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Stark Sands

Stark Sands (né le 30 septembre 1978) est un acteur américain.

Stark Sands est né et a grandi à Dallas au Texas où, à 13 ans, il commença à monter sur des planches de théâtre à l’Highland Park High School waterproof 4s case. Il a reçu son Bachelor of Fine Arts (l’équivalent américain du diplôme des Beaux-Arts) en jouant l’université de Californie du Sud. Durant ses quatre ans au conservatoire, il apparut dans plus d’une douzaine de pièces et comédies musicales comme Roméo et Juliette waterproof pouch dry bag case, Macbeth, Hamlet, Pippin et Blanches Colombes et Vilains Messieurs.

La carrière professionnelle de Sands débuta immédiatement après son diplôme. D’abord remarqué aux côtés de Lauren Ambrose dans la série télévisée Six Feet Under best plastic bottles for water, il a ensuite joué dans Me and Daphne, un court-métrage réalisé par Rebecca Gayheart et produit par Brett Ratner, puis, dans un film indépendant, Pack of Dogs de Ian Kessner.

Après avoir joué dans d’autres films et séries télévisées, il a été nommé aux Tony Awards en tant que meilleur acteur dans une pièce de théâtre pour son rôle dans Journey’s End.

2015: Minority Report : Dash/Arthur

John Archer (physician)

John Archer (fl. 1660–1684), was court physician in the reign of Charles II.

Of his origin nothing is certainly known; but he was probably an English Protestant born in Ireland, as he speaks of having been in practice in Dublin in 1660. Irish Catholics were not educated as physicians in the 17th century (see Statutes of Kilkenny and Irish Penal Laws.) He afterwards lived in London, and was styled ‘Chymical Physitian in Ordinary to the King’ (1671); afterwards, on his engraved portrait, he is called simply ‘medicus in ordinario regi’ (1684). He boasts that, on the favorable report of some of his patients, his majesty was pleased to command him ‘to help some noble persons afflicted with a fistule.’ He was never a member of, or in any way licensed by, the College of Physicians.

In fact Archer, although a royal physician, was what would be called in these days an advertising quack. His book, ‘Every Man his own Doctor,’ purporting to be a manual of health, but really treating of various diseases, reputable and disreputable sells goalkeeper clothing, especially the latter, was nothing but an advertisement. He promises marvelous cures by secret remedies, sold only by himself waterproof pouch dry bag case, and able even to insure immunity beforehand from the possible consequences of debauchery. It is written in a style at once prurient and hypocritical. The British Museum copy of this work has written on the fly-leaf, in a contemporary hand — and probably a similar advertisement was written in every copy before it was sold — the following notice: ‘The author is to be spoke with at his chamber in a sadler’s house over against the mewes gate next the Black Horse nigh Charing Cross; his bowers there are from eleven to five in the evening, at other times at his house in Knightsbridge.’

His only medicines were certain nostrums of his own preparation, ‘to be had only from the author at his house in Winchester Street, near Gresham College,’ and at prices which seem high. His books were also sold by himself. Archer’s ‘Secrets Disclosed, of Consumption, &c.’ is a book of the same stamp, and in part a repetition of the former. His ‘Herbal’ is worthless.

Archer also boasts of three inventions— a vapour-bath, a new kind of oven and a chariot which enabled one horse to do the work of two. The only interest attaching to these discreditable works and their author is the singular fact that a man who might in the present day even be liable to prosecution, should in the reign of Charles II have enjoyed the status of the king’s physician.

The titles of his works, alluded to above, are: 1. ‘Every Man his own Doctor, completed with an Herbal, &c.’ by John Archer, one of his Majesty’s Physicians in Ordinary. 2nd edition. London, printed for the Author, and are to be sold at his house, 1673 (1st edition 1671). 2. ‘Secrets Disclosed, of Consumption, showing how to distinguish between Scurvy and Venereal Disease, &c.’ by John Archer badger football uniforms. London, printed for the Author, 1684.

 This article incorporates text from a publication now in the public domain: “Archer, John (fl.1660-1684)”. Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900. 

I Was Dora Suarez

I was Dora Suarez (published in 1990) is a detective novel by Derek Raymond. It is the fourth book in the Factory series (with He Died with His Eyes Open, The Devil’s Home on Leave, and How the Dead Live).

As the fourth novel in the Factory series opens, young prostitute Dora Suarez is axed into pieces. The killer then smashes the head of her neighbour, an 86-year-old widow. On the same night, a mile away in the West End, a shotgun blows the top off the head of Felix Roatta, part-owner of the seedy Parallel Club waterproof pouch dry bag case. As the detective obsesses with the young woman whose murder he investigates, he discovers that her death is even more bizarre than he had suspected: the murderer ate bits of flesh from Suarez’s corpse and ejaculated against her thigh. Autopsy results accrue the revulsion as they compound the puzzle: Suarez was dying of AIDS, but the pathologist is unable to determine how she had contracted HIV. Then a photo why do you tenderize meat, supplied by a former Parallel hostess, links Suarez to Roatta, and inquiries at the nightclub reveal her vile and inhuman exploitation.

Cook’s notoriety crested following the 1990 publication of what many consider his best — and most repulsive — work: the tortured, redemptive tale of a masochistic serial killer where to buy bpa free water bottles, I Was Dora Suarez. To Cook’s delight, the ensuing novel caused Dan Franklin, the publisher of its three predecessors, to vomit over his desk. As a result of this reader response, Secker & Warburg told the author to take his nauseating wares elsewhere. Scribner took over the fourth novel in the factory series. Writing for The New York Times, Marilyn Stasio proclaimed: “Everything about I Was Dora Suarez […] shrieks of the joy and pain of going too far.” Filmmaker described it in The Times as “a book full of coagulating disgust and compassion for the world’s contamination burgundy football socks, disease and mutilation, all dwelt on with a feverish, metaphysical intensity that recalls Donne and the Jacobeans more than any of Raymond’s contemporaries.”

Cook recognized I Was Dora Suarez as his greatest and most onerous achievement: “Writing Suarez broke me; I see that now. I don’t mean that it broke me physically or mentally, although it came near to doing both. But it changed me; it separated out for ever what was living and what was dead. I realised it was doing so at the time, but not fully, and not how, and not at once. […] I asked for it, though. If you go down into the darkness, you must expect it to leave traces on you coming up — if you do come up. It’s like working in a mine; you hope that hands you can’t see know what they’re doing and will pull you through. I know I wondered half way through Suarez if I would get through — I mean, if my reason would get through. For the trouble with an experience like Suarez is that you become what you’re writing, passing like Alice through the language into the situation.” (The Hidden Files, pp. 132-133.)

Robin Cook read some excerpts of his novels in a live performance with background music by the alternative rock band Gallon Drunk.

Fantasy bond

The fantasy bond is a type of relationship where the basic tie is based on routines and roles, rather than spontaneous feelings waterproof pouch dry bag case. It is a term used to describe an imaginary connection formed originally by the infant with the parent or primary caregiver, but also describes an illusory connection to another person that adults attempt to establish in their intimate associations, which leads to deterioration in the relationship.

This type of bond is differentiated from the positive bonding that occurs in secure attachments. The fantasy bond offers an illusion of love which prevents real emotional contact, and can be linked to the pseudo-independence of the self-parenting character.

The origins of a fantasy bond can be found in the failures of childhood parenting, denial of which leads to an over-valuation and idealisation of the parent/parents in question.

The result can be a sense of grandiosity based on the internalisation of the parental value systems, an acceptance of the inner critic with its automatic thoughts as a substitute for real relating.

Such over-idealisation of the past protects against the re-emergence of painful memories, but also ties into the perpetuation of current ersatz relationships with only the object of idolatry changed in the new fantasy bond. The fantasy bond acts as a painkiller that cuts off feeling responses and interferes with the development of a true sense of self, and the more a person comes to rely on fantasies of connection, the less he or she will seek or be able to accept love and affection in a real relationship.

The fantasy bond is the primary defense against separation anxiety, interpersonal pain, and existential dread. Infants naturally comfort themselves by using images and self-soothing behaviors to ease the anxiety of being separated from their caregivers, so when caregivers are often unavailable or inconsistent in meeting an infant’s needs, the infant increasingly turns to an image of being connected to them tenderizer for steak. This fantasy bond is a substitute for the love and care that may be missing.

In later life the fantasy bond may provide an illusory sense of safety against the threat of the approach of death. To varying degrees, all people tend to make imagined connections with people in their lives New Balance Kids. Many people have a fear of intimacy and at the same time are terrified of being alone. A fantasy bond allows them to maintain a certain emotional distance while relieving loneliness, but this bond reduces the possibility of achieving success in a relationship.

Therapists are warned to guard against the emergence of a false transference based on a fantasy bond and fuelled especially by narcissism.