characters
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| in alphabetical order describing cartoon | characters | adjectives pupils are given pictures |
| wore t shirts of cartoon | characters | on countdown disco weekends an |
| are given pictures of cartoon | characters | to cut out or they |
| a model to become the | characters | in the play are fictional |
| in relation to her fictional | characters | lives letters are also an |
| statin anew bi subjeckin fictional | characters | tae psychoanalysis we are ackwallie |
| legend dressing up as the | characters | from the classic novel fear |
| focalises in turn on different | characters | her last novel another time |
| the same topic or two | characters | in a novel even simple |
| court at mantua playing fifteen | characters | on stage for five hours |
| mantua in italy playing fifteen | characters | on stage simultaneously for five |
| does this he portrays fifteen | characters | simultaneously on stage for five |
| erm you know yes so | characters | and then other characters behave |
| so characters and then other | characters | behave in ways that you |
| close proximitie o the central | characters | lives the buik depicts the |
| into the lives of her | characters | whose background outside the text |
| behaved and divert your main | characters | and stuff like this you |
| makes one of his main | characters | discuss the use of language |
| offers us two weak main | characters | on the one hand a |
| gies the fower main modren | characters | space tae wark out thair |
| struggles of all the main | characters | sympathetically in all cases but |
| or literary sympathy towards your | characters | 15 this is something that |
| and regional roots of their | characters | can trace their literary genealogy |
| ve aw gotten ti be | characters | in the story di oany |
| of the massive surreal strange | characters | in the story er pantagruel |
| bein yin o the leadin | characters | in the story robby mah |
| many of kesson s central | characters | being shamed or losing dignity |
| and at the two central | characters | both young and female with |
| bullies and two prostitutes the | characters | most loved by the central |
| the the ideas of of | characters | and m762: mm f963: and |
| right yeah mmhm mmhm m762: | characters | going to go you know |
| right yeah yeah m762: the | characters | have your deficiencies but also |
| of some of the different | characters | m762: yeah they are they |
| about as many of the | characters | as they can using at |
| is and erm using our | characters | to try and come to |
| although most of the other | characters | in the play are vain |
| in scots by david purves | characters | in the play prozorov andrey |
| meets panurge and the two | characters | attempt to converse the problem |
| being entirely consistent with the | characters | of the two men much |
| as they both use the | characters | of the roman alphabet however |
| no the morality o his | characters | a different wey o lookin |
| lady would make all the | characters | come to life you know |
| he pencilled in all his | characters | straight from life in fact |
| going to happen to those | characters | how they re going to |
| us tae the buik s | characters | an settins fir maist readers |
| awful lot of old- or | characters | around us f746: mmhm f978: |
| us feel i compare the | characters | of mike teavee and charlie |
| be dramatically appropriate to the | characters | drawn the same goes for |
| a writer also through your | characters | by definition almost yo- if |
| the utilization of any additional | characters | it even advocates the dropping |
| does ah there s some | characters | in it erm i can |
| not it comes into your | characters | you know if if they |
| but one of the other | characters | in it who s a |
| kesson s work all her | characters | are bound in with a |
| offence and all sorts of | characters | like that we ve got |
| twice each by the various | characters | who speak all contributes to |
| you feel as if the | characters | almost sort of come to |
| certainly not true that such | characters | can be seen as representative |
| to pantomime coamics and television | characters | such as rab c nesbitt |
| arising from its conflicts and | characters | such texts are mainly by |
| language and attitudes of the | characters | are excruciatingly stilted and i |
| quickly establishes control the important | characters | here are the widow and |
| studies in psychoanalysis they are | characters | i fiction this fack is |
| ane or mair o the | characters | and ack out imaginatively the |
| sometimes castigated or mocked the | characters | and activities of her local |
| flame or the names of | characters | from stories and the ensuing |
| then make drawings of their | characters | in action or the sentences |
| identifying it with favourite tv | characters | or football personalities 2 5 |
| they contain specific reference to | characters | actions thoughts feelings ideas places |
| they often refer to actual | characters | as peter hall has shown |
| is indicative of the boys | characters | that they should succumb so |
| for christmas scenes showed seasonal | characters | like snowhite and her seven |
| theatre edinburgh 13 march 1997 | characters | agnes working class about sixty |
| in the drive and suspicious | characters | hanging about i can t |
| earth in forty minutes the | characters | of the about to be |
| of the one of the | characters | talks about has to go |
| the the sort of casaubon | characters | with their own kind of |
| take some liberties in creating | characters | out of real people for |
| reid from townhead were real | characters | on one occasion mr reid |
| the effect of giving the | characters | a fresh vitality which is |
| see any of the disney | characters | hae a look and see |
| there was an assortment of | characters | m608: [laugh] f641: [laugh] f643: |
| distribution of varieties delineates the | characters | of plain speaking pantagruel and |
| head whereas each group of | characters | only has a limited vision |
| a whole new set of | characters | would have to be incorporated |
| william and margaret as living | characters | and not just cardboard stereotypes |
| not so broad as locals | characters | mrs beaumont betty martha beaumont |
| throu the plot an his | characters | his social veesion is lik |
| the princess by david purves | characters | nanse the prood auldest princess |
| by the edinburgh playwrights workshop | characters | narrator broun ogre wutch that |
| workshop in the traverse theatre | characters | eilidh moula s kimmer moula |
| saw was that the female | characters | in it were were a |
| be made via the lowliest | characters | in mary jane macpherson the |
| become largely confined to comic | characters | in pantomime these roles reflect |
| falkplan map and the cyrillic | characters | in the metro stations we |
| with the lane and its | characters | it is that voice that |
| the meanin o the auld | characters | ma son fleitches for a |
| explores weel kent fairy tale | characters | and stories spinnin a modrin |
| poem the capacity to create | characters | and voices to construct a |
| the period is the present | characters | bessie livingstone née wilson aged |
| i the wey buchan s | characters | dae but greig compensates bi |
| part 4 winter 3000 the | characters | dr shiran bandara b 1975 |
| re catch t the ither | characters | i john macnab faw intil |
| at the barras fairy tale | characters | lewis islanders there s no |
| paolo montegazza s book human | characters | 1901 was dedicated to an |
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