41 Sentences With "imaginative power" | Random Sentence Generator

But it is Roussel's raw imaginative power that makes him timeless.

What all these efforts have in common, besides imaginative power, is that they do not make any money.

Certainly Plath and Anne Sexton claimed a kind of imaginative power that could match, even exceed that of male poets.

"If this is what they call 'creative approach" and 'imaginative power beyond common sense,' we will be compelled to seek a new road.

Gagner seems to recognize that, for all the imaginative power he can summon up in a painting, he is not capable of changing the world.

The politics in Rich's poems, though "brief and local," were nevertheless universal: a way of refreshing lyric so as to preserve its imaginative power and its utility.

It is through jazz, actually, that one can best understand the imaginative power and technical mastery that Morrison has achieved over the course of her literary journey.

Given the uplifting imaginative power of deft divination within her meta-historical interpretation of the Dada intelligencia, our presentism (like theirs) is always defended as inscrutably circuitous.

JOSHUA BARONE Yuja Wang's regular partnership with the violinist Leonidas Kavakos isn't the place to hear the sustained stretches of imaginative power that characterize her solo-piano concerts.

"We think fiction is one of the next big genres in podcasting, tapping into the incredible imaginative power we all have — the theater of the mind," said Conal Byrne, president of the iHeartPodcast Network.

Stomping around a white-cube CGI room, this AI-assisted "substitute" animal fluctuates between stylized pixels and photorealism, pointing to the imaginative power of AI technology — and its total failure to meaningfully stand in for nonhuman life.

All we needed was to see him walk up the ramp, and what he found within—basically, a mall designed by Busby Berkeley—was so much less witty than the fairground-like exteriors that it bled the movie of imaginative power.

The novel—published two and a half years before the discovery and arrest of Ariel Castro, the captor of three teen-age girls in Cleveland, whose story it anticipated in a number of ghastly particulars—is testament to Donoghue's imaginative power, her ability to look open-eyed at the sadistic terrors of such an ordeal without missing its more banal aspects.

The patient must thus abandon his willpower and instead put more focus on his imaginative power in order to succeed fully with his cure.

The contradictions between the Ordinary's and other accounts can be found in the differences of tone used; the real problem is not the Ordinary's imaginative power, but his credulity or sensitivity to the fantasies of criminals sentenced to die.

He died in Rome in 1889. Achtermann's art is characterized by deep religious feeling and great imaginative power, although, on account of his having taken to an artistic career when somewhat advanced in life, he did not attain the technical mastery which he might otherwise have acquired.

Judged on his teaching influence, Cousin occupies a foremost place in the rank of professors of philosophy, who like Jacobi, Schelling and Dugald Stewart have united the gifts of speculative, expository and imaginative power. The taste for philosophy—especially its history—was revived in France to an extent unknown since the 17th century.

It wouldn't be staid like much of educational radio nor would it be superficial as was often the case for commercial radio. He argued for authenticity, depth and the thoughtful exchange of diverse perspectives and ideas. Moreover, Siemering argued for the imaginative power of sound in radio. It could be more than television without pictures.

The romance offers various scenes of striking realism, with allegory and imaginative lyricism, while some critics consider it superior in imaginative power to the Niebelungenlied. Moreover, it follows a completely symmetrical plot, which is mainly divided between the realm of the fantastic, i.e. the Castle of Eros, and the real world, i.e. Antioch and the love with Chrysantza.

Yeats's middle period saw him abandon the pre-Raphaelite character of his early work and attempt to turn himself into a Landor-style social ironist.Bloom, Harold. Yeats. Oxford University Press, 1972, p. 168 Critics who admire his middle work might characterize it as supple and muscular in its rhythms and sometimes harshly modernist, while others find these poems barren and weak in imaginative power.

18th-century depiction of King Lear mourning over his daughter Cordelia In the essay on King Lear, which he entitled simply "Lear", Hazlitt makes no references to the performances of any actors. In fact, here he fully agrees with Lamb that King Lear, like Hamlet, cannot be adequately presented on stage. No actors, he felt, could do justice to the overwhelming imaginative power of this play.Lamb 1811, pp. 308–9.

He researched and published the Teaching Techniques of the Maihar-Allauddin Gharana, as a Ford Foundation scholar (1989 to 1992). He is respected for his in-depth understanding as he unfolds the raga, the tonal quality and power of his strokes. His distinctive style shows technical excellence, imaginative power and emotional range. According to the New York Times, "RAJEEV TARANATH'S sarod improvisations Sunday at Soundscape mixed the spiritual and the spirited".

Porte brought a luminous intelligence to the often-overlooked specifics of Emerson's language, tracing vibrant images and motifs through his essays and demonstrating the imaginative power not of Emerson's sometimes hazy concepts, but of what Emerson called a "living, leaping Logos." Part of the problem, Porte noted, was the reverential emphasis usually placed on Emerson's character, which could obscure actual attention to his work. In his influential 1973 essay "The Problem of Emerson"Porte, Joel. "The Problem of Emerson".

Jeffrey Ford at KGB bar, 2006 Jeffrey Ford (born November 8, 1955) is an American writer in the fantastic genre tradition, although his works have spanned genres including fantasy, science fiction and mystery. His work is characterized by a sweeping imaginative power, humor, literary allusion, and a fascination with tales told within tales. He is a graduate of Binghamton University, where he studied with the novelist John Gardner."Jeffrey Ford: Shadow Years", Locus, June 2008, p.

However, Maistre's skills as a writer and polemicist ensured that he continues to be read. For instance, Matthew Arnold, an influential 19th-century critic, wrote as follows while comparing Maistre's style with his Irish counterpart: > Joseph de Maistre is another of those men whose word, like that of Burke, > has vitality. In imaginative power he is altogether inferior to Burke. On > the other hand his thought moves in closer order than Burke's, more rapidly, > more directly; he has fewer superfluities.

All the pieces have backgrounds and margins. The marginal shapes are in the form of Greek chains, rope-like texture and consecutive sevens, upside-down patterns and consecutive ‘S’ shapes. Patterns in the center include lilies and 6- or 8-leaf flowers with a central circle, pomegranate, palm leaf and clusters combined in a beautiful composition. This image reveals the imaginative power of artists who, given the quality and flexibility of stucco, were able to create them because of the lack of stucco firmness.

Paul Brunton included Sri Aurobindo's term of the "Intermediate Zone" as a name for a psychological and immature mystical level of delusion and subtle ego.The Notebooks of Paul Brunton (Published in 1989; 16 volumes) - Volume 11: THE SENSITIVES - ch.12. THE INTERMEDIATE ZONE - online text at Brunton uses several terms, such as astral plane, the intermediate zone, the hall of illusion. Once there, egoism becomes stimulated by the subtle forces they have evoked, the emotional nature becomes more sensitive and more fluid, the imaginative power becomes more active and is less restrained.

Alan Bullock, "Hitler à la Mode", The New York Review of Books, 28 June 1973. The Biography Book recognised the "narrative and imaginative power" of Payne's account, while stating that "it incorporates speculation as fact". One example of this was the book's acceptance of claims by Bridget Dowling (Hitler's sister-in-law) and others that Hitler had spent time in Liverpool before 1914,Brigitte Hamann, Hans Mommsen, Hitler's Vienna: A Portrait of the Tyrant As a Young Man, 2010, Tauris Parke, p.198. a claim later described as "conclusively disproved".

He received his education at the Jesuit college at Bahia. He entered the Jesuit novitiate in 1625, under Father Fernão Cardim, and two years later pronounced his first vows. At the age of eighteen he was teaching rhetoric, and a little later dogmatic theology, at the college of Olinda, besides writing the "annual letters" of the province. In 1635 he entered the priesthood. He soon began to distinguish himself as an orator, and the three patriotic sermons he delivered at Bahia (1638–40) are remarkable for their imaginative power and dignity of language.

It retained the drawing style, verse rhythms, and all the imaginative power of Geisel's earlier works but, because of its simplified vocabulary, it could be read by beginning readers. The Cat in the Hat and subsequent books written for young children achieved significant international success and they remain very popular today. For example, in 2009, Green Eggs and Ham sold 540,000 copies, The Cat in the Hat sold 452,000 copies, and One Fish, Two Fish, Red Fish, Blue Fish (1960) sold 409,000 copies — all outselling the majority of newly published children's books.

Further, Julius draws on a quote from Eliot's earlier poem "Gerontion" to say that in this Christian future the Jews "may find a ledge there to squat on". Julius' view is considered extreme by many critics. Comparatively, Julius tempered his harsh criticism by claiming that Eliot's anti-Semitism does not detract from the poetry and that it offers a creative force showing rare imaginative power to Eliot's art. Literary critic and professor Christopher Ricks agreed, citing the wit and commentary of Eliot's depictions of Jews; he asserts that Eliot was at his most brilliant in his prejudice.

Harvey Shapiro wrote that "Her way with language was Mozartean, breathtaking in its ability to ring change after change on a theme, Mozartean bursts of language, never leaving the subject, enabling the eye to see, clearly and more clearly, while delighting the ear with sound." Her poetic landscape is romantic, and her strategies are multiple. Garrigue was by nature a formal poet and used a wide range of traditional forms, borrowing from the metaphysicals and modernists alike. Her characteristic subjects are love and its discontents, the process of vision, morality and generosity, desire, feeling, and the imaginative power of women.

His first published work was the novel Maler Nolten ("The painter Nolten", 1832), a tale about the life of a painter, and which revealed his imaginative power; it became fairly popular. The novella Mozart auf der Reise nach Prag ("Mozart on the way to Prague", 1856) was a humorous examination of the problems of artists in a world uncongenial to art. It is frequently cited as his finest achievement. He also wrote a somewhat fantastic Idylle vom Bodensee, oder Fischer Martin und die Glockendiebe (1846), the fairy tale Das Stuttgarter Hutzelmännlein (1855), and published a collection of hymns, odes, elegies, and idylls of the Greeks and Romans, entitled Klassische Blumenlese (1840).

Steiner built upon Goethe's conception of an imaginative power capable of synthesizing the sense-perceptible form of a thing (an image of its outer appearance) and the concept we have of that thing (an image of its inner structure or nature). Steiner added to this the conception that a further step in the development of thinking is possible when the thinker observes his or her own thought processes. "The organ of observation and the observed thought process are then identical, so that the condition thus arrived at is simultaneously one of perception through thinking and one of thought through perception." Thus, in Steiner's view, we can overcome the subject-object divide through inner activity, even though all human experience begins by being conditioned by it.

Nyssa storms out on the Doctor, furious beyond measure; if the Doctor can free Rallon from his bond to the Toymaker, why can he not free her father from the Master? Before the Doctor can think how to respond to her, the Toymaker presents him with a new puzzle—a double-sided jigsaw with the Doctor's face on both sides. He must complete the puzzle at the same time that his friends complete their game, or his companions will become the Toymaker's new playthings and the Doctor will be subsumed into the Toymaker's being to provide him with a new, fresh source of imaginative power. Adric is surprised when the crew of the Little Boy 2 suddenly seems to forget who he is and places him in prison for trespassing.

Chin Ce is also the author of three volumes of poetry: An African Eclipse, Full Moon and Millennial. His two volumes of essays, Bards and Tyrants: Essays in Contemporary African Writing and Riddles and Bash: African Performance and Literature Reviews, evaluate some aspects and visions of African writing and criticism in the works of Chinua Achebe, Ngugi wa Thiong'o, Wole Soyinka, Nwoga, Chinweizu, Ernest Emenyonu, Nnolim and other new poetry, prose and critical voices from around the continent. A writer of deep insight and imaginative power, author of a book of stories, The Dreamer and the Oracle dedicated to Chinua Achebe, Ce also edited African Short Stories vol 1 and several works of criticism of African literature. Ce's recent work, such as The Dreamer and the Oracle, traverse a far wider dimension of cosmic interdependency, often repeating previous motifs of the religious and political mindlessness which impoverish the African landscape.

Quatermain has gained recent popularity thanks to being a main character in the League of Extraordinary Gentlemen. Graham Greene, in an essay about Haggard, stated, "Enchantment is just what this writer exercised; he fixed pictures in our minds that thirty years have been unable to wear away." Haggard was praised in 1965 by Roger Lancelyn Green, one of the Oxford Inklings, as a writer of a consistently high level of "literary skill and sheer imaginative power" and a co-originator with Robert Louis Stevenson of the Age of the Story Tellers.from the introduction to the 1965 Everyman's Library edition of the one-volume The Prisoner of Zenda and Rupert of Hentzau by Anthony Hope The first chapter of Haggard's book People of the Mist is credited with inspiring the motto of the Royal Air Force (formerly the Royal Flying Corps), Per ardua ad astra.

Wordsworth himself believed The White Doe to be one of his finest poems, but the reviewers were at best lukewarm. The Eclectic Review did concede that "where he comes in contact with the ordinary sympathies of human nature, no living poet leaves so strongly the impression of a master genius", but Francis Jeffrey of the Edinburgh Review, a long-time foe of the Lake Poets, thought it had "the merit of being the very worst poem we ever saw imprinted in a quarto volume". Coleridge, by then in a state of uneasy reconciliation with Wordsworth, quoted a passage from The White Doe in his Biographia Literaria, praising its beauty and imaginative power. John Ruskin, in a private letter, compared it favourably with Coleridge's Christabel, calling it "a poem of equal grace and imagination, but how pure, how just, how chaste in its truth, how high in its end".

Such details, Crohmălniceanu notes, are completed by Călugăru's recourse to linguistic resourcefulness in authentically rendering his characters' speech patterns: an accumulation of proverbs, idiotisms and execrations, sourced from a common oral culture and together reflecting "a bitter life experience". Samples of this include sarcastic references to children as "rats", or useless consumers of food, the expressions of "aggressive pride" on the part of paupers surviving on alms, and curses which suppose "imaginative power" ("may your mouth move into your ear", "may your copulation last only as long as it takes steam to leave the mouth" etc.). Buiumaș's vindictive mother Țipra is herself a source for these quasi-ritual gestures: when her daughter Blima crosses her, she decides to cut her away from the family, and refuses to ever again mention her son-in-law by name.Călinescu, p.795-796 Buiumaș himself braves a similar treatment when he asks to be enlisted in a non-Jewish school.

The originality and imaginative power of his sermons are said to have won for Father António Vieira in Rome the title of "Prince of Catholic Orators" and though they and his letters exhibit some of the prevailing faults of taste, he is nonetheless great both in ideas and expression; perhaps most famous among his sermons is his 1654 Sermon of Saint Anthony to the Fish. The discourses and devotional treatises of the Oratorian Manuel Bernardes, who was a recluse, have a calm and sweetness that we miss in the writings of a man of action like Vieira and, while equally rich, are purer models of classic Portuguese prose. He is at his best in "Luz e Calor" and the "Nova Floresta". Letter writing is represented by such master hands as D. Francisco Manuel de Mello in familiar epistles, Frei António das Chagas in spiritual, and by five short but eloquent documents of human affection, the "Cartas de Mariana Alcoforado".

Something Different received a multitude of mixed opinions during its time in theaters, and despite Realart Pictures’ aggressive advertising near the start of its lifetime, viewers’ reviews gradually grew more critical as they moved on to delve into other, more entertaining films. As such, Something Different eventually faded from public memory, and soon it disappeared from physical records altogether, becoming one of the countless lost films of the silent era. Upon the film’s release in December 1920, positive commentary mostly came from articles written by Realart, who claimed that the film would be a massive success. The 1920 November-December issue of Motion Picture News, published in November of that year, featured an article from Realart praising the work of director Roy William Niell and his “rare technique and imaginative power,” hoping to generate excitement for the “masterpiece” film Something Different before it was released. Shortly after, in January 1921, The Exhibitor’s Herald praised the film’s breathtaking scenery and youthful energy, and it was projected to find success in the box office.