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Journal articles on the topic 'Stanley Press (Firm)'

Author: Grafiati
Published: 24 February 2023
Last updated: 31 July 2025

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1

Anthony, A., Tess S. Skadegård Thorsen, Steen Ledet Christiansen, and Carmela Garritano. "Reviews." Screen Bodies 3, no. 1 (2018): 109–20. http://dx.doi.org/10.3167/screen.2018.0301001.

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Reina Gossett, Eric A. Stanley, and Johanna Burton, eds., Trap Door: Trans Cultural Production and the Politics of Visibility (Cambridge, MA: MIT Press, 2017), 419 pp. ISBN: 9780262036603 (hardback, $49.95)Katharina Lindner, Film Bodies: Queer Feminist Encounters with Gender and Sexuality in Cinema (London: I. B. Tauris, 2018), 272 pp. ISBN: 9781784536244 (hardback, £72)Saige Walton, Cinema’s Baroque Flesh: Film, Phenomenology, and the Art of Entanglement (Amsterdam: Amsterdam University Press, 2016), 280 pp. ISBN 978 90 8964 951 5 (hardback, €95)Marietta Kesting, Affective Images: Post-aparth
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Austin-Smith, Brenda, Matthew Cipa, and Temenuga Trifonova. "Book Reviews." Projections 14, no. 3 (2020): 106–19. http://dx.doi.org/10.3167/proj.2020.140308.

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Andrew Klevan, Aesthetic Evaluation and Film (Manchester: Manchester University Press, 2018), 256 pp, $22.95 (paperback). ISBN: 978-1784991258.Mario Slugan, Noël Carroll and Film: A Philosophy of Art and Popular Culture (New York: Bloomsbury Academic), xi + 218 pp., $103.50 (hardback), ISBN: 978-1-78831-229-5.Wheatley, Catherine, Stanley Cavell and Film: Scepticism and Self-Reliance at the Cinema. London: Bloomsbury Academic, 2019, vi + 307 pp., $118 (hardback), ISBN: 9781350113220.
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Willemsen, Steven, Mario Slugan, Elke Weissmann, and Lucy Bolton. "Book Reviews." Projections 15, no. 3 (2021): 88–106. http://dx.doi.org/10.3167/proj.2021.150305.

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Marina Grishakova and Maria Poulaki, eds. Narrative Complexity: Cognition, Embodiment, Evolution. Lincoln: University of Nebraska Press, 2019, 468 pp., $75.00 (hardcover). ISBN: 9780803296862.Maarten Coëgnarts. Film as Embodied Art: Bodily Meaning in the Cinema of Stanley Kubrick. Brookline: Academic Studies Press, 2019, xxxv + 228 pp., $120 (paperback), ISBN: 978-1-64469-112-0. [Also available for free under a CC BY-NC-ND 4.0 license with support from Knowledge Unlatched, ISBN: 978-1-64469-113-7].Marsha F . Cassidy. Television and the Embodied Viewer: Affect and Meaning in the Digital Age. Ne
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White, Harry. "Imagining Ireland Musically: The Affordance and Evidence of Late 20th-Century Cinema." Musicology Today: Journal of the National University of Music Bucharest, no. 59 (June 3, 2025): 219–31. https://doi.org/10.69608/mt.59.02.

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In this brief paper, I seek to press home the affordance of cinema as an important, if underresearched agent of representing and indeed imagining Ireland musically in reference to the following exemplary films: (a) The Quiet Man (1952) directed by John Ford, music by Victor Young and Dick Farrelly; (b) Mise Éire (1959) directed by George Morrison, music by Seán Ó Riada; (c) Ryan’s Daughter (1970), directed by David Lean, music by Maurice Jarre; (d) Barry Lyndon (1975), directed by Stanley Kubrick, source music (Handel, Bach, Vivaldi, Paisiello, Mozart, Schubert) with original music by Seán Ó R
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Giesekam, Greg. "Shakespeare on Film and Television, Shakespeare Survey. No. 39, edited by Stanley Wells. Cambridge University Press, 1987. Pp. x + 259, + 25 Ill. £27.50." Theatre Research International 13, no. 2 (1988): 173–75. http://dx.doi.org/10.1017/s0307883300014589.

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Getman, Jessica. "Anxiety Muted: American Film Music in a Suburban Age. Edited by Stanley C. Pelkey II and Anthony Bushard. Oxford: Oxford University Press, 2015." Journal of the Society for American Music 12, no. 3 (2018): 363–65. http://dx.doi.org/10.1017/s175219631800024x.

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Smith, Justin. "Robert Shail, Stanley Baker: A Life in Film (Cardiff: University of Wales Press, 2008), pp. xiv + 152, 19 illus., ISBN 978 0 7083 2126 3 (hb), £19.99." Journal of British Cinema and Television 6, no. 3 (2009): 503–5. http://dx.doi.org/10.3366/e1743452109001216.

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Jäcklein-Kreis, Elisabeth. "Robert-Geisendörfer-Preis." merz | medien + erziehung 54, no. 5 (2010): 4–5. http://dx.doi.org/10.21240/merz/2010.5.5.

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Er stand für Wahrhaftigkeit und Unabhängigkeit, Ehrlichkeit und Freiheit, Authentizität als Journalist und Pfarrer: Am 01. September 2010 wäre Robert Geisendörfer, Gründer des Gemeinschaftswerkes evangelischer Publizistik (GEP) 100 Jahre alt geworden. Er hat es nicht mehr erlebt und doch standen seine Träume und Ziele ganz im Mittelpunkt des Geschehens, als sich am 15. September knapp 200 Medienleute, Journalistinnen und Journalisten, Vertreterinnen und Vertreter der Kirchen und Interessierte im großen Saal des Bayerischen Rundfunks in München trafen, um zum 27. Mal den Preis für Hörfunk- und
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Rafiuddin Haque, Muhammad, Md Imran Hossain, Rokeya Begum Ankhi, Araf Nishan, and Umma Twaha. "Liquidity Traps, Digital Currencies and Inflation Targeting: A Comparative Analysis of Policy Effectiveness in Advanced and Emerging Economies." Inverge Journal of Social Sciences 2, no. 3 (2023): 148–65. https://doi.org/10.63544/ijss.v2i3.115.

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This research investigates how the evolving challenges and opportunities of implementing United States (US) monetary policy, especially liquidity traps, digital currency, and inflation targeting, have changed since the 1930s. A case of public perceptions of the Federal Reserve’s policy effectiveness and the adjustment of Central Bank Digital Currencies (CBDCs) to key macroeconomic issues like liquidity management and inflation control is studied. Data was collected using a quantitative survey-based approach from a diverse sample of US residents regarding their views on the pervasiveness of liq
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Faux, Karen, Hilary White, Claire Hewson, and Viv Hampshire. "ReviewsTales from Shakespeare: Twelfth Night By Timothy Knapman and illustrated by Yaniv Shimony QED Publishing ISBN: 978-1784930028 Cost: £8.99Real Stories from Street Children Across the World4 By Anthony Robinson Frances Lincoln Children's Books ISBN 978-1847805980 Cost: £7.99Geography Quest: Rapid River Rescue By John Townsend, illustrated by Chris Chalk QED Publishing ISBN: 978-1784930103 Cost: £7.99Class Assembly! Christopher Columbus By Mary Green and Julie Stanley Out of the Ark Music ISBN: 978-1906988715 Cost: £16.99Calling the Shots! Using film techniques to inspire brilliant creative writing By Nick Handel Pogo Learning www.pogolearning.com Cost: £50The First Slodge By Jeanne Willis and illustrated by Jenni Desmond Little Tiger Press ISBN: 978-1848690398 Cost: £6.99." Primary Teacher Update 2015, no. 45 (2015): 56–57. http://dx.doi.org/10.12968/prtu.2015.45.56.

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Yakubu, Bashir Ishaku, Shua’ib Musa Hassan, and Sallau Osisiemo Asiribo. "AN ASSESSMENT OF SPATIAL VARIATION OF LAND SURFACE CHARACTERISTICS OF MINNA, NIGER STATE NIGERIA FOR SUSTAINABLE URBANIZATION USING GEOSPATIAL TECHNIQUES." Geosfera Indonesia 3, no. 2 (2018): 27. http://dx.doi.org/10.19184/geosi.v3i2.7934.

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Rapid urbanization rates impact significantly on the nature of Land Cover patterns of the environment, which has been evident in the depletion of vegetal reserves and in general modifying the human climatic systems (Henderson, et al., 2017; Kumar, Masago, Mishra, & Fukushi, 2018; Luo and Lau, 2017). This study explores remote sensing classification technique and other auxiliary data to determine LULCC for a period of 50 years (1967-2016). The LULCC types identified were quantitatively evaluated using the change detection approach from results of maximum likelihood classification algorithm
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Schorb, Bernd, and Helga Theunert. "60 Jahre merz. Eine Konstante in der Medienpädagogik." merz | medien + erziehung 60, no. 2 (2016): 6–19. http://dx.doi.org/10.21240/merz/2016.2.5.

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Bescheiden, aber mit amtlichem Anstrich kam die heutige merz in ihren Anfängen daher: Mitteilungen des Arbeitskreises Jugend und Film war das Faltblatt betitelt. 1957 wurde daraus Jugend und Film. Vierteljahreszeitschrift des wissenschaftlichen Instituts für Jugendfilmfragen und über eine Reihe von Titelvariationen (siehe Zeitstrahl) 1976 im Haupttitel die heutige merz | medien + erziehung. Über 60 Jahrgänge hinweg hat merz bereits die Medienpädagogik im deutschsprachigen Raum gespiegelt und sich mit ihren Schwerpunkten weiterentwickelt bzw. zum Teil diese Schwer¬punkte mit entwickelt. Unabhän
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Deltell Escolar, Luis. "La figura del periodista en el nacimiento del film noir. Stranger on the Third Floor (1940, Boris Ingster)." Doxa Comunicación. Revista Interdisciplinar de Estudios de Comunicación y Ciencias Sociales, July 1, 2024. http://dx.doi.org/10.31921/doxacom.n39a2115.

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This article summarises the results of an investigation into the figure of the journalist and the importance of journalism in early film noir in the United States. To this end, we analyse the film Stranger on the Third floor (1940, Boris Ingster), a low budget feature (a so-called B-movie) produced by RKO. This film should be considered the first full-blown example of the US film noir genre and in it, the press and the carácter of the journalist are key to understanding its plot, internal narrative, and even the structure of the film. Here, we propose a three-fold análisis encompassing the his
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Hadley, Bree. "Mobilising the Monster: Modern Disabled Performers’ Manipulation of the Freakshow." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.47.

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The past two decades have seen the publication of at least half a dozen books that consider the part that fairs, circuses, sideshows and freakshows play in the continuing cultural labour to define, categorise and control the human body, including Robert Bogdan’s Freakshow, Rosemarie Garland-Thomson’s Extraordinary Bodies, and her edited collection Freakery, and Rachel Adams’s Sideshow USA. These writers cast the freakshow as a theatre of culture, worthy of critical attention precisely because of the ways in which it has provided a popular forum for staging, solidifying and transforming ideas a
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Marshall, P. David. "Seriality and Persona." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.802.

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No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of
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Hope, Cathy, and Bethaney Turner. "The Right Stuff? The Original Double Jay as Site for Youth Counterculture." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.898.

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On 19 January 1975, Australia’s first youth station 2JJ (Double Jay) launched itself onto the nation’s airwaves with a NASA-style countdown and You Only Like Me ‘Cause I’m Good in Bed by Australian band Skyhooks. Refused airtime by the commercial stations because of its explicit sexual content, this song was a clear signifier of the new station’s intent—to occupy a more radical territory on Australian radio. Indeed, Double Jay’s musical entrée into the highly restrictive local broadcasting environment of the time has gone on to symbolise both the station’s role in its early days as an enfant t
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McKenzie-Craig, Carolyn Jane. "Performa Punch: Subverting the Female Aggressor Trope." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1616.

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The bodies of disordered women … offer themselves as an aggressively graphic text for the interpreter—a text that insists, actually demands, that it be read as a cultural statement, a statement about gender. (Bordo, 94)Violence is transgressive in fundamental ways. It erases boundaries, and imposes agency over others, or groups of others. The assumed social stance is to disapprove, morally and ethically, as a ‘good’ and ‘moral’ female subject. My current research has made me question the simplicity of this approach, to interrogate how aggression socialises power and how resistance to structura
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Miletic, Sasa. "Acting Out: "Cage Rage" and the Morning After." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1494.

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Introduction“Cage rage” is one of the most famous Internet memes (Figure 1) which made Nicolas Cage's stylised and sometimes excessive acting style very popular. His outbursts became a subject of many Youtube videos, supercuts (see for instance Hanrahan) and analyses, which turned his rage into a pop-cultural phenomenon. Cage’s outbursts of rage and (over)acting are, according to him (Freeman), inspired by German expressionism as in films like The Cabinet of Dr. Caligari (1920). How should this style of acting and its position within the context of the Hollywood industry today be read in socie
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Kloosterman, Robert C., and Amanda Brandellero. ""All these places have their moments": Exploring the Micro-Geography of Music Scenes: The Indica Gallery and the Chelsea Hotel." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1105.

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Hotspots of Cultural InnovationIn the 1960s, a long list of poets, writers, and musicians flocked to the Chelsea Hotel, 222 West 23rd Street, New York (Tippins). Among them Bob Dylan, who moved in at the end of 1964, Leonard Cohen, who wrote Take This Longing dedicated to singer Nico there, and Patti Smith who rented a room there together with Robert Mapplethorpe in 1969 (Smith; Bell; Simmons). They all benefited not just from the low rents, but also from the close, often intimate, presence of other residents who inspired them to explore new creative paths. Around the same time, across the Atl
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Brien, Donna Lee. "Climate Change and the Contemporary Evolution of Foodways." M/C Journal 12, no. 4 (2009). http://dx.doi.org/10.5204/mcj.177.

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Introduction Eating is one of the most quintessential activities of human life. Because of this primacy, eating is, as food anthropologist Sidney Mintz has observed, “not merely a biological activity, but a vibrantly cultural activity as well” (48). This article posits that the current awareness of climate change in the Western world is animating such cultural activity as the Slow Food movement and is, as a result, stimulating what could be seen as an evolutionary change in popular foodways. Moreover, this paper suggests that, in line with modelling provided by the Slow Food example, an increa
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Burns, Alex. "Oblique Strategies for Ambient Journalism." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.230.

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Alfred Hermida recently posited ‘ambient journalism’ as a new framework for para- and professional journalists, who use social networks like Twitter for story sources, and as a news delivery platform. Beginning with this framework, this article explores the following questions: How does Hermida define ‘ambient journalism’ and what is its significance? Are there alternative definitions? What lessons do current platforms provide for the design of future, real-time platforms that ‘ambient journalists’ might use? What lessons does the work of Brian Eno provide–the musician and producer who coined
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Speakman, Blair Ian. "“Poor creature, trapped in existential solitude forever”: Gothic Dreams of the Uncanny, Repetition, Temporal Loops, and the Double in The Chilling Adventures of Sabrina." M/C Journal 23, no. 1 (2020). http://dx.doi.org/10.5204/mcj.1642.

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IntroductionAccording to Sigmund Freud (A General Introduction to Psychoanalysis 90), dreams can be seen as a “substitute for something else, unknown to the dreamer”. In Freud’s theory, dreams are regarded as a “depiction of the subconscious, a screen onto which the subconscious projects its suppressed desires and hallucinations about their fulfilment” (Khapaeva & Tweddle 6). It is likely due to these aspects that dreams and dreaming have become prevalent in contemporary literature, film and television, and an outlet for a greater examination of Freud’s work on the origins and nature of th
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Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each
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Drozdz, Maya. "Waiting for Instantaneity." M/C Journal 3, no. 3 (2000). http://dx.doi.org/10.5204/mcj.1848.

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In "Speed and Information: Cyberspace Alarm!", Paul Virilio claims that telecommunications are ushering in the "invention of a perspective of real time" which results in "some kind of choking of the senses, a loss of control over reason". As users of this new technology, as the receptors of the stream of computer-mediated information, we need to figure out the terms and conditions of our acceptance of cyberspace as a space and realtime as a form of time, to understand the implications of this new mode of communication, for "no information exists without dis-information". In "Speed and Informat
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Y.Lin, Angel M. "Modernity and the Self." M/C Journal 5, no. 5 (2002). http://dx.doi.org/10.5204/mcj.1983.

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'Self-awareness' and the development of the autonomous subject (derived from Enlightenment and the Anglo-European philosophical traditions) has often been implicated in discussions of modernity. In East Asian societies where the Confucianist social order is seen as a deep-rooted social and cultural force, discussions of modernity and modernisation have often revolved around the tension between the spread of individualism and liberalism that come with modernisation and contact with the West. The preservation of traditional sociocultural values and familial and social structures that stress mutu
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Burns, Alex. "Doubting the Global War on Terror." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.338.

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Photograph by Gonzalo Echeverria (2010)Declaring War Soon after Al Qaeda’s terrorist attacks on 11 September 2001, the Bush Administration described its new grand strategy: the “Global War on Terror”. This underpinned the subsequent counter-insurgency in Afghanistan and the United States invasion of Iraq in March 2003. Media pundits quickly applied the Global War on Terror label to the Madrid, Bali and London bombings, to convey how Al Qaeda’s terrorism had gone transnational. Meanwhile, international relations scholars debated the extent to which September 11 had changed the international sys
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Holden, Todd Joseph Miles. "The Evolution of Desire in Advertising." M/C Journal 2, no. 5 (1999). http://dx.doi.org/10.5204/mcj.1773.

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She's the dollars, she's my protection; she's a promise, in the year of election. Sister, I can't let you go; I'm like a preacher, stealing hearts at a traveling show. For love or money, money, money... Desire -- U2, "Desire" (1988) For the love of money. In the worship of things. Desire has traditionally been employed by advertising as a means of selling product. Regardless of culture, more powerful than context, desire is invoked as one of capitalism's iron-clad codes of quality. The Uses of Desire in Advertising Specifically, two variants have been most common. That in which desire is: (1)
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Michael, Rose. "Out of Time: Time-Travel Tropes Write (through) Climate Change." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1603.

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“What is the point of stories in such a moment”, asks author and critic James Bradley, writing about climate extinction: Bradley emphasises that “climatologist James Hansen once said being a climate scientist was like screaming at people from behind a soundproof glass wall; being a writer concerned with these questions often feels frighteningly similar” (“Writing”). If the impact of climate change asks humans to think differently, to imagine differently, then surely writing—and reading—must change too? According to writer and geographer Samuel Miller-McDonald, “if you’re a writer, then you hav
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Pugsley, Peter. "At Home in Singaporean Sitcoms." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2695.

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 The use of the family home as a setting for television sitcoms (situation comedies) has long been recognised for its ability to provide audiences with an identifiable site of ontological security (much discussed by Giddens, Scannell, Saunders and others). From the beginnings of American sitcoms with such programs as Leave it to Beaver, and through the trail of The Brady Bunch, The Cosby Show, Roseanne, The Fresh Prince of Bel Air, and on to Home Improvement, That 70s Show and How I Met Your Mother, the US has led the way with screenwriters and producers capitalising on the
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Letherby, Gayle. "Mixed Messages." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.972.

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You look great.You look amazing.I didn’t recognise you.You are looking 10 years younger.Just how much weight have you lost? It really shows.Isn’t Gayle looking great?Have you done it just through diet and exercise, [or surgery]?Have you lost some more since I last saw you?You don’t want to look scrawny.You are not planning to lose any more are you?Have you seen Gayle doesn’t she look drawn?Of course you are still much heavier than the NHS recommendation. Thinking and Writing about Fat… Since the beginning of my academic career I have written auto/biographically. Like others I believe that in i
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Potter, Emily. "Calculating Interests: Climate Change and the Politics of Life." M/C Journal 12, no. 4 (2009). http://dx.doi.org/10.5204/mcj.182.

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There is a moment in Al Gore’s 2006 documentary An Inconvenient Truth devised to expose the sheer audacity of fossil fuel lobby groups in the United States. In their attempts to address significant scientific consensus and growing public concern over climate change, these groups are resorting to what Gore’s film suggests are grotesque distortions of fact. A particular example highlighted in the film is the Competitive Enterprise Institute’s (CPE—a lobby group funded by ExxonMobil) “pro” energy industry advertisement: “Carbon dioxide”, the ad states. “They call it pollution, we call it life.” W
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Phillips, Christopher. "A Good Coalition." M/C Journal 13, no. 6 (2010). http://dx.doi.org/10.5204/mcj.316.

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In 1996, the iconoclastic economist John Kenneth Galbraith wrote a manifesto, The Good Society, that elaborated his vision for what societal excellence and goodness should amount to. Though nearly 96, Galbraith was still a rabble-rouser, and he castigated the powers that be in the United States for propping up a “democracy of the fortunate” (8). To Galbraith, those who engaged in electoral politics, win or lose on any specific issue, tended to have all the social and economic advantages, while the less well off were deliberately marginalised by ‘the system.’ He lamented that “money, voice and
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Caesar Dib, Caio. "Bioethics-CSR Divide." Voices in Bioethics 10 (March 21, 2024). http://dx.doi.org/10.52214/vib.v10i.12376.

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Photo by Sean Pollock on Unsplash ABSTRACT Bioethics and Corporate Social Responsibility (CSR) were born out of similar concerns, such as the reaction to scandal and the restraint of irresponsible actions by individuals and organizations. However, these fields of knowledge are seldom explored together. This article attempts to explain the motives behind the gap between bioethics and CSR, while arguing that their shared agenda – combined with their contrasting principles and goals – suggests there is potential for fruitful dialogue that enables the actualization of bioethical agendas and provid
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Kibby, Marjorie Diane. "Monument Valley, Instagram, and the Closed Circle of Representation." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1152.

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IntroductionI spent five days on the Arizona Utah border, photographing Monument Valley and the surrounding areas as part of a group of eight undertaking a landscape photography workshop under the direction of a Navajo guide. Observing where our guide was taking us, and watching and talking to other tourist photographers, I was reminded of John Urry’s concept of the “tourist gaze” and the idea that tourists see destinations in terms of the promotional images they are familiar with (Urry 1). It seemed that tourists re-created images drawn from the popular imaginary, inserting themselves into fa
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Wishart, Alison Ruth. "Shrine: War Memorials and the Digital Age." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1608.

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IntroductionThey shall grow not old, as we that are left grow old; Age shall not weary them, nor the years condemn. At the going down of the sun and in the morning We will remember them.Recited at many Anzac and Remembrance Day services, ‘The Ode’, an excerpt from a poem by Laurence Binyon, speaks of a timelessness within the inexorable march of time. When we memorialise those for whom time no longer matters, time stands still. Whether those who died in service of their country have finally “beaten time” or been forced to acknowledge that “their time on earth was up”, depends on your preferenc
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Tofts, Darren John. "Why Writers Hate the Second Law of Thermodynamics: Lists, Entropy and the Sense of Unending." M/C Journal 15, no. 5 (2012). http://dx.doi.org/10.5204/mcj.549.

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If you cannot understand my argument, and declare “It’s Greek to me,” you are quoting Shakespeare.Bernard LevinPsoriatic arthritis, in its acute or “generalised” stage, is unbearably painful. Exacerbating the crippling of the joints, the entire surface of the skin is covered with lesions only moderately salved by anti-inflammatory ointment, the application of which is as painful as the ailment it seeks to relieve: NURSE MILLS: I’ll be as gentle as I can.Marlow’s face again fills the screen, intense concentration, comical strain, and a whispered urgency in the voice over—MARLOW: (Voice over) Th
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