"We must live in doubleness, in difficult, impossible doubleness," he observes.
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Habits of doubleness are inherent in many editors, not just Brown.
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But, for all her doubleness of vision, her escape path is now overgrown.
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I wanted to musicalize both his doubleness and that there's something Eurydice can't see.
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Levit caught that awesome doubleness: in his enigmatic brilliance, he is Bachian to the core.
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As far as creativity goes, though, is that sense of doubleness the static or the sound?
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This nimble-footed doubleness may indeed hold profound existential truths; it also provides an all-purpose evasion of analysis.
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Doubleness is a Scottish art: the passion and the Calvinism, the west and the east, the Highlands and the Lowlands.
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It's not Plath's death necessarily, or even the dissolution of her marriage, but her doubleness that's been the abiding mystery.
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And so he wove a web of Empsonian doubleness and interlineated meaning into a Cold War "text" that was brutally simple in intention.
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But Cotillard always remains the movie's center: With her large eyes and delicate nervousness, she projects genuine mystery and an air of potential doubleness.
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This sense of doubleness—that what is presented as moral logic is usually mere self-sustained ritual—became essential to Montaigne's view of the world.
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He reminded me of the way Ellison and Du Bois write about the "doubleness" of black consciousness, the emotional riptides that always have to be negotiated.
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As "Eight Days a Week" springs from color to black-and-white, and as frenzied action is intercut with stills, we get a delicious sense of doubleness.
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Brown's version is complicated by a sense of doubleness that she has from the start and never sheds; she indulges a persistent feeling that her true creative life lurks elsewhere.
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Ms. Minter's images possess a disorienting doubleness that forces you to examine them with extra care; they put you on intimate terms with the motif, the painted surface and your own suggestibility.
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It's as though we're dwelling in two parallel realities — one hidden but real, the other visible but false — and this unstable doubleness is poised to blow up in our faces at any moment.
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Early in his career, in " Platoon " (1986), he was the decent and idealistic sergeant, but he could easily have switched roles with Tom Berenger and played the murderous martinet, and that inherent doubleness lingers.
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But when performed, as it is here, by a cast that can recreate its rapture as well as its moral gravity, it achieves the doubleness of great art, burrowing deeper the higher it flies.
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In one memorably abstruse passage he compares the "doubleness" of John Cage's Cartridge Music—which utilizes household objects, like a toothpick or a slinky, as the needles of a phonograph cartridge, generating sound from mundanity—to reading haiku.
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Mr. Porumboiu's next effort, "Police, Adjective" (2009), exhibited a similar doubleness, offering both a dry satire of bureaucratic working conditions and a furious critique of the petty authoritarianism that has persisted in Romania long after the disappearance of Communism.
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Ferlinghetti's vastly influential first book of poems, "A Coney Island of the Mind," echoes that doubleness in its very title: In this corner, the Mind with a capital M; and in the other corner, Brooklyn's thrilling, low-class amusement park.
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In Chelsea, Ms. Speed lets this critical material self-awareness blossom into a lighter kind of visual doubleness, seen in the 17 white plastic sawhorses of Cady Noland's wonderful, entirely found "Four in One Sculpture" and in Ms. Whiteread's "Untitled (Amber Floor)," an eight-foot-long section of waxy orange rubber whose end curls up, like a snub nose or an afterthought, against the wall.
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A violin cradling a naked woman beneath a tree growing out of its curves leads to Headley's "The Orange Tree," a story about an 11th-century female golem with a stringed instrument in her belly who resists her creator's abusive programming; Kiernan's "Objects in the Mirror" — a story of doubleness and doppelgängers partially written as a screenplay set in a therapist's office — is preceded by an image of a stylized head containing a person cringing from the eyepiece of a telescope, as if afraid to be seen.
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Only Norgate ("of many a turn") and Cook ("of many turns") preserve the Greek roots as Wilson describes them — poly ("many"), tropos ("turn") — answers that, if you produced them as a student of classics, much of whose education is spent translating Greek and Latin and being marked correct or incorrect based on your knowledge of the dictionary definitions, would earn you an A. But to the modern English reader who does not know Greek, does "a man of many turns" suggest the doubleness of the original word — a man who is either supremely in control of his life or who has lost control of it?
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Jack London examines doubleness in two dimensions – class and psychology. The former refers to the class division emphasized by the “slot” and the latter by the dual identity of the protagonist, Freddie Drummond.
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Thus the pollen (male) contribution to seed is always a doubleness allele, while the female contribution is either a doubleness or a singleness allele. The result of this linkage is that doubles and singles are produced in 50:50 ratios and there are no pure-breeding singles. Furthermore, many modern strains produce doubles in even higher proportions: 60% or even 80%. This is due to generations of selection for further linked viability effects, producing higher mortality of heterozygous singles, relative to homozygous doubles.
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Doubleness is an important theme of the novel. Blaise has relationships with two women, who initially inhabit two separate spheres of life. Each of them has one son. The book has two main male characters, Monty and Blaise, both of whom have snobbish mothers.
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The five legends attempt to reconcile the tensions embodied in the books double introduction. "Syncretism, doubleness, and heterogeneity are portrayed as inevitable human conditions"Stephen Henighan, 1999, p. 141 in the legends. He says that Asturias wants to demonstrate the impossibility of maintaining some kind of purity of identity.
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Their stories, separate at the beginning of the novel, converge as it progresses. The complex story is supported by formal plot symmetries and doubleness is an important theme throughout. The plot, which involves a violent kidnapping, has elements of the thriller genre. The book was generally favourably received by contemporary reviewers.
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Friel's dramatic conceit allows the audience access to either side of the language barrier, making the misunderstandings and miscommunications between Yolland and Maire in the love scene evident. The "idioms and rhythms of Irish speech" are depicted through Doalty, Bridget and Jimmy Jack Cassie's speeches, contrasting to the British officer, Lancey, who speaks in the "clipped, efficient tones of the King's English", to emphasise the other central theme "colonialism". The idea of a 'doubleness' in response to the Irish-English language conflict is also represented in the play. Considered as "a mid-solution of the Old Gaelic tongue and the modern 'dominant' English", 'doubleness' would require Ireland "either to use an Irish version of English, which includes Gaelic expression, or to be a bi-lingual nation in which both Irish and English are acceptable".
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When Hannah challenges her mother Eva about expressions of love toward her, Eva responds by reminding Hannah of the sacrifices that she has made for her. Love and mothering to Eva is about sacrifice and self-preservation, "…what you talkin' 'bout did I love you girl I stayed alive for you can’t you get that through your thick head or what is that between your ears, heifer?" (69) Doubleness Sula demonstrates numerous doubles or parallels between the novel’s characters.
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Both Monty and Blaise, while financially successful, are dissatisfied with their professions and contemplate changing them. Monty sees himself as a schoolmaster, while Blaise wants to become a doctor. The theme of doubleness extends to the two types of love, sacred and profane. Blaise feels "that Harriet was his sacred love and Emily his profane" He sees himself as leading "a double life" and as "a man of two truths, since both these lives were valuable and true".
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Colm Tóibín writes: "[B]ecause he kept his doubleness intact, [Conrad] remains our contemporary, and perhaps also in the way he made sure that, in a time of crisis as much as in a time of calm, it was the quality of his irony that saved him." Colm Tóibín, "The Heart of Conrad" (review of Maya Jasanoff, The Dawn Watch: Joseph Conrad in a Global World, Penguin, 375 pp.), The New York Review of Books, vol. LXV, no. 3 (22 February 2018), p. 11.
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William H. Pritchard in The New York Times found the plot entertaining but unconvincing and "less psychologically interesting than one could wish". On the other hand, he called her descriptive passages "truly entertaining and permanently valuable" and the book as a whole "an engaging and striking work". Peter Conradi describes Henry and Cato as an "extraordinary, accomplished mixture of farcical comedy and melodrama". His discussion of the novel takes doubleness to be the main theme, and more specifically "chiasmus", in that the stories of the two men increasingly intersect and mirror each other.
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Optical doubles are so called because the two stars appear close together in the sky as seen from the Earth; they are almost on the same line of sight. Nevertheless, their "doubleness" depends only on this optical effect; the stars themselves are distant from one another and share no physical connection. A double star can be revealed as optical by means of differences in their parallax measurements, proper motions, or radial velocities. Most known double stars have not been studied adequately to determine whether they are optical doubles or doubles physically bound through gravitation into a multiple star system.
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For example, the interaction of the One (the determining factor) and the Dyad (the source of multiplicity) leads to the Form of Twoness in the realm of the Forms of Numbers. As the product of both principles, the Form of Twoness reflects the nature of both: it is determinate twoness. Its fixed and determinate nature is shown by its expression of the relation between the Form of Doubleness (a determinate excess) and the Form of Halfness (a determinate deficiency). The Form of Twoness is not a group of units like the numbers used in mathematics but rather a connection between two magnitudes, one of which is double the other.
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Giovanni Reale: Zu einer neuen Interpretation Platons, 2. The One acts as the determining factor on the Indefinite Dyad, which is called 'the Great and the Small,' and eliminates its indeterminacy, which encompasses every possible relation between largeness and smallness or between excess and deficiency. Thus the One produces determinate relations between magnitudes by making the indeterminacy of the Indefinite Dyad determinate, and just these relations are understood by advocates of the unwritten doctrines to be the Forms of Numbers. This is the origin of determinate Twoness, which can from various perspectives be seen as the Form of Doubleness or the Form of Halfness.
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The artist cannot dispense with > the principle of 'doubleness' or 'interplay' because this type of hendiadys > dialogue is essential to the very structure of consciousness, awareness, and > autonomy. McLuhan relates the cliché-to-archetype process to the Theater of the Absurd: > Pascal, in the seventeenth century, tells us that the heart has many reasons > of which the head knows nothing. The Theater of the Absurd is essentially a > communicating to the head of some of the silent languages of the heart which > in two or three hundred years it has tried to forget all about. In the > seventeenth century world the languages of the heart were pushed down into > the unconscious by the dominant print cliché.
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McLuhan provides the example of Eugène Ionesco's play The Bald Soprano, whose dialogue consists entirely of phrases Ionesco pulled from an Assimil language book: "Ionesco originally put all these idiomatic English clichés into literary French which presented the English in the most absurd aspect possible." McLuhan's archetype "is a quoted extension, medium, technology, or environment." Environment would also include the kinds of "awareness" and cognitive shifts brought upon people by it, not totally unlike the psychological context Carl Jung described. McLuhan also posits that there is a factor of interplay between the cliché and the archetype, or a "doubleness:" > Another theme of the Wake [Finnegans Wake] that helps in the understanding > of the paradoxical shift from cliché to archetype is 'past time are > pastimes.
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The word was first used of paintings found on the walls of basements of ruins in Rome that were called at that time le Grotte ('the caves'). These 'caves' were in fact rooms and corridors of the Domus Aurea, the unfinished palace complex started by Nero after the Great Fire of Rome in CE 64, which had become overgrown and buried, until they were broken into again, mostly from above. Spreading from Italian to the other European languages, the term was long used largely interchangeably with arabesque and moresque for types of decorative patterns using curving foliage elements. Rémi Astruc has argued that although there is an immense variety of motifs and figures, the three main tropes of the grotesque are doubleness, hybridity and metamorphosis.
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Oz further employs the architectural landscape of Jerusalem – its stone houses, iron railings, narrow alleys, and hidden courtyards – to elicit feelings of hopelessness and "cutting people off from one another". Duality also appears throughout the novel. Dana Amir points to the characters of the Arab twins, the contrasting characters of the two Michaels – "Michael Gonen, the grey, reserved, submissive, dry-witted man contrasts with Michael Strogoff, the invincible hero of the inner world whose eyes are filled with blue metal" – and the contrasting character of Hannah herself – a "quiet, introverted student" as compared to "her dream-double: a princess who holds the strangers that humiliate her tight in her sadomasochistic grip". Doubleness extends to setting and dialogue, with clear divisions drawn between Hannah's inner and outer worlds.
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In addition to playing with the boy's marionettes and doing jigsaw puzzles with him, Mademoiselle is teaching the young James Merrill languages which would be critical to making him the sophisticated and urbane lyric poet of later life. By giving name, in several languages, to objects and tasks around the home, Mademoiselle helps the young James Merrill come to understand a doubleness about language itself, that objects and activities can have different names and connotations across languages. From the child's point of view, the "puzzle" goes well beyond what is taking place on the card table. Merrill is puzzling through the mystery of his existence, puzzling through the mystery of what the world is, what objects are, what people do in life.
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