of liberty and physical and moral subjection as a necessary condition of army life. The opinion he voiced prefigures some of the later objections to conscription made by Quakers and other conscientious objectors.
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The second act opens exuberantly, with a short prelude that prefigures the celebrated Valkyrie motif that in the following act will form the basis of the "Ride of the Valkyries" in Act 3. This motif was first sketched in 1851, for intended use in Siegfried's Tot, before the full plan of the Ring cycle was developed. The first scene of the act introduces Brünnhilde's energetic "Hojotoho!", as she answers Wotan's summons, expressing what Holman describes as her "manly enthusiasm" for her role as warrior maiden.
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A Painter at Work on a House Wall, 1875, Städel Monument à Monticelli in the Palais Longchamp Marseille More than a century after his death, Monticelli's art is still subject to controversy. In its painterly freedom Monticelli's work prefigures that of Vincent van Gogh, who greatly admired his work after seeing it in Paris when he arrived there in 1886. Van Gogh immediately adopted a brighter palette and a bolder attack, and later remarked, "I sometimes think I am really continuing that man."Impressionism 1973, p. 45.
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Christ is represented as a human figure rather than as a symbol, such as lamb or the good shepherd, as he was in very early Christian images. The regal nature of this representation prefigures the majestic bearing of Christ as depicted in Byzantine mosaics. Christ sits on a jewel encrusted throne, wearing a golden toga with a purple trim (a sign of imperial authority and emphasizing the authority of Christ and his church). He poses as a classical Roman teacher with his right hand extended.
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The story of Jonah and the fish in the Old Testament offers an example of typology. In the Old Testament Book of Jonah, Jonah told his shipmates to throw him overboard, explaining that God's wrath would pass if Jonah were sacrificed, and that the sea would become calm. Jonah then spent three days and three nights in the belly of a great fish before it spat him up onto dry land. Typological interpretation of this story holds that it prefigures Christ's burial and resurrection.
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Hugh MacDiarmid, Lucky Poet. London, 1936. p. 206 More recent critics and scholars have attempted to demonstrate the injustice of such prejudicial factors and seek a more favourable appreciation of their work.Scottish Literature: '1600 and all that' RDS Jack, The Association for Scottish Literary Studies website The full range of their prolific output has never properly been represented in modern publication and much in their writing, situated in a continuous tradition from the period of earlier writers such as Dunbar, prefigures the metaphysical poets in England.
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170 In part due to the scholarship of Balthasar and Jean Daniélou, by the 1950s Gregory became the subject of much serious theological research, with a critical edition of his work published (Gregorii Nysseni Opera), and the founding of the International Colloquium on Gregory of Nyssa. This attention has continued to the present day. Modern studies have mainly focused on Gregory's eschatology rather than his more dogmatic writings, and he has gained a reputation as an unconventional thinker whose thought arguably prefigures postmodernism.Ludlow 2007, p.
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Clearly something very mysterious is going on, possibly including secret and illegal archaeological digging, theft of historical artefacts, and even the haunting by the ghost of the Celtic smith who buried the hoard and died in tribal warfare. The story is narrated by the younger sister (with some help from her brother and his friend), and, by the end, the mystery is solved. There is much in this novel that prefigures further developments in Clarke's fiction. One of Clarke's historical novels Torolv the Fatherless (1959), Pauline Clarke's own favourite among her books.
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To the core group of Morceaux I-III Satie added two introductory and two concluding pieces, with headings that spoofed academic teaching of the kind he loathed during his studies at the Paris Conservatoire in the 1880s.Höjer, notes to "Erik Satie: The Complete Piano Music, Vol. 6", pp. 20-21. Honoré Daumier's 1831 caricature of King Louis Philippe's head turning into a pear The title Trois morceaux en forme de poire prefigures those of Satie's humoristic piano suites of the 1910s and reflects his fondness for puns and ironic ambiguity.
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However, 2003's Slow Life, on which he is the sole performer, is an ambient album employing loops which prefigures his later work with Travis & Fripp. He has made about the same number of albums again credited to himself and one (or occasionally more) other collaborator(s), including John Foxx and, as half of Travis & Fripp, Robert Fripp. On his albums as band leader, Travis has played with numerous other jazz musicians. These have included, on his 2007 album Double Talk, guitarist Mike Outram and organist Pete Whittaker.
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Iggy Pop doctored them in a German studio, quickly and cheaply for around $5,000. The album features recordings from concerts on March 21 & 22, 1977 at The Agora in Cleveland, Ohio; on March 28, 1977 at The Aragon in Chicago, Illinois; and on October 26, 1977 at The Uptown Theater in Kansas City, Missouri. The album is notable for the presence of David Bowie on keyboards and background vocals for selected tracks and the rather crushing bass and drum sound; also, with the Sales brothers, the lineup prefigures in part Bowie's Tin Machine lineup.
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If prudence is mocked, does it affect one's reputation? Is one's duty to one's parents and king superior to one's duty to personal honor? Is virtue seen only through action?) that prefigures the dramatic debates and cult of heroism of Pierre Corneille (Horace, Le Cid) and Montchrestien's emotional women (touched by dreams and bad omens) also mirror Corneille's tragic female characters. Montchrétien's Aman has been compared not too unfavourably with Jean Racine's Esther, and the hatred of Haman for Mordecai is expressed with more vigour than in Racine's play.
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In the liner notes of the 1968 album An Evening with Wild Man Fischer, Zappa writes: "Please listen to this album several times before you decide whether or not you like it or what Wild Man Fischer is all about. He has something to say to you, even though you might not want to hear it." According to musicologist Adam Harper, the writing prefigures similar commentary on "the also mentally ill Daniel Johnston." After a 1980 reissue, the Shaggs attracted notoriety for their 1969 album Philosophy of the World, which received prominent national coverage.
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Medical researcher Zeynel A. Karcioglu suggests the church represents indifference to the plight of the handicapped. In contrast to the posed, static figures typical of paintings of the period, Bruegel suggests the trajectory of time and space through the accelerated movement of the figures. Critics Charcot and Richer wrote that the concept of visualizing movement was not formulated until the 17th century, and that Bruegel prefigures motion pictures and Duchamp's Nude Descending a Staircase, No. 2. Karcioglu sees the painting as anticipating the 19th-century chronophotography of Étienne-Jules Marey.
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A young Warhol was taught silk screen printmaking techniques by Max Arthur Cohn at his graphic arts business in Manhattan."Max Arthur Cohn" at SAAM. While working in the shoe industry, Warhol developed his "blotted line" technique, applying ink to paper and then blotting the ink while still wet, which was akin to a printmaking process on the most rudimentary scale. His use of tracing paper and ink allowed him to repeat the basic image and also to create endless variations on the theme, a method that prefigures his 1960s silk-screen canvas.
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The film marks the second appearance of Satan as a character in a Méliès film (the first was Le Manoir du diable the previous year). The special effects in the film were created using the editing technique known as the substitution splice. One moment in the film, the transformation of the ghostly figure into a knight in armor, prefigures numerous sight gags involving armor that became popular during the silent era in comedy films. Le Château hanté was released by Méliès's Star Film Company and is numbered 96 in its catalogues.
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Nevertheless, it was not totally without precedent. Leonardo had painted a youthful and enigmatically smiling Baptist with one finger pointing upwards and the other hand seeming to indicate his own breast, while Andrea del Sarto left a Baptist which almost totally prefigures Caravaggio. Both Leonardo and del Sarto had created from the figure of John something which seems to hint at an entirely personal meaning, one not accessible to the viewer, and Caravaggio was to turn this into something like a personal icon in the course of his many variations on the theme.
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The group sprang from the same Montmartre cabaret culture that spawned the Hydropathes of Émile Goudeau and Alfred Jarry's Ubu Roi. The October 1882 show was attended by two thousand people, including Manet, Renoir, Camille Pissarro, and Richard Wagner. Beginning in 1883 there were annual shows, or masked balls, or both. In an 1883 show, the artist Sapeck (Eugène Bataille)(French) contributed Le rire, an "augmented" Mona Lisa smoking a pipe, that directly prefigures the famous Marcel Duchamp 1919 "appropriation" of the Mona Lisa, L.H.O.O.Q.. The movement wound down in the mid-1890s.
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The opera begins with a brief orchestral prelude, the principal theme of which prefigures Leila's entrance. The opening chorus is punctuated by a lively dance—the critic John W. Klein describes it as "electrifying". Nadir's first significant contribution is his aria "", sung to an accompaniment of cellos and bassoons under a string tremolo that indicates the possible influence of Meyerbeer. Flutes and harps are used to introduce the main theme of the celebrated "Pearl Fishers Duet", in what the opera historian Hervé Lacombe identifies as "the most highly developed poetic scene in the opera".
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Serpentine was not originally intended for publication but was instead written in 2004 at the request of Nicholas Hytner (at that time artistic director of the National Theatre) to be auctioned for charity during the NT production of His Dark Materials; the work sold for a "substantial sum". At the time of writing Pullman had not intended to revisit Lyra as an adult but after the publication of The Secret Commonwealth decided to issue the novella as it prefigures Lyra and Pantalaimon's character development in The Book of Dust.
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His most innovative educational work was a version of the first six books of Euclid's Elements that used coloured graphic explanations of each geometric principle. It was published by William Pickering (publisher) in 1847. The book has become the subject of renewed interest in recent years for its innovative graphic conception and its style which prefigures the modernist experiments of the Bauhaus and De Stijl movements. Information design writer Edward Tufte refers to the book in his work on graphic design and McLean in his Victorian book design of 1963.
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Although the games are an episode in the wanderings, they recall the funeral games for Patroclus in Iliad 23; Lee Fratantuono, Madness Unchained: A Reading of Virgil's Aeneid (Lexington Books, 2007), p. 131. The games demonstrate behaviors that in the war to come will result in victory or defeat; in particular, the footrace in which Nisus and Euryalus compete prefigures their disastrous mission.W.S. Anderson, The Art of the Aeneid (Bolchazy-Carducci, 2005, originally published 1969) , p. 60. The five runners are, in the order in which they would have finished, Nisus, Salius, Euryalus, Elymus, and Diores.
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Agnus-Dei: The Scapegoat (Agnus-Dei. Le bouc émissaire), by James Tissot In Christianity, this process prefigures the sacrifice of Christ on the cross through which God has been propitiated and sins can be expiated. Jesus Christ is seen to have fulfilled all of the biblical "types"—the High Priest who officiates at the ceremony, the Lord's goat that deals with the pollution of sin and the scapegoat that removes the "burden of sin". Christians believe that sinners who own their guilt and confess their sins, exercising faith and trust in the person and sacrifice of Jesus, are forgiven of their sins.
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The concerto begins with the double basses softly arpeggiating an ambiguous harmony (E-A-D-G) being the background to an unusual solo of the contrabassoon. Although these notes are later given great structural weight, they are also the four open strings on the double bass, creating the illusion at the start that the orchestra is still tuning up. As is traditional in a concerto, the thematic material is presented first in the orchestra and then echoed by the piano. Not so traditional is the dramatic piano cadenza which first introduces the soloist and prefigures the piano's statement of the opening material.
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In this manner we have Night and Sleep in act 2, which is apt as that act of the play consists of Oberon's plans to use the power of the "love-in-idleness" flower to confuse various loves, and it is therefore appropriate for the allegorical figures of Secrecy, Mystery et al. to usher in a night of enchantment. The masque for Bottom in act 3 includes metamorphoses, songs of both real and feigned love, and beings who are not what they seem. The Reconciliation masque between Oberon and Titania at the end of act 4 prefigures the final masque.
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Like its predecessor Hide and Seek, the “secret” and the mystery are made clear to the reader, though not to the novel’s characters, at an early stage. The obsessed and arguably deranged Sarah prefigures the character of Hester Dethridge in Collins's Man and Wife, and more distantly those of Lydia Gwilt in Armadale and the female protagonist of his late novel, The Haunted Hotel. The blind Leonard is another of Collins's disabled characters. He plays only a small part in the novel, but Collins drew another and more significant blind character in Lucilla, the heroine of his 1872 novel Poor Miss Finch.
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Seance is the third album by the Australian psychedelic rock band The Church, released in 1983. More atmospheric and brooding than its predecessor The Blurred Crusades jangling psychedelia and upbeat rock, it shows a greater use of keyboards, with the guitars taking largely textural roles on many songs. While numerous tracks have become fan favorites over the years, the album saw considerably less success in Australia than previous releases and had limited exposure internationally. Apart from the psychedelic noise experiment "Travel By Thought", which prefigures the band's extended improvised tracks of the 1990s and beyond, all songs were written solely by Steve Kilbey.
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"The Isolinguals" is de Camp's first professional published work of fiction, showcasing the interest in history and linguistics seen in his later writings. The unconscious retention of every human being of the memories of his or her ancestors prefigures that later postulated by Frank Herbert in his Dune Messiah (1969) and Children of Dune (1976). In the Dune novels the ability to access the ancestral memories is one inherent in characters like Alia, Leto and Ghanima, who are self-aware from birth. The minds of the Dune characters are also susceptible to being swamped by the ancestral memories.
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Argento became involved in writing music for productions at the then-new Guthrie Theater. In 1963, he and Scrymgeour founded the Center Opera Company, which later became the Minnesota Opera, to be in residence at the Guthrie. Argento composed the short opera The Masque of Angels for the occasion as the first Performing Arts commission of the Walker Art Center. This work—with its complex harmonic language and an emphasis on expansive choral writing that prefigures his later role as a prominent choral composer—firmly established his local prominence, as well as providing a role for his wife.
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The novel was an enormous influence on the Beats, with its free-flowing, highly poetic language mixed with argot/slang, and its celebration of lowlifes and explicit descriptions of homosexuality. It is elegantly transgressive, and its self-reflexive nature prefigures the approach to language developed later by the post-structuralists. Jacques Derrida wrote on Genet in his book Glas, and Hélène Cixous celebrated his work as an example of écriture feminine. Jean-Paul Sartre wrote his famous Saint Genet as an analysis of Genet's work and life but most especially of Our Lady of the Flowers.
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Changing the political plot of the biblical story into a psychological investigation, he invests Judith with a sexuality and beauty that prove fatal to the men around her: she is left a virgin on her wedding night because her beauty (or so she believes) renders her husband Manasses impotent, and in Holofernes's tent, she subconsciously exercises her repressed sexual desire, leading Holofernes to rape her so that she can subsequently behead him. "Holofernes prefigures the misogynist ideology of the fin-de-siecle", and while Judith resists the traditional female role she is given, she cannot transcend its restrictions.
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The character of David Barr is seen as an early precursor of Powell's own alter-ego in Michael Powell films such as Eric Portman's Colpeper in A Canterbury Tale (1944) and Roger Livesey's Dr Reeves in A Matter of Life and Death (1946). Indeed the whole film is seen as a parallel with the struggles of a young bold film director, and a plea for a strong British film industry. The strong crusading tone of the film prefigures Powell's wartime propaganda films such as 49th Parallel and Contraband. A minor character is pointedly called 'Grierson' after the celebrated documentary maker John Grierson.
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It shows influence from some écorché drawings by Leonardo da Vinci, made for his uncompleted equestrian statue of Gian Giacomo Trivulzio, and resembles prints in Carlo Ruini's book, Anatomia del Cavallo. Some sources identify some inspiration from the ancient equestrian statue of Marcus Aurelius in Rome. The anatomical detail of the sculpture prefigures the intimate knowledge gained by George Stubbs from his own dissections. The sculpture was displayed at the Villa Mattei in Rome in the 18th century. Pope Clement XIV refused permission for Giuseppe Mattei to sell it, along with other artworks from his collection, in 1770.
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Maureen Strugnell in a review in Stage Diary wrote of Moor's performance in Vincent in Brixton as the mother of Vincent Van Gogh, > Andrea Moor is compelling in this role, suggesting by everything she does > the effort that it takes to keep on functioning in a world that has lost all > meaning. Whether she is rushing manically about the kitchen as in the > opening scene, or moving with achingly painful slowness as the depression > takes hold again, we watch fascinated. When she sits still, head in hands, > she personifies despair and prefigures later portraits by Van Gogh of > sorrowing women.
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Critics have noted the similarity of the opening stanza to that of Virgil's Aeneid, underlining the contrast between Olaf (whose heroic values are based in peace) and Achilles (whose heroic values were based in war)."So Many Selves" (chapter 3) (p 38-41), I Am: A Study of E. E. Cummings' Poems, by Gary Lane; published 1976 by University Press of KansasCRITICAL ANALYSIS OF "i sing of Olaf glad and big", in "Bloom's Major Poets: E. E. Cummings", edited by Harold Bloom, published 2009 by Infobase Publishing Gary Lane has observed that the poem's "laconic conclusion" prefigures W. H. Auden's "The Unknown Citizen".
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The characters are now gathering for the final resolution -- though it does not come about smoothly. Duke Alphonso expresses his remorse for his past actions and longs for his son's return -- the type of repentance that often prefigures and motivates the denouement of an Elizabethan comedy. Yet when Alberdure is revealed to him, the Duke recants his repentance and insists that he will have Hyanthe for his wife. It is only when the visitors from Brunswick arrive that Alphonso, to save face, accepts the Duchess (who is reportedly even more beautiful than Hyanthe) as his bride, and permits the marriage of Alberdure and Hyanthe.
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Ralph Thomas Dudgeon, The Keyed Bugle (second edition), Lanham, Maryland, Scarecrow Press, 2004, page (not numbered): "Keyed Brass Chronology"; Adam Carse, The History of Orchestration, New York, Dover, 1964, p. 239. The finale of the Berlin version included spectacular effects, in which Cassandre rode in on a live elephant.; Thus, like La vestale and Fernand Cortez, the work prefigures later French Grand Opera. Spontini revised the opera a second time, retaining the happy ending for its revival by the Opéra at the Salle Le Peletier on 27 February 1826. gives the date of the premiere as 27 February, which is also the date printed on the 1826 libretto.
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Although the Lyrical Ballads upon which the two friends had been working was by then already in publication, he was so pleased with what he had just written that he had it inserted at the eleventh hour as the concluding poem. Scholars generally agree that it is apt, for the poem represents the climax of Wordsworth's first great period of creative output and prefigures much of the distinctively Wordsworthian verse that was to follow.Arthur Beatty, William Wordsworth, his doctrine and art in their historical relations, University of Wisconsin Studies #17, 1922, p.64 The poem is written in tightly-structured decasyllabic blank verse and comprises verse-paragraphs rather than stanzas.
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This prefigures his interest in wronged women in The Legend of Good Women, written in the mid-1380s, which depicts various women of Greek mythology, including Dido, Medea, and Ariadne. Chaucer finishes recounting the Aeneid from the brass tablet, and then decides to go outside to see if he can find anyone who can tell him where he is. He finds that outside the temple is a featureless field, and prays to Christ to save him from hallucination and illusion. He looks up to the sky, and sees a golden eagle that begins to descend towards him, marking the end of the first book.
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Luper is a recurring off- stage character in Greenaway's early films, and would eventually appear on film in the epic series The Tulse Luper Suitcases (2003 onwards), which is itself named in The Falls. The Falls includes clips of a number of Greenaway's early shorts. It also anticipates some of his later films: the subject of biography 27, Propine Fallax, is a pseudonym for Cissie Colpitts, the central figure of Drowning by Numbers (1988), while the car accident in biography 28 prefigures that in A Zed and Two Noughts (1985). The largely formal and deadpan manner of the narration contrasts with the absurdity of the content.
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Many of Bergman's stylistic and conceptual themes were established in this early work, including the elegiac setting of summer (Smiles of a Summer Night); idyllic, youthful romance and the eventual loss of innocence (Summer with Monika); and a loss of faith in God (Winter Light). In one sequence, Henrik and Marie pick wild strawberries together. Additionally, Henrik's dying Aunt plays chess with a priest who states he visits her to better know death, which prefigures the famous chess match between a knight and Death himself in Bergman's The Seventh Seal (1957). Visually there is also Bergman's use of fluid black and white cinematography coupled with slow crossfades.
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A typical droll presented a subplot from John Marston's The Dutch Courtesan; the piece runs together all the scenes in which a greedy vintner is gulled and robbed by a deranged gallant. Just under half of the drolls in Kirkman's book are adapted from the work of Beaumont and Fletcher. Among the drolls taken from those authors are Forc'd Valour (the title plot from The Humorous Lieutenant), The Stallion (the scenes in the male brothel from The Custom of the Country), and the taunting of Pharamond from Philaster. The prominence of Beaumont and Fletcher in this collection prefigures their dominance on the early Restoration stage.
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For instance, the introduction is written as by the anonymous "J.J. McC.", a friend of the Queens, and speaks of Ellery's marriage and child, and their life in Italy, and that the names of both Ellery Queen and his father are pseudonyms—none of these circumstances survived for long, although a Judge J.J. McCue appears in one of the final novels, Face to Face. The introduction also speaks of the "Barnaby Ross murder case", which not only does not exist but prefigures the pseudonym adopted by Ellery Queen the author for another series of books, the Drury Lane (fictional detective) mysteries as by Barnaby Ross.
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Until the end, the voice is supported by the piano, written on three staves, and discreet outfits of the strings. Placet futile offers rhythm games and "dialogues" of more whimsical sonorities: the measure often changes, when Soupir remained immutably four-stroke. The piano, absent during the whole first quatrain of the poem, makes an entrance almost as "spectacular" as in the future Tzigane of 1924: a rush of arpeggios accompanying the evocation of frivolous pleasures and the "lukewarm games" of the poem. The flute offers a counter-singing to the last verses of the sonnet, which prefigures the "princess's air" of l'Enfant et les Sortilèges.
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" Also present are themes that reflect Bowie's disdain for institutions and causes, such as the dead son that "gave his life to save the slogan", which reprises the theme of futility previously found in his 1969 song "Cygnet Committee", and prefigures "Tony went to fight in Belfast" later found in the song "Star". The lyrics also feature a priest that previously appeared in "Five Years", here "tastes the word" amid "the blindness that surrounds him", recollecting the "bullshit faith" of Bowie's 1971 song "Quicksand", which clears the way for a secularised "church of man, love" (or "church of man-love) found in "Moonage Daydream".
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Richard and Frances Lockridge began a fourth detective series with Night of the Shadows (1962), a police procedural featuring a New York City Police detective, Paul Lane. Lane was the main character in Quest for the Bogeyman (1964), and then he and partner Sgt., then later Lt., John Stein, were prominently featured in the six novels focused on New York County assistant district attorney Bernard Simmons that followed that character's first appearance, in And Left for Dead (1962). (The novels featuring the interplay and occasional conflicts between ADA Bernie Simmons and Lane and Stein prefigures the Law & Order television series.) Lockridge's various series books take place in a shared universe.
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After high school, Francis Masse studied at the art school of Nancy and then Grenoble, he makes himself known first of all with his sculptures, it is an unknown aspect of his work, which nevertheless became his main activity again since the early 1990s. From the early 1970s, he made his first comics, including the "beckettian" Le Roi de le monde () published in Le Canard Sauvage in 1973. Very early, he produced animations whose graphic design described by Romain Brethes as audacious, inimitable and unclassifiable and prefigures the peculiar style of his comics. Yves Frémion points out that his universe was in place since the beginning, but graphically progressed very quickly.
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In early 1977, Fred Walton and his old college friend Steve Feke were throwing around story ideas for a film and Feke told him the legendary tale of "The babysitter and the man upstairs" which Walton felt had potential for a film. The production of The Sitter was made on a low budget with both Feke and Walton working steadily for the financing, including their friends' contributing $1,000 here and there. The 22-minute film, shot on 35mm in three days in May 1977 on a budget of $12,000, closely prefigures the opening twenty minutes of When a Stranger Calls, now consistently regarded as one of the scariest openings in horror movie history.Rockoff, Adam.
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This heralds perhaps the most widely quoted passages in The Cantos, in which Pound expresses his realisation that "What thou lovest well remains, / the rest is dross" and an acceptance of the need for human humility in the face of the natural world that prefigures some of the ideas associated with the deep ecology movement. The opening of Canto LXXXII marks a return to the camp and its inmates. This is followed by a passage that draws on Pound's London memories and his reading of the Pocket Book of Verse. Pound laments his failure to recognise the Greek qualities of Swinburne's work and celebrates Wilfred Scawen Blunt, Rudyard Kipling, Ford Madox Ford, Walt Whitman, Yeats and others.
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Scene 9 opens with Lincoln and his rival senatorial candidate Stephen A. Douglas making opposing speeches on slavery in an Illinois town during the 1858 campaign for the U.S. Senate. Jumping to 1860 in Scene 10, Lincoln and Mary sit in the parlor of their house with their boys, awaiting the arrival of senior politicians intent on sounding him out for the Republican Party's presidential nomination. Mary is angered by her eldest son's habit of smoking in the house and Lincoln's failure to tell her about the politicians' visit, though she recognizes the burden of her growing irritability, which prefigures her eventual insanity. The visitors conclude that in his "curious, primitive way," Lincoln could be a winning presidential candidate.
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In a comparative analysis of film history and video games, Manuel Garin Boronat notes that the film's imagery prefigures the multilevel action in Nintendo's game Donkey Kong (1981). Rae Beth Gordon, in a study of pathology in Méliès's work, comments that the film, with its antic monkey provoking equally antic behavior from a human, evokes themes of evolution and of humanity's "tendency to ape what we see" (tendance de singer ce qu'on voit). Gordon also notes that monkeys appear in several other films by Méliès, including The Merry Frolics of Satan; their roles in these films, as imitators and bringers of chaos, closely resemble the similar functions of imps and demons in many of Méliès's comedies.
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Accessed 2013-09-16. and in 1978 the complex was listed on the National Register of Historic Places. It qualified for federal designation because of its architecture: it is among the best works of one of the most prominent architects in Cleveland's history, it prefigures the architectural styles of the Progressive Era, and it is one of the area's earliest garden apartment complexes. Despite its historic status, the building decayed near the end of the twentieth century, but it has seen new life: in 1997, the Ohio SHPO presented one of its annual Preservation Merit Awards to the city of Cleveland in general, the municipal Department of Community Development, and to a related foundation, as the three had collaborated to restore the property.
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The original Greek is quoted extensively and an aside claiming the right to write for a specialist audience is included. The close attention paid to the actual words prefigures the closer focus on philology in this section of the poem. This focus on words ties in closely with what Pound referred to as the method of "luminous detail", in which fragments of language intended to form the most compressed expression of an image or idea act as tesserae in the making of these late cantos. Canto XCVII draws heavily on Alexander del Mar's History of Monetary Systems in a survey ranging from Abd al Melik, the first Caliph to strike distinctly Islamic coinage, through Athelstan, who helped introduce the guild system into England, to the American Revolution.
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Fans of Gilbert and Sullivan will notice that Sir Ruthven Glenaloon prefigures Sir Ruthven Murgatroyd, Baronet of Ruddigore; Alice Grey, the virtuous heroine, is a foundling like Rose Maybud in Ruddigore; and that other elements of the piece anticipate the Savoy Operas, including babies switched at birth and a self-decapitation. Gilbert's casting of the large, ungainly Richard Corney Grain as the "spirit of romance" was a joke that foreshadowed his casting of the rather large Rutland Barrington as the image of perfect manly beauty in Patience.Walters, p. 16 Like some of Gilbert's other pieces for German Reed, most of the original score of A Sensation Novel is lost – four songs survive – although there have been re-settings by other composers.
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Book 5 then takes place on Sicily and centers on the funeral games that Aeneas organises for the anniversary of his father's death. Aeneas organises celebratory games for the men—a boat race, a foot race, a boxing match, and an archery contest. In all those contests, Aeneas is careful to reward winners and losers, showing his leadership qualities by not allowing antagonism even after foul play. Each of these contests comments on past events or prefigures future events: the boxing match, for instance, is "a preview of the final encounter of Aeneas and Turnus", and the dove, the target during the archery contest, is connected to the deaths of Polites and King Priam in Book 2 and that of Camilla in Book 11.
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It is generally held in ill repute today, with Frederic Mishkin, a governor of the Federal Reserve going so far as to say it had been "completely discredited." The debate between currency, or quantity theory, and the banking schools during the 19th century prefigures current questions about the credibility of money in the present. In the 19th century, the banking schools had greater influence in policy in the United States and Great Britain, while the currency schools had more influence "on the continent", that is in non-British countries, particularly in the Latin Monetary Union and the earlier Scandinavia monetary union. In 2019 monetary historians Thomas M. Humphrey and Richard H. Timberlake published "Gold, the Real Bills Doctrine, and the Fed: Sources of Monetary Disorder 1922-1938".
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Denis Diderot, who had been enthusiastic about her work in the Salon of 1771, gave a very different assessment in 1781 and writes of the small oval paintings of flowers and fruits that they lack the skill in drawing and brush that this type of painting requires. The painting is executed in a mix of styles, with both very fine and broad brushstrokes. Eik Kahng, in an essay comparing Vallayer-Coster's technique to Chardin's notes that the level of detail in the flowers is "almost clinically precise", but the conch shell is painted with broad unblended brush strokes. Valerie Mainz, in an essay in the Dictionary of Women Artists, refers to the painting as an example of a proto- impressionist technique, resembling the use of pastel, that prefigures the flower paintings of Henri-Fantin-Latour.
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" The Houston Chronicle Chris Gray felt that "Talkin' John Birch Society Blues" prefigures later satirical songs like Green Day's "Holiday," St. Vincent's "Los Ageless" and Kendrick Lamar's "Humble". Tim Murphy of the progressive publication Mother Jones wrote in 2010 that "Talkin' John Birch Paranoid Blues" seemed especially relevant as the John Birch Society was allowed to participate in that year's Conservative Political Action Conference and had been embraced by Ron Paul. Murphy said that, given the Society's newfound relevance, perhaps Dylan should have played the song when he performed at the White House earlier that year. In a 2017 article for The American Conservative, Scott Beauchamp writes that the track is a "great example" of Dylan "skewering the diffuse paranoia of the time by lending articulation to the logic of a situation.
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The control Caligari yields over the minds and actions of others results in chaos and both moral and social perversion. Cesare lacks any individuality and is simply a tool of his master; Barlow writes that he is so dependent on Caligari that he falls dead when he strays too far from the source of his sustenance, "like a machine that has run out of fuel". In his book From Caligari to Hitler, Kracauer argues the Caligari character is symptomatic of a subconscious need in German society for a tyrant, which he calls the German "collective soul". Kracauer argues Caligari and Cesare are premonitions of Adolf Hitler and his rule over Germany, and that his control over the weak-willed, puppet-like somnambulist prefigures aspects of the mentality that allowed the Nazi Party to rise.
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Anna Karenina consists of more than the story of Anna Karenina, a married socialite, and her affair with the affluent Count Vronsky, though their story is a very strong component of the plot. The story starts when she arrives in the midst of a family broken up by her brother's unbridled womanizing—something that prefigures her own later situation, though she would experience less tolerance by others. A bachelor, Vronsky is eager to marry Anna if she will agree to leave her husband Karenin, a senior government official, but she is vulnerable to the pressures of Russian social norms, the moral laws of the Russian Orthodox Church, her own insecurities, her love for her son, and Karenin's indecision. Although Vronsky and Anna go to Italy, where they can be together, they have trouble making friends.
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In his review for AllMusic, Thom Jurek stated, "It is fully a jazz album, and a completely funky soul-jazz disc as well ... Smith plays both piano and electric keyboards and keeps his compositions on the jazzy side -- breezy, open, and full of groove playing that occasionally falls over to the funk side of the fence ... Summery and loose in feel, airy and free with its in-the-cut beats and stellar piano fills, Expansions prefigures a number of the "smooth jazz" greats here, without the studio slickness and turgid lack of imagination. ... The music on Expansions is timeless soul-jazz, perfect in every era. Of all the fusion records of this type released in the mid-'70s, Expansions provided smoother jazzers and electronica's sampling wizards with more material that Smith could ever have anticipated".
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Apart from some references to Beethoven, and, in the Ruthven/Emmy/George scene, a similarity with Don Giovanni/Zerlina/Masetto, Marschner's opera is a notable link between two other operas with supernatural elements, Carl Maria von Weber's Der Freischütz (1821) and Richard Wagner's The Flying Dutchman (1843). Much of the music is reminiscent of Weber: one example is the Aubry/Malwina duet whose tune also appears in the overture, and there is a marked similarity between the Witches' Sabbath and the Wolf's Glen (Freischütz). Marschner, however, made no attempt to introduce any local colour into his score. On the other hand, Emmy's Legend of the Vampire prefigures Senta's aria about the story of the Flying Dutchman, and the identical description, "der bleiche Mann" (the pallid man), appears in both.
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The difference, then, between marriage and virginity is as great as that between not sinning and doing well; nay rather, to speak less harshly, as great as between good and better." Regarding the clergy, he said: "Now a priest must always offer sacrifices for the people: he must therefore always pray. And if he must always pray, he must always be released from the duties of marriage." In referring to Genesis chapter 2, he further argued that, "while Scripture on the first, third, fourth, fifth, and sixth days relates that, having finished the works of each, God saw that it was good, on the second day it omitted this altogether, leaving us to understand that two is not a good number because it destroys unity, and prefigures the marriage compact.
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203ff) that prefigures the remarks that he develops in "Cézanne's Doubt" (1945) and follows the discussion in Phenomenology of Perception. The work, undertaken while serving as the Chair of Child Psychology and Pedagogy at the University of the Sorbonne, is not a departure from his philosophical and phenomenological works, but rather an important continuation in the development of his thought. As the course outlines of his Sorbonne lectures indicate, during this period he continues a dialogue between phenomenology and the diverse work carried out in psychology, all in order to return to the study of the acquisition of language in children, as well as to broadly take advantage of the contribution of Ferdinand de Saussure to linguistics, and to work on the notion of structure through a discussion of work in psychology, linguistics and social anthropology.
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Thus, in Shakespeare in French Theory (2006) Wilson explains that while for Anglo-Saxon culture Shakespeare is a man of the monarchy, in France he has always been the man of the mob. Wilson's 2013 book Free Will: Art and Power on Shakespeare's Stage is a comprehensive rereading of the plays in terms of Shakespeare's patronage relations. It maintains that the dramatist found artistic freedom by adopting an 'abject position' towards authority, and by staging 'the power of weakness' in the 'investiture crisis' of the age of absolutism. With Worldly Shakespeare: The Theatre of Our Good Will (2016) Wilson extends this agonistic approach to questions of globalisation, and proposes that Shakespeare created a drama without catharsis, in which the imperative to 'offend but with good will' prefigures the globalised communities of our own 'time of Facebook and fatwa, internet and intifada'.
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Still life A still life referred to as Blackberries, cherries, pears, melons and other fruits, parsnips, bread, cheese and a waffle, roemer, tazza and salt cellar on a draped table (At Christie's on 16 October 2013 in Paris lot 69) has been attributed to Huybrecht Beuckeleer on the basis of the similarities with the still life included in the Prodigal son feasting with harlots of the Royal Museums of Fine Arts in Brussels. This still life makes clear that Huybrecht Beuckeleer played a role in the development of the genre of still life painting in the 16th century. In its skilfully organized and balanced composition this still life shows him to be independent from Aertsen's models. This still life prefigures the later works of Floris van Dyck (circa 1575-1651) and Nicolaes Gillis (1595-around 1632).
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Williams remarked about the story in a New York Times interview, that " I was sixteen when I wrote ["The Vengeance of Nitocris"], but already a confirmed writer, having entered upon this vocation at the age of fourteen, and, if you're well acquainted with my writings since then, I don't have to tell you that it set the keynote for most of the work that has followed." Despite the story's somewhat florid prose ("Hushed were the streets of many peopled Thebes. Those few who passed through them moved with the shadowy fleetness of bats near dawn, and bent their faces from the sky as if fearful of seeing what in their fancies might be hovering there..."),Jacqueline O'Connor, Dramatizing Dementia: Madness in the Plays of Tennessee Williams (Popular Press, 1997: , ), p. 2 the story prefigures themes found in Williams's later plays.
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Campbell, Joseph, The hero with a thousand faces, Princeton university press, Commemorative edition 2004, p. 35. Roberto Calasso in his Ka discusses Buddhist myth in the context of Indian myth more generally. He argues that the Buddha came to “put an end to gesture”, as his journey was ultimately inwards and dispensed with outward forms of spirituality such as ritual. > As Calasso sees it, the ancient world of sacrifice, of prohibition and > authority, is ruined by the coming of the Buddha. The Buddha wishes to > “eliminate the residue,” the leftovers from which everything new is > generated (the pursuit of nirvana is nothing less than a wish to extinguish > the residue of a lived life–rebirth). His doctrine prefigures our own world: > “What would one day be called ‘the modern’ was, at least as far as its > sharpest and most hidden point is concerned, a legacy of the Buddha.
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The Metropolitan Museum of Art: Dream and Lie of Franco, 1937National Gallery of Victoria: An Introduction to GuernicaPBS: Picasso's commitment to the cause The Dream and Lie of Franco is significant as Picasso's first overtly political work and prefigures his iconic political painting Guernica. The etchings satirise Spanish Generalísimo Francisco Franco's claim to represent and defend conservative Spanish culture and values by showing him in various ridiculous guises destroying Spain and its culture while the poem denounces "evil-omened polyps".Michigan Today: Picasso's War Three of the four images added in June 1937 are directly related to studies for Guernica. The individual images were originally intended to be published as postcards to raise funds for the Spanish Republican government, and sold at the Spanish Pavilion of the 1937 World's Fair, although it is unclear whether any prints were made or sold in postcard format.
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The group met in rented locations until funds were allocated to construct a building. Financial assistance from the American Unitarian Association and the New Jersey Universalist Convention made it possible to purchase the land at the current location on Springfield and Waldron Avenues. An existing house (later called "Community House") was moved up Waldron to make room for a new building facing Springfield Avenue. Architect and member Joy Wheeler Brown designed the building to reflect the style of Colonial New England meeting houses, and incorporated elements of St. Paul's Chapel in New York City and King's Chapel in Boston. Construction began in 1912 and the sanctuary was formally dedicated on October 21, 1913. Also in 1912, the church adopted the name All Souls' Church, Unitarian-Universalist, having members from both denominations. This prefigures the later merger of the Unitarian and Universalist churches in 1961. In 1914, the church called Rev.
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While some glosses in isolation seem crudely supersessionist ("The foreskin believes while the circumcision remains unfaithful"), the prevailing allegorical tendency is to attribute Jonah's recalcitrance to his abiding love for his own people and his insistence that God's promises to Israel not be overridden by a lenient policy toward the Ninevites. For the glossator, Jonah's pro-Israel motivations correspond to Christ's demurral in the Garden of Gethsemane ("My Father, if it be possible, let this chalice pass from me" [Matt. 26:39]) and the Gospel of Matthew's and Paul's insistence that "salvation is from the Jews" (Jn. 4:22). While in the Gloss the plot of Jonah prefigures how God will extend salvation to the nations, it also makes abundantly clear—as some medieval commentaries on the Gospel of John do not—that Jonah and Jesus are Jews, and that they make decisions of salvation-historical consequence as Jews.
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Wagner later perceived Rienzi as an embarrassment; in his 1852 autobiographical essay, "A Communication to My Friends", he wrote "I saw it only in the shape of 'five acts', with five brilliant 'finales', with hymns, processions and the musical clash of arms".cited in Charlton (2003), 328 Cosima Wagner recorded Wagner's comment in her diary for 20 June 1871: > Rienzi is very repugnant to me, but they should at least recognize the fire > in it; I was a music director and I wrote a grand opera; the fact that it > was this same music director who gave them some hard nuts to crack – that's > what should astonish them.cited in Millington (1999), 10 Thus the work has remained outside today's Wagner canon, and was only performed at the Bayreuth Festival in 2013, staged by Matthias von Stegmann. Although the composer disclaimed it, it can be noted that Rienzi prefigures themes (brother/sister relationships, social order and revolution) to which Wagner was often to return in his later works.
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Studying under Lucas Delahaye, then under Bon Boullogne and Rigaud, Tournières was notable for being received twice into the Académie royale de peinture – first in 1702 as a portrait painter, with his portraits of the painters Pierre Mosnier and Michel Corneille; and then on 24 October 1716, as a history painter, with his Invention of drawing (1716), showing a pair of lovers lit by a single candle. Promoted to professeur auxiliaire in 1737, he exhibited successfully at the 1742 salon. His œuvre's heterogenous nature is typical of an artist of the transitional period of the French Regency – the Dutch elements give his work a new and more intimate character, while the lightness of his palette prefigures the rococo style. He produced large-scale paintings of which all trace is lost and small paintings in which he distinguished himself were preoccupied with Godfried Schalken and Gerard Dou, of whom he had made a special study.
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Morton cites the "trade winds topos" (perfumed breeze believed to waft from exotic lands in which spices are domestic) in Milton's Paradise Lost as an example, concluding that Milton prefigures the symbolic use of spice in later works by presenting Satan's journey from Hell to Chaos as a parallel to the travels of spice traders. In contrast, 'transumption', following Harold Bloom's deployment of the rhetorical concept, entails the use of a metasignifier that "serves as a figure for poetic language itself." According to Morton, the works of John Dryden exemplify transumption, revealing "a novel kind of capitalist poetics, relying on the representation of the spice trade...Spice is not a balm, but an object of trade, a trope to be carried across boundaries, standing in for money: a metaphor about metaphor." Carrying this idea forward to the Romantic era, Morton critiques the manner in which spice became a metaphor for exotic desire that, subsequently, encapsulated the self-reflexivity of modern processes of commodification.
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47 So, this is a poem which anticipates later prophetic works. It is fundamentally different from the poems in the canon of Innocence as well as of Experience. Here Blake addresses “neither child nor an adult, as in other poems, but a ‘youth’”.Hirsch, p. 48. The new and better world is not a traditional Eden or the pastoral Heaven of theSongs of Innocence, but “a repudiation of all the old traditions”,Hirsch, p. 48. and its dawn is quite similar to that in A Song of Liberty (1793): It is a significant fact that the poem is dated by 1789, the year of French Revolution, that “was the occasion for a radical change in Blake’s valuation of actual life”,Hirsch, p. 52. and the reviewer sees this dawn, though “ambiguous and unspecific”, as a prophecy of “the dawn of an entirely spiritual and inward Jerusalem which prefigures the final, spiritual Eternity that will end time and death forever.”Hirsch, p. 162.
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In 1917, English professor Lane Cooper from Cornell University published a collection of reminiscences of Agassiz. The book included notes from several notable contributors, including Scudder and Cooper, William James, Professor Addison Emery Verrill ("[Agassiz's] plan was to make young students depend on natural objects rather than on statements in books"), and Professor Edward S. Morse, who wrote that Agassiz's method was "simply to let the student study intimately one object at a time." Cooper prefigures Pound's interest by remarking on the "close, though not obvious, relation between investigation in biology or zoology and the observation and comparison of these organic forms which we call form of literature and works of art", concluding that "We study a poem, the work of man's art, in the same way that Agassiz made Shaler study a fish." Critic Robert Scholes concludes that Pound had access to this book and used the material within it as the source for the parable that opens ABC of Reading.
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Critcher's early academic style has been described as "dark but pleasing", but it later developed into something powerfully expressive, with a vivid sense of color; in this regard it was greatly similar to the work of other Taos Society painters. She has been called "a respected artist in the European avant-garde", with an interest in symbolism and abstraction; in this regard, some of her work prefigures that of Georgia O'Keeffe. Exhibits of her art were held in 1928, at the Women's University Club of Washington, D.C.; in 1938, at the Studio Guild of New York; in 1940 at the Corcoran Gallery of Art; and in 1949 at the Washington County Museum of Fine Arts in Hagerstown, Maryland. Her work appeared in various group exhibitions as well, including at such locations as the Albright Art Gallery, the Pennsylvania Academy of the Fine Arts; the Maryland Institute, the National Academy of Design, and the Art Institute of Chicago; she also exhibited in the Greater Washington Independent Exhibition of 1935.
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The life and intellectual influence of I. A. Richards approximately corresponds to his intellectual interests; many endeavours were in collaboration with the linguist, philosopher, and writer Charles Kay Ogden (C. K. Ogden), notably in four books: I. Foundations of Aesthetics (1922) presents the principles of aesthetic reception, the bases of the literary theory of “harmony”; aesthetic understanding derives from the balance of competing psychological impulses. The structure of the Foundations of Aesthetics—a survey of the competing definitions of the term æsthetic—prefigures the multiple-definitions work in the books Basic Rules of Reason (1933), Mencius on the Mind: Experiments in Multiple Definition (1932), and Coleridge on Imagination (1934) II. The Meaning of Meaning: A Study of the Influence of Language upon Thought and of the Science of Symbolism (1923) presents the triadic theory of semiotics that depends upon psychological theory, and so anticipates the importance of psychology in the exercise of literary criticism. Semioticians, such as Umberto Eco, acknowledged that the methodology of the triadic theory of semiotics improved upon the methodology of the dyadic theory of semiotics presented by Ferdinand de Saussure (1857–1913). III.
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