Saturday, November 23, 2019

Story image for royal wedding from

Royal wedding: official photographer reveals how he ... 30, 2011
The pictures, taken in Buckingham Palace's throne room immediately after the bride and groom arrived from Westminster Abbey, capture the Royal Family and ...
Story image for royal wedding from

Royal wedding: Kate Middleton to wear band of traditional ... 28, 2011
Today it will be entrusted to Prince Harry, who as best man will be responsible for keeping the ring safe and transporting it to the royal wedding at Westminster ...
Story image for royal wedding from New York Times

The Quiet Royal Wedding

New York Times-Jun. 22, 2011
The payoff comes July 2 with this summer's “other” royal wedding. This time, Ms. Wittstock will be the princess stepping down the aisle (in a dress designed by ...
Story image for royal wedding from OCRegister

Hats, hats and more hats at the Royal Wedding

OCRegister-Apr. 29, 2011
We American's may look at the hats worn at the Royal Wedding of Catherine Middleton and Prince Charles as a bit, costumey, but for the Brits it's steeped in ...

1 comment:

Pearl Necklace said...

But the meaning of this symbolic representation in nursing from gray
actually, the transition from the utilitarian to the aesthetic orientations.
The aestheticization phenomena allow it to do otherwise. N. Evreinov says: "In
the midst of one of the passionate debate on this topic from my lips escaped one day
the following phrase: "the beauty of theatre-it is such a delicious sauce, which
you can eat your own father". It's been two years since I said that, but
now with both hands I subscribe to this paradox" (Evreinov
N. N. Pro scena sua. C. 18). The concept of the beautiful when it runs on a different
level, are not amenable definition. "Why beautiful, don't know. Maybe
you know why beautiful wild flowers, snow on the peak of Kazbek,the
Japanese trinkets, Cavalieri? And beauty is possible and the ugly" (There
And of course the problem of theatricality arises the concept of the mask
again purely semiotic phenomena, without which the theatre could
to realize itself: "When I pronounce the word "theatre", - writes
N. Evreinov, -- me first just seems to be a child, a savage
and all that is peculiar to them creatively-transforming will: a rejection of this
a world incomprehensible to them and not their world; its replacement by another,
freely invented and freely adopted as his own, not dependent
so much fate, how much of the inventor, the attraction to the mask as a cover
your valid "I" and EO ipso to the mask as the bearer of the new "I",
randomly generated, a mask, easy and obediently withstand the weight of the
heavy burden, which only take on her fantasy" (Evreinov
N. N. Theatre for himself. -- 4.1. P.37).
N. Evreinov introduces the basic law of the world tetraacetyl as
the Android Theater (See: Ibid., P. 13). He illustrates this
the position of dozens of examples, type the following: "the Desire to seem young
or, conversely, "not a sucker", to hide their shortcomings or, on the contrary,
Flirty to flaunt, "to pass" for someone to look so
and such -- it is not the action of theatricalia, which at the bottom of the blush
the aged matrons, and the perfume bottle "his Excellency", and fat
black fondant mustache of the elder, and in each layer of the skin is changeable-the right heels
undersized and on the edge of a razor, and in the teeth of the comb, everywhere!.."
(Ibid.P. 72)