When God Sees Your Tears
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Logging Songs of the Pacific Northwest: a Study of Three Contemporary Artists Leslie A
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Logging Songs of the Pacific Northwest: A Study of Three Contemporary Artists Leslie A. Johnson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOGGING SONGS OF THE PACIFIC NORTHWEST: A STUDY OF THREE CONTEMPORARY ARTISTS By LESLIE A. JOHNSON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Thesis of Leslie A. Johnson defended on March 28, 2007. _____________________________ Charles E. Brewer Professor Directing Thesis _____________________________ Denise Von Glahn Committee Member ` _____________________________ Karyl Louwenaar-Lueck Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank those who have helped me with this manuscript and my academic career: my parents, grandparents, other family members and friends for their support; a handful of really good teachers from every educational and professional venture thus far, including my committee members at The Florida State University; a variety of resources for the project, including Dr. Jens Lund from Olympia, Washington; and the subjects themselves and their associates. iii TABLE OF CONTENTS ABSTRACT ................................................................................................................. -
Les Mis, Lyrics
LES MISERABLES Herbert Kretzmer (DISC ONE) ACT ONE 1. PROLOGUE (WORK SONG) CHAIN GANG Look down, look down Don't look 'em in the eye Look down, look down You're here until you die. The sun is strong It's hot as hell below Look down, look down There's twenty years to go. I've done no wrong Sweet Jesus, hear my prayer Look down, look down Sweet Jesus doesn't care I know she'll wait I know that she'll be true Look down, look down They've all forgotten you When I get free You won't see me 'Ere for dust Look down, look down Don't look 'em in the eye. !! Les Miserables!!Page 2 How long, 0 Lord, Before you let me die? Look down, look down You'll always be a slave Look down, look down, You're standing in your grave. JAVERT Now bring me prisoner 24601 Your time is up And your parole's begun You know what that means, VALJEAN Yes, it means I'm free. JAVERT No! It means You get Your yellow ticket-of-leave You are a thief. VALJEAN I stole a loaf of bread. JAVERT You robbed a house. VALJEAN I broke a window pane. My sister's child was close to death And we were starving. !! Les Miserables!!Page 3 JAVERT You will starve again Unless you learn the meaning of the law. VALJEAN I know the meaning of those 19 years A slave of the law. JAVERT Five years for what you did The rest because you tried to run Yes, 24601. -
Acquainted with the Night
Get hundreds more LitCharts at www.litcharts.com Acquainted with the Night sorrow, with raindrops often representing human tears. SUMMARY Therefore, the physical rain that surrounds the speaker is a reflection of the speaker’s sorrow. The speaker declares their familiarity with the night. It was raining when the speaker began a walk across the city, and it As the speaker continues walking, the darkness and sorrow of was still raining at the end of the walk. During the walk, the the surroundings intensify. The speaker walks beyond even the speaker progressed beyond even the outermost light of the “furthest city light,” thus sinking further into physical darkness. city. In a similar vein, the speaker characterizes the “city lane” they look into as the “saddest.” The use of superlatives—"furthest” The speaker looked into the most desolate city street. The and “saddest”—reflects the heightening of the speaker’s speaker also passed by a watchman patrolling the city. The emotions. Indeed, the speaker’s despair and sorrow seem speaker, however, looked down to avoid eye contact with the never-ending; although the speaker continues to progress on watchman, not wanting to talk about the reasons behind the the walk, the speaker doesn’t actually go anywhere on a speaker's nighttime walk. figurative and emotional level. This sense of despair and sorrow During the walk, the speaker stopped moving upon hearing a is inescapable, like the night itself. distant, broken-off cry. The sound of this other human's voice What's more, the speaker’s feelings of suffering and despair traveled across houses from a different street. -
Nostalgias in Modern Tunisia Dissertation
Images of the Past: Nostalgias in Modern Tunisia Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David M. Bond, M.A. Graduate Program in Near Eastern Languages and Cultures The Ohio State University 2017 Dissertation Committee: Sabra J. Webber, Advisor Johanna Sellman Philip Armstrong Copyrighted by David Bond 2017 Abstract The construction of stories about identity, origins, history and community is central in the process of national identity formation: to mould a national identity – a sense of unity with others belonging to the same nation – it is necessary to have an understanding of oneself as located in a temporally extended narrative which can be remembered and recalled. Amid the “memory boom” of recent decades, “memory” is used to cover a variety of social practices, sometimes at the expense of the nuance and texture of history and politics. The result can be an elision of the ways in which memories are constructed through acts of manipulation and the play of power. This dissertation examines practices and practitioners of nostalgia in a particular context, that of Tunisia and the Mediterranean region during the twentieth and early twenty-first centuries. Using a variety of historical and ethnographical sources I show how multifaceted nostalgia was a feature of the colonial situation in Tunisia notably in the period after the First World War. In the postcolonial period I explore continuities with the colonial period and the uses of nostalgia as a means of contestation when other possibilities are limited. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
What the Forgotten Americans Really Want − and How to Give It to Them
What the forgotten Americans really want − and how to give it to them By Isabel Sawhill October 2018 America is divided—economically, politically, and culturally. Income inequality is at virtually unprecedented levels. Political polarization has risen to new heights (although the public is less polarized than their elected representatives). And we are sorting ourselves into distinctive cultural tribes that increasingly live in different communities. The proportion of parents who would be disturbed if their child married someone from the opposite party has risen from 5 percent in 1960 to about 50 percent now. 1 The election of Donald Trump didn’t cause these divisions, but his presidency is exacerbating them. With midterm elections fast approaching and the future of our political system at a crossroads, the question on everyone’s mind is: what can we do? In an attempt to answer this question, I spent the last two years studying people I’m calling the “forgotten Americans”—those who’ve been left behind by our evolving economy, many of whom voted for Trump. That work gave me some tentative answers, which I’ve published in my new book, The Forgotten Americans: An Economic Agenda for a Divided Nation. But it also reaffirmed how difficult these questions are, and how none of us—myself included—has all the answers. As part of my research, I met with some of the forgotten Americans themselves. What did they think of my solutions to these problems? I went to Syracuse, New York; Greensboro, North Carolina; and St. Louis, Missouri. The people I spoke to were diverse in terms of age, race, occupation, and political leaning, and had modest incomes—less than $70,000 a year—and no college degree. -
Ballad of the Buried Life
Ballad of the Buried Life From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Ballad of the Buried Life rudolf hagelstange translated by herman salinger with an introduction by charles w. hoffman UNC Studies in the Germanic Languages and Literatures Number 38 Copyright © 1962 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Hagelstange, Rudolf. Ballad of the Buried Life. Translated by Herman Salinger. Chapel Hill: University of North Car- olina Press, 1962. doi: https://doi.org/10.5149/9781469658285_Hagel- stange Library of Congress Cataloging-in-Publication Data Names: Salinger, Herman. Title: Ballad of the buried life / by Herman Salinger. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 38. Description: Chapel Hill : University of North Carolina Press, [1962] Series: University of North Carolina Studies in the Germanic Languages and Literatures. Identifiers: lccn unk81010792 | isbn 978-0-8078-8038-8 (pbk: alk. paper) | isbn 978-1-4696-5828-5 (ebook) Classification: lcc pd25 .n6 no. -
Jenweirmathesis1.Pdf
Copyright By Jennifer Leann Weir 2020 Abstract This thesis reviews four young adult/new adult retellings to understand how these novels shape understanding of and empathy for real world social issues. The first chapter explores the novel Girls Made of Snow and Glass and how the reshaping of the “Snow White” narrative, within the text, undermines the patriarchal narrative that pits woman against woman and, instead, tells a story of female solidarity. Chapter two considers A Court of Thornes and Roses and A Court of Mist and Fury and how the fallout of “The Beauty and the Beast” narrative in book one carries into book two as a means to build empathy and understanding for those suffering with mental health issues, including those suffering with PTSD. Finally, Chapter three reviews The Lunar Chronicles and how the pandemic within these science fiction retellings foster discussion around medical injustices and the dehumanization that allows such injustice to occur. A Spoon Full of Sugar: Exploring Real World Social Issues in YA/NA Retellings By Jennifer Leann Weir, B.A. A Thesis Submitted to the Department of English California State University, Bakersfield In Partial Fulfillment for the Degree of Masters of English Spring 2020 ProQuest Number:27833383 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 27833383 Published by ProQuest LLC (2020). -
Title "Stand by Your Man/There Ain't No Future In
TITLE "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC by S. DIANE WILLIAMS Presented to the American Culture Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Master of Liberal Studies in American Culture Date 98 8AUGUST 15 988AUGUST Firs t Reader Second Reader "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC S. DIANE WILLIAMS AUGUST 15, 19SB TABLE OF CONTENTS Preface Introduction - "You Never Called Me By My Name" Page 1 Chapter 1 — "Would Jesus Wear A Rolen" Page 13 Chapter 2 - "You Ain’t Woman Enough To Take My Man./ Stand By Your Man"; Lorrtta Lynn and Tammy Wynette Page 38 Chapter 3 - "Think About Love/Happy Birthday Dear Heartache"; Dolly Parton and Barbara Mandrell Page 53 Chapter 4 - "Do Me With Love/Love Will Find Its Way To You"; Janie Frickie and Reba McEntire F'aqe 70 Chapter 5 - "Hello, Dari in"; Conpempory Male Vocalists Page 90 Conclusion - "If 017 Hank Could Only See Us Now" Page 117 Appendix A - Comparison Of Billboard Chart F'osi t i ons Appendix B - Country Music Industry Awards Appendix C - Index of Songs Works Consulted PREFACE I grew up just outside of Flint, Michigan, not a place generally considered the huh of country music activity. One of the many misconception about country music is that its audience is strictly southern and rural; my northern urban working class family listened exclusively to country music. As a teenager I was was more interested in Motown than Nashville, but by the time I reached my early thirties I had became a serious country music fan. -
Song Lyrics to Text
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6/5/2021 "The Lights Have an Intense Bright Beam That Hinders Oncoming Traffic from Correctly Viewing the Road and Hazards Ahead of Them
6/5/2021 "The lights have an intense bright beam that hinders oncoming traffic from correctly viewing the road and hazards ahead of them. The intense bright headlights are a road hazard with a good potential of causing accidents" 6/5/2021 "lights are waaayyy to bright!" 6/5/2021 "Oncoming vehicles with these lights blind me. They are not safe to other drivers. When facing these light often times I have to turn my head away from the road and or hold my hand up to try and block the light. None of this is safe and could easily cause a accident. I don't state into the sun in the day time why would I want to stare at it in the night while I'm driving when it's harder for your eyes to adjust." 6/5/2021 "These too bright, badly adjusted lights are dangerous and I'm scared when I have to drive at night !!!" 6/5/2021 "I am rendered effectively blind for 3-5 seconds at a time by these headlights, and when driving on a two-lane highway at night, it is terrifying. It does not need to be this way." 6/5/2021 "i have an SUV and cannot see when these pickup ups wit these type of lights come at me! I cannot imagine being in a car with these blinding lights coming at me. We use to have laws against these types of high intensity lights on vehicles, enough already!" 6/6/2021 "How did it get to this point?" 6/6/2021 "I avoid driving at night because of these." 6/6/2021 "I hesitate to drive at night because of high-mounted bright lights behind me (I’m 70)" 6/6/2021 "I'm tired of being blinded by LED lights. -
Scripting the Game
Scripting the Game By Mike Pondsmith, with concepts provided by Flint Dille • Art by C.A. Bates • Copyright 2020 by R. Talsorian Games You’ve got a Game Name, Limits, Genre(s), Universe Rules, and some nice bits you know you want to put into your Game. Now it’s time to write theScript . Whether for a TV show, movie, or RPG adventure, you need a script to tell you where the action’s going. And pacing is the most important part of that script. You not only have to tell a story, but also have to break it up into manageable chunks for your players. Each “chunk” of story should convey information, be entertaining, and help provide excitement by pushing the plot along in some visible way. One way to do this is by using a writing trick called a Beat Chart; a framework in which certain actions or scenes take place in a certain order. The order of the scenes helps both maintain dramatic tension and allows the storyline to make sense. Each Beat Chart has five parts, or Beats: the Hook, the Development, the Cliffhanger, the Climax, and the Res- olution. Some Beats, like the Hook, Climax, and Resolution occur only once. Other Beats, like the Development and the Cliffhanger, are used over and over, but in alternating order. THERE ARE THREE RULES FOR SETTING UP A BEAT CHART 1. The story always begins with a Hook. The Hook is a short piece of action or suspense that is used to involve the reader, viewer, or player in the story.