It also takes her singing into wordlessness and into the stratosphere.
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It was the wordlessness of it — he never spoke to me throughout, not one word.
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In the wordlessness of its small dramas and romances, we get to fill in the blanks.
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The austere beauty of her work, its almost pulsating wordlessness and the richness of its sorrow, is kindred to this silence.
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As an exploration of one of the most universal experiences ever, the game's wordlessness avoids the trapping that mediums like film or prose are bound to.
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I.T.!); another persists in wordlessness, and you have to carry her wailing, writhing shape out to the car, prying tiny fingers from the icy box of a Salisbury steak dinner (meth lab!).
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" Wordlessness also lends itself to ambiguity, a vital tool, Ms. Lannaghan said: "At a time where being gay was still pretty undercover, there were all sorts of boundaries being crossed: gender, sex, politics.
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Purim has a rare six-octave voice. Her vocal style is influenced by Sarah Vaughan and Ella Fitzgerald, which drifts from lyrics to wordlessness without ever losing touch with the melody and rhythm. She expanded her vocal repertoire during early tours with Gil Evans. While touring the world for three years with Gillespie's United Nation Orchestra in the 1980s, she broadened her repertoire to include traditional mainstream jazz, bebop, and doing numbers in 4/4 time instead of the traditional Brazilian 2/4 beat.
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" Through this wordlessness, commentators have written, scat singing can describe matters beyond words. Music critic Will Friedwald has written that Louis Armstrong's scatting, for example, "has tapped into his own core of emotion," releasing emotions "so deep, so real" that they are unspeakable; his words "bypass our ears and our brains and go directly for our hearts and souls." Scat singing has never been universally accepted, even by jazz enthusiasts. Writer and critic Leonard Feather offers an extreme view; he once said that "scat singing—with only a couple exceptions—should be banned.
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That Śākyamuni's hands are always concealed by the folds of his robe rather than forming a mudra resonates with the Zen Buddhist virtue of wordlessness. Finally, the narrative of the story itself in conjunction with artists' emphasis on earthliness suggests, in accordance with Zen teaching, that enlightenment is not found by completely cutting off oneself from the world. Historically, paintings on this motif had a relatively small audience, circulating among the overlapping networks of literati elites and Chan monks. In ritual use, Shussan Shaka paintings are hung on the walls of Rinzai Zen temples during the holiday celebrating the enlightenment of Śākyamuni Buddha.
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After needing a second prod A finally emerges. He is unkempt and disorganised. He gobbles pills, prays, dresses randomly, nibbles a carrot, and promptly "spits it out with disgust". "He is a moper, a hypochondriacal dreamer, perhaps a poet."Lamont, R. C., ‘To Speak the Words of "The Tribe": The Wordlessness of Samuel Beckett’s Metaphysical Clowns’ in Burkman, K. H., (Ed.) Myth and Ritual in the Plays of Samuel Beckett (London and Toronto: Fairleigh Dickinson University Press, 1987), p 63 His principal activity, without apparent purpose, is to carry the filled sack stage left and crawl back into his own which he does leaving the sack containing B now vulnerable to the goad.
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Next the sound issues from the left. The scene is repeated in reverse.”Lamont, R. C., ‘To Speak the Words of “The Tribe”: The Wordlessness of Samuel Beckett’s Metaphysical Clowns’ in Burkman, K. H., (Ed.) Myth and Ritual in the Plays of Samuel Beckett (London and Toronto: Fairleigh Dickinson University Press, 1987), p 60 There is clearly no exit. He sits on the ground and looks at his hands. A number of objects are then lowered into this set beginning with a palm tree with “a single bough some three yards from the ground,” “a caricature of the Tree of Life.” Its arrival is announced, as is that of each object which follows, with the same sharp whistle.
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"Box Cutter" received critical acclaim. Alan Sepinwall of HitFix said the episode demonstrated how effective the creators of Breaking Bad are at manipulating the emotions of their viewers. Sepinwall described the story as "remarkably simple" but the execution as extremely effective, and he called the amount of screen time dedicated to Gus calmly changing his clothes before and after killing Victor "a move so ballsy and so brilliant I actually started giggling the second time they did it". Time magazine writer James Poniewozik said the episode demonstrated how effective Breaking Bad can be even with a minimal amount of dialogue, such as Gus' silence during his scene in the lab, and Jesse's wordlessness throughout the episode as he processed what he had done to Gale.
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Persephone supervising Sisyphus in the Underworld, Attic black-figure amphora, c. 530 BC, Staatliche Antikensammlungen (Inv. 1494) "The play is compelling only if the mechanical figures are somehow humanised. If comfort exists it is because the plight of humanity if futile or repetitive is at least shared, even if no intercourse exists."Ackerley, C. J. and Gontarski, S. E., (Eds.) The Faber Companion to Samuel Beckett, (London: Faber and Faber, 2006), p 4 The two men work together to remove themselves from whatever external or elemental (see "Mana"Lamont, R. C., ‘To Speak the Words of "The Tribe": The Wordlessness of Samuel Beckett’s Metaphysical Clowns’ in Burkman, K. H., (Ed.) Myth and Ritual in the Plays of Samuel Beckett (London and Toronto: Fairleigh Dickinson University Press, 1987), p 57) force may be behind the goad; it counters by adding wheels.
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Indeed, A evokes the vagrant Molloy in the same way as B recalls the detective Moran. The action could take place in a day or two or perhaps over the course of their whole lives. The movement to the left is suggestive however of "the walk of Dante and Virgil in the Inferno."From a personal unpublished letter written by Samuel Beckett to the Polish critic and translator Antoni Libera. Referenced in Lamont, R. C., ‘To Speak the Words of "The Tribe": The Wordlessness of Samuel Beckett’s Metaphysical Clowns’ in Burkman, K. H., (Ed.) Myth and Ritual in the Plays of Samuel Beckett (London and Toronto: Fairleigh Dickinson University Press, 1987), p 70 n 28 "In his reading of Le mythe de Sisyphe (The Myth of SisyphusAccording to The Faber Companion to Samuel Beckett (p 81), "SB considered L’Etranger (1942) important, but rejected the existentialism of Le mythe de Sisyphe.
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J. Neil C. Garcia earned his AB Journalism, magna cum laude, from the University of Santo Tomas in 1990; MA in Comparative Literature in 1995, and PhD in English Studies: Creative Writing in 2003 from the University of the Philippines Diliman. He is currently a Professor of English, creative writing and comparative literature at the College of Arts and Letters, University of the Philippines Diliman, where he also serves as an Associate for Poetry at the Likhaan: U.P. Institute of Creative Writing. Garcia is the author of numerous poetry collections and works in literary and cultural criticism, including Closet Quivers (1992), Our Lady of the Carnival (1996), The Sorrows of Water (2000), Kaluluwa (2001), Slip/pages: Essays in Philippine Gay Criticism (1998), Performing the Self: Occasional Prose (2003), The Garden of Wordlessness (2005), and Misterios and Other Poems (2005). Garcia's groundbreaking study, Philippine Gay Culture: The Last Thirty Years (1996), was awarded a National Book Award by the Manila Critics Circle in 1996.
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