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the morphological inexplicitness of the pronominal root S-;
I want to point to two elements of the aesthetics of opera seria and opera buffa, as Stendhal would have known them, that help explain the workings of novelistic reverie: first, an idea that I will call "sensuous inexplicitness"; secondly, a concept that I will term "punctuated rhythm" that, in the musico-aesthetic debates of the time, differentiated opera--particularly the work of Stendhal's beloved Rossini--from the emergent canons of construction associated with Beethoven, German instrumental music, and the symphony.
The first element forms a crucial part of Stendhal's polemic against prose: an inexplicitness inherent to music that appeals only as sensation, as pure "effect." Music, in De l'amour, is a privileged place, for by avoiding the dangerous exactitude of language it can express the inexpressible.
In its sensuousness and its inexplicitness, the dissociation from meaning that haunts all music, it is an almost un surpassable model for the creation of reverie.
A "musical" prose, however, must achieve its aim of a sensationalized inexplicitness through means directly opposed to what one might expect.
What I want to claim here is that metonymy is a form of inexplicitness: in its substitution for passion (not merely a representation of it), it makes the precise meaning of a passion unavailable while providing an image of passion that is nonetheless fairly delimited and specific.
What Stendhal seems to have understood about the inexplicitness of opera, which freed attention for reverie, is that the same effect could only be carried out by other means in the world of prose: a style that is not "musical" in tone but only "musical" in the reveries it might, through its constant metonymies, produce.
The film's delicacy and inexplicitness is summed up in the last scene, a single-take extreme long-shot.
The first problem that prompts the need for a navigational map has to do with the broadness and inexplicitness of the BNC classification scheme.
However, incompleteness, inexplicitness, and non-enforceability limit contracts (Macaulay 1963).
The hearer might make up for this inexplicitness in the speaker's choice of words by taking account of the context, but presumably if it is unreasonable to expect the speaker's mental representation to bear the proposition in a context-independent manner, then it is equally unreasonable always to expect the hearer to explicitly represent those features of the proposition to be conveyed that are not reflected in the speaker's choice of words.
Not having such a conception is philosophically unsatisfactory, since inexplicitness always is philosophically unsatisfactory.
A distinct conception which is also adequate will have escaped the metaphor, obscurity, and inexplicitness of Brentano's view and others.
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