unvanquished


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Faulkner's 'Greek Amphora Priestess': Verbena and Violence in The Unvanquished.
1652 (Braunschweig Kunstmuseum) has a directer appeal in its resilience as its roots grapple with a sandy landslip; hale and unvanquished, it sends out new shoots.
Nevertheless, it would be easy to misunderstand its sources of renewal--as many on the secular Left do--as simply the revival of an unvanquished ignorance, rather than as a key to the deeper contradictions of social life.
The garden on the museum's grounds is a logical extension of Faulkner's appreciation of the natural world, which he captured in works like Big Woods, The Sound and the Fury, The Unvanquished, and Flags in the Dust.
See also Faisal Darraj, "Jabra Ibrahim Jabra: The Unvanquished Palestinian in the Promised Culture", 54 al-Carmel (Winter 1998): 6-26.
The only consideration animating him now is remaining unvanquished in Scotland.
Unvanquished foes such as the Chinese, of course, need not be accessible at all, particularly since they remain active opponents.
The al-Qaeda network in the rest of the world remains unvanquished, bloodshed in the Middle East is as bad as ever, and there is no evidence to suggest that the War On Terrorism is anywhere near won.
nuclear father of birth, who causes wars and peace according to your will, unvanquished prince, nourisher of this world, who first opened the yawning cavern of Chaos and, appearing armed with fiery arrows, was named Phanete: .
14) Stuart Henry, Unvanquished Puritan: A Portrait of Lyman Beecher (Grand Rapids: Eerdmans, 1973), 161.
And so," he tried desperately to conclude, "we are indebted to Albert Singer no less for his honesty, for his intellectual rigour, for his unvanquished humanism, which sees beyond the fabled tapestry of life, as he once put it and put it well, to assert nonetheless that although the truth hurts, better a thousand times the truth and its unravelling to the telling of tall tales.
From the rest of Bonnefoy's windy, sometimes gassy apology I can disentangle four much-hedged propositions: (1) his essays should not be taken as any kind of history of art; (2) his essays should not be taken as interpretive art criticism, the kind that interprets works from within, "in order to discover the meanings and structures that are concealed there"; (3) his essays call into question our habitual conceptual discourse, since "what is essential and specific to great works is their defiance of language"; (4) his essays are an essentially poetic act, "creation from, as it were, within" of an awareness of the desire for Being instead of for Knowing, the poet striving to deal with what he regards as that raw, undivided, unvanquished reality lying beyond language.