The figure rejects our gaze in a way that mirrors their eschewal of Western society.
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Clinton's eschewal of a populist strategy was motivated in part by her quest for Romney voters—moderate Republicans who could be wooed, or so her campaign thought.
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The force that drives the engine of Kasey's work is her eschewal of the flat-earth ideology (collaged, cartoony or photo-derived, super-flat figuration) of many of her contemporaries.
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Though Mayer's style of art making and eschewal of gallery representation did not survive the rising force of the art market throughout the 1980s, her ephemeral, poetic monuments still offer a constructive critique.
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After a series of exhaustive interviews and polls with Trump voters, MSNBC's Benjy Sarlin concluded in June that Trump's eschewal of the donor class was the single biggest reason voters thrilled to his candidacy in the primary.
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While Mr. Hanoun was often compared with Bresson, the four features of "The Seasons" reveal a filmmaker who, in his eschewal of dramatic narrative and self-reflexive formal strategies, also had much in common with Andy Warhol and other American experimental filmmakers.
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In terms of theme, he could not get beyond what he was convinced was a fundamentally spurious obsession with suicidal ideation, but simultaneously he felt that every other poetic topic or concern was an obfuscation, an eschewal, or a bald retreat from this theme.
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The general negative outlook and eschewal of inbreeding that is prevalent in the Western world today has roots from over 2000 years ago. Specifically, written documents such as the Bible illustrate that there have been laws and social customs that have called for the abstention from inbreeding. Along with cultural taboos, parental education and awareness of inbreeding consequences have played large roles in minimizing inbreeding frequencies in areas like Europe. That being so, there are less urbanized and less populated regions across the world that have shown continuity in the practice of inbreeding.
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They lived and herded livestock at Spence Field during the warmer months, only rarely visiting the lower elevations. Historian Durwood Dunn, describing the Spences' eschewal of the more populated bottomlands, explains: > A few days before the birth of their son Robert in 1840, she (Caroline > Spence) walked alone ten miles to their home in the White Oak Cove in order > to be near neighbors who could assist her. Other than such emergencies as > childbirth and the approach of winter, however, nothing could induce them to > leave their mountain.Durwood Dunn, Cades Cove: The Life and Death of an > Appalachian Community (Knoxville: University of Tennessee Press, 1988), 43.
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He notes that the final work mentioned is the author's own. Stuart Kelly, literary editor of The Scotsman, calls the book a "clever, engaging read", praising the broad coverage and the eschewal of terms such as "Romantic" and "classical" that Kelly deems "problematic" in the context of music; he also appreciates Goodall's foregrounding of British composers. Christopher Hart, writing in The Sunday Times, calls the book "a lively zip through some 45 millennia", and singles out the "excellent" treatment of Liszt. He terms the book's treatment of religion, particularly Catholicism, a "glaring oddity", and also points out occasional minor errors in facts, dates and spelling.
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The groom's mistress, whom he married after the death of his wife in 1579, was already well-established in 1565: this was a political marriage, and an extravagant one, and cost Duke Cosimo, father of the groom, over 60,000 ducats, a phenomenal sum. Sending a teen-aged boy into the hot-house of Medici intrigue might have seemed questionable to the sober-minded Wittelsbachs. Albert had supported whole-heartedly the Catholic Counter-Reformation; Jesuits were entrenched at the Jesuit College of Ingolstadt, and had raised his children accordingly. Ferdinand's older brother earned for himself the sobriquet "the Pius" for his melancholy demeanor, his ardent attachment to prayer and meditation, and, more obviously, for his eschewal of hunting, dancing, and other frivolities that dominated social life in a 16th-century court.
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Balin was the primary founder of Jefferson Airplane, which he "launched" from a restaurant-turned-club he created and named the Matrix, and was also one of its lead vocalists and songwriters from 1965 to 1971. In the group's famous 1966–1971 iteration, Balin served as co-lead vocalist alongside Grace Slick. While his output diminished after Surrealistic Pillow (1967) as Slick, rhythm guitarist/singer Paul Kantner, and lead guitarist Jorma Kaukonen matured as songwriters (a process compounded by Balin's eschewal of the group's burgeoning "ego trips"), his most enduring songwriting contributions—which were often imbued with a romantic, pop-oriented lilt that was atypical of the band's characteristic forays into psychedelic rock—include "Comin' Back to Me" (a folk rock ballad later covered by Ritchie Havens and Rickie Lee Jones), "Today" (a collaboration with Kantner initially written on spec for Tony Bennett that was prominently covered by Tom Scott), and, again with Kantner, the topical 1969 top-100 hit "Volunteers". Although uncharacteristic of his oeuvre, the uptempo "3/5 of a Mile in 10 Seconds" and "Plastic Fantastic Lover" (both written for Surrealistic Pillow) remained integral components of the Airplane's live set throughout the late 1960s.
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Part of this neglect is not unique to Madetoja: the titanic legacy of Sibelius has made it difficult for Finnish composers (especially his contemporaries), as a group, to gain much attention, and each has had to labor under his "dominating shadow". However, with respect to the neglect of Madetoja in particular, something else might also be at play: Madetoja's eschewal of Romantic excess in favor of restraint, perhaps, has made him a tougher sell to audiences. According to one music critic: In recent decades, Madetoja has begun to enjoy the renaissance Parland foresaw, as the recording projects of numerous Nordic orchestras and conductors evidence. Petri Sakari and the Iceland Symphony Orchestra (Chandos, 1991–92) and John Storgårds and the Helsinki Philharmonic Orchestra (Ondine, 2012–13) have each recorded the symphonies and a few of the more famous orchestral miniatures. Arvo Volmer and the Oulu Symphony Orchestra (, 1998–2006), the largest of the projects, has recorded nearly all of Madetoja's works for orchestra, featuring the world premiere recordings for many pieces, among them the complete Symphonic Suite, Op. 4 (as opposed to just the Elegia), the Chess Suite, Op. 5; Dance Vision, Op. 11; the Pastoral Suite, Op. 34; the Barcarola, Op. 67/2, and Rustic Scenes, Op. 77\.
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