The speechlessness one encounters is produced by her overwhelming repetitions.
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It can result in paralysis and speechlessness, a silencing of the one suffering.
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Even as late as 2005, mass killings were followed by genuine grief, the speechlessness that's proper to atrocity.
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The experience of walking through Darboven's installation is one of overwhelm and speechlessness, both symptoms of trauma and shock.
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So if Mrs Le Pen reaches the second round today then wins it on May 7th, the initial reaction in Berlin will be speechlessness.
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The Radio Silence podcast's first episode, "Speechlessness," introduces Abdulwahed, the "host who has become a ghost," who will continue to appear in snippets in each subsequent episode.
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This speechlessness reaches its peak on Wednesday, before Mercury changes signs from Scorpio to Sagittarius, entering a deeply personal sector of your chart that rules your home and family.
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In his fiction as well as his nonfiction, Matar continually thrusts himself and his characters into situations of discomfort, speechlessness and trauma, all while maintaining a coolly analytic eye.
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Maybe the bruising inflicted by that nurse in the O.R. happened because, in my drug-induced speechlessness, I couldn't call out to let her know that she was hurting me.
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Someone snipped those first 30 seconds of his freestyle and it rapidly became a universal meme used to express moments of complete speechlessness (and trust me, 2016 has been a vintage year for feeling speechless).
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Yet because Palmer is the most dialectical of poets — he will often utter a statement only to soon retract it, assert its opposite — the speechlessness figured with unease in a poem like "Idiot Wind" can assume an altogether different guise.
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Those who'd question the intent or politics behind more or less going it alone face certain speechlessness fairly early on with the unannounced placement on "Caro" of bilingual pop veteran Ricky Martin, someone who saw both the best and the worst of the turn-of-the-century Latin explosion.
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While at Norton, Ms. Cliff edited "The Winner Names the Age: A Collection of Writings by Lillian Smith" (1978), devoted to the Southern social reformer, and published "Notes on Speechlessness" in "Sinister Wisdom," a feminist journal of lesbian culture that she and Ms. Rich edited and published in the early 1980s.
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Her first essay, "Notes on Speechlessness," written for a women's writing group in 21987, can be read as the keynote for her subsequent work, which navigated the complexities of her life situation — she was a light-skinned black lesbian raised partly in Jamaica and partly in New York, and educated in Britain — against the broader background of the Caribbean experience.
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Around sunset on the second day of his seclusion in speechlessness, your correspondent realised that for all the equanimity offered by Buddhism, the psychological acuity of its founder's teachings and the hospitality of the Mingaladon monks, he would rather be in one of the cars he could hear passing by on Highway Number 3, wherever it was going, than inside the dhamma hall, where he was supposed to be meditating.
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His third book Hüznün Sözyitimleri (Speechlessness of Sadness) was publishing in 1998. It consists of three parts "Deterritorial, Agnostic and Incognitae". We are given the loneliness, alienation, individualism and rebellion created by modern world. The subject matter gives Kurt's poetry its peculiar quality.
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McDowell, Deborah."Tewes Evocative Paintings," The Independent, June 9, 1994, p. 29. Details such as empty chairs, rugs resembling black holes, empty mirrors, switched-on lights, smoking cigarettes, and strewn toys in vacant rooms conveyed a sense of absence, silence, or speechlessness in the lives of unseen inhabitants.
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As Foe takes over her tale, McGrath said, Barton "loses her voice in history, and thus her identity." In addition to trying to preserve herself and her history, Barton is attempting to give voice to the even more graphically silenced Friday. Denis Donoghue of New York University stated that "the political parable [of the novel] issues from Friday's tonguelessness", as one of the central themes of the novel is the imperative to give voice to the oppressed. Barton sees Friday as caught on the edge of birth by his speechlessness, though she believes that his desire for liberation is explicit, if unspoken; Foe – though wondering if those who are not speechless "are secretly grateful" for the opportunity to project their thoughts onto Friday – believes that Friday could overcome his speechlessness by learning to write.
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Aphasia is from Greek a- ("without") + phásis (φάσις, "speech"). The word aphasia comes from the word ἀφασία aphasia, in Ancient Greek, which means "speechlessness",ἀφασία, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus. derived from ἄφατος aphatos, "speechless"ἄφατος, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus. from ἀ- a-, "not, un" and φημί phemi, "I speak".
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Relatives noticed psychological changes in their returned men. Speechlessness, sleep disturbances, fear and shame were often the reaction to the sudden loss of bourgeois reputation, the raw assaults experienced and the experience of absolute powerlessness and lawlessness. The halfway regulated emigration became a panic flight. Families were forced to separate in order to flee individually to a foreign country or at least to remove their children from Germany.
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Application in education - "Women's studies" The classroom can be a place where women are muted. Women's education in the United States has progressed over the years, but academia is still male-dominated. Kramarae has raised several suggestions for more inclusive educational environments, such as including "women's humor", "speechlessness", and ways to address the issue of "abusive language". Including more diverse language systems in academia can keep it from being dominated by one way of thinking.
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They reveal the tawdriness of the Gang's > half-truths. They acknowledge the pain of what is happening. They might be > quoting Simone Weil who wrote: "There is a natural alliance between truth > and affliction, because both of them are mute supplicants, eternally > condemned to stand speechless in our presence." And they are exemplary > because, in face of such inevitable speechlessness, they remind us of the > need to speak out in protest, the protests of the dead and the living.
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The ellipsis by itself represents speechlessness, or a "pregnant pause". Depending on the context, this could be anything from an admission of guilt to an expression of being dumbfounded at another person's words or actions. As a device, the ten-ten-ten is intended to focus the reader on a character while allowing the character to not speak any dialogue. This conveys to the reader a focus of the narrative "camera" on the silent subject, implying an expectation of some motion or action.
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Dorothea Buck was born in April 1917, the fourth of five children in Naumburg an der Saale, where she grew up. In 1936, at the age of nineteen, she was diagnosed with schizophrenia at Bodelschwingh Foundation Bethel. There she was exposed to baths and cold water head pourings for "disciplining", then common practices of psychiatry in the first half of the 20th century. She found the "complete speechlessness" to be especially humiliating: patients did not speak to each other and conversations between staff and patients were unusual.
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He then decides that he must rescue him and smuggle him out to his uncle's village, where they will have to evade capture from the local police. Slowly, the reason for Luke's speechlessness becomes clear. Xiao Jiang discovers that Luke had previously had a romantic affair with a young male university student, called Han Dong, whom he had met at the university campus, together with Han Dong's girlfriend, Xiao Ning. Xiao Jiang accidentally discovers a secret that provides a key to Luke's past, enabling him to subsequently track down Xiao Ning to find out more.
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The Dumb Knight, Act 3, Scene 3 While the subplot of Prate and Alphonso provide comic foolery and clash with the main plot at the end of the play. Although the title of the play is The Dumb Knight, Philocles, the “dumb knight” and the second in command to the King of Cyprus, is only mute for a couple of scenes in Act Two and Three. Philocles has an active voice throughout the play and his spell of speechlessness is used to advance the main plot but is not the plots focus.
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Orsanes, seeing a way to further his own ambitions, suggests that "Ermin" should pretend to be Atis, and can then declare himself – via Halimacus – unfit to rule because of his speechlessness, and cede the throne to Orsanes. "Ermin" agrees to this, but points out that the real Atis should be returning that night, which could cause a problem. Orsanes has a solution: "Ermin" must kill Atis and dispose of the body before proceeding with the plan. "Ermin" agrees to do this, and next day appears as the dumb Prince.
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In the same year her first work as a director was published, La Mer, a playful-romantic short film. In addition, she still appears in movies, such as her part in 2000 alongside Franka Potente and Benno Fürmann in the movie The Princess and the Warrior. In Totem, the only German contribution to the Venice Film Festival in 2011, she embodied a woman in desperation for the speechlessness of her family. Brunckhorst has one daughter: Emma (born 1991), from a relationship with German actor Dominic Raacke that lasted from 1988 to 1993.
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Dyer suffered a series of strokes during the last years of his life and he became increasingly isolated due to the paralysis and speechlessness inflicted by his strokes. He died of cerebral haemorrhage and arteriosclerosis on 23 July 1927. On his deathbed, Dyer reportedly said: The Morning Post remembered him in an article titled "The Man Who Saved India" and "He Did His Duty" but the (Liberal) Westminster Gazette wrote a contrary opinion: "No British action, during the whole course of our history in India, has struck a severer blow to Indian faith in British justice than the massacre at Amritsar."Collett, p.
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Magazine for Literature and Art", Vienna May 1981 His early works were influenced by his Viennese past: changing schools, speechlessness and isolation, simultaneously the material and social ascent of his family. They revolved around issues of aesthetics and identity, the relationship between individuum and collective, and communication mirrored by consumption.Horst Christoph, "Feuerfahnen in der Dämmerung" in: Profil No. 3, Vienna January 19, 1981 "Oroschakoff reveals our anxiety and fear (...), our refusal of self-awareness, our insecurity about our place of work as well as about our precise localization. (...) Oroschakoff visualizes what sociologists and historians are just beginning to explore: Siberia or the loneliness within us all.
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The first recorded case of aphasia is from an Egyptian papyrus, the Edwin Smith Papyrus, which details speech problems in a person with a traumatic brain injury to the temporal lobe. During the second half of the 19th century, aphasia was a major focus for scientists and philosophers who were working in the beginning stages of the field of psychology. In medical research, speechlessness was described as an incorrect prognosis, and there was no assumption that underlying language complications existed. Broca and his colleagues were some of the first to write about aphasia, but Wernicke was the first credited to have written extensively about aphasia being a disorder that contained comprehension difficulties.
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Though not credited as a band member this time, James Mackintosh contributed drums to several songs. Order Of Things contained six original songs by Swan, a version of "Roisin Dubh" (the notorious Irish republican love song to Ireland) and a version of the song "The Dae Doers", which is the oldest known written Scottish music extant. The album was another predominantly acoustic recording, but with "moments of high distorted drama"Order Of Things sleevenotes. Retrieved 7 December 2008 The themes included "death, speechlessness, paternity disputes, underwater sex, and the films of Akira Kurosawa” with Swan commenting "these are surely more legitimate themes for the modern troubadour than the love of boys & girls or disdain for the military-industrial complex.
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She is aesthetically in accord with Beckett's assumption of "the divine aphasia," or speechlessness, against which mark-making is inadequate (That Which Memory Cannot Locate, 1991-92). She evidently admires that same impulse toward (the Heideggarean) "inadequacy of language" in art other than her own (Robert Ryman's own homage to Beckett's, Ill Seen Ill Said, with its barely voiced "th" inscribed in illustration, for instance). Cognizant of Vladimir and Estragon's cosmic fretfulness, she conducts her own forays into elegant stuttering on the visual plane.” In Haynes’ recent paintings, the canvases began to “evolve from a paler shade of a given pigment to a darker one, creating a horizontal movement that pulls the eye toward an unseen source of light.” More notable works include her autobiographical color charts series (2005-2013), which employ swatches of color contained within grids, meant to give an autobiography of the artist.
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Art without ethical and political engagement would be unthinkable. In these early paintings, his stance of social critique remained very much at the forefront. Poverty, speechlessness, and physical handicaps (a poignant reminder of the hundreds of thousands of soldiers and millions of displaced persons left physically ruined and financially destitute after the First World War) were hereby interpreted, providing us with evocative symbols of the abuse of the human work ethic, a metaphor for the meaninglessness of modern life and existence, in this instance, under the emerging capitalist system, where the individual was obliterated by the greater forces of industry and nation-building that captured the Zeitgeist of inter war period in Europe. His paintings remained for some time grounded in the social criticism that led to his emerging involvement in the Communist Party, where he designed many poster and flyers, and his greater political activism in the City of Basel; whether through art or through politics, the message was change. During his prolific career, Aegerter experimented with numerous styles, influenced by the various forces at work on the artistic scene, never truly belonging to any one “school”.
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