666 research outputs found
I've got the sweetest beau in town
No full textvoiceCollected and Transcripted By Vera Sullivan For M. C. Parler
Sung by Mrs. Jewel Sullivan Briggsville, Arkansas June 28, 1960
Reel 390 Item 16
Black Mustache
I've got the sweetest beau in town He loves me dear as life He said he hoped the time would come When I could be his wife.
His pockets are lined with gold
And oh how he cuts a dash
With his diamond ring his watch and chain
And his little black mustache.
He came to see me Sunday night And stayed until almost three He said he never did love another As dearly as he loved me.
his pockets are lined with gold
And oh how he cuts a dash
With his diamond ring, his watch and chain
And his little black mustache.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
The beau of Bath, and other one-act plays of eighteenth century life,
No full textFor contents, see Author Catalog.The beau of Bath.--The silver lining.--Ashes of roses.--Gretna Green.--Counsel retained.--The prince of court painters.For contents, see Author Catalog.Mode of access: Internet
Essai sur le beau /
No full textPublisher's announcements, [16] p. at end.Signatures: pi⁴(pi4+1) a-h⁸ i⁴(-i4) A-N⁸."Analyse de la notion du goût," p. [172]-192.Mode of access: Internet.Signature "Ramaggini" on front free endpaper, dated 1762. Slip written "Bibl. Stadl. 4" on front pastedown.Binding: red paper, half vellum. Author & title written at head of spine
Creighton University Window Fall 1998
No full textTHE ORDEAL OF PHILIP AND MARY ENGLISH / THE HUNTED
Dr. Bryan Le Beau, chair of the Department of History, is the author of a new book on the Salem witch trials (pictured at right). Inside this issue, Dr. Le Beau chronicles the a ordeal of two of the accused. See Page 4.
DANCES WITH STEEL: LITTLETON ALSTON'S 'TREE OF LIFE' SPROUTS ON CHICAGO'S NAVY PIER / DANCING WITH STEEL
A sculpture by Creighton's Littleton Alston, titled the "Tree of Life," takes root in Chicago. Read more about how the artist brought it to life, beginning on Page 12.
THEOLOGY IN THE PIT OF THE STOMACH : PURSUING CREIGHTON'S EDUCATIONAL MISSION IN THE DOMINICAN REPUBLIC / THEOLOGY IN THE PIT OF THE STOMACH
Roger Bergman, director of the Justice and Peace Studies Program, joined a group of Arts and Sciences students in the Dominican Republic this past spring as part of Creighton's Semestre Dominicano. What did they discover? Find out, starting on Page 16.
GOING STRONG AFTER 50 / STRENGTH TRAINING OVER 50
Dr. Thomas Baechle, chair of Creighton's Exercise Science Department, has a message for aging baby boomers: If you want to enjoy an active retirement, start strength training now. See story on Page 22.11
L’erotisme dans Uwaoma et le beau monde d’Ifeoma Onyemelukwe
No full textL’érotisme c’est tout ce qui, à partir d’une représentation liée à la sexualité, provoque une excitation aussi bien émotionnelle et sensuelle que physique et mentale. Cette étude se donne la tâche d’examiner l’érotisme selon que nous la présente la célèbre écrivaine nigériane Ifeoma Mabel Onyemelukwe dans Uwaoma et le beau monde, un roman féministe africain postcolonial. Pour ce faire, nous nous appuyons sur la méthode descriptive. Nous constatons qu’Ifeoma Onyemelukwe a largement dépeint des scènes érotiques dans Uwaoma et le beau monde dont se distinguent deux catégories, à savoir, l’érotisme précédé de la pornographie et l’érotisme sans pornographie. Nous concluons grosso modo qu’Onyemelukwe figure parmi les nouveaux romanciers africains. Pourtant, en créant les effets de la beauté esthétique, elle se sert de cette technique pour épargner sa créativité littéraire de la grossièreté, de l’érotisme. Elle dénonce l’accouplement bestial dans son roman, ceci pour enseigner aux lecteurs, surtout les jeunes, qu’il faut se méfier de tel comportement car c’est une chose odieuse, grossière et immorale.English AbstractEroticism is, from the view point of representations linked to sexuality, all that causes emotional, sensual as well as physical and mental excitement. This study sets out to examine eroticism as presented by the famous Nigerian writer, Ifeoma Mabel Onyemelukwe in Uwaoma et le beau monde, a feminist African postcolonial novel. To achieve this, we rely on the descriptive method. We observe that the erotic scenes depicted by the author in Uwaoma et le beau monde are distinguished in two categories, namely, eroticism preceded by pornography and eroticism without pornography. We conclude roughly that Onyemelukwe figures among the new African novelists of our time. However, while creating the effects of cosmetic beauty, she uses this technique to save her literal creativity of vulgarity and eroticism. She denounces the beastly mating in the novel to educate her readers, especially the young people, of the need to be wary of such acts which she considers heinous, rude and immoral
Les répétitions contrariées. Sur Beau travail de Claire Denis
No full textBeau travail de Claire Denis fait partie des films qui nous invitent à les aborder sous l’angle de la répétition. Figure esthétique majeure des arts du xxe siècle, la répétition peut aussi être une forme discrète qui circule d’image en image. Parfois elle se cache et se déguise d’un plan à l’autre au sein d’un même film. Dans une approche analytique, l’auteure de cet article emploie la notion de « plan de consistance » présentée par Gilles Deleuze et Félix Guattari dans Mille plateaux (1980) pour proposer une étude figurative des formes de la répétition dans Beau travail. Deleuze et Guattari ont défini le « plan de consistance » comme un espace formel qui est simultanément un fond et un volume, une armature et une trame. Cet espace résiste dans la durée. En termes de cinéma, le plan de consistance d’un film est élaboré par l’articulation des plans, par la composition des cadres, par les mouvements qui animent l’espace ou les trajets qui le parcourent. Il constitue un repère visuel parfois fuyant, en mouvement mais repérable. L’analyse de Beau travail montre que les répétitions, loin de simplement construire des effets narratifs ou scéniques, participent de la mise en place d’un socle perceptif à la fois récurrent et variable, d’une trame visuelle reconnaissable et instable. L’auteure met ainsi au jour, dans l’économie figurative de ce film d’inspiration littéraire et musicale, l’élaboration de ce « plan de consistance » comme fond visible et invisible du montage filmique.Claire Denis’s Beau travail is one of those films which invite us to view them from the point of view of repetition. A major aesthetic device of the twentieth century, repetition can also be a discrete form circulating from image to image. Sometimes it hides and disguises itself from one shot to the next in the same film. Using an analytical approach, the author employs the concept “plane of immanence” proposed by Gilles Deleuze and Félix Guattari in A Thousand Plateaus (1980) to engage in a figurative study of the kinds of repetition found in Beau travail. Deleuze and Guattari defined the “plane of immanence” as a formal space that is simultaneously a backdrop and a volume, a frame and a thread running through it. This space resists over time. In the cinema, the plane of immanence develops through the articulation of shots, the composition of the images and the movements that animate the space or the trajectories traversing it. It is a sometimes-receding visual bearing, in motion but locatable. The author’s analysis of Beau travail demonstrates that its repetitions, far from simply constructing narrative or theatrical effects, contribute to the establishment of a perceptive base at once recurring and variable, a visual thread that is recognizable and unstable. She thus brings to light, in the figurative economy of this film inspired by literature and music, the establishment of this “plane of immanence” as the visible and invisible backdrop to film editing
Models of Judicial Interpretation: From Marshall to Kavanaugh and how the Umpire Model Changed the Game
No full textThe three predominant modes of judicial interpretation are living constitutionalism, originalism, and the umpire model. The living constitutionalist believes the Constitution is a living document that must change and adapt over time. The living constitutionalist considers the history, text, precedent, and policy when deciding a case. This is in contrast to the originalist, who considers the history and text of the document when deciding a case. The originalist favors judicial restraint and seeks to limit the role of the judge. The devotee of the umpire model champions the independent judge whose function is to the law and does not consider policy. The umpire has a strike zone in which the judge uses to “call balls and strikes.” Umpire judges do not create their own strike zones but may find it necessary to expand or contract the strike zone when faced with a difficult case. The umpire model blends the best and most advantageous aspects of the other models, making it the most attractive judicial model
Les répétitions contrariées, Beau Travail de Claire Denis
No full textInternational audienceClaire Denis’s Beau travail is one of those films which invite us to view them from the point of view of repetition. A major aesthetic device of the twentieth century, repetition can also be a discrete form circulating from image to image. Sometimes it hides and disguises itself from one shot to the next in the same film. Using an analytical approach, the author employs the concept “plane of immanence” proposed by Gilles Deleuze and Félix Guattari in A Thousand Plateaus (1980) to engage in a figurative study of the kinds of repetition found in Beau travail. Deleuze and Guattari defined the “plane of immanence” as a formal space that is simultaneously a backdrop and a volume, a frame and a thread running through it. This space resists over time. In the cinema, the plane of immanence develops through the articulation of shots, the composition of the images and the movements that animate the space or the trajectories traversing it. It is a sometimes-receding visual bearing, in motion but locatable. The author’s analysis of Beau travail demonstrates that its repetitions, far from simply constructing narrative or theatrical effects, contribute to the establishment of a perceptive base at once recurring and variable, a visual thread that is recognizable and unstable. She thus brings to light, in the figurative economy of this film inspired by literature and music, the establishment of this “plane of immanence” as the visible and invisible backdrop to film editing.Beau travail de Claire Denis fait partie des films qui nous invitent à les aborder sous l’angle de la répétition. Figure esthétique majeure des arts du xxe siècle, la répétition peut aussi être une forme discrète qui circule d’image en image. Parfois elle se cache et se déguise d’un plan à l’autre au sein d’un même film. Dans une approche analytique, l’auteure de cet article emploie la notion de « plan de consistance » présentée par Gilles Deleuze et Félix Guattari dans Mille plateaux (1980) pour proposer une étude figurative des formes de la répétition dans Beau travail. Deleuze et Guattari ont défini le « plan de consistance » comme un espace formel qui est simultanément un fond et un volume, une armature et une trame. Cet espace résiste dans la durée. En termes de cinéma, le plan de consistance d’un film est élaboré par l’articulation des plans, par la composition des cadres, par les mouvements qui animent l’espace ou les trajets qui le parcourent. Il constitue un repère visuel parfois fuyant, en mouvement mais repérable. L’analyse de Beau travail montre que les répétitions, loin de simplement construire des effets narratifs ou scéniques, participent de la mise en place d’un socle perceptif à la fois récurrent et variable, d’une trame visuelle reconnaissable et instable. L’auteure met ainsi au jour, dans l’économie figurative de ce film d’inspiration littéraire et musicale, l’élaboration de ce « plan de consistance » comme fond visible et invisible du montage filmique
Old Rosin the Beau
No full textMan discussing his death and the way in which people will remember himhttps://egrove.olemiss.edu/kgbsides_uk/1576/thumbnail.jp
Rosin the Beau
No full textA man plans out his death celebrationshttps://egrove.olemiss.edu/kgbsides_uk/2081/thumbnail.jp
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