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See: alter ego, copy, correlate, counterpart, duplicate, image, parallel, reflection, reproduce, resemblance, same, substitute

DOUBLE. Twofold; as, double cost; double insurance; double plea.

References in periodicals archive ?
Montaigne's doubleness lives on in the age of the Internet.
In the last and most powerful essay, "The Aquarium," Hereon eschews memory and doubleness as he confronts the prolonged illness and horrific death of his infant daughter, to whom he dedicated this collection.
Thus, Miyoshi's memorably-titled lecture "Japan is Not Interesting" (2000) implicitly acknowledges that the type of doubleness associated with the concept of "Japan" had become all too common throughout the world.
Instead of calling on external criteria to address the text, theory reconceives the operation of critique as purely internal to the text understood as the bearer of its social determination: as 'deconstruction' (Derrida), the unraveling of the text's own semantic tracery; or as 'resistance' (Foucault), the necessary doubleness of social systems when conceived as closed circuits, or topoi of pure immanence.
The four "stances" or "expectations" Noll presents are doubleness, contingency, particularity, and self-denial.
Singer's alternation of narrative strands moves the reader in and out of Osvaldo's story and also establishes a general condition of doubleness in the novel as a whole.
That said, it is Brian who most explicitly states the novel's preoccupation with doubleness and irony.
This, though it may happen in an instant, is a fundamental reorganization, creating a doubleness where singleness should be.
The phrase "what was given, what freely chosen" characterizes a doubleness or multiplicity I find moving in its careful self-reflection.
This difficulty forms a doubleness of connection and division that reveals relation as beautifully textured and deeply bound.
After a brief introductory chapter evoking the example of the slippery doubleness of Erasmus's fool Moria in Praise of Folly and invoking the New Critical approach of William Empson, chapter 2 describes foolery from Launce in Two Gentlemen of Verona, the Dromios in Comedy of Errors, Bottom and Puck in Midsummer Night's Dream, and Dogberry in Much Ado through Touchstone in As You Like It, Feste in Twelfth Night, and Lavatch and Parolles in All's Well That Ends Well.
Feinbergs chapter thus builds on Malkin's analysis of the Jewish actor's capacity for on-stage doubleness as a social strategy to hide his identity as a Jew, while revealing a specific Jewish expressive creativity.