By Ralph Helfer
They're significant stars who don't converse a be aware onscreen, but are international well-known for his or her compelling performances. who're they? The animal stars of the large reveal, in fact! within the fantastic thing about the Beasts, Ralph Helfer stocks with the reader his love of animals and his paintings with a few of Hollywood’s largest stars: Clarence the Cross‑Eyed Lion, light Ben, the Schlitz Malt Liquor Bull, Clint Eastwood’s orangutan sidekick Clyde, and plenty of extra. Helfer stocks his philosophy on education those attractive beasts to do outstanding feats and maximize their performing capability with no coercion. sign up for Ralph Helfer in his exploration of animal appearing and skim of his masterful use of TLC to paintings with those extra special, non‑human actors.
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Extra resources for The Beauty of the Beasts
One might object that the Observer's Paradox looms large in the use of any materials gathered in this way, but we have parallel field methods across time and thus should be getting a consistent style, most likely the highest end of the speaker's register, across the decades. Another concern is sampling. We have only a few speakers from the earliest period, and even for those we often have little or no biographical information. The fieldworker in this case, though, was Lester W. J. Seifert, a native speaker of a Wisconsin German dialect.
J. "Smoky" Seifert, in belated gratitude for making this study, and we hope many similar ones, possible. We thank his family, especially his daughter Suzanne Seifert Treichel, for having the good judgment to save his recordings and bring them to the Max Kade Institute. That has triggered a wave of research as well as the founding of the now rapidly growing Max Kade Institute Sound Archive. This paper was a pilot study, one leading to the far more extensive study to be reported in Geiger (forthcoming).
3. VOT data from Standard German, American English and German dialects A notorious characteristic of most Germanic languages is the propensity to aspirate "voiceless" stops in prosodically prominent positions. Building on such phonetics, it is increasingly accepted in the literature today that the aspirated series is the laryngeally marked member of the stop series opposition, and that the distinction between the two series of stops in Germanic is in fact phonologically best captured by a feature connected to aspiration, like [spread glottis], [tense] or [fortis], rather than in terms of [voice], cf.