"Why Distant Objects Please" 1 Distant objects please‚ because‚ in the first place‚ they imply an idea of space and magnitude‚ and because not being obtruded too close upon the eye‚ we clothe them with the indistinct and airy colours of fancy. In looking at the misty mountain-tops that bound the horizon‚ the mind is as it were conscious of all the conceivable objects and interests that lie between; we imagine all sort of adventures in the interim; strain our hopes and wishes to reach the air-drawn
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on School Shootings. AuthorHouse. Dimeo‚ P. (2007). A History of Drug Use in Sport 1876-1976: Beyond Good and Evil. Routledge. Hasday‚ J. (2002). Columbine High School Shooting: Student Violence. Enslow Publishers. Hines‚ B. (1968). A Kestral for Knave. London: Penguin. Horne‚ J. (2005). Sport in Consumer Culture‚ Palgrave. Houlihan‚ B. (2003). Sport and Society‚ Sage. Hughes‚ R. and Coakley‚ J. (1991). Positive Deviance Amongst Athletes. Sociology of Sport Journal. 8: 307-25. Jarvie‚ G. (2006).
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The Theme of Natural Order in "The Tempest" Lawrence E. Bowling College English‚ Vol. 12‚ No. 4. (Jan.‚ 1951)‚ pp. 203-209. Stable URL: http://links.jstor.org/sici?sici=0010-0994%28195101%2912%3A4%3C203%3ATTONOI%3E2.0.CO%3B2-I College English is currently published by National Council of Teachers of English. Your use of the JSTOR archive indicates your acceptance of JSTOR’s Terms and Conditions of Use‚ available at http://www.jstor.org/about/terms.html. JSTOR’s Terms and Conditions of Use provides
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Literature Lexicon Act noun something done or performed; a deed the performance of some physical or mental process; action capital when part of a name the formally codified result of deliberation by a legislative body; a law‚ edict‚ decree‚ statute‚ etc often plural a formal written record of transactions‚ proceedings‚ etc‚ as of a society‚ committee‚ or legislative body a major division of a dramatic work a short performance of skill‚ a comic sketch‚ dance‚ etc‚ esp one that is part
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Changing lifestyle and mores With changing times people have adapted themselves to the changing trends and given off old traditions. Instead of reacting to the sudden cultural shocks‚ they have embraced foreign culture with poise. Whatever felt was otherwise unnoticed. But now feelings are supreme and customs have gone haywire. Freedom has taken forefront. Rituals have acquired backseat. Rules are supposed to be broken. Exceptions are present for every single rule. Break-free is the idea. “Live
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Jammer Next Four industry teams vie to produce a more capable‚ next generation tactical jammer By Bill Carey With the award of technology maturation contracts to four industry teams in July‚ the U.S. Navy NextGen Jammer (NGJ) program within two years will advance from competing concepts to prototypes of the electronic warfare sensor of the future. The same four contractors and industry partners participated in technology maturation trade studies awarded by the Navy in January 2009. The NGJ is
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"If Hamlet from himself be ta ’en away‚ And when he ’s not himself does wrong Laertes‚ Then Hamlet does it not‚ Hamlet denies it. Who does it then? His madness. If ’t be so‚ Hamlet is of the faction that is wrong ’d; His madness is poor Hamlet ’s enemy." (V.ii.230-235) Hamlet ’s self-description in his apology to Laertes‚ delivered in the appropriately distanced and divided third-person‚ explicitly fingers the greatest antagonist of the playconsciousness. The obligatory cultural baggage
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[pic] [pic] [pic] Deep Ghose 7R 2007-2008 [pic] |Contents |Page | | | | |Theatres: An Introduction |2 | |Theatres: Location
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Nabokov Online Journal‚ Vol. VI (2012) _______________________________________________________________________ NABOKOV’S SHORT STORY “SIGNS AND SYMBOLS”: An interdisciplinary roundtable discussion♣ _______________________ Hal Ackerman‚ Screenwriter (UCLA) Murray Biggs‚ Theater scholar (Yale University) John N. Crossley‚ Mathematician (Monash University) Wayne Goodman‚ Psychiatrist (Mount Sinai School of Medicine) Yuri Leving‚ Moderator (Dalhousie University) Frederick White‚ Literary scholar
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Writing about Shakespeare promotes a sympathy with extremes. One such extreme is the impressionism of a critic like A. C. Bradley‚ when he tries to hold together‚ synoptically‚ Feste the fool and Shakespeare himself‚ both as actor and magical author. Bradley notes that the Fool in Lear has a song not dissimilar to the one that concludes Twelfth Night1 and leaves Feste at the finish-line. “But that’s all one‚ our play is done …” After everything has been sorted out‚ and the proper pairings are arranged
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