I'm making it sound like a mess, but it's the strongest piece in this very strong show, because the visuality of its abstruseness grabs you and holds you.
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This purposeful abstruseness has been jarring to the US comics community and not always welcome (see the clamor in response to Larmee's reluctant interview on the comics podcast Inkstuds).
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The astounding range of creativity, irreverence and abstruseness that resulted was bracketed between endpapers with wide-angled views of masses of humanity: The first showed the 22008 March on Washington, the last the 21980 Woodstock festival.
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The Pythagorean theorem has attracted interest outside mathematics as a symbol of mathematical abstruseness, mystique, or intellectual power; popular references in literature, plays, musicals, songs, stamps and cartoons abound.
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His writings in them had nothing of economic abstruseness. He based his > appeal on the principles of human justice. He preached Socialism as a system > of industrial co-operation for the common good. His arguments and > illustrations were drawn from facts and experiences within the knowledge of > the common people.
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Munishri Pramansagarji Maharaj is a Digambar monk. He is an able disciple of the greatest Jain saint of this era, Acharya Shri Vidyasagar Ji Maharaj. He has set free the religion from traditional abstruseness and made it practicable in life. Through his sermons and initiatives, the process of a qualitative change in society has begun.
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Kwon Hyeok-ung was born in Chungju, South Korea. He began his literary career when he won the Joongang Ilbo New Writer's Contest in 1996 for criticism and the Munye Joongang Literary Award in 1997 for poetry. As a critic, he was closely involved in a heated controversy over South Korean Futurist literature in the mid-2000s. Experimental works by young South Korean poets in that decade were attracting criticism for their abstruseness, but Kwon defended them arguing that they simply used “a different style of communication” from conventional poetry. He was in fact the first one to call them “Futurist” poetry, and despite the controversy surrounding the subject, the name stuck.
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In Taeyangi jikgageuro tteoreojineun Seoul, which was published in 1985, Kim mentioned the emergence of postmodernism and wrote poems using terms from geometry and engineering. In his 1987 poetry collection Seoureun yasaengmacheoreom (서울은 야생마처럼 Seoul, Like a Wild Horse), Kim attempted to write projective verse, which involves the intent to deliver the energy gained from writing poetry to the readers. In 1988, he pursued a new type of poetry by focusing on the conversational quality of concrete poetry and the factual quality of minimalism in Geu naeiredo dangsineun Seourui bulsae (그 내일에도 당신은 서울의 불새 In That Tomorrow You Are the Firebird of Seoul). In Hwayoirimyeon tteugeowojineun geu saram, published in 1994, he proposed new poetry forms “poetic fiction,” which incorporated fictional elements in poetry and “conversational poetry,” which aimed to get away from the poetic abstruseness of modern poetry.
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Original 1857 version Francesco Maria Piave, librettist of the 1857 version While not a popular success, it did garner some critical acclaim, "with the music being praised for its fidelity to the text, the orchestration for its elegance, the melody for its inspiration" noted the Gazzetta Musicale, but Budden notes that "complaints of 'obscurity', 'severity', harmonic abstruseness' are heard from even the most respectful of critics". And Verdi himself was fairly blunt in his assessment: "I've had a fiasco in Venice almost as great as that of La traviata" he reported to Clara Maffei.Verdi to C. Maffei, 29 March 1857, in Budden, p. 253 Following its 1857 premiere, Simon Boccanegra was performed in Reggio Emilia, "where it triumphed ... ... and again in Naples in 1858 ..."Budden, pp. 253–254 There was similar acclaim after the Rome presentation about the same time, but "on the other hand, Boccanegra had been laughed off the stage in Florence" and "had been a fiasco at La Scala in 1859". It was given in Malta in 1860, Madrid and Lisbon in 1861, and Buenos Aires and Montevideo in 1862, but, after that, it almost completely disappeared with only a sporadic performance or two, including Corfu in 1870 and Alexandria in late 1880.
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