Rather than accepting that they were needed to counter North Korea, China argued, solipsistically, that they were aimed at it.
|
|
"Who Lost Russia?" suggests that he, like many Westerners, will treat this gargantuan, complicated country as if it were a misplaced personal item, or solipsistically attribute its post-Soviet path to Western policy.
|
|
There will inevitably be questions raised about Apple's future growth strategy, and those are apt — every public company must offer its investors a vision of rising profits — but they shouldn't be solipsistically focused on the iPhone.
|
|
Often wary of the stuffy suits of Washington, D.C., the tech industry tends to view its own backyard — however solipsistically — as a much more powerful economic epicenter with the real, true power to rewire the whole of the country.
|
|
Over the decades, that year and the "hippie idea," as Danny Goldberg calls it — "when 'peace and love' was not meant or taken ironically" — were at first solipsistically ballyhooed and then retired to a permanent state of ridiculed cliché.
|
|
In an era where we all binge-watch series solipsistically and consume media at our own speed, having a TV show that is on every evening at 9pm sharp, that we all watch in sync and dissect the next morning is a nostalgic bonding experience I'll really miss come August.
|
|
In Mary, Nabokov explores many of the metaphysical ideas of French philosopher Henri Bergson and investigates the nature of the relationships between time, memory and consciousness, as noticed by scholars like Boyd and Eric Laursen. Furthermore, the issue of solipsism, which, according to Alfred Appel, is "a central concern" in Nabokov's oeuvre, is prominently featured in Mary, as Ganin struggles with the self-created image of his first love. As Leona Toker remarks, "the romance which started solipsistically in the imagination [ends], no less solipsistically".
|
|
Set in an insane asylum and constantly in danger of being overwhelmed by madness and chaos, the play explores the place of writers and intellectuals in a time of revolutionary upheaval. At its center are two very different historical figures, Jean-Paul Marat, a writer and leading intellectual of the French Revolution, and the Marquis de Sade, a writer and intellectual as well, whose attitude towards the revolution is much more ambivalent and who is solipsistically obsessed with sex, violence, and pain. In the play Weiss draws both on Antonin Artaud's Theater of Cruelty and on its opposite: Brecht's theater of reason. In the words of de Sade: "Our intent in creating such dialogues as these / was to experiment with various antitheses / to oppose each to each so that we might / upon our many doubts shed some light".
|
|