Virtue involves the self-display of a certain indignant sensibility, and anybody who doesn't display that sensibility is morally suspect.
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The four other characters, or perhaps they are merely Harris's avatars, advise him on issues of art, submission and self-display.
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Whether you celebrate its authenticity or hate the TMI-ness of it all, this is unquestionably an age of self-display.
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We live in a culture of selfism — a culture that puts tremendous emphasis on self, on self-care and self-display.
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The recital format has become so robotically predictable that we tend to forget its origins in the flamboyant self-display of Paganini and Liszt.
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As Sauerländer's curated show Porn to Pizza—Domestic Clichés examined the digital age, Nargifsus expands Gannis' solo show investigation by further interrogating selfie culture and how we deal with our self-display.
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The latter was not contrived by the artist, but was part of Gautreau's self-display.
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In 1701 the old Peterskirche was torn down, and the new structure was completed in 1708. In the course of the 18th century the use of the Graben as a market was suppressed. In 1753 the produce-sellers were removed, and in 1772 the Christmas market was relocated. The Graben became the most fashionable promenade, the chief arena for the self-display of the urban elite.
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His motives are unknown, but his voluntary and "shameless" arena appearance combined the "womanly attire" of a lowly retiarius tunicatus, adorned with golden ribbons, with the apex headdress that marked him out as a priest of Mars. In Juvenal's account, he seems to have relished the scandalous self-display, applause and the disgrace he inflicted on his more sturdy opponent by repeatedly skipping away from the confrontation.. Barton is citing Juvenal, 8.199ff.
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Wang Bo had an anti-attitude toward Shangguan Style, he advocated the true reflection of the poets themselves in their literature works. This literary goal was inspired by Sima Qian’s "Shitaigong Zixu"(Self-preface of the Grand Scribe史太公自序), which is autobiographical. In his poem and "Fu"(赋) we can see the self-display of himself, which is "Youmiaoshan Xu"(游庙山序). This article was written after he live Prince Pei, during the journey in Shu(蜀).
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This is rhetoric of ceremony, commemoration, declamation, demonstration, on the one hand, and of play, entertainment and display, including self-display. It is also the rhetoric used at festivals, the Olympic games, state visits and other formal events like openings, closings, anniversaries as well as at births, deaths, or marriages. Its major subject is praise and blame, according to Aristotle in the limited space he provides for it in the Art of Rhetoric (Freese translation). This rhetoric deals with goodness, excellence, nobility, shame, honor, dishonor, beauty, and matters of virtue and vice.
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They were originally awarded to Roman generals for the day of their triumph, but became official dress for emperors and Imperial consuls. From at least the late Republic onward, the upper classes favoured ever longer and larger togas, increasingly unsuited to manual work or physically active leisure. Togas were expensive, heavy, hot and sweaty, hard to keep clean, costly to launder and challenging to wear correctly. They were best suited to stately processions, oratory, sitting in the theatre or circus, and self-display among peers and inferiors while "ostentatiously doing nothing" at salutationes.
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The proposed conformational transition is thought to allow the newly-generated coiled region (incorporating residues 'RRYLENGKETLQR' which have also been found to be naturally bound to HLA-B27 as a 9-mer peptide) to bind to either the peptide-binding cleft of the same polypeptide chain (in an act of self-display) or to the cleft of another polypeptide chain (in an act of cross-display). Cross-display is proposed to lead to the formation of large, soluble, high molecular weight (HMW), degradation- resistant, long-surviving aggregates of the HLA-B27 heavy chain.
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He wrote about the autumn and landscape in Tengwangge and turns to express his emotion. He described himself as an abject man with rough experience in political life, compare himself with Sima Xiangru(司马相如) reflect his strong wish in provide contribute for his country. This is a clear evidence of his "self-display". Wang Bo as one of "Four Paragons of Early Tang", the initiate of "poetry express one’s mind" settled not only the huge contribution of Early Tang poems style, but also his important status in Tang literary world.
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Cao Da as a servant of nobles, Wang Bo was punished as killed servant of noble privately and had been prepared be death penalty. Although he had been released, but he lost his job in government. According to those accidents, Wang Bo changed his article style from earlier. As his literary work contained "Self-display" more and more clear, after the accident happened in Pei, his literary work shown a negative atmosphere, and reflect his sad emotion and the yearn of back to political, the expect of create a peaceful and prosperity country.
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The film was screened in cultural centers, cinemas, universities, and schools; afterwards there was a discussion with audience members and students. The film was featured at the Mumbai International Film Festival (2012), the Belgrade Documentary International Film Festival (2012), and the International Documentary Film Festival CRONOGRAF in Moldova (2012). It was also featured at the Urban TV festival in Madrid (2012), winning an award for Best Television and Video Production. Film critic Qais Qassem, in a review for Tsaloniki Film Festival wrote, "Duma indicates a new tendency in Palestinian cinema towards moving to self-display and criticism, which first started emerging in features with Elia Suleiman’s films and appears to be gaining ground".
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The Mirror of the Heart of Vajrasattva () is numbered amongst the 'Seventeen Tantras of Menngagde' () within Dzogchen discourse and is part of the textual support for the Vima Nyingtik. The Continuum of Vajrasattva's Heart-Mirror conveys how the 'lamps' () are the self-display of awareness. It furthermore lists twenty-one pointing-out instructions appropriate for people with different propensities and proclivities along with four key points and practice instructions. These Seventeen Tantras are to be found in the Canon of the Ancient School, the 'Nyingma Gyubum' (), volumes 9 and 10, folio numbers 143-159 of the edition edited by 'Jamyang Khyentse Rinpoche' commonly known as Dilgo Khyentse Rinpoche (Thimpu, Bhutan, 1973), reproduced from the manuscript preserved at 'Tingkye Gonpa Jang' () Monastery in Tibet.
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Campbell 1995 pp. 20–25 Fielding does not limit his analysis of gender roles to just the living; the image of the ghost plays a significant part in many of Fielding's plays, including The Author's Farce, the Tom Thumb plays, and The Covent Garden Tragedy. Even though Fielding fails to explain what the existence of ghosts means, the image of the ghost can serve as a metaphor for Fielding's expectation of women who are supposed to be publicly virtuous. According to Campbell, > woman bears the representational burden for Fielding of his disappointment > about the relation between internal and external selves, as, culturally, she > must sustain the realm of private life, interior feeling, and personal > identity apart from the public and commercial world of the male; inevitably, > then, she must fail Fielding through her reliance on the 'harlotry' of pomp, > ostentation, or the drama of self-display if she is to be a part of this > world.
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