During carnival people confront, simultaneously, both
limitedness and infinity/eternity and find plural ways to manage the ambivalence of life.
(8) and finally, they may be shared by too many, some savers, others spendthrifts, and the later prevail over the former regarding the rate they are disposed of, with little recognition of their
limitedness or concern for how long they will last.
By contrast, novels published later in the decade see Arab/Arab American men embarking on an identity quest which not only provides them with a progressive negotiation of ethnic belongingness in a diasporic context, but also with the eventual acknowledgement of the
limitedness of imposed genderisation.
As conceived of in Oscar and Lucinda, tolerance is not a value premised on a bland and condescending pluralism--which is nothing other than a mode of colonialism of the paternalistic variety, and therefore itself a form of intolerance but rather an active attitude grounded in the negative capability and humility that emanate from a recognition of the limitations of one's ways of knowing and therefore of one's
limitedness. To be tolerant, in this understanding, is to be like Lucinda, that is, "always at war" with one's "neatness".
In this comportment the recovering addict is fully open to their
limitedness and founds their recovery on this realisation (Kurtz, 1982).
It described in tendency as the
limitedness or neediness of man.
Things like the tree must have their own welcome and stay in the world, as well, which make them, as with Khing, equally vulnerable in their
limitedness and equally precious in their unconditional welcome (although trees, unlike humans, cannot reflect on this truth).
Marx here foregrounds the
limitedness of the presuppositions running through his previous chapters on the production of surplus-value.
Elsewhere, too often, the unself-conscious satisfaction in
limitedness of this book undermines the whole.
When you pray, it keys you into your own
limitedness. There is no tried and true triage where you decide, "This is definitely the right thing to do."
In making his own death "a work of art" Timon goes "beyond misanthropy and into the aesthetic" (124), and approaches a version of the Kantian sublime; the play, he argues, exemplifies Adorno's "aesthetic shudder" whereby the subjective "I" is so shaken that it "perceives its own
limitedness and finitude" (126).
Hull offers a reading of "Witches and other Night-Fears" (1821) as an example of how Elia's self-imposed
limitedness emerges as power.
