Besides arguing and obliqueness, a hundred thousand connections come from the heart.
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Such intransigent obliqueness is just what both we humans and android life forms have been waiting for.
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Léo's motives are at times as obscure as Mr. Guiraudie's, and the film's studied obliqueness is intriguing as well as puzzling.
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A Black Mile to the Surface, Manchester Orchestra's fifth studio album, deals with this looming existential terror with a now-typical obliqueness.
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Due to the obliqueness of how the site's recommendation algorithms work, many creators live in constant fear of losing placement around the site.
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As prestige TV retreats from Sopranos-style obliqueness toward tightly constructed narratives with crowd-pleasing conclusions, limited series have become the medium's exciting new frontier.
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The obliqueness, the tangential dartings of Miss Jackson's uniquely imaginative mind occasionally conflict with the forward movement of her narrative, but they do not undo her spell.
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Their narcissism is repellent yet riveting, and Mr. Côté comes at his subjects with an artful, exploratory obliqueness that's endearingly curious, as if discovering a whole new species.
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There's an elusiveness and obliqueness to Petrona's narration, perhaps an acknowledgment of the difficulty of representing the voices of those who rarely get to speak for themselves in literary fiction.
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And that obliqueness, counterintuitively, makes the track captivating: While trying to figure out the scheme Teejayx26 said he pulled at that Walmart, I listened to "Swipe Story" over and over again.
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The idea of "Japanese" alludes, perhaps, to "otherness," to an enduring occidental fascination with the obliqueness of the Far East, of words that look like pictures and ancient ceremonies with complex rules.
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The news from TEFAF indicates that the company is likely attempting to consolidate its brand as the critically-acclaimed outfit of the industry while heightening its reputation of authority and ethical stewardship in antiquities, a sector of the market often accused of impropriety and obliqueness.
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While telegraphing their contemporary resonance in different degrees of obliqueness — in Jatahy's version, Irina wants to go to Moscow to meet Pussy Riot — both rely on the kind of suspension that works best in theater, the kind that keeps the audience simultaneously present in both the sisters' time and our own.
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In the preface, Forrest-Thomson indicates the limitedness of such obliqueness.
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This is true of Head-Driven Phrase Structure Grammar (HPSG),HPSG addresses the c-command effects in terms of o-command (obliqueness command). The syntactic functions are ranked in terms of their level of "obliqueness", subjects being the least oblique of all the functions. See Pollard and Sag (1994:248) and Levine and Hukari (2006:278f.). Lexical Functional Grammar (LFG),LFG addresses the c-command effects in terms of a straightforward ranking of syntactic functions associated with f-structure (functional structure).
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The obliqueness of the references to the Dietrich legend, which is just the background to Hildebrand's story, indicates an audience thoroughly familiar with the material. In this work Dietrich's enemy is the historically correct Odoacer (though in fact Theodoric the Great was never exiled by Odoacer), indicating that the figure of Ermanaric belongs to a later development of the legend.
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Construção signaled Buarque's fundamental artistic maturation, both in terms of musical composition and lyrical style, showcasing and transcending his mastery of MPB (Musica Popular Brasileira/Popular Brazilian Music). In addition to its significant esthetic achievement, the album's implicit criticism of the ruling Brazilian military dictatorship was greeted by the regime's opponents as an important cultural and socio-political statement, released as it was during the dictatorship's most repressive period. Because Buarque couched his criticism in such melodic beauty and lyrical obliqueness, and because of its popularity, the regime—surprisingly—neither banned nor censored Construção.
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Janet Maslin wrote in The New York Times: "Although it includes some grisly shots of wartime casualties, the film does not concentrate on brutality per se. It pays much more attention to the process by which French and Germans alike may have tried to ascribe normality to abnormal situations. ... One Man's War may not reveal much that is new, but it casts familiar observations in a newly disturbing light." Time Out wrote that "One Man's War brings World War II into focus not with the lying lens of the deadpan documentary, but through a series of highly original techniques which gain all the more brilliance by their obliqueness".
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Mysteries' chief aim was to "elucidate a number of great Renaissance works of art".Pagan Mysteries in the Renaissance He maintained that "ideas forcefully expressed in art were alive in other areas of human endeavor". His thesis was that "the presence of unresolved residues of meaning is an obstacle to the enjoyment of art", and he attempted to "help remove the veil of obscurity which not only distance in time...but a deliberate obliqueness in the use of metaphor has spread over some of the greatest Renaissance paintings." Wind's book has been heavily criticised (by André Chastel, Carlo Ginzburg, E.H. Gombrich, and others) for frequent misreadings of sources and a "one-sided" fixation on the Neoplatonic perspective.
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" She attributed its neglect in the literature on Marcuse and critical theory to the fact that it does not refer explicitly to Karl Marx and historical materialism, and argued that Marcuse, influenced by both Dilthey and Heidegger, did not succeed in the resolving the tensions between their approaches. She suggested that Marcuse might have been attempting to respond to a criticism of Hegel made by Heidegger in Being and Time (1927), according to which Hegel's phrase that "Spirit falls into time" obscures the fact that Spirit is already in time. She noted that Hegel's Ontology and the Theory of Historicity has "met with some skepticism" as an interpretation of Hegel, and that the centrality of the term "historicity" to Hegel's concerns has been questioned. Though defending its relevance to Hegel, she maintained that Marcuse's failure to define it "adds to the obliqueness if not the obscurity of some of his intentions.
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Cheshire wrote that the story is told with "extraordinary delicacy and cinematic intelligence" and with a "finely calibrated poetic obliqueness that draws the viewer into the relationship's gradual unfolding". Cheshire continued: Cheshire also praised the performances of the leading actors, including Fiennes who "creates an exuberant portrait of Dickens that encompasses his vanity and selfishness as well as his bounteousness and thirst for life", Jones who is "luminous" and "conveys the young woman's mix of awe, intoxication and anxiety as she is drawn inexorably into the orbit of a powerful older man", and Scanlan who shows Catherine Dickens' "dignity and grace in heart-rending circumstances". Cheshire concluded: In his review for The Guardian, Peter Bradshaw gave the film four out of five stars, calling the film "piercingly intimate and intelligent" and praises Fiennes for his "strength as a director" and for his "richly sanguine" portrayal of Charles Dickens. Bradshaw also praises Scanlan for her "shrewd and sensitive performance as Dickens's neglected wife".
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