98 Sentences With "rootlessness" | Random Sentence Generator

Basketball helped hold her together during this rootlessness, Chicken said.

The drug chased away her feelings of inadequacy and rootlessness.

It tells a story about grief and change, rootlessness and restlessness.

"I am discouraged with myself, my rootlessness," he wrote to her.

At the same time, another kind of rootlessness is being traced.

But why is the choice always between exotic caricature or rootlessness?

"After I moved away from Iceland, I felt this rootlessness," Hauksdóttir says.

But maybe "rootlessness" exists but has to do with something other than jobs.

This sublime new volume from Foundry Journal editor Yanyi uses spare, artful language crafted into small proselike paragraphs to traverse the land of rootlessness and community — the rootlessness of immigration, being queer, and being trans; the community of writing and art.

There's a rootlessness to her, as even her meanderings through her mother's apartment suggest.

Tallulah, on the verge of making rootlessness her life's work, also needs a focus.

A look at the work of the royal Fahrelnissa Zeid, a story overshadowed by tragedy and rootlessness.

Ferruccio Furlanetto is a booming, sensitive Padre Guardiano, a moral anchor in a world of restlessness and rootlessness.

I always feel a sense of disquiet when I'm staying in one, a fundamental rootlessness that perturbs me greatly.

Questions of American restlessness and rootlessness may gnaw at you while chatting with fellow audience members at the communal tables.

That sense of rootlessness is a crucial cause of the rise of right- and left-wing populism over the past generation.

Additionally, his nonfiction essay collection, "In a Narrow Grave" (27), remains the gold standard for understanding Houston's brash rootlessness and civic insecurities.

I've been visiting the U.A.E. for many years, and have come to think of rootlessness as one of the country's defining features.

Its rootlessness is embodied in the fourth and final episode, which is unsure of the story it wants to tell: mistrust, instability, redemption.

Caroming in and out of each other's lives over continents and time, they make a compelling group portrait of rootlessness, both enforced and chosen.

His refuge from rootlessness wasn't so much the city of New York as the very process of making self-reflective art about his condition.

" No. 248 Tajikistan This debut novel follows two women as they embark on journeys that challenge societal restrictions and explores "notions of freedom, rootlessness" and "dislocation.

Wakako Yamauchi, whose plays exploring the Japanese-American experience drew on her own life of relocation, rootlessness, assimilation and internment during World War II, died on Aug.

He has kept up his rootlessness as an adult, bouncing among Los Angeles, Montreal, Berlin, Lisbon and Taipei (when he is not touring the world playing music).

Whereas most immigrant stories focus on the search to feel at home, Severance makes an extraordinary case for embracing rootlessness when the world is in turmoil anyway.

Our town was situated near the junction of two interstates and there was definitely a connection between the rootlessness we were feeling and the pull of the road.

Sudden drooping slides and players sawing away at their string instruments, punctuated by the somberly shuddering twang of horn and trumpet, give a sense of wandering and rootlessness.

She ignores her son's complaints about their rootlessness, insisting she has to safeguard this boy who's destined to be humankind's greatest champion in the war against the sentient machines.

Trump has tapped into what sociologist Emile Durkheim identified as anomie—a state of profound rootlessness and dislocation that occurs when institutions such as family and work break down.

"What I also see is just this sense of anxiety and rootlessness and uncertainty in so many people some of which is fed by globalization and technology," he said.

And in 2011 he situated his video installation "Black Mirror" on a moving barge near Hydra, Greece, to underscore the perpetual motion and rootlessness of the main character, played by Chloë Sevigny.

Perhaps this rootlessness is intentional; what she seems to care most about is talk — what it can and can't do, how it can hurt, how it can be the source of regret.

Poverty and rootlessness have become facts of life since the forces of Bashar Assad, Syria's president, began raining rockets down on Mr Hamama's hometown in northern Syria at the start of the war.

Throughout you become newly aware of themes of rootlessness, isolation, disenfranchisement and — beyond that — an upward-reaching spiritualty in the music of Dylan, and you remember he was indeed a child of the Depression.

For foreign students living in a country where information is heavily controlled, many like Mr. Rocha and Ryan Trombly, 19, were caught off guard by the sudden panic, adding to their sense of rootlessness.

The sorrows of rootlessness are much on the mind of Pete (Mark Blum), who has started posing a lot of existential questions to himself and his wife, Mary (Mare Winningham, doing stoic wistfulness beautifully).

At its best, The Path uses its weirdly hypnotic style (it sometimes feels as if half the show is filmed in slow motion) to capture the simple clarity of belief and the rootlessness of doubt.

Your defects glare like hot neon bulbs: sloppiness, confusion, rootlessness, affectation, pretense, laziness (work does not mean writing one play after another; work means making as perfect as possible the specific product) and a lot more.

She had just spent time with this friend who was living in a Gypsy community in England, and I think she just really related to Lu's rootlessness and desire to be free and unencumbered by anything.

We are made to contemplate the demise of the immigrant dream cherished by men like Seymour's father, the souring of the generational struggle during the 60's, and the connections between assimilation and rootlessness and anomie.

The manifold responsibilities and pressures of teaching don't really fit with the abstract concept of "your 20s," a decade that's supposed to denote the last socially acceptable pangs of irresponsibility, rootlessness, and having no fixed idea about who you are.

Whatever comes in 2030 or 2040, whether or not a once-dominant Christianity is doomed to marginalization or merely in decline, we have a severe problem of rootlessness, hyper-individualism and anomie already — how do you think we got Trumpism?

Yes, sex can be frenzied and wacky, even to the point where it feels like breasts are "barrel-rolling" across "howling mouths," but there is a rootlessness, a breathlessness to the language that floats above, and obscures, the reality of the scene.

" Meeting a vision of her future self, she marvels: "How attractive this person was to me, this person who, in her lifetime, filled in rootlessness with a story so deep in the mud of history it could be passed as identity — as self!

And denouncing anti-Semitism as a form of racism is itself a dodge, since Jews have also been persecuted on account of religion, riches, rootlessness, rootedness, and other things that strike chords on the far left while having nothing to do with race.

ND: And, I think that kind of sense of rootlessness and of circulation is really reflected through his practice, right, in the form of objects that have different owners and move around, and are layered with these histories, in a way that I found pretty incredible.

There is blame enough to go around, but the weakness of religious community is an important part of the story; strong religious bonds were often an antidote to rootlessness and dissolution in America's more Tocquevillian, communitarian past, and they remain so in certain present-day case studies (Mormon Utah, most notably).

I regard his 1997 novel American Pastoral as one of the masterpieces of postwar fiction, and greatly admired Roth's myriad gifts — his provocative exploration of the American embrace of the principles of rebellion and reinvention and the resulting sense of rootlessness; his tireless ability to complicate his own life on paper; his verbal inventiveness and his manic wit.

The exploitative nature of big business and big government; the evolution of national myths and legends; gun laws; the Constitution of Iceland; the death of the American coal industry; crushed utopian fantasies; the displacements of immigration; the confusing rootlessness of latter-day lives — these are all explored in far-reaching vignettes in which our three travelers wind up separated in unexpected terrain.

Stokes, pp.158–165, 165–174, 79–85. Hanley’s protagonists tend to be solitary figures and his concern is with loneliness, rootlessness, violence and madness and "he was never a political novelist or propagandist".Stokes, p. 201.

Roy Carr & Charles Shaar Murray (1981). Bowie: An Illustrated Record: p.92 The music has been interpreted as reflecting in part the rootlessness of the Turkish immigrants who made up a large proportion of the area's population.David Buckley (1999).

The short story collection ' (1978) treats subjects such as rootlessness and the feeling of being different. Among her further books for children are ? from 1981, ' from 1983 and ' from 1992. Her books for adults include the novels ' from 1987 and ' from 1994.

In reviewing the album, the Times Colonist wrote that the tracks on the album "seem to have seamlessly grown out of Fisher's Kerouacian rootlessness and contagious energy".Blake, Joseph (February 16, 2003). "Quirky, soulful, earthy – these discs have it", Times Colonist, p. B11.

Logan also kills Buzzard for disobeying him, even though Buzzard is the best at scouting territory. The girl-goddess-priestess sees all the soldiers as being lost from their tribes. This rootlessness echoes Tom and Jan's failure to find a place to call their own.

Writing in the second half of the twentieth century, Malamud was well aware of the social problems of his day: rootlessness, infidelity, abuse, divorce, and more. But he also depicted love as redemptive and sacrifice as uplifting. In his writings, success often depends on cooperation between antagonists. For example, in "The Mourners" landlord and tenant learn from each other's anguish.

" Muhammd Mashuq ibn Ally wrote that "The Satanic Verses is about identity, alienation, rootlessness, brutality, compromise, and conformity. These concepts confront all migrants, disillusioned with both cultures: the one they are in and the one they join. Yet knowing they cannot live a life of anonymity, they mediate between them both. The Satanic Verses is a reflection of the author’s dilemmas.

Migrant literature often focuses on the social contexts in the migrants' country of origin which prompt them to leave, on the experience of migration itself, on the mixed reception which they may receive in the country of arrival, on experiences of racism and hostility, and on the sense of rootlessness and the search for identity which can result from displacement and cultural diversity.

"The Life of Rosa Cavalleri: An Application of Abramson's Model of Rootedness/ Rootlessness", by Vaneeta-Marie D' Andrea, is Chapter 10 of The Italian Americans Through the Generations: Proceedings of the Fifteenth Annual Conference of the American Italian Historical Association, Held at St. John's University, New York, October 29–30, 1982, Volume 15, by the American Italian Historical Association, Incorporated, 1986.

Drawings of people and faces were strapped to the beds and wrapped around the tree trunks. The installation was accompanied by a recording by Tang's son, Zai Tang, of sounds captured in Venice during a single day. The work was described by the National Arts Council as suggestive of "the restlessness, rootlessness, spiritual wandering and emotional estrangement that mark the travelling life".See also .

Shiau's first work, Heartland is an existential novel. It deals with the paradox of rootedness and rootlessness of Singaporeans born after the Japanese Occupation. The book received the Singapore Literature Prize Commendation Award in 1998, together with Alfian Sa'at's Corridor. Heartland was named by Singapore's English daily The Straits Times in December 1999, along with J.M. Coetzee's Disgrace, as one of the 10 Best Books of the Year.

Lilli is one of three backing singers for a touring Elvis impersonator until she is fired. Then, left alone at the beginning of winter she is stranded in a ramshackle beach town on the windswept coast of New South Wales. This remote, working class, tourist-town has a pervasive sense of rootlessness and movement. The people survive by changing their occupations with the seasons and work hard in small businesses.

Each week, until the series ended in 1964, they encountered a different town and a different story. It was also shot on location around the United States in about 25 states, although only occasionally on the actual Route 66. A romance of the road that emphasized a sense of rootlessness, it stood out from many of the dramas and situation comedies that were its contemporaries. Leonard also produced several films.

The renowned writer V. S. Naipaul, a third generation Indian from Trinidad and Tobago and a Nobel prize laureate, is a person who belongs to the world and usually not classified under IWE. Naipaul evokes ideas of homeland, rootlessness and his own personal feelings towards India in many of his books. Jhumpa Lahiri, a Pulitzer prize winner from the U.S., is a writer uncomfortable under the label of IWE.

Of Jewish origins himself, Reich considered Zionism to be an aberration caused by the rootlessness of Jews and their lack of national feeling for the countries they lived in. Reich summarised his own career in the British Who's Who: Reich died in the winter of 1910 after a long illness and was buried at Kensal Green Cemetery. At the time of his death he was living in Notting Hill with his wife and one daughter.

According to Mishra, Rousseau was among those who best anticipated the problems modernity would bring: rootlessness, competition, and materialism. Mishra presents this theory in opposition to historical theories that tacitly ascribe mostly positive attributes to modern liberalism such as Fukuyama's The End of History, which argues that liberal democracy has irrevocably become a global ideal, and Huntington's Clash of Civilizations, which Mishra argues encourages Islamophobia while obscuring the true causes of religious terrorism.

He quotes cosmology, poetry and Shakespeare constantly, mostly as a defence against the world around him. He is polite, almost florid in his speech with strangers, even as he can be curt and sardonic with those close to him. As the novel progresses he descends into mental breakdown. Jan's commitment to Tom comes partially from the rootlessness of her upbringing, moving from place to place as her parents work at different hospitals.

Despite his poor education, Mr Biswas becomes a journalist, has four children with Shama, and attempts several times to build a house that he can call his own, a house which will symbolize his independence. Mr Biswas’ desperate struggle to acquire a house of his own can be linked to an individual's need to develop an authentic identity. He feels that only by having his own house he can overcome his feelings of rootlessness and alienation.

Novak left Stanford for a post as dean of a new "experimental" school at the newly founded State University of New York at Old Westbury, Long Island. Novak's writings during this period included the philosophical essay The Experience of Nothingness (1970, republished in 1998), in which he cautioned the New Left that utopianism could lead to alienation and rootlessness. Novak's novel Naked I Leave (1970) chronicles his experiences in California and in the Second Vatican Council and his journey from seminarian to reporter.

M.I.A.'s commentary on the oppression of Sri Lankan Tamils, Palestinians and African Americans has drawn praise and criticism. The United States has restricted her access into and out of the country during her career since the release of her debut album. M.I.A. notes that the voicelessness she felt as a child dictated her role as a refugee advocate and voice lender to civilians in war during her career. M.I.A. attributes much of her success to the "homeless, rootlessness" of her early life.

The Australian has described her poems as "a biting social commentary on life in patriarchal, post-colonial Vanuatu.""Voice of Vanuatu's women", The Australian, 1 February 2002 She wrote both in English and in Bislama. In 2007, francophone singer- songwriter, musician and author Marcel Melthérorong (fr) published the first ever novel written by a Vanuatuan, through the Alliance Française: Tôghàn. His novel touched upon the sense of rootlessness of Pacific Islander youth, trying to find their bearings between Melanesian and Western values.

Heartland is a novel by Daren Shiau, and is the first and best known of his five books. An existential work, Heartland deals with the paradox of rootedness and rootlessness of Singaporeans born after the Japanese Occupation. The book received the Singapore Literature Prize Commendation Award in 1998, together with Alfian Sa'at's Corridor. Heartland was named by Singapore's English daily The Straits Times in December 1999, along with J.M. Coetzee's Disgrace, as one of the 10 Best Books of the Year.

His first stories appeared in the 1930s. Among these was "The Broken Wheel", written under the name Sirak Goryan and published in the Armenian journal Hairenik in 1933. Many of Saroyan's stories were based on his childhood experiences among the Armenian-American fruit growers of the San Joaquin Valley or dealt with the rootlessness of the immigrant. The short story collection My Name is Aram (1940), an international bestseller, was about a young boy and the colorful characters of his immigrant family.

During the American Revolution, Williamson contributed his talents as physician and natural scientist to the American war effort. His experiences in that preeminent event of his generation transformed the genial scholar into an adroit politician and a determined leader in the campaign for effective national government. This leadership was evident not only at the Convention in Philadelphia but also, with telling effect, during the ratification debates in North Carolina. Williamson's career demonstrates the rootlessness that characterized the lives of many Americans even in the 18th century.

When Holley graduated in 1851, Putnam left Oberlin without completing her studies. For the next decade she worked for the abolition of slavery, largely in the shadow of Holley, who became a noted abolitionist lecturer. Putnam traveled with Holley, wrote to newspapers about Holley's speaking engagements, and called door-to-door in villages across the North to explain the tenets of Garrisonianism, though she disliked the rootlessness of constant travel and felt that she lacked the tenacity and emotional resilience required by the work.

Calenture, saw The Triffids explore themes of insanity, deception and rootlessness. AllMusic's Michael Sutton found "there's an undeniably spiritual feel to several of the songs" where "David McComb spews his words with the fiery passion of a backwoods preacher". Sutton advises "Fans of Nick Cave will immediately be seduced by McComb's bluesy croon; deep and brimming with palpable sorrow, [his] voice never dwindles in intensity". David Fricke writing for Rolling Stone observed that the album "is about the chills and delusions suffered by lovers separated too long from each other and from reality".

Mishima's work is characterized by "its luxurious vocabulary and decadent metaphors, its fusion of traditional Japanese and modern Western literary styles, and its obsessive assertions of the unity of beauty, eroticism and death". Mishima's political activities were controversial, and he remains a controversial figure in modern Japan. Ideologically, Mishima was a right-winger who protected the traditional culture and spirit of Japan. He opposed the , including globalism and communism, worrying that the Japanese people would lose their distinctive heritage (Shintoism, Yamato-damashii and Mono no aware) and change into "Déracine" (rootlessness).

A watercolor painting of a camp meeting circa 1839 (New Bedford Whaling Museum). The most important American antecedent of the blues was the spiritual, a form of religious song with its roots in the camp meetings of the Great Awakening of the early 19th century. Spirituals were a passionate song form, that "convey(ed) to listeners the same feeling of rootlessness and misery" as the blues. Spirituals, however, were less specifically concerning the performer, instead about the general loneliness of mankind, and were more figurative than direct in their lyrics.

Between April and August 1987, the band worked again with Norton, to record Calenture, their Island Records debut. The album, released in February 1988, saw them explore themes of insanity, deception and rootlessness—the title refers to a fever suffered by sailors during long hot voyages. The Triffids were nomadic, travelling back and forth from Australia to England to record the 'difficult' album—initial recordings with US producer Craig Leon were abandoned—and obviously related to the disoriented sailors. It provided the singles "Bury Me Deep in Love" in October 1987 and "Trick of the Light" in January 1988.

Calenture is the fourth studio album by Australian rock group The Triffids, it was released in November 1987 and saw them explore themes of insanity, deception and rootlessness—the title refers to a fever suffered by sailors during long hot voyages. It reached No. 32 on the Australian Kent Music Report Albums Chart. In November 1987, it reached No. 24 on the Swedish Albums Chart, in May 1988 it peaked at No. 25 on the New Zealand Albums Chart. The album spawned three singles, "Bury Me Deep in Love" (1987), "Trick of the Light" and "Holy Water" (both in 1988).

Stephen Thomas Erlewine of AllMusic describes it as "a kaleidoscopic array of pop styles, tied together only by Bowie's sense of vision: a sweeping, cinematic mélange of high and low art, ambiguous sexuality, kitsch, and class". Michael Gallucci of Ultimate Classic Rock notes that it is Bowie's first record to include "a mix of pop, glam, art and folk wrapped in an ambisexual pose that would come to define the artist." Peter Ormerod of The Guardian writes that the music of Hunky Dory celebrates "uncertainty, rootlessness, inner chaos, difference, otherness, doubt and impermanence" and did it with "beauty, style and charisma".

Ajemian "has been acclaimed as a powerful intellectual voice in Armenian freedom movements as his works express the longing, rootlessness, and despair of diasporan peoples everywhere".Ruling Over the Ruins, by Kevork Ajemian, Amazon Editorial Review As a novelist he experimented with modern forms and postsurrealist techniques.Encyclopedia of world literature in the 20th century, by Leonard S. Klein, Steven Serafin, Walter D. Glanze, 1993, . p. 121 According to "The Book Buyer's Guide" (1969), in his first English novel Symphony in Discord, Ajemian, "a well-known Armenian author takes a look and a laugh at life in an unusually provocative study".

Vonnegut is concerned about the transitoriness of the modern lifestyle, wherein people are forced to leave their familial and cultural roots and trade those for professional and financial security. He explains in an interview: > Well, I am used to the rootlessness that goes with my profession. But I > would like people to be able to stay in one community for a lifetime, to > travel away from it to see the world, but always to come home again,...Until > recent times, you know, human beings usually had a permanent community of > relatives. They had dozens of homes to go to.

The renowned writer V. S. Naipaul, a third generation Indian from Trinidad and Tobago and a Nobel Prize laureate, is a person who belongs to the world and usually not classified under IWE. Naipaul evokes ideas of homeland, rootlessness and his own personal feelings towards India in many of his books. Indian authors like Amitav Ghosh, Anita Desai, Hanif Kureishi, Rohinton Mistry, Meena Alexander, Arundhati Roy and Kiran Desai have written about their postcolonial experiences. The Hungry Generation was a literary movement in the Bengali language launched by what is known today as the "Hungryalist quartet", i.e.

He supported the working man and the subdivision of big estates, opposed the confiscation of Māori land and was later recognised as a founding Liberal, the party that Harold supported and was a "fixer" for. Yska calls their life an extended chronicle of rootlessness, business failure and almost ceaseless family tragedy and Harold called his father a rolling stone by instinct. Arthur also served on the council of Marlborough Province and is best-remembered for a 10-hour speech to that body when an attempt was made to relocate the capital from Picton to Blenheim. In 1866 he attempted to sue the Speaker of the House, David Monro.

His childhood beliefs were dispelled very early by his fanatical aunts and the Jesuits of the Colegio but he still needs to find something to believe in to dispel his feelings of emptiness and rootlessness. The third and final section sees a radical change of style. The short lines of the previous sections give way to much longer lines that grow into the tangled webs of surreal imagery that he was to use in his next few works – Sermones y moradas, Con los zapatos puestos…., and Yo era un tonto……. The key to understanding this collection is probably the poem "Muerte y juicio" (‘Death and Judgment’).

This epic trilogy, telling the tragic story of three peasant families, became arguably the strongest statement against collectivization in the non-dissident Soviet literature, exploring what the author saw as the conflict between Russian rural traditionalism and the Bolsheviks-imposed 'rootlessness', the latter leading to chaos, mass murder and degradation. In 1989–1991 Belov published a series of children's books: The Old and the Small, The Little Spring fairytale and others. He started to get involved in the practical politics, first as the People's deputy, then (in 1991–1992) the member of the Supreme Soviet. In 1993–1995 the Sovremennik Publishers issued the first Complete Vasily Belov collection in five volumes.

A summary of the interpretations of Tang poem origins of Mahler's Das Lied von der Erde (in Chinese:关于马勒《大地之歌》唐诗歌词之解译研究的综述) According to the musicologist Theodor W. Adorno, Mahler found in Chinese poetry what he had formerly sought after in the genre of German folk song: a mask or costume for the sense of rootlessness or "otherness" attending his identity as a Jew. This theme, and its influence upon Mahler's tonality, has been further explored by John Sheinbaum.John J. Sheinbaum, 'Adorno's Mahler and the Timbral Outsider', Journal of the Royal Musical Association, 2006, Vol. 131 no.

The novel also explores the interaction between the unfolding loyalties of its two main characters, the loneliness and rootlessness of Ai, and the contrast between the religions of Gethen's two major nations. The Left Hand of Darkness has been reprinted more than 30 times, and received high praise from reviewers. In 1970 it was voted the Hugo and Nebula Awards for Best Novel by fans and writers, respectively, and was ranked as the third best novel, behind Frank Herbert's Dune and Arthur C. Clarke's Childhood's End, in a 1975 poll in Locus magazine. In 1987, Locus ranked it second among science fiction novels, after Dune, and literary critic Harold Bloom wrote, "Le Guin, more than Tolkien, has raised fantasy into high literature, for our time".

" About the film itself, he stated: "The Master takes some getting used to. This is a superbly crafted film that's at times intentionally opaque, as if its creator didn't want us to see all the way into its heart of darkness." Lisa Schwarzbaum of Entertainment Weekly gave the film a perfect "A" grade, stating: "It's also one of the great movies of the year - an ambitious, challenging, and creatively hot-blooded, but cool-toned, project that picks seriously at knotty ideas about American personality, success, rootlessness, master-disciple dynamics, and father-son mutually assured destruction." Academy Award nomination for her performance Peter Rainer of The Christian Science Monitor wrote that "the performances by Phoenix and Hoffman are studies in contrast.

Herberg is credited with coining the phrase "cut flower culture" to describe the spiritual rootlessness of modern European and American societies. The epithet is typically taken to imply that these societies cannot long survive without being regrafted onto their Judeo- Christian roots. In Judaism and Modern Man, Herberg wrote: :The attempt made in recent decades by secularist thinkers to disengage the moral principles of western civilization from their scripturally based religious context, in the assurance that they could live a life of their own as "humanistic" ethics, has resulted in our "cut flower culture." Cut flowers retain their original beauty and fragrance, but only so long as they retain the vitality that they have drawn from their now-severed roots; after that is exhausted, they wither and die.

This contributed to the culture created at the Warehouse. It was a place where people could be open and "this sexual openness enabled the club to be unusually free of aggression”. Chicago house was a specifically black gay genre in many ways for many years and the Warehouse was a specific space that cultivated that scene in a safe way. Black music was at the heart of the disco era and it is impossible to separate the roots of disco from the disenfranchised queer people of color that flocked to it. House is connected to disco in that "it mutated the form, intensifying the very aspects of the music that most offended white rockers and black funkateers: the machinic repetition, the synthetic and electronic textures, the rootlessness, the ‘depraved’ hypersexuality and ‘decadent’ druggy hedonism.

One antisemitic theme that is introduced at the beginning of the film is the portrayal of Süß as the typical "Jew in disguise", a concept which Welch describes as "the inherent rootlessness of the Jew and his ability to assimilate himself into whichever society he chooses." Süß is presented to the audience first in traditional ghetto attire and then a quick cutaway to a shot of him in elegant clothes riding in a carriage on his way to Stuttgart. Thus, Süß is shown to be hiding his true identity as a marginalized Jew and posing as a respected member of German society. However, despite Süß's attempts to fit into Württemberg high society, Harlan will not let the audience forget that he is ultimately depicted as a "dirty Jew" and underlines this point by juxtaposing him with the elderly Rabbi Löw.

Sources for this article include Dale Cannon, one of Poteat's PhD students and a member of the group that held retreats with Poteat in North Carolina from 1969 through 1975. Another source is Tradition and Discovery: The Polanyi Society Periodical. As articulated originally by René Descartes, and named much later, the critical mode of inquiry seeks to arrive at the undistorted truth by filtering one's encounter with reality through a lens of extreme suspicion and doubt. Since its emergence as the predominant epistemic paradigm of Modernity, the critical mode has been assailed by many thinkers, including those mentioned previously, for breeding a pervasive skepticism toward higher-order realities and ideals that contributes to an attitude of rootlessness, nihilism, and despair by disparaging meaning, purpose, and value so that they function only as arbitrary or evolved creations of the human mind.

For the second verse, the lyrics reflect on this recurring pattern of being evicted out of men's lives, and the final verses have a more positive outlook toward's the subject's life. The song finishes with the mistress asking the question, "Where am I going to?" as a male voice pacifies by saying, "Don't ask, anymore". In 2004, author Rikky Rooksby released the book, The Complete Guide to the Music of Madonna, where he wrote his thoughts about the popularity of the song: > Eva is the center of attention [in the song] but the lyric does not allow a > transfer of meaning outside of the context of her story. Part of the song's > popularity lies in the way it finds an image—the suitcase in the hall—to > express the nomadic nature of modern civilization, the feeling of urban > rootlessness that many people experience.

The subsequent economic depression, coupled with the rootlessness enabled by access to online data and strong social pressure to be flexible (the results of corporations wanting highly mobile workforces without strong local ties), results in a fragmentation of society along religious, ethnic, and a variety of class markers, what Toffler called "subcults", including what would in 2010 be described as gangs. The equitable distribution of data access and data privacy is a prominent theme in the book; characters who have access to information which is nominally secret enjoy demonstrable economic advantages over others lacking access to such data. In the novel, data privacy is reserved for corporate entities and individuals, who may then conceal wrongdoing; by contrast, normal citizens do not enjoy significant privacy. The world described in the book is dystopian, with laissez-faire economics portrayed as leading to disaster as greed trumps long-term planning.

Having been to England during the 1960s, where the do-it-yourself market was already in existence, Davis sought to bring that trend to the United States, arguing that homeowners doing construction projects on their own would want to use the same quality tools that professionals were using. He coined the company slogan "Stanley helps you do things right". Facing increasing competition from Asian manufacturers who could produce quality tools and sell them for 40% less than Stanley was charging, Davis responded with cuts in labor costs through attrition and layoffs to allow prices to drop to competitive levels. Though increasing numbers of the company's employees were employed around the world, Davis sought to keep the firm rooted in New England by establishing a new corporate headquarters in New Britain, Connecticut, saying, "I think of us as an international company headquartered here", avoiding the word "global" as "it gives the impression of rootlessness".

Deprisa, deprisa is a raw and sobering portrait of a generation at an existential crossroads, struggling to find mooring and direction in an uncertain climate of transformative, social revolution, as Spain emerged from the repression of fascism towards the liberalization of democracy. It is this dichotomy that is reflected in the recurring image of passing trains that bisect the horizon - a perennial view from the public housing suburb outside the city where Pablo and Ángela live - a visual bifurcation that illustrates, not only their socioeconomic marginality, but also exposes their irreparable moral fissure. Strictly Film School The film captures the rootlessness of a morally stunted, lost generation that has come of age at a time of profound political and cultural transformation. The reckless, thrill-seeking, young anti-heroes of Carlos Saura's Deprisa, deprisa also indirectly bear the scars of a life lived in the periphery - paradoxically insulated from the tyranny of institutional rule, but also divorced from the inured resilience engendered by its imposed sense of order.

In his last months, he worked closely with his daughter Elisabeth to complete The Revolt of the Elites: And the Betrayal of Democracy, published in 1994, in which he "excoriated the new meritocratic class, a group that had achieved success through the upward-mobility of education and career and that increasingly came to be defined by rootlessness, cosmopolitanism, a thin sense of obligation, and diminishing reservoirs of patriotism," and "argued that this new class 'retained many of the vices of aristocracy without its virtues,' lacking the sense of 'reciprocal obligation' that had been a feature of the old order."Deneen, Patrick (2010-08-01) When Red States Get Blue , The American Conservative Christopher Lasch analyzes the widening gap between the top and bottom of the social composition in the United States. For him, our epoch is determined by a social phenomenon: the revolt of the elites, in reference to The Revolt of the Masses (1929) of the Spanish philosopher José Ortega y Gasset. According to Lasch, the new elites, i.e.