June 13, 2014Ommentator Vol
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Activision Publishing and Twentieth Century Fox Consumer Products Family Guy: Back to the Multiverse in Retail Stores Today
Activision Publishing And Twentieth Century Fox Consumer Products Family Guy: Back To The Multiverse In Retail Stores Today MINNEAPOLIS, Nov. 20, 2012 /PRNewswire/ -- Universes are about to collide as Activision Publishing, Inc., a wholly owned subsidiary of Activision Blizzard, Inc. (NASDAQ: ATVI), and Twentieth Century Fox Consumer Products announced today that Family Guy: Back to the Multiverse is now available at retail outlets nationwide. The console video game takes the source material from the Family Guy series, including its hilarious sense of humor and outrageous spirit, to offer fans an unforgettable, interactive third-person action experience. Family Guy: Back to the Multiverse introduces an all-new original story written and voiced by Family Guy talent and influenced by the famous Family Guy season eight episode, "Road to the Multiverse", where Stewie and Brian travel on an out- of-this-world journey through Quahog's bizarre parallel universes. Gamers will travel through all-new settings on a mission to save Quahog and stop the destructive schemes of Bertram, Stewie's nemesis. Playing as either Stewie or Brian, each equipped with unique special weapons and abilities, gamers will encounter an array of Family Guy characters, references and gut-busting jokes. Additionally, fans can share this hilarious experience and invite friends and family to jump into the wild Family Guy world through drop-in/drop-out co-op multiplayer mode and competitive multiplayer challenges. Family Guy: Back to the Multiverse is now available for the Xbox 360® video game and entertainment system from Microsoft and PlayStation®3 computer entertainment system for a suggested retail price of $59.99, and is rated M (Mature) by the ESRB. -
Ted 2 – Pressbook Italiano
Ted 2 – pressbook italiano 1 Ted 2 – pressbook italiano UNIVERSAL PICTURES e MRC Presentano Una Produzione FUZZY DOOR / BLUEGRASS FILMS Un film di SETH MACFARLANE MARK WAHLBERG, SETH MACFARLANE, AMANDA SEYFRIED in con GIOVANNI RIBISI, JOHN SLATTERY, JESSICA BARTH e MORGAN FREEMAN Sceneggiatura di SETH MACFARLANE & ALEC SULKIN & WELLESLEY WILD Prodotto da SCOTT STUBER SETH MACFARLANE JASON CLARK JOHN JACOBS Produttori Esecutivi ALEC SULKIN e WELLESLEY WILD Direttore della Fotografia MICHAEL BARRETT Uscita Italiana: 25 Giugno 2015 Durata del Film: 119 minuti Il materiale fotografico è disponibile sul sito www.upimedia.com http://www.ted2-ilfilm.it/ twitter.com/TedRiviene Facebook: https://www.facebook.com/tedilfilm Ufficio Stampa Universal Pictures International Italy: Cristina Casati – [email protected] Marina Caprioli – [email protected] Simone Raineri – [email protected] 2 Ted 2 – pressbook italiano Note di Produzione Nel 2012 un adorabile - seppur incredibilmente sboccato - orsacchiotto ha avuto un successo travolgente in tutto il mondo. Dietro l’aspetto del classico e dolce peluche, ha mostrato una spavalderia senza pari ed un umorismo con espliciti riferimenti alla droga e al sesso, diventando l’indiscusso protagonista che ha catapultato la small comedy della Universal Pictures e Media Right Capital incentrata su un tipo vizioso ed il suo miglior amico, in cima alla classifica dei più alti incassi di una commedia vietata ai minori di tutti i tempi. Quest’ estate, SETH MACFARLANE torna in veste di autore, regista e protagonista vocale in Ted 2, il follow-up del film campione d’incassi che ha lanciato la carriera dell’orsacchiotto più scandaloso del mondo. -
1.1 Background of the Study
CHAPTER 1 INTRODUCTION This chapter presents the background of the study, the research problem, the purpose of the study, scope and limitation, and also the definition of key terms. 1.1 Background of the Study Language, a framework of ordinary talked, manual, or composed images by implies of which human creatures, as individuals of a social bunch and members in its culture, express themselves. By utilizing the language, individuals could pass on their thought, their excitement, and all kind of the emotions (Wardhaugh, 2006). The capacities of the language incorporating with communication, the expression of personality, inventive expression, and enthusiastic discharge with others. Each person or a gather individuals has differentiating way and language utilize in their everyday discussion. The distant foundation such a social structures and an environment make them diverse with each other. In contempt of they have a few contrast class structure and atmosphere, English as an worldwide dialect acts joining together dialect between nations. English gets to be one of the foremost basic dialects to be examined as numerous magazines, song, objective books, novel, and indeed motion pictures are all design in English. The basic highlights that could be learned in English is about Sociolinguistics. How the language can influence the social perspective. Viewpoints that are included such as social standards, suspicions, setting, how the dialects is utilized, what are the feedbacks of the language within the society. The concerned of the sociolinguistics which are exploring the trade between the language and society with the objective being an improved understanding of the structure and how the language obligation in communication achieve the proportionate objective within the human science, beside attempting tp recognize how the social structures can be superior caught on throught the 1 study about language, how the exact phonetic highlight serve to characterize specific social arrangements (Wardhaugh, 2006). -
108 Kansas History “Facing This Vast Hardness”: the Plains Landscape and the People Shaped by It in Recent Kansas/Plains Film
Premiere of Dark Command, Lawrence, 1940. Courtesy of the Douglas County Historical Society, Watkins Museum of History, Lawrence, Kansas. Kansas History: A Journal of the Central Plains 38 (Summer 2015): 108–135 108 Kansas History “Facing This Vast Hardness”: The Plains Landscape and the People Shaped by It in Recent Kansas/Plains Film edited and introduced by Thomas Prasch ut the great fact was the land itself which seemed to overwhelm the little beginnings of human society that struggled in its sombre wastes. It was from facing this vast hardness that the boy’s mouth had become so “ bitter; because he felt that men were too weak to make any mark here, that the land wanted to be let alone, to preserve its own fierce strength, its peculiar, savage kind of beauty, its uninterrupted mournfulness” (Willa Cather, O Pioneers! [1913], p. 15): so the young boy Emil, looking out at twilight from the wagon that bears him backB to his homestead, sees the prairie landscape with which his family, like all the pioneers scattered in its vastness, must grapple. And in that contest between humanity and land, the land often triumphed, driving would-be settlers off, or into madness. Indeed, madness haunts the pages of Cather’s tale, from the quirks of “Crazy Ivar” to the insanity that leads Frank Shabata down the road to murder and prison. “Prairie madness”: the idea haunts the literature and memoirs of the early Great Plains settlers, returns with a vengeance during the Dust Bowl 1930s, and surfaces with striking regularity even in recent writing of and about the plains. -
A Million Ways to Die in the West
1 A Million Ways to Die in the West A review by Garry Victor Hill A Million Ways to Die in the West. Produced by Seth MacFarlane, Scott Stuber and Jason Clarke. Directed by Seth MacFarlane. Screenplay by Seth MacFarlane, Alec Sulkin and Wellesley Wild. Photography by Michael Barrett. Music by Seth Linn. Length: 116 minutes. Production Company: Media Rights Capitol and Fuzzy Door Productions. Bluegrass Films. Universal Pictures Distribution. Cinematic Release May 2014. Available on DVD. Rating *** 30% 2 All images are taken from the Public Domain using Google requested permission steps and are legal for review purposes. CAST Albert Stark: Seth MacFarlane Anna: Charlize Theron Louise: Amanda Seyfried Clinch Leatherwood: Liam Neeson Edward: Giovanni Ribisi Ruth: Sarah Silverman Foy: Neal Patrick Harris Lewis: Evan Jones Sherriff: Rex Linn Millie: Alex Borstein Old Time Miner: Matt Clark Cochise: Wes Studi Albert’s Father: Christopher Hagen The Pastor: John Alword Dan: Ralph Garman Abraham Lincoln: Gilbert Gottifried Django: Jamie Foxx Usually this reviewer is a pushover for Hollywood westerns, not this time. If only three adjectives could be applied to this film they would be puerile, crass and disappointing. 3 A Million Ways to Die in the West begins promisingly. We are faced with the action straight away as a sheep farmer Albert Stark (played by director/ star/ co-producer/ co-writer Seth MacFarlane) reluctantly faces a main street gunfight. The smiling crowds are gathered hopefully expecting a bloody shootout and are disappointed when Albert chickens out. He loses his girlfriend Louise (Amanda Seyfried) over this and when in the bar with his friends Ruth (Sarah Silverman) and Edward (Giovanni Ribisi) reveals that he hates the West and wants a city life in San Francisco. -
History of the National Flag of the United States of America
CR 113 HI8h THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES THE NATIONAL FLAG UNITED STATES OF AMERICA PHILADELPHIA, LIPPINCOTT, G R A M B a CO. 1853. HISTORY THE NATIONAL FLAG UNITED STATES OF AMERICA BY SCHUYLER HAMILTON, CAPTAIN BY BREVET U. 8. A. PHILADELPHIA: LIPPIXCOTT, GRAMBO, AND CO. 1852. Entered according to Act of Congress, in the year 1852, by LIPPIXCOTT, GRAMBO, AND CO., in the Office of the Clerk of the District Court of the United States in and for the Eastern District of Pennsylvania. PHILADELPHIA: T. K. AND P. G. COLLINS, PRINTERS. C/f THIS RESEARCH AS TO THE ORICIX AND MEAXIXC OF THE DEVICES COMBINED IX nf Bnitri of lje Rational /Ing tjjr Itatrs Jlratrirn, 13 RESPECTFULLY DEDICATED TO MAJOR-GENERAL WINFIELD SCOTT, AS .V SLIGHT THIin'TE OF RESPECT FOR HIS DISTIXC.UISHED SERVICES, AND AS A MARK OF PERSONAL (!1! ATITfDE, BT HIS FRIEND AND AIDE-DE-CAMP, SCHUYLER HAMILTON, Captain by Brevet, U. S. A. 860?^!* I PllEFACE. As nearly as we can learn, the only origin which has been suggested for the devices combined in the national colors of our country is, that they were adopted from the coat of arms of General Washing- ton. This imputed origin is not such as would be consonant with the known modesty of Washington, or the spirit of the times in which the flag was adopted. We have, therefore, been at some pains to collect authentic statements in reference to our national colors, and with these, have introduced letters exhibiting the temper of those times, step by step, with the changes made in the flag, so com- bining them as to form a chain of proof, which, we think, must be conclusive. -
The Role of Music in European Integration Discourses on Intellectual Europe
The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations. -
The “True Betsy Ross Flag”
13 Star United States Flag - The “True Betsy Ross Flag” Date: circa 1780 Medium: Hand loomed wool bunting, with hand sewn cotton stars, cotton and hemp heading, with red worsted twill ties, hand sewn linen and cotton threads. Comment: 13 Star U.S. Flag – “The True Betsy Ross Flag” - This single ring with larger center star flag dates from the American Revolution. Americans are familiar with the so-called Betsy Ross pattern, often depicted as a flag with a single ring of 13 stars with a void in the center. The single ring of 13 stars flag is mythologicaly accepted as the first U.S. flag dated 1777 conceived by Betsy Ross. This has never been documented, and no flag with this design is known to have existed. Only a single period image of such a design dates to 1782 and it is an artist’s interpretation. Based on surviving examples, it is clear that a single ring of 12 stars around a center star was the design crafted in the late 1770s and 1780s, not just by Mrs. Ross, but throughout the American Colonies. A void in the center of a ring of stars, as a design element, was anathema to 18th century flag designers, and all surviving period examples contain something – a star, an eagle, a monogram or other device - within the ring, like this example. There are a number of examples that have survived, leaving evidence of what the earliest flags looked like. They are all an oblong circle with some device in the middle if they are not of straight horizontal row patterns. -
Guidelines for Examination of European Union Trade Marks
Absolute Grounds for Refusal — Trade Marks in Conflict with Flags and Other Symbols GUIDELINES FOR EXAMINATION OF EUROPEAN UNION TRADE MARKS EUROPEAN UNION INTELLECTUAL PROPERTY OFFICE (EUIPO) PART B EXAMINATION SECTION 4 ABSOLUTE GROUNDS FOR REFUSAL CHAPTER 9 TRADE MARKS IN CONFLICT WITH FLAGS AND OTHER SYMBOLS (ARTICLE 7(1)(h) and (i) EUTMR) Guidelines for Examination in the Office, Part B, Examination Page 1 DRAFT VERSION 1.0 01/10/2017 Absolute Grounds for Refusal — Trade Marks in Conflict with Flags and Other Symbols Table of Contents 1 Introduction ................................................................................................ 3 2 Article 7(1)(h) EUTMR ................................................................................ 3 2.1 Objective of Article 7(1)(h) EUTMR .............................................................. 3 2.2 Relevant emblems and signs protected ...................................................... 3 2.3. Applicability of Article 7(1)(h) EUTMR ......................................................... 7 3 Article 7(1)(i) EUTMR — emblems not protected under Article 6ter PC ............................................................................................................. 14 3.1 Objective of Article 7(1)(i) EUTMR ............................................................. 14 3.2 Protected symbols ...................................................................................... 15 4 Exceptions .............................................................................................. -
The Rise of Mary and the European Union
The Rise of Mary and the European Union The False Doctrine of Immaculate Conception The Roman Catholic Church believes that Mary was conceived "immaculately" and she was therefore without sin. The doctrine was invented to explain how Jesus, who was sinless, did not inherit "original (or birth) sin" from his mother. The term does not refer to the virginal conception of Jesus. That Jesus was sinless is a clear biblical doctrine, but as he is eternally divine, the miracle of his incarnation in itself would have dealt with the problem of original sin, and the "Immaculate Conception" of Mary doctrine is - " ... not to be required of any man, that it should be believed as an article of Faith..." Incarnation The taking of human form by Jesus the Eternal Word of God via the womb of Mary. Literally, "to make into flesh". This was a supernatural act of creation within Mary's womb by God's Holy Spirit. Matthew 1:18-21, Luke 1:25 & John 1:14 Virgin Birth or Virginal Conception Refers to the birth of Jesus by Mary. Some confusion exists here in that some are under the impression that the term means that Jesus was born without rupturing Mary's hymen. There is nothing in scripture to suggest such a "miracle" took place or that Jesus was not born in the normal way. The term is best applied in the sense that Mary had never had sexual intercourse before or after the "virginal conception" of Jesus and that she abstained until after he was born. In many ways the term "virginal conception" is a perhaps a clearer way of describing the matter. -
Murillo, a Biography and Appreciation
II, BARTOLOME ESTEBAN MURILLO THE J. PAUL GETTY MUSEUM LIBRARY THE SPANISH SERIES MURILLO THE SPANISH SERIES EDITED BY ALBERT F. CALVERT Seville MURILLO Cordova The Prado The Escorial Spanish Arms and Armour In preparation— Goya Toledo Madrid Velazquez Granada and Alhambra Royal Palaces of Spain Leon, Burgos & Salamanca Valladolid, Oviedo, Segovia, Zamora, Avila & Zaragoza MURILLO A BIOGRAPHY AND APPRECIATION BY ALBERT F. CALVERT WITH 165 ILLUSTRATIONS REPRODUCED FROM THE MOST FAMOUS OF MURILLO'S PICTURES ^ ^ ^ HD LONDON : JOHN LANE, THE BODLEY HEAD NEW YORK : JOHN LANE COMPANY MCMVH E. Goodman and Son, The Plicenix Press, Taunton THE J. PAUL GETTY MUSEUM LIBRARY To THE MARQUIS OF VILLALOBAR, Chamberlain to His Catholic Majesty, Minister for Spain in London. My dear Marquis, When I stop for a moment to think of the many times I have had occasion to express my thanks to you in the course of my work in connection with Spain, I am reminded of an obligation that I find myself power- less adequately to acknowledge. And so, lacking better means of assuring you of my deep appreciation of all your kindness, allow me to claim an author's privilege, and in asking you to accept the dedication of this little book, make a public avowal of my gratitude and add yet another phrase to my frequent and sincere thanks. Believe me. My dear Marquis, Your ever grateful and obliged, ALBERT F. CALVERT. PREFACE In making Bartolome Esteban Murillo the subject of an early volume of the new Spanish Series I was influenced by two principal considera- tions. -
Outstanding Animated Program (For Programming Less Than One Hour)
Keith Crofford, Executive Producer Outstanding Animated Program (For Corey Campodonico, Producer Programming Less Than One Hour) Alex Bulkley, Producer Douglas Goldstein, Head Writer Creature Comforts America • Don’t Choke To Death, Tom Root, Head Writer Please • CBS • Aardman Animations production in association with The Gotham Group Jordan Allen-Dutton, Writer Mike Fasolo, Writer Kit Boss, Executive Producer Charles Horn, Writer Miles Bullough, Executive Producer Breckin Meyer, Writer Ellen Goldsmith-Vein, Executive Producer Hugh Sterbakov, Writer Peter Lord, Executive Producer Erik Weiner, Writer Nick Park, Executive Producer Mark Caballero, Animation Director David Sproxton, Executive Producer Peter McHugh, Co-Executive Producer The Simpsons • Eternal Moonshine of the Simpson Mind • Jacqueline White, Supervising Producer FOX • Gracie Films in association with 20th Century Fox Kenny Micka, Producer James L. Brooks, Executive Producer Gareth Owen, Producer Matt Groening, Executive Producer Merlin Crossingham, Director Al Jean, Executive Producer Dave Osmand, Director Ian Maxtone-Graham, Executive Producer Richard Goleszowski, Supervising Director Matt Selman, Executive Producer Tim Long, Executive Producer King Of The Hill • Death Picks Cotton • FOX • 20th Century Fox Television in association with 3 Arts John Frink, Co-Executive Producer Entertainment, Deedle-Dee Productions & Judgemental Kevin Curran, Co-Executive Producer Films Michael Price, Co-Executive Producer Bill Odenkirk, Co-Executive Producer Mike Judge, Executive Producer Marc Wilmore, Co-Executive Producer Greg Daniels, Executive Producer Joel H. Cohen, Co-Executive Producer John Altschuler, Executive Producer/Writer Ron Hauge, Co-Executive Producer Dave Krinsky, Executive Producer Rob Lazebnik, Co-Executive Producer Jim Dauterive, Executive Producer Laurie Biernacki, Animation Producer Garland Testa, Executive Producer Rick Polizzi, Animation Producer Tony Gama-Lobo, Supervising Producer J.