#allmand

[rentalextampa]

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[une-sanz-pluis]

If 1416 had seen members of the dynasty achieving successes – it was notable how Sigismund had been met by all three of Henry’s brothers in their order of seniority as he progressed from Dover to London to meet the king himself when he arrived in May – the year 1417 provided the best example of how much Henry owed to his close male relatives, two of whom, Clarence and Gloucester, accompanied him on his second invasion of Normandy. His choice was interesting. Was it, as already suggested, because he wanted to act in close unison with him and to supervise his activities personally that Henry ordered Clarence to accompany him? And was it to give him further experience of war, in particular of siege warfare and of the use of the new artillery, that he chose Gloucester to take command of part of the army? In both cases, but for rather different reasons, Henry may have felt that he would prefer to have these two men under his orders. Two things are notable. The first is that both men remained in Normandy under Henry for at least two years, each loyally committing his life at this time to the fulfilment of Henry’s ambition, making it almost the ambition of the dynasty. The second is the extent to which these two men, in their contrasting military ‘styles’, assisted Henry in his conquest of Normandy. Clarence was the man of flamboyant action seen, for instance, in his scaling of the wall at Caen and his cry ‘A Clarans, A Clarans’ recorded by the chronicler, and in the manner in which he and a small force of men captured Pontoise in a daring dawn raid on 30 July 1419. Such notable actions achieved success, and were duly recorded by the chroniclers who still wrote in a chivalric vein whenever the opportunity occurred. Those very same chroniclers were also interested in the relatively new techniques of war which developments in artillery presented. They thus admired Gloucester’s contribution to the war, his rapid conquest of northwestern Normandy in the spring of 1418 when towns and castles surrendered in quick succession to his army. Most of all, they noted his successful completion of the six-month siege of Cherbourg, carried out by a man with relatively little practical experience of war behind him, but with an interest in siege warfare and in particular the advantages which the use of artillery was now giving the attacker. Nor should we think of Gloucester as a man who preferred to win success from the comparative safety of an artillery emplacement. Like all his brothers, he was no coward; the Brut records that, at the siege of Rouen to which he went after he had taken Cherbourg, Gloucester deliberately pitched his encampment closer to that city’s wall – and hence closer to danger — than did any other commander. The important point to underline is that Clarence and Gloucester presented Henry with useful contrasts in military style; one was ready for dramatic action when required, while the other preferred to use the new weaponry to achieve less dramatic but equally lasting results.

Christopher Allmand, Henry V (Yale Monarchs, 1992)

[zenaoitimetravelau]

"The beginning of the story... Once again."

ARC 1—ACT 1: WISTERIA MOUNTAIN

Final Selection. The final test for those who are worthy to become demon slayers finally pass and become apart of the Corps. Survive 7 days and kill the demons trapped behind the Wisteriaa barrier.

Every year, the participants gather around in Mount Fujikasane, the safe area surrounded by Wisteria, warding off demons from possibly escaping their imprisonment.

Amongst all of the participants preparing themselves to be thrown into this test, two of them stood out unlike the others. Both in their appearances and in their posture.

The first one was a boy with honey-coloured eyes and golden hair, messing around with the hem of his jinbei kimono's sleeves. His expression showed concern, nervousness, as if he didn’t want to be here at allmand was simply forced to.

The second one was a girl with azure-coloured eyes and raven hair, her arms crossed as she tapped her foot against the rocky surface of the floor impatiently, a bead of sweat rolling down her cheek as she waited for the test to begin.

The two stood out like sore thumbs amongst the normality of the other participants' appearances. Unlike the participants though, they seemed more on guard, ready to act on what they'd face inside Mount Fujikasane.

Whatever waited for them inside of there, they knew they wouldn't like it. Because man-eating demons inside that very mountain. And they knew what to do. Fight for their lives to survive.

OPEN CHARACTERS TO ASK: AGATSUMA ZENITSU, KANZAKI AOI

[batlleonafc]

I think that Gabby deserve her MVP. Allmand was good too. Gabby in the second half plays very well. I think that they gave to Gabby the MVP because she is more spettacular to watch.

I was almost as surprised as Gabby herself when announced she got announced as MVP. Not saying she didn't deserve it. I just didn't expect it. her reaction is so cute.

[no1248]

Richard Allmand Blow (American, 1904-1983), "Green Serpent"

[heartofstanding]

stumbled over some blogger's review for Christopher Allmand's Henry V biography where they complained that complained Henry's reign had no "compelling narrative" or "narrative heart" and my reaction was to slam my copy of The King's Two Bodies onto a table and declare that the narrative of Henry V's reign is the body spiritual's attempt to repress the the body natural.

[antonjesus]

Can Bankruptcy Help Stop Repossession? Bankruptcy and Auto Repossession Bankruptcy is designed to protect individuals or businesses that are unable to meet their financial obligations — and provide protection to involved creditors as well. While bankruptcy is a serious procedure and should only be considered if absolutely necessary, sometimes it is the best solution for

[velonixs-blog]

Equipe franco-allmand

[e-a-noe-henry]

“ you don’t need no gypsy to tell you why “

g. allmand

[felimessi]

The Downfall of Game of Thrones and Why cont.

Forced representation is seen in many TV shows and movies in today’s age however it is rare to see the same piece of media start of with incredible intersectionality and complexity of perspectives and diversity, and then fall into such a dumpster fire of forced representation and failed intersectionality. Game of Thrones went from being the culture rave to being a distant memory and one that most viewers want to forget. The failure to do intersectionality correctly and wanting to fit in representation where it does not make sense can have drastic repercussions when it comes to film and storytelling as it prioritizes the intention of the message over the logic of the plot and its characters. Unfortunately the most watched TV series of all time and to some a masterpiece, Game of Thrones, had to fall victim to this and the lessons learned from this epic failure has impacted Hollywood and future shows that have come after it. Which has shown creators and writers what can happen if intersectionality is done in a sloppy and lazy way which is one positive that has come out of the tragedy of The Downfall of Game of Thrones. 

Allmand, Chloe. “Male Viewer to Female Character Cross-Gender Identification in Game of Thrones.” Pacific Coast Philology, vol. 54, no. 2, 2019, pp. 161–179. JSTOR, https://doi.org/10.5325/pacicoasphil.54.2.0161. Accessed 30 Apr. 2023. 

[This article explores the idea of cross-gender viewer identification, the act of watching a film or television show, and imagining oneself as a character of the opposite gender. This idea counters common understandings of the “male gaze” as it relates to film. Specifically, with the rise of the girl hero and other non-sexualized heroines in film, male viewers can consciously imagine themselves as films’ heroines, not just as films’ heroes who possess the heroines, as Laura Mulvey argued in her essay “Visual Pleasure in Narrative Cinema.” This article explores the possibilities for this type of identification through analysis of sisters Arya and Sansa Stark in the HBO series Game of Thrones, who represent two types of fantasy heroines: the warrior and the maiden. The article investigates the roles of stereotypical femininity and masculinity in constructing the “ideal” fantasy heroine, and ultimately finds that fantasy heroines today are not admirable for their “masculine” traits, but for their capabilities to operate outside of gender binaries.]

Digioia, Amanda. “Conceptualising International Relations, Popular Culture, Gender, and How Feminine Power Won the Game of Thrones.” St Antony's International Review, vol. 16, no. 1, 2020, pp. 116–146. JSTOR, https://www.jstor.org/stable/27027793. Accessed 30 Apr. 2023. 

[This article contributes to existing literature on the connections between gender, International Relations, power, and Game of Thrones. Scholars have demonstrated that there is a clear relationship between power, gender and political authority. Politics and world pop culture relate to one another. The arts have been an indicated as being a catalyst for societal change, showing that some forms of fictional and factual politics have a relationship with one another. This article uses existing scholarship on the gendered dimensions of political power in International Relations to show that Sansa Stark won Game of Thrones by repeatedly rejecting masculine power. Instead, Sansa adopts a policy rooted in feminine power (letter-writing, collaboration, patience and strategy) that win The Battle of the Bastards, and, ultimately, the North's independence. By doing so, this article shows that the coronation of Sansa Stark represents the triumph of feminine-coded power and policy, and that the rise of such power in the fictional world of Westeros can be mapped onto the non-fictional political world in a number of different examples. In our real world, Sansa's non-fictional counterparts stand out in stark contrast to a political landscape littered with political 'strongmen', who could be read as sabre-rattling pseudo-Targaryens.]

Young, Joseph Rex. “George R.R. Martin's Dwarfs as Grotesque Realists.” Mythlore, vol. 39, no. 1 (137), 2020, pp. 77–96. JSTOR, https://www.jstor.org/stable/26937586. Accessed 30 Apr. 2023. 

Sarkisian, Jacob. “I Rewatched Season 8 of 'Game of Thrones' a Year Later, and While It Was Just as Bad the Second Time around, It Reignited My Love for Westeros.” Insider, 20 May 2020, https://www.insider.com/rewatched-season-eight-game-of-thrones-self-isolating-2020-4. 

Elvy, Craig. “Game of Thrones: What Went Wrong with Season 8.” ScreenRant, 2 Mar. 2023, https://screenrant.com/game-thrones-hbo-season-8-bad-reason/. 

[rentalextampa]

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[une-sanz-pluis]

In 1417 the important role of Cinderella was played, as it had already been played in 1415, by Bedford, whose qualities as a reliable administrator were well known to Henry. His position, however, was no sinecure. As he had done in 1415, Henry again left an uncertain situation on the Scottish border, an area with which Bedford was all too familiar. Within a fortnight of Henry’s sailing for Normandy, Bedford, as lieutenant of England, had to issue a summons for military service to resist the Scots. With the help of Exeter (also in England) and Henry Bowet, archbishop of York, a sizeable army was raised, and the Scots, caught unawares by the vigour and strength of the English reaction, returned to their own country leaving behind the engines with which they had besieged Berwick. Together, Bedford and Exeter had won a success which allowed Thomas Walsingham to sing the praises of the country which, in spite of its heavy commitment in Normandy, could find so many men and such fine leaders to defend its northern border against an enemy who dared not await to face the English army but rather, informed of its approach by spies, turned tail as a group of women might have done.

Christopher Allmand, Henry V (Yale Monarchs, 1992)

[mybeautifulchristianjourney]

by Oliver Allmand-Smith | Samuel Sewall lived with his family in Puritan America between 1652 and 1730, and he suffered in ways unimaginable to us today. Over a period of 24 years, he and his wife Hannah had 14 children: his first son John died aged 17 months; his third son Hull died aged 23 months; his fourth son...

[roseshavethoughts]

Film Review | Knock Knock

#FilmFriday Everyone loves Keanu, maybe a little too much in Knock Knock #Film #Filmreview #Cinema #filmblog

Some doors should never be opened

Plot: A devoted father helps two stranded young women who knock on his door, but his kind gesture turns into a dangerous seduction and a deadly game of cat and mouse.

Director: Eli Roth

Starring: Keanu Reeves, Lorenza Izzo, Ana De Armas, Ignacia Allmand

Genre: Drama/Thriller

Release Date: June 26th 2015

Certificate: 18

[youtube=https://www.youtube.com/watch?v=3y…

[lesser-known-composers]

William Brade (1560-1630) - Allmand and Coranta a 5 in D Minor ·

Weser-Renaissance Bremen · Manfred Cordes