By burying himself in the cultural conscious, Han became ungraspable.
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The novel poignantly conjures the difficulties of reconciling the present with "an ungraspable history."
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Washington has been pitched back into a disorienting world of ungraspable truths, confusion and recrimination.
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LEO TOLSTOY aspired to "grasp the seemingly ungraspable" parts of life when he wrote "War and Peace".
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Art Review WATER MILL, N.Y. — Light is a thing of ungraspable nature, sometimes a particle, sometimes a wave.
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Each translator has to confront Vallejo's lacunas for the ungraspable experience of having to bear unbearable acts of power.
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Winogrand's full complexity as an artist, not even to think of the immensity of his unseen work, remains ungraspable.
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Far from making dogmatic claims like "all is art," these new art theoreticians paradoxically explore the space of the ungraspable in unpredictable times.
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The cascade of flickering, sometimes unreadable images is so unremitting, despite long stretches of an utterly blank screen, as to be nearly ungraspable.
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Trevor Paglen explained the motivation for his recent photographic series of deep-sea cables as wanting to visualize the NSA tapping scandal we find so ungraspable.
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As he desperately tries to perform his Chineseness, which he largely had no access to as a minority within Indonesian culture, identity remains ungraspable, fluid, and torn.
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But, too often, "Hill House" reduces the ungraspable terrors that shudder through the original to mere "issues," as if evil were just another trauma to be confronted, then resolved.
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Like those ancient examples, Pousette-Dart's painting evokes the ungraspable concept of the eternal through the painstakingly patient, accumulative methods of visual art – limited means crafted to look infinite.
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Some Americans want to believe that unconscionable behavior — like marching in the name of racial hatred or plowing a car into a crowd of civilians — is an ungraspable blow to all Americans.
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And since you can only look one way while each scene unfolds in every direction simultaneously, the film captures the ungraspable nature of dreams while giving you more to see with additional viewings.
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While many of the works are weighty, they're far from ungraspable, providing a wonderful entry point for new museumgoers and a refreshing take on the possibilities of a contemporary art exhibition, for even the most entrenched of viewers.
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But at a time in which our accepted systems of power are splintering, the idea of an artist viscerally engaged with seemingly ungraspable struggles like systemic racism and poverty has lent a new relevance not only to Pope.
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Stare at these images for long enough, and it becomes difficult to see whether we are looking down at something or up; whether we are looking at something as solid as land or as ungraspable as sky or water.
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Now, in a stunning exhibition that examines the myths, beliefs, rituals, and theological developments that have characterized a religion that at times may seem ungraspable, the Cleveland Museum of Art is presenting Shintō: Discovery of the Divine in Japanese Art (on view through May 111503).
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In 22001, Mr. Rivette began work on a long film called "Paris Belongs to Us," which displayed many of the elements that would be part of his mature style: a meandering and frequently neglected narrative line based on a character's discovery of a vast, ungraspable conspiracy; a group of actors observed in rehearsal (here for a production of Shakespeare's "Pericles"); a documentary appreciation of the city of Paris; and a start-and-stop rhythm, created by the collision of stylized, scripted material and the real-world contingencies of improvisation and location shooting.
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We respond to the luminous revelations of small transcendences rather than the ungraspable miracles of the universe or the cosmos.
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Material objects and narrative elements, considered redundant, are eliminated. The landscape becomes reduced to immaterial forces of nature and ungraspable impressions such as vast vacuous spaces, the darkness in the heart of woods or atmospheric phenomena e.g. the pre-storm blackness of heavens, the mist or the gust of wind during torrential rain.Aleksander Żywiecki, facebook, lasy, drzewa, access date 24. 08.
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Chapter one, The Right to Happiness, introduces what the book; the Art of Happiness is about. Psychiatrist Howard Cutler followed the Dalai Lama around on this tour. Cutler, as well as many of his patients, believed that happiness was “ill defined, elusive, and ungraspable” (14). He also noted that the word ‘happy’ was derived from the term luck or chance (14).
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He would pursue this style of inquiry in meditation, one day realizing that the soul is ungraspable due to its inherent emptiness. When Bassui was twenty he undertook training at Jifukuji Temple under a Zen Master Oko. Bassui resisted ordaining as a monk just yet, and waited for another nine years before becoming one. Once a monk he would not wear a monk's robes or recite the sutras as everyone was doing.
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Kyrklund's works of fiction are influenced by modernism; his early short stories resemble surrealism, in which the storyline is concealed by symbolism that contributes to conveying a mix of bitter irony, reconciliation and alienation. These characteristics of his writings, together with Kyrklund's own absurdities, to some extent resemble the work of Torgny Lindgren. However, in contrast to surrealism, Kyrklund's works are highly aware and well thought out. Recurring themes are pointlessness and powerlessness, where good and bad meet in an ungraspable and sometimes deliberately incomprehensible greyscale.
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The radically performative character of the subject of non-philosophy would be meaningless without the concept of radical immanence. The philosophical doctrine of immanence is generally defined as any philosophical belief or argument which resists transcendent separation between the world and some other principle or force (such as a creator deity). According to Laruelle, the decisional character of philosophy makes immanence impossible for it, as some ungraspable splitting is always taking place within. By contrast, non-philosophy axiomatically deploys immanence as being endlessly conceptualizable by the subject of non-philosophy.
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The tathāgatagarbha itself needs no cultivation, only uncovering or discovery, as it is already present and perfect within each being: Charles Muller comments that the tathagatagarbha is the mind's original pure nature and has neither a point of origination nor a point of cessation: 'tathagatagarbha expresses the already perfect aspect of the original nature of the mind that is clear and pure without arising or cessation.' The tathāgatagarbha is the ultimate, pure, ungraspable, inconceivable, irreducible, unassailable, boundless, true and deathless quintessence of the Buddha's emancipatory reality, the very core of his sublime nature.
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Ott, p. 78 The authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, Warren Martyn and Adrian Wood, thought that "the out-takes [were] up to standard" and said that the episode contains "a number of great self-referential moments".Martyn (2006) Simone Knox praised its visual style in her article Reading the Ungraspable Double-Codedness of "The Simpsons". Knox referred to it as not simply a clip show, but a clip show "that looks at the series with a sense of hyper-self-consciousness about its own textuality".
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Both Liszt and Berlioz greatly admired the instrumentation of the opera. Liszt wrote that "the orchestral effects are so cleverly combined and diversified that we have never been able to attend a performance of the Huguenots without a new feeling of surprise and admiration for the art of the master who has managed to dye in a thousand shades, almost ungraspable in their delicacy, the rich fabric of his musical poem". Meyerbeer used a variety of novel and unusual orchestral effects in the opera. Marcel's utterances are usually accompanied by two cellos and a double bass.
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Their potentialities would be limitless and their > intelligence ungraspable by humans. In the same interview, he also blames the poor critical reaction to 2001 as follows: > Perhaps there is a certain element of the lumpen literati that is so > dogmatically atheist and materialist and Earth-bound that it finds the > grandeur of space and the myriad mysteries of cosmic intelligence anathema. In a 1969 interview to American Cinematographer, Kubrick expressed his atheism when asked if there was an unseen cosmic intelligence or god behind the events in 2001:Smith 2010, p. 68. > The whole idea of god is absurd.
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The metaphysical thread of Adlerian theory does not problematise the notion of teleology since concepts such as eternity (an ungraspable end where time ceases to exist) match the religious aspects that are held in tandem. In contrast, the constructivist Adlerian threads (either humanist/modernist or postmodern in variant) seek to raise insight of the force of unconscious fictions– which carry all of the inevitability of 'fate'– so long as one does not understand them. Here, 'teleology' itself is fictive yet experienced as quite real. This aspect of Adler's theory is somewhat analogous to the principles developed in Rational Emotive Behavior Therapy (REBT) and Cognitive Therapy (CT).
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Bryant and Springer (2007), xvi While both have an angry sense of being orphaned, they try to come to terms with this hole in their beings in different ways: Ahab with violence, Ishmael with meditation. And while the plot in Moby-Dick may be driven by Ahab's anger, Ishmael's desire to get a hold of the "ungraspable" accounts for the novel's lyricism.Bryant and Springer (2007), x Buell sees a double quest in the book: Ahab's is to hunt Moby Dick, Ishmael's is "to understand what to make of both whale and hunt". One of the most distinctive features of the book is the variety of genres.
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"Free spirits", by contrast to the philosophers of the past, are "investigators to the point of cruelty, with rash fingers for the ungraspable, with teeth and stomach for the most indigestible" (§44). Nietzsche warns against those who would suffer for the sake of truth and exhorts his readers to shun these indignant sufferers for truth and lend their ears instead to "cynics"—those who "speak 'badly' of man—but do not speak ill of him" (§26). There are kinds of fearless scholars who are truly independent of prejudice (§6), but these "philosophical labourers and men of science in general" should not be confused with philosophers, who are "commanders and law-givers" (§211). Nietzsche also subjects physics to critique.
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Modiano's first novel, La Place de l'étoile, received both the Prix Fénéon and the Prix Roger-Nimier in 1968. He won the Prix Goncourt in 1978 for his novel Rue des boutiques obscures (Missing Person) and the Grand Prix du roman de l'Académie française in 1972 for Les Boulevards de ceinture. He also won the 2010 Prix mondial Cino Del Duca from the Institut de France for his lifetime achievement, and the 2012 Austrian State Prize for European Literature. Called the "Marcel Proust of our time", he was awarded the 2014 Nobel Prize in Literature "for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the Occupation".
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He is the author of a collection of reflections about religious and political life in his time and of a famous eulogy of the prophet Mohammed (taṣliyah) on which a commentary was written by Ahmad ibn Ajiba. He also wrote a metaphysical paraphrase of a widely known prayer, called al-Salat al-Mashishiyah, in which the believer calls on God to bless the Prophet to thank him for having received Islam through him. In it, Ibn Mashish sees in the prophet Muhammad as a creature of the one Spirit from which all revelation comes and which is the eternal mediator between the ungraspable God and the world. He also gave the Islamic world a prayer of salawat called Salawat al- Nariyah.
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Edgar Allan Poe wrote an essay on cosmology titled Eureka (1848) which said that "space and duration are one". This is the first known instance of suggesting space and time to be different perceptions of one thing. Poe arrived at this conclusion after approximately 90 pages of reasoning but employed no mathematics. Theoretical physicist James Clerk Maxwell is best known for his work in formulating the equations of electromagnetism. He was also a prize-winning poet, and in his last poem Paradoxical Ode; Maxwell muses on connections between science, religion and nature, touching upon higher- dimensions along the way: ::Since all the tools for my untying ::In four- dimensioned space are lying, ::Where playful fancy intersperses ::Whole avenues of universes.. ::Excerpt from Maxwell's Paradoxical Ode of 1878Maxwell, James Clerk (1878) To Hermann Stoffkraft, Ph.D. A Paradoxical Ode (After Shelley) In the Brothers Karamazov, Dostoevsky's last work completed in 1880, the fourth dimension is used to signify that which is ungraspable to someone with earthly (or three-dimensional) concerns.
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