The paradox is that the same ground can seem inexhaustibly fertile to writers from elsewhere.
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His quest leaves us with fresh mysteries about our ultimately unknowable and inexhaustibly interesting universe.
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Instead the piece works, despite its apparently simple construction, as an inexhaustibly interactive visual machine.
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His fieldwork takes him to every continent, digging inexhaustibly into cultures for their foundational and sacred stories.
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Fieldwork for "The Written World" takes him to every continent, digging inexhaustibly into cultures for their foundational and sacred stories.
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While he leaves the Martian unmet, we are made hopeful by fresh questions and mysteries about our ultimately unknowable and inexhaustibly interesting universe.
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Something as ancient, as profound, as inexhaustibly rich as religion or religions can't really be written off as an intellectual error by clever people.
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Instead of racing through a hectic narrative, "The BFG" lingers to inhale its own perfume, to revel in the inexhaustibly magical potential of cinema.
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C.F.W. "Frage"; Christian Gerhaher, baritone; Gerold Huber, piano (Sony Classical) Schumann is second nature to these lifelong partners in song, as this inexhaustibly perfect recital shows.
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Susan McPherson, founder and CEO of McPherson Strategies, is the cupid of corporate responsibility — inexhaustibly connecting good people with one another so they can do great things.
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But Mr. Thorpe has set himself a harder task in blurring the lines in what follows in "Confirmation," which was developed with and staged by the inexhaustibly talented Rachel Chavkin.
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But it was the rotund, courtly son of an Austrian classics teacher who was the dazzler-in-chief, inexhaustibly unearthing facts, analogies, literary allusions and personal connections from his elephantine memory.
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" Brody writes, "Seb launches into his elaborate mansplanation of the origins and merits of jazz, talking volubly and inexhaustibly over the music he loves as if it were nothing but the local background station.
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"He represents the rage against the violence of the drug war — the evil of it," Mr. Del Toro said of the character, an inexhaustibly vengeful soldier of fortune known in the films as Alejandro.
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VRBs house the electrolyte in tanks separate from the battery cell and can be charged and discharged almost inexhaustibly over 20 years (indeed, this gives the electrolyte enough residual value that it can be leased).
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Nonetheless, this virtuoso is strictly small-time compared to Mikel Murfi, the inexhaustibly multifarious writer, director and sole performer of "I Hear You and Rejoice," which opened on Sunday night at the Irish Arts Center in Hell's Kitchen.
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Listening to Al Green is wonderful and fine and you have likely done this often, washing your hair or doing laundry or getting drunk or getting laid or driving home, humming along, all the earth-breaking classics, inexhaustibly fun and sad and honest in just the amount you want them to be.
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It seemed to Hazel that he would not be needing his body any more, so he left it lying on the edge of the ditch, but stopped for a moment to watch the rabbits and to try to get used to the extraordinary feeling that strength and speed were flowing inexhaustibly out of him into their sleek young bodies and healthy senses.
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Six days a week, for an estimated $65,000 a > year, in 116 papers reaching nearly 6,000,000 readers, Mister Pegler is > invariably irritated, inexhaustibly scornful. Unhampered by coordinated > convictions of his own, Pegler applies himself to presidents and peanut > vendors with equal zeal and skill. Dissension is his philosophy.
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Among other things, Boots Riley is known for charismatic, and seemingly inexhaustibly energetic, punk-like stage presence. In 1991, he and other artists founded the Mau Mau Rhythm Collective, a group set up to use the power of hip hop music to publicize other efforts and movements. The next year, Riley founded The Coup. In July 2002, Riley was a guest on Bill Maher's Politically Incorrect and repeatedly referred to himself as a communist.
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Marcus concludes that pornography is distinct from literature in its singular goal of arousal, its repetitions without fulfillment, and its effort to move beyond language and reality. Marcus’s most famous conceptual contribution is his coinage of the term pornotopia to describe a utopian fantasy of abundance where “all men . . . are always and infinitely potent; all women fecundate with lust and flow inexhaustibly with sap or juice or both. Everyone is always ready for everything.” Within weeks of appearing in Britain in 1966, The Other Victorians sailed past Mary Nancy Mitford's biography of Louis XIV to top the national bestseller list.
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The Chinese had used India ink derived from pine soot prior to the 11th century AD, when the polymath official Shen Kuo (1031-1095) of the mid Song Dynasty became troubled by deforestation (due to the demands of charcoal for the iron industry) and sought to make ink from a source other than pine soot. He believed that petroleum (which the Chinese called 'rock oil') was produced inexhaustibly within the earth and so decided to make an ink from the soot of burning petroleum, which the later pharmacologist Li Shizhen (1518-1593) wrote was as lustrous as lacquer and was superior to pine soot ink.
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Shen was worried about deforestation due to the needs of the iron industry and ink makers using pine soot in the production process, so he suggested for the latter an alternative of petroleum, which he believed was "produced inexhaustibly within the earth".Menzies (1994), 24. Shen used the soot from the smoke of burned petroleum fuel (石油 Shíyóu, "rock oil" as Shen called it) to invent a new, more durable type of writing ink; the Ming Dynasty pharmacologist Li Shizhen (1518–1593) wrote that Shen's ink was "lustrous like lacquer, and superior to that made from pinewood lamp-black," or the soot from pinewood.Needham (1986), Volume 5, Part 7, 75–76.
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Many other human concepts such as war, clothing, and jealousy are strange to him, and the idea of an afterlife is a fact that he takes for granted because Martian society is directed by "Old Ones", the spirits of Martians who have "discorporated". It is also customary for loved ones and friends to eat the bodies of the dead in a rite similar to Holy Communion. Eventually, Harshaw arranges freedom for Smith and recognition that human law, which would have granted ownership of Mars to Smith, has no applicability to a planet that is already inhabited by intelligent life. Still inexhaustibly wealthy and now free to travel, Smith becomes a celebrity and is feted by the Earth's elite.
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In her book American Indian Painting of the Southwest and Plains Areas, Dunn described Begay's work as "at once decorative and lifelike, his color clear in hue and even in value, his figures placid yet inwardly animated.... [H]e seemed to be inexhaustibly resourceful in a quiet reticent way." Begay was one of the Studio School’s star students. Begay served in the Works Progress Administration’s Federal Art Project during the Great Depression era between 1933-1943, painting murals. His Federal Art Project work was once housed in the Gallup Arts Center (a WPA Arts Center), which was demolished and the collection was moved to the Octavia Fellin Public Library in Gallup, New Mexico.
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Will Hermes of Entertainment Weekly called it "indie rap blowing session by two guys near the top of their game". Alternative Press praised Madvillainy as "all invention and no indulgence", while HipHopDX dubbed it an "experimental, eclectic, raw, spontaneous" classic. Mojo praised the album, calling it "a symphony of such densely constructed chaos" and noting that "Madvillainy's very opacity is part of its brilliance". Pitchfork called Madvillainy "inexhaustibly brilliant, with layer-upon-layer of carefully considered yet immediate hip-hop, forward- thinking but always close to its roots", noting that "the samples are smart and never played-out, and the production and rhymes reveal a determined sense of cooperation, as MF Doom spouts off his most brilliant lyrical change-ups and production-conscious playoffs".
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Donald Holoch wrote in the essay "A Novel of Setting: The Bureaucrats", published in The Chinese Novel at the Turn of the Century, that Officialdom Unmasked is "A masterpiece of satirical writing so inexhaustibly inventive in terms of incident that it bears comparison with the plotting in any great Chinese novel." Holoch argued that the work "is an impressively coherent materialist critique, a serious interpretation of history; for its ideological power and its artistic achievement it deserves to be known in the West." Bruce Doar, author of a book review of The Chinese Novel at the Turn of the Century, wrote that "Holoch's enthusiasm" for the work was "infectious". Holoch believes that the novel manipulates characterization and the plot to emphasize the Chinese society's mercantile orientation and that the setting unifies the novel.
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Scholarship on this novel is limited, although it is mentioned in passing in a number of historical works on the literature of the Victorian era. Steven Marcus discusses The Romance of Lust in some detail in his book The Other Victorians: a Study of Sexuality and Pornography in Mid-Nineteenth-Century England (1966), as does John Alfred Atkins in his historical survey, Sex in Literature (1970-1982). Marcus' study is psychological in nature, relies much on the work of Sigmund Freud, and he invents a word to describe the sexual activities in this novel, "pornotopia", which he describes as being like a place where "all men ... are always and infinitely potent; all women fecundate with lust and flow inexhaustibly with sap or juice or both. Everyone is always ready for everything" (p. 276).
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Poteat demonstrated to his students that making the shift to a Post-Critical mode of thinking requires escaping from the largely subconscious and profoundly self-alienating abstractedness of the Critical mode—the "default mode" of Modernity. As one is able to break free, he taught, the way is cleared to be more at one with one's authentic self, more fully present to the authentic selves of others and to the things of the world with which one is concerned. For this to happen, an acute awareness of those self-alienating tendencies and their tragic consequences must be developed. In place of hypercritical suspicion as the driving, central motive of thought, one comes to share in a Post-Critical sensibility, centered on the recovery of a passionate methodological faith in the tacit intimations of reality, a truth in common, that reveals itself inexhaustibly.
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