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This growth in self-acceptance can be seen in the evolution of Therese's language of "littleness." In childhood, this language indicated her family's affection for her.
We hear her estimation of him when she reacts to the news of Frank Churchill's secret engagement: '"None of that upright integrity, that strict adherence to truth and principle, that disdain of trick and littleness, which a man should display in every transaction of his life'" (397).
(4) Por otro lado, Hidden Place, cuya letra esta escrita por la autora, contiene numerosos rasgos estilisticos caracteristicos de la poesia amorosa de Cummings: (5) superlativos no normativos con funcion hiperbolica--"beautifullest", "fragilest" -, aliteraciones--"still strong", "Dark and divine", "Hide in the hair of him", "Seek solice / Sanctuary"--e imagenes paradojicas que rompen los limites de la logica conocida y exigen ser resueltas en un marco superior de sentido--"And the littleness of his movements / Hides himself", "He invents a charm that makes him invisible / Hides in the hair" -.
Every second they acquaint me & acquaint me with the littleness of their deaths, the ticking we are, each, built with.
How being first in the class meant nothing; how others, inferior in academics, were just as capable in practice; how unprepared he'd been for the littleness of life.
I greatly fear that the littleness and selfishness of my soul will continually grieve you, when you shall come daily and hourly into contact with so poor and vile a sinner....
Tonnage has had its day in the literature of America (132)" McIntosh, here, makes a virtue of littleness and the selective remediation of the "big newspaper" that the little magazine represented.
Carolyn Steedman, reading Freud, rekindles the link between the child and the uncanny through a discussion of the related link between "littleness" and "interiority" (77).
No wonder, then, that under such conditions each dunce should "catch the epidemic littleness from his neighbor" (JRS, xlii).
The first perspective is what Ratzinger calls the "law of disguise." In Introduction to Christianity, he writes of several basic principles or laws of Christian existence--for example, the primacy of receiving over doing, the "principle of 'for.'" One of these is the "law of disguise," according to which God manifests himself not only in glory and greatness, but still more fully in hiddenness and littleness. Such concealment reveals God more fully: "One could cite in this connection the series Earth-Israel-Nazareth-Cross-Church, in which God seems to keep disappearing more and more and, precisely in this way, becomes more and more manifest as himself." (66)
Focusing on Dickens's theatrical aesthetics and the physical oddities of his characters such as Quilp, Nell, Little Dorrit, and Jenny Wren, Craton posits that Dickens portrayed his characters' grotesqueness and littleness in highly visual, spectacular, and sentimental terms in order to perform his social criticism through the visual if not freakish impact of his novels.
"Utopia" is billed by its producers as a piece that "deals with solidarity, commitment, exile, the fleetingness of life, the littleness of humankind in a cosmos that is indifferent to his miseries ...