Juxtaposed Quotes

The contemplation of beauty, whether it be a uniquely tinted sunset, a radiant face, or a work of art, makes us glance back unwittingly at our personal past and juxtapose ourselves and our inner being with the utterly unattainable beauty revealed to us.

Poetry is neither saying whatever crosses your mind, nor juxtaposing some fancy words in a line. Poetry is distilling your soul into a meaningful rhyme.

Who dreamt and made incarnate gaps in Time & Space through images juxtaposed, and trapped the archangel of the soul between 2 visual images and joined the elemental verbs and set the noun and dash of consciousness together jumping with sensation of Pater Omnipotens Aeterna Deus to recreate the syntax and measure of poor human prose and stand before you speechless and intelligent and shaking with shame

Now do you understand why I'm interested in you? You're a locked door, sweetheart. You give no one a key and you never answer the door when anyone knocks...Ah, but sometimes, sometimes I get a peek through the keyhole and what I find there...It's like glimpsing you as you're stripping. Underneath all of that darkness is something hungry, something desperate, something, oh, so deliciously vulnerable.

Nothing remains.  The destruction is complete: love, lives, families, friends, cities, homes – all gone now.  All our efforts to be good, to do the right thing, to act well, to be just and generous are now for naught.  Because juxtaposed against any hope for fairness is wickedness, pure and simple.  In some abstract formulation these things may exist in equal measure, which is to say that the scales balance when taking all things into consideration. But that is fantasy, the stuff of religion, hope beyond all reason. Because for those caught in the whirlwind, in the chaos of manifest evil, despair is all there is. Civilization falls away: everything is pointless now.  Survival requires reciprocity. What then if there is none?

I used to be lost in us. Blurred were the lines that separated us. But now, I see our togetherness in our separateness. I see the you in me and the me in you. We are two independent beings who complement one another like photographs that are beautiful on their own but are enhanced when juxtaposed, creating an altogether new photograph.

There are not two histories, one profane and one sacred, 'juxtaposed' or 'closely linked.' Rather there is only one human destiny.

Nature's great mistake was to have been unable to confine herself to one "kingdom": juxtaposed with the vegetable, everything else seems inopportune, out of place. The sun should have sulked at the appearance of the first insect, and gone out altogether with the advent of the chimpanzee.

Thoughts of Narian, the strong, brave, tender young man with whom I had fallen in love, juxtaposed against the dark entity I envisioned taking over my homeland, would have shredded my sanity.

I knew life moments happened that way. They made no sense, and I didn’t think we were supposed to make them. I think we were just supposed to experience them, grow from them, and hopefully come out the other side as better people. Life is nothing but juxtaposing the good with the bad. We have to learn how to handle both—how to cope with the frightening events and embrace the joyous ones.

Sometimes, but if you do it enough, it's harder to trip your gag reflex, which comes in very handy, if you know what I mean." I did know what she meant, but somehow juxtaposing it with vomiting made the whole thing highly unappealing.

It's our potential for good stuff I'm most interested in exploring, but that has most meaning when juxtaposed with things that can go wrong.

When he was much older, he was to look back upon his last two undergraduate years as if they were an unreal time that belonged to someone else, a time that passed, not in the regular flow to which he was used, but in fits and starts. One moment was juxtaposed against another, yet isolated from it, and he had the feeling that he was removed from time, watching as it passed before him like a great unevenly turned diorama.

How's your head?" the larger man asked. "Do me a favor and cut it off," Black muttered. "It's more pain than it's worth right now.

True artistry in perfumery is the marriage of notes that may juxtapose each other but become harmonious in a blend. Born of pure creativity and an astounding knowledge of literally thousands of synthetics and hundreds of Essential oils, they must possess the ability to marry disparate and conjugal notes into a harmonious blend.

I guess the basic difference is that animation is sequential in time but in spatially juxtaposed as comics are. Each successive frame of a movie is projected on exactly the same space--the screen--while each frame of comics must occupy a different space. Space does for comics what time does for film!

The first thing a leader can focus on is the act of tightening the tribe. It’s tempting to make the tribe bigger, to get more members, to spread the word. This pales, however, when juxtaposed with the effects of a tighter tribe. A tribe that communicates more quickly, with alacrity and emotion, is a tribe that thrives.

They do the twenty-one-gun salute for the good guys, right? So I brought this.” Beckett pointed the gun in the sky. “For Mouse.” One, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen, fourteen, fifteen, sixteen shots exploded from Beckett’s gun. “Who am I fucking kidding? What the hell does a gun shot by me mean? Nothing special, that’s for damn sure. Fuck it.” “For Mouse, who watched over my sister and saved Blake and me from more than we could’ve handled in the woods that night.” Livia nodded at Beckett, and he squeezed the trigger. When the sound had cleared, she counted out loud. “Seventeen.” Kyle stepped forward and replaced Livia at Beckett’s arm. “For Mouse. I didn’t know you well, but I wish I had.” The air snapped with the shot. “Eighteen.” Cole rubbed Kyle’s shoulder as he approached. He took the gun from Beckett’s hand. “For Mouse, who protected Beckett from himself for years.” The gun popped again. “Nineteen.” Blake thought for a moment with the gun pointed at the ground, then aimed it at the sky. “For Mouse, who saved Livia’s life when I couldn’t. Thank you is not enough.” The gun took his gratitude to the heavens. “Twenty.” Eve took the gun from Blake, the hand that had been shaking steadied. “Mouse, I wish you were still here. This place was better when you were part of it.” The last shot was the most jarring, juxtaposed with the perfect silence of its wake. As if the bullet was a key in a lock, the gray skies opened and a quiet, lovely snow shower filtered down. The flakes decorated the hair of the six mourners like glistening knit caps. Eve turned her face to be bathed in the fresh flakes. “Twenty-one,” she said softly, replacing her earpiece.

I have never belonged to a tribe. It gives me a different perspective. Perhaps if I did, I too would feel ill at ease in Les Marauds. But I have always been different. Perhaps that's why I find it easier to cross the narrow boundaries between one tribe and the next. To belong so often means to exclude; to think in terms of us and them - to little words that, juxtaposed, so often lead to conflict.

But I have always been different. Perhaps that’s why I find it easier to cross the narrow boundaries between one tribe and the next. To belong so often means to exclude; to think in terms of us and them – two little words that, juxtaposed, so often lead to conflict.

The actor can learn from the painter about the emotive power of facial expressions. The painter from the designer, about the potential of juxtaposing images and words. And the designer from the poet, who can create warmth through the sparseness of a carefully chosen, well-placed word.

But there was a sense of something tipping out of balance. The times seemed out of joint. There was too much decadence. Too much intensity. Too much change. Too much happiness juxtaposed with too much misery. Too much wealth next to too much poverty. The world was becoming faster and louder, and the social systems were becoming as chaotic and fragmented as jazz scores. So there was a craving, in some places, for simplicity, for order, for scapegoats and for bully-boy leaders, for nations to become like religions or cults. It happened every now and then. It seemed, in the 1930s, that the whole course of humanity was at stake. As it very often does today. Too many people wanted to find an easy answer to complicated questions. It was a dangerous time to be human. To feel or to think or to care.

From the perspective of archetypal psychology, the survivor-perpetrator gains a unique vantage point on life. The devastation of the patient’s early life is juxtaposed with possession of a rare possibility of transforming his or her relationship to self, spirituality, and the human community in a way that non-traumatized individuals may never attain.

INTOLERANCE (1916) Griffith's design for this film is to juxtapose fours stories from different periods of history that illustrate 'Love's struggle throughout the ages'.

Life is nothing but juxtaposing the good with the bad. We have to learn how to handle both—how to cope with the frightening events and embrace the joyous ones.

I do think that film is closest of all to music. Notes and chords on their own don’t mean anything. They only mean something when you juxtapose them with something else

Flesh and spirit are not juxtaposed domains, but are principles of activity that give rise to processes that in all their manifestations intermesh in the life of the Christian.

the soul as a series of selves juxtaposed in the course of life but distinct from each other which would die in turn or take turn about like those different selves

Life’s insistence on juxtaposing darkness and light would never cease to amaze him.

To belong so often means to exclude; to think in terms of us and them - two little words that, juxtaposed, so often lead to conflict." - Monsieur Le Curé.

the juxtaposed spectacle made Mr. Belli, who was by profession a tax accountant and therefore equipped to enjoy irony however sadistic, smile, actually chuckle

One moment was juxtaposed against another, yet isolated from it, and he had the feeling that he was removed from time, watching as it passed before him like a great unevenly turned diorama.

These peoples probably feared death even more than we do. Our civilisation presents us with a marvellous mental machinery designed to help us forget, for most of our lives, that one day we too will die. In time we manage to push death out of our consciousness, just as we have done with the existence of God. That's what civilisation does. But for these archaic peoples nothing was more immediately apparent than death and the dead, I mean actual dead people, whose mysterious para-existence, fate, and vengeful fury constantly preoccupied them. They had a tremendous horror of death and the dead. But then of course in their minds everything was more ambiguous than it is for us. Opposites sat much closer. The fear of death and the desire for death were intimately juxtaposed in their minds, and the fear was often a form of desire, the desire a form of fear.

Satire is a good tool for highlighting flaws or short-comings, but it is also a way to goad individuals, groups and governments into improvement, by juxtaposing reality with absurdity and not having a giant chasm in between.

What if one were to want to hunt for these hidden presences? You can’t just rummage around like you’re at a yard sale. You have to listen. You have to pay attention. There are certain things you can’t look at directly. You need to trick them into revealing themselves. That’s what we’re doing with Walter, Jaz. We’re juxtaposing things, listening for echoes. It’s not some silly cybernetic dream of command and control, modeling the whole world so you can predict the outcome. It’s certainly not a theory of everything. I don’t have a theory of any kind. What I have is far more profound.’ ‘What’s that?’ ‘A sense of humor.’ Jaz looked at him, trying to find a clue in his gaunt face, in the clear gray eyes watching him with such - what? Amusement? Condescension? There was something about the man which brought on a sort of hermeneutic despair. He was a forest of signs. ‘We’re hunting for jokes.’ Bachman spoke slowly, as if to a child. ‘Parapraxes. Cosmic slips of the tongue. They’re the key to the locked door. They’ll help us discover it.’ ‘Discover what?’ ‘The face of God. What else would we be looking for?

I am not trying to say that a passport photo of himself can cure a gloomy man of a gloom for which there is no ground; for true gloom is by nature groundless; such gloom, ours at least, can be traced to no identifiable cause, and with its almost riotous gratuitousness this gloom of ours attained a pitch of intensity that would yield to nothing. If there was any way of making friends with our gloom, it was through the photos, because in these serial snapshots we found an image of ourselves which, though not exactly clear, was - and that was the essential - passive and neutralized. They gave us a kind of freedom in our dealings with ourselves; we could drink beer, torture our blood sausages, make merry and play. We bent and folded the pictures, and cut them up with little scissors we carried about with us for this precise purpose. We juxtaposed old and new pictures, made ourselves one-eyed or three-eyed, put noses on our ears, made our exposed right ears into organs of speech or silence, combined chins and foreheads. And it was not only each with his own likeness that we made these montages; Klepp borrowed features from me and I from him: thus we succeeded in making new, and we hoped, happier creatures.

The Human Genome Project, the full sequence of the normal human genome, was completed in 2003. In its wake comes a far less publicized but vastly more complex project: fully sequencing the genomes of several human cancer cells. Once completed, this effort, called the Cancer Genome Atlas, will dwarf the Human Genome Project in its scope. The sequencing effort involves dozens of teams of researchers across the world. The initial list of cancers to be sequenced includes brain, lung, pancreatic, and ovarian cancer. The Human Genome Project will provide the normal genome, against which cancer’s abnormal genome can be juxtaposed and contrasted. The result, as Francis Collins, the leader of the Human Genome Project describes it, will be a “colossal atlas” of cancer—a compendium of every gene mutated in the most common forms of cancer: “When applied to the 50 most common types of cancer, this effort could ultimately prove to be the equivalent of more than 10,000 Human Genome Projects in terms of the sheer volume of DNA to be sequenced.

If one were to typify a place, then these are snapshots that need to be captured. Brazen realities frozen in time; progress impeded because of a tradition of cultural sloth. The world goes by without a moment’s reproach and I retire for the day; however, a line drones mindlessly in paradox. “Let us go then, you and I, when the evening is spread out against the sky, like a patient etherized on a table (The Love-Song of J. Alfred Prufrock T.S Eliot, 1920).” Splendidly juxtaposed, I chuckle." Juxtaposed Realities - Mehreen Ahmed

Black's no longer hiding anything," Calyx said. "He doesn't have any secrets that you can exploit or expose. Now that he's walked away from JC2 he's got nothing to lose. It's over, sweetheart. You've got nothing on him. And guess what? I still want to have his babies. Hopefully twins." Genesis

A journey - whether it's to the corner grocery or through life - is supposed to have a beginning, middle, and end, right? Well, the road is not like that at all. It's the very illogic and the juxtaposed differences of the road - combined with our search for meaning - that make travel so addictive.

Conversation consists of developing and playing with ideas by juxtaposing the accumulated conclusions of two or more people and then improvising on them. It requires supplying such ingredients as information, experience, anecdotes, and opinions, but then being prepared to have them challenged and to contribute to a new mixture. Conversation

It is the simplest phrase you can imagine,” Favreau said, “three monosyllabic words that people say to each other every day.” But the speech etched itself in rhetorical lore. It inspired music videos and memes and the full range of reactions that any blockbuster receives online today, from praise to out-of-context humor to arch mockery. Obama’s “Yes, we can” refrain is an example of a rhetorical device known as epistrophe, or the repetition of words at the end of a sentence. It’s one of many famous rhetorical types, most with Greek names, based on some form of repetition. There is anaphora, which is repetition at the beginning of a sentence (Winston Churchill: “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields”). There is tricolon, which is repetition in short triplicate (Abraham Lincoln: “Government of the people, by the people, and for the people”). There is epizeuxis, which is the same word repeated over and over (Nancy Pelosi: “Just remember these four words for what this legislation means: jobs, jobs, jobs, and jobs”). There is diacope, which is the repetition of a word or phrase with a brief interruption (Franklin D. Roosevelt: “The only thing we have to fear is fear itself”) or, most simply, an A-B-A structure (Sarah Palin: “Drill baby drill!”). There is antithesis, which is repetition of clause structures to juxtapose contrasting ideas (Charles Dickens: “It was the best of times, it was the worst of times”). There is parallelism, which is repetition of sentence structure (the paragraph you just read). Finally, there is the king of all modern speech-making tricks, antimetabole, which is rhetorical inversion: “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” There are several reasons why antimetabole is so popular. First, it’s just complex enough to disguise the fact that it’s formulaic. Second, it’s useful for highlighting an argument by drawing a clear contrast. Third, it’s quite poppy, in the Swedish songwriting sense, building a hook around two elements—A and B—and inverting them to give listeners immediate gratification and meaning. The classic structure of antimetabole is AB;BA, which is easy to remember since it spells out the name of a certain Swedish band.18 Famous ABBA examples in politics include: “Man is not the creature of circumstances. Circumstances are the creatures of men.” —Benjamin Disraeli “East and West do not mistrust each other because we are armed; we are armed because we mistrust each other.” —Ronald Reagan “The world faces a very different Russia than it did in 1991. Like all countries, Russia also faces a very different world.” —Bill Clinton “Whether we bring our enemies to justice or bring justice to our enemies, justice will be done.” —George W. Bush “Human rights are women’s rights and women’s rights are human rights.” —Hillary Clinton In particular, President John F. Kennedy made ABBA famous (and ABBA made John F. Kennedy famous). “Mankind must put an end to war, or war will put an end to mankind,” he said, and “Each increase of tension has produced an increase of arms; each increase of arms has produced an increase of tension,” and most famously, “Ask not what your country can do for you; ask what you can do for your country.” Antimetabole is like the C–G–Am–F chord progression in Western pop music: When you learn it somewhere, you hear it everywhere.19 Difficult and even controversial ideas are transformed, through ABBA, into something like musical hooks.

The history of socialism offers a twofold lesson: the fall of the collective as a transforming agent of everyday life, and the rise of technology and its problems. Given this twofold experience, and given that the idea of a revolutionary transformation of the everyday has almost vanished, the withdrawal into an everyday which has not been transformed but which has benefited from a small proportion of technical progress becomes perfectly understandable. No, what is most astonishing is perhaps the fact that this withdrawal has in no way stopped collective organization and overorganization continuing to operate on its own level: the state, important decisions, bureaucracy. ‘Reprivatized’ life has its own level, and the large institutions have theirs. These levels are juxtaposed or superimposed.

Looking at her with a wolf’s gaze, with a hunger satiated only by violence and destruction, he pulled back only slightly with the sight of blood trickling from her nose. When she smiled at him, her teeth stained red, her tongue running over her gums, however, Blossom’s entire body juxtaposed the idea between sweet and innocent to malicious and coarse. She was as sharp as a blade, yet as sweet as a flowering bruise. And his affection for her was as equally a perfect mixture—balance—between the desire to destroy her, tear her limb from limb, devour her, and protect, nurture, save her from all the evil in the world, including himself. But what he didn’t realize, as she batted her lashes back up at him, her body molding under his fingertips so easily he for a minute was convinced she had been created for the sole purpose of him, was that she was a wolf, too. A wolf in sheep’s clothing, a false prey. A predator of equal conviction.

To us, it is the moral climate of the cosmos that is intolerable, and a two-child policy could make our discontinuance a pain-free one. Yet instead we are expanding and succeeding everywhere, as necessity has taught us to mutilate the formula in our hearts. Perhaps the most unreasonable effect of such invigorating vulgarization is the doctrine that the individual “has a duty” to suffer nameless agony and a terrible death if this saves or benefits the rest of his group. Anyone who declines is subjected to doom and death, instead of revulsion being directed at the world-order engendering of the situation. To any independent observer, this plainly is to juxtapose incommensurable things; no future triumph or metamorphosis can justify the pitiful blighting of a human being against his will. It is upon a pavement of battered destinies that the survivors storm ahead toward new bland sensations and mass deaths. (“Fragments of an Interview,” Aftenposten, 1959)

Political theorist Corey Robin understands the history of the conservative right in the United States as a search for a fight, because the act of being conservative necessitates an undesirable progress against which it can rebel. In a sort of manifestation politics, the “right” co-creates or at least abets social progress against which it can be juxtaposed. Staid conservatism is far from seeking stasis. It is provoking and reactive because without progress there is no reason to prefer the lack of progress.

Starting from a completely unexpected event, your System 1 made as much sense as possible of the situation—two simple words, oddly juxtaposed—by linking the words in a causal story; it evaluated the possible threat (mild to moderate) and created a context for future developments by preparing you for events that had just become more likely; it also created a context for the current event by evaluating how surprising it was. You ended up as informed about the past and as prepared for the future as you could be.

In the Latin malus19 (to which I juxtapose µέλας)20 the vulgar man can be distinguished as the dark-coloured, and above all as the black-haired (‘hic niger est’),21 as the pre-Aryan inhabitants of the Italian soil, whose complexion distinguished them from the dominant blonds, namely the Aryan conquering race;22 at any rate Gaelic23 has afforded me the exact analogue – fin (for instance, in the name Fin-Gal),24 the word designating the nobility, finally – the good, the noble, the pure, but originally blonds in contrast to the swarthy, black-haired aboriginals.

Walter Mignolo terms and articulates _critical cosmopolitanism, juxtaposing it with globalization, which is a process of "the homogeneity of the planet from above––economically, politically and culturally." Although _globalization from below_ is to counter _globalization from above_ from the experience and perspective of those who suffer from the consequences of _globalization from above_, cosmopolitanism differs, according to Mignolo, form these two types of globalization. Mignolo defines globalization as 'a set of designs to manage the world,' and cosmopolitanism as 'a set of projects toward planetary conviviality

The concept of furry characters (another term for anthropomorphic animals) is relatively new; it was popularized in the 1980s. But art and stories juxtaposing humans and animals can be traced back thousands of years. The ancient Egyptians, for example, had animalistic deities such as Anubis, who had the head of a jackal. Anthropomorphic kimono-clad foxes, raccoons, dogs, cats, and other animals were a recurring subject in classical Japanese uikyo-e artwork. Further historical examples of anthropomorphic animals can be found in Native American mythology and works of literature like Aesop's fables, wherein talking animals took the roles of humans.

Whereas painters of the early and middle 1400s enriched their own (and their countrymen's) understanding of the Gospel by recreating it in reality, their successors used this technique to study (and broaden) their entire world view. Hieronymus Bosch mastered a whole genre by merging the realism of Flemish painting with fantastic allegories of the human condition. His pictures of vermin and birds in men's clothing, atrocities, and weirdly juxtaposed objects use the realism of the earlier masters as a means of stark caricature. It was in this form, the most extreme possible, that character and moral differentiation were introduced into the realm of realistic depiction.

Today a doctor must watch over those condemned to death, right up to the last moment – thus juxtaposing himself as the agent of welfare, as the alleviator of pain, with the official whose task it is to end life. This is worth thinking about. When the moment of execution approaches, the patients are injected with tranquillizers. A utopia of judicial reticence: take away life, but prevent the patient from feeling it; deprive the prisoner of all rights, but do not inflict pain; impose penalties free of all pain. Recourse to psycho-pharmacology and to various physiological ‘disconnectors’, even if it is temporary, is a logical consequence of this ‘non-corporal’ penality.

One of the first instincts of parents, after they have brought a child into the world, is to photograph it. Given the speed of growth, it becomes necessary to photograph the child often, because nothing is more fleeting and unmemorable than a six-month-old infant, soon deleted and replaced by one of eight months, and then one of a year,; and all the perfection that, to the eyes of the parents, a child of three may have reached cannot prevent it being destroyed by that of the four-year-old. The photograph album remains the only place where all these fleeting perfections are saved and juxtaposed, each aspiring to an incomparable absoluteness of its own." - from "The Adventure of a Photographer

Raskin's memoir is oddly entertaining. Perhaps it is his earnestness and determination. So long as he believes Ando will guide and support him, who are we to spoil the illusion? Who are we to doubt? Perhaps it is the way Raskin peculiarly juxtaposes love with food, history with pop culture, and his life in San Francisco with his travels through Asia. Perhaps it is his voice, confident yet humble, self-effacing and unassuming. Or perhaps it is simply how he reminds us of the guys we knew in college, the ones who frequently faltered but genuinely meant well, who were inherently messed up but had significant potential, the ones who carried themselves a certain way, in short, the ones we couldn't help rooting for.

eight thousand Republicans crammed into Crosby’s Opera House for a veritable coronation of Ulysses S. Grant. To play on wartime memories, General John “Black Jack” Logan was designated to place his name in nomination. His speech was followed by a well-staged extravaganza: hats and handkerchiefs fluttered, rounds of applause rippled across the house, and a pigeon, dyed red, white, and blue, flapped through the cavernous space. As a huge ovation for his son gathered strength, Jesse Grant stood before the speaker’s platform in “mute astonishment,” said a reporter.8 Then a curtain rose to reveal huge images drawn by Thomas Nast of the Goddess of Liberty, juxtaposed with Grant. To no one’s surprise, Grant won by acclamation on the first ballot.

Smith’s concept of the mercantile system evolved—completely out of context—into the modern concept of mercantilism: a simplistic, blanket economic term used to characterize early modern economic thinkers as proponents of an interventionist, taxing, subsidizing, and warring state whose goal was to simply hoard gold. In 1931, the Swedish economic historian Eli Heckscher, in his monumental study Mercantilism, juxtaposed Colbert’s “mercantile” economics with a pure, laissez-faire system, which he felt Smith embodied, that allowed for individual and commercial freedoms without state intervention. A powerful and simplistic binary continued thereafter, one that informs our own vision of the free market today. We can see it still in Friedman’s work.

Do you know what happened to her already? Did you catch it in the papers? Are you local? Did you know her? Did you see it on the internet? Did some website the trawls local news for the worst details of true crimes bring her to your attention? Did you see the article about her, buried in the chum box of an already disreputable website? Did you see the red-headed stock image model juxtaposed against an edited charred corpse, captioned, "You won't believe what they did to her?" Did you listen to a podcast? Did the hosts make jokes? Do you have a dark sense of humour? Did that make it okay? Or were they sensitive about it? Did they coo in the right places? Did they give you a content warning? Did you skip ahead? Did you see pictures? Did you look for them?

In 2003, while working on my third book of poetry, I read an essay on Wheatley written by Henry Louis Gates, Jr., in The New Yorker. It was an excerpt from his soon-to-be-published book, a treatment of Wheatley juxtaposed against the racism of Enlightenment scholars such as Immanuel Kant, and more specifically, Thomas Jefferson. As someone who explored American history in my poetry, I found Gates’s thesis fascinating: He believed Wheatley was important in dispelling derisive eighteenth-century notions about black humanity; her poetry had rebutted Kant’s ordering of the nations with Africans down at the very bottom. Because of Wheatley’s important symbolism for black humanity, Thomas Jefferson’s negative response to Wheatley’s poetry—“[t]he compositions published under her name are below the dignity of criticism”—was a symbol as well. It meant that the struggle for black equality on all fronts was not yet won.

the artist who gives his all to life, to living within some sort of perfected ideal. Sometime in his past, he has discovered he is…let us say, a poet: that certain situations, certain convergences of situations—usually too complicated for him to understand wholly, as they propitiously juxtapose conscious will with unconscious passion—they something-between-cause-and-allow a poem. He dedicates himself to living, according to his concepts, the civilized life in which poetry exists because it is part of civilization. He risks as much as his cousin. He generally produces fewer works, with greater intervals between them, and constantly must contend with the possibility that he will never write again if his life should so dictate—a good deal of his civilized energies must go toward resigning himself to the insignificance of his art, into the suppression of that theatrical side of his personality of which ambition is only a small part. He

No subject was more perfectly suited to the loosened formal framework and swift juxtaposition of disparate elements that marked his ‘totally chromatic’ style; and it is generally agreed that in this Representation of (mental) Chaos that style found its most impressive outlet. But a representation is not a transcription. The music itself is not chaotic. There is a willed unity of atmosphere, created through a myriad intensely visualized details, which could only be achieved under iron control. Paradoxically, this is probably the direct result of the spontaneity and intensity with which Schoenberg must have been composing in order to have created the work in such a short space of time. The monodrama possesses no clearly defined structure, ranging so freely and juxtaposing lyricism, violence, and Angstridden terror in such uncompromising combination that it attains an effect of continuous high-pressure improvisation; yet it combines this with a powerful sense of continuity and tragic inevitability. That

We know, of course, that God and the devil are engaged in battle in the world and that the devil also has a say in death. In the face of death we cannot simply speak in some fatalistic way, “God wills it”; but we must juxtapose it with the other reality, “God does not will it.” Death reveals that the world is not as it should be but that it stands in need of redemption. Christ alone is the conquering of death. Here the sharp antithesis between “God wills it” and “God does not will it” comes to a head and also finds its resolution. God accedes to that which God does not will, and from now on death itself must therefore serve God. From now on, the “God wills it” encompasses even the “God does not will it.” God wills the conquering of death through the death of Jesus Christ. Only in the cross and resurrection of Jesus Christ has death been drawn into God’s power, and it must now serve God’s own aims. It is not some fatalistic surrender but rather a living faith in Jesus Christ, who died and rose for us, that is able to cope profoundly with death.

The choice today is revolt. Igor Stravinsky wrote, “The old original sin was one of knowledge, the new original sin is one of non-acknowledgment.” It is the refusal to acknowledge anything outside the operation of the human will—most especially the good toward which the soul is ordered. The good is what must ultimately inform human justice. Therefore, moral relativism is inimical to justice, as it removes the epistemological ground for knowing the good. As Max Planck, the founder of quantum theory, wrote, “Everything that is relative presupposes the existence of something that is absolute, and is meaningful only when juxtaposed to something absolute.”4 What happens if the absolute is absent? If what is good is relative to something other than itself, then it is not the good but the expression of some other interest that only claims to be the good. Claims of “good” then become transparent masks for self-interest. This is the surest path back to barbarism and the brutal doctrine of “right is the rule of the stronger”. The regression is not accidental. Relativism inevitably concludes in nihilism, and the ultimate expression of nihilism is the supremacy of the will.

In teaching an honors writing class, I juxtaposed Mary Shelley’s Frankenstein with Shelley Jackson’s Patchwork Girl, an electronic hypertext fiction written in proprietary Storyspace software. Since these were honors students, many of them had already read Frankenstein and were, moreover, practiced in close reading and literary analysis. When it came to digital reading, however, they were accustomed to the scanning and fast skimming typical of hyper reading; they therefore expected that it might take them, oh, half an hour to go through Jackson’s text. They were shocked when I told them a reasonable time to spend with Jackson’s text was about the time it would take them to read Frankenstein, say, ten hours or so. I divided them into teams and assigned a section of Jackson’s text to each team, telling them that I wanted them to discover all the lexias (i.e., blocks of digital text) in their section and warning them that the Storyspace software allows certain lexias to be hidden until others are read. Finally, I asked them to diagram interrelations between lexias, drawing on all three views that the Storyspace software enables. As a consequence, the students were not only required to read closely but also to analyze the narrative strategies Jackson uses to construct her text.

Though each of them was of a type quite different from the others, all of them were beautiful; but I had been looking at them for so few moments, and was so far from daring to stare at them, that I had not yet been able to individualize any of them. With the exception of one, whose straight nose and darker complexion marked her out among the rest, as a king of Arabian looks may stand out in a Renaissance painting of the Magi, they were knowable only as a pair of hard, stubborn, laughing eyes in one of the faces; as two cheeks of that pink touched by coppery tones suggesting geraniums in another; and none of even these features had I yet inseparably attached to any particular girl rather than to some other; and when (given the order in which I saw their complex whole unfold before me, wonderful because the most dissimilar aspects were mixed into it and all shades of colour were juxtaposed, but also as confused as a piece of music in which one cannot isolate and identify the phrases as they form, which once heard are as soon forgotten) I noticed the emergence of a pale oval, of two green eyes, or black ones, I had no idea whether they were those whose charm had struck me a moment before, in my inability to single out and recognize one or other of these girls and allot them to her.

On the playground, “cooties” seems harmless and innocuous (unless you’ve been on the other end of that game). But sociomoral disgust can quickly scale up in intensity and become the engine behind the very worst of human atrocities. During times of social stress or chaos, those persons or populations already associated with disgust properties will provide the community a location of blame, fear, and paranoia. In short, sociomoral disgust is implicated in the creation of monsters and scapegoats, where outgroup members are demonized and selected for exclusion or elimination. As David Gilmore writes in his book Monsters, a monster is “the demonization of the ‘Other’ in the image of the monster as a political device for scapegoating those whom the rules of society deem impure or unworthy - the transgressors and deviants.” These deviants are considered to be “deformed, amoral, [and] unsocialized to the point of inhumanness.” Take, for an example, the Nazi propaganda film The Eternal Jew, where an early shot in the film showed rats emerging from a sewer juxtaposed with a crowd of Jewish persons in a Polish city. In America, as another example, proponents of anti-gay legislation have circulated pamphlets claiming that gay men eat human feces and drink human blood. In each of these instances, sociomoral disgust is used to demonize and scapegoat populations, creating “monsters” who are threatening to society.

Bodies influence the space that surrounds them; they tell us whatever we can learn about that space. Does this mean that, possibly, there is no such thing as space by itself? Could it be that space is nothing but a theoretical construction invented for the purpose of giving the observed world an ordered framework? Could it be that we perceive as the reality of space is nothing but the influence of abstract laws of nature on the behavior of massive objects or bodies? That space is wedded to these bodies and will vanish if they do? This is a respectable position to take. For more than two thousand years, it has coexisted with the view of space as the primary stage that permits material objects to make their appearance. Natural philosophers who theorized about space can easily be charted on a scale between these two extreme positions. On the left is Thales of Miletus, whose "space" is nothing but one shapeless fluid; on the other side, there is Democritus, with his empty space in which material objects whir around. Leibniz on the left, Von guericke and Newton on the right. Albert Einstein juxtaposed these two concepts of space as, on one hand, the positional qualities of the physical world (left) and, on the other, the container of all physical objects (right) in his left-hand case, there is no space without an object; on the right, such an object cannot be thought of except in conjunction with the space that surrounds it-thereby assigning to space a higher reality than that possessed by objects.

Though each of them was of a type quite different from the others, all of them were beautiful; but I had been looking at them for so few moments, and was so far from daring to stare at them, that I had not yet been able to individualize any of them. With the exception of one, whose straight nose and darker complexion marked her out among the rest, as a king of Arabian looks may stand out in a Renaissance painting of the Magi, they were knowable only as a pair of hard, stubborn, laughing eyes in one of the faces; as two cheeks of that pink touched by coppery tones suggesting geraniums in another; and none of even these features had I yet inseparably attached to any particular girl rather than to some other; and when (given the order in which I saw their complex whole unfold before me, wonderful because the most dissimilar aspects were mixed into it and all shades of colour were juxtaposed, but also as confused as a piece of music in which one cannot isolate and identify the phrases as they form, which once heard are as soon forgotten) I noticed the emergence of a pale oval, of two green eyes, or black ones, I had no idea whether they were those whose charm had struck me a moment before, in my inability to single out and recognize one or other of these girls and allot them to her. The fact that my view of them was devoid of demarcations, which I was soon to draw among them, sent a ripple of harmonious imprecision through their group, the uninterrupted flow of a shared, unstable and elusive beauty.

What does it take to make you stop?” Elizabeth flinched from the hatred in the voice she loved and drew a shaking breath, praying she could finish without starting to cry. “I’ve hurt you terribly, my love, and I’ll hurt you again during the next fifty years. And you are going to hurt me, Ian-never, I hope, as much as you are hurting me now. But if that’s the way it has to be, then I’ll endure it, because the only alternative is to live without you, and that is no life at all. The difference is that I know it, and you don’t-not yet.” “Are you finished now?” “Not quite,” she said, straightening at the sound of footsteps in the hall. “There’s one more thing,” she informed him, lifting her quivering chin. “I am not a Labrador retriever! You cannot put me out of your life, because I won’t stay.” When she left, Ian stared at the empty room that had been alive with her presence but moments before, wondering what in hell she meant by her last comment. He glanced toward the door as Larimore walked in, then he nodded curtly toward the chairs in front of his desk, silently ordering the solicitor to sit down. “I gathered from your message,” Larimore said quietly, opening his legal case, “that you now wish to proceed with the divorce?” Ian hesitated a moment while Elizabeth’s heartbroken words whirled through his mind, juxtaposed with the lies and omissions that had begun on the night they met and continued right up to their last night together. He recalled the torment of the first weeks after she’d left him and compared it to the cold, blessed numbness that had now taken its place. He looked at the solicitor, who was waiting for his answer. And he nodded.

Questioner: In the tradition, we were always taught to be reverential towards God or the highest aspect. So how to reconcile this with Mirabai or Akka Mahadevi who took God as their lover? Sadhguru: Where there is no love, how can reverence come? When love reaches its peak, it naturally becomes reverence. People who are talking about reverence without love know neither this nor that. All they know is fear. So probably you are referring to God-fearing people. These sages and saints, especially the seers like Akka Mahadevi, Mirabai or Anusuya and so many of them in the past, have taken to this form of worship because it was more suitable for them – they could emote much more easily than they could intellectualize things. They just used their emotions to reach their Ultimate nature. Using emotion and reaching the Ultimate nature is what is called bhakti yoga. In every culture, there are different forms of worship. Some people worship God as the master and themselves as the slaves. Sometimes they even take God as their servant or as a partner in everything that they do. Yet others worship him as a friend, as a lover, or as their own child like Balakrishna. Generally, you become the feminine and you hold him as the ultimate purusha – masculine. How you worship is not at all the point; the whole point is just how deeply you relate. These are the different attitudes, but whatever the attitude, the love affair is such that you are not expecting anything from the other side. Not even a response. You crave for it. But if there is no response, you are not going to be angry, you are not going to be disappointed – nothing. Your life is just to crave and make something else tremendously more important than yourself. That is the fundamental thing. In the whole path of bhakti, the important thing is just this, that something else is far more important than you. So Akka, Mirabai and others like them, their bhakti was in that form and they took this mode of worship where they worshipped God – whether Shiva or Krishna – as their husband. In India, when a woman comes to a certain age, marriage is almost like a must, and it anyway happens. They wanted to eliminate that dimension of being married once again to another man, so they chose the Lord himself as their husband so that they don’t need any other relationship in their lives. How a devotee relates to his object of devotion does not really matter because the purpose of the path of devotion is just dissolution. The only objective of a devotee is to dissolve into his object of devotion. Whichever way they could relate best, that is how they would do it. The reason why you asked this question in terms of reverence juxtaposed with being a lover or a husband is because the word “love” or “being a lover” is always understood as a physical aspect. That is why this question has come. How can you be physical with somebody and still be reverential? This has been the tragedy of humanity that lovers have not known how to be reverential to each other. In fact the very objective of love is to dissolve into someone else. If you look at love as an emotion, you can see that love is a vehicle to bring oneness. It is the longing to become one with the other which we are referring to as love. When it is taken to its peak, it is very natural to become reverential towards what you consider worthwhile being “one” with. For whatever sake, you are willing to dissolve yourself. It is natural to be reverential towards that. Otherwise how would you feel that it is worthwhile to dissolve into? If you think it is something you can use or something you can just relate to and be benefited by, there can be no love. Always, the object of love is to dissolve. So, whatever you consider is worthwhile to dissolve your own self into, you are bound to be reverential towards that; there is no other way to be.

Who can comprehend how those whom God takes so early are chosen? Does not the early death of young Christians always appear to us as if God were plundering his own best instruments in a time in which they are most needed? Yet the Lord makes no mistakes. Might God need our brothers for some hidden service on our behalf in the heavenly world? We should put an end to our human thoughts, which always wish to know more than they can, and cling to that which is certain. Whomever God calls home is someone God has loved. “For their souls were pleasing to the Lord, therefore he took them quickly from the midst of wickedness” (Wisdom of Solomon 4). We know, of course, that God and the devil are engaged in battle in the world and that the devil also has a say in death. In the face of death we cannot simply speak in some fatalistic way, “God wills it”; but we must juxtapose it with the other reality, “God does not will it.” Death reveals that the world is not as it should be but that it stands in need of redemption. Christ alone is the conquering of death. Here the sharp antithesis between “God wills it” and “God does not will it” comes to a head and also finds its resolution. God accedes to that which God does not will, and from now on death itself must therefore serve God. From now on, the “God wills it” encompasses even the “God does not will it.” God wills the conquering of death through the death of Jesus Christ. Only in the cross and resurrection of Jesus Christ has death been drawn into God’s power, and it must now serve God’s own aims. It is not some fatalistic surrender but rather a living faith in Jesus Christ, who died and rose for us, that is able to cope profoundly with death. 384 In life with Jesus Christ, death as a general fate approaching us from without is confronted by death from within, one’s own death, the free death of daily dying with Jesus Christ. Those who live with Christ die daily to their own will. Christ in us gives us over to death so that he can live within us. Thus our inner dying grows to meet that death from without. Christians receive their own death in this way, and in this way our physical death very truly becomes not the end but rather the fulfillment of our life with Jesus Christ. Here we enter into community with the One who at his own death was able to say, “It is finished.

Selected pairs of objects will be juxtaposed to disrupt

I think there have been a lot of writers who’ve been experimenting lately with really sprawling novels that will deal with a number of different characters and different points on the globe. I understand that as a method of getting at the global culture that we live in, and I understand writers who want to maybe juxtapose very different historical periods to make some larger points about how things have changed over time. I tend to like the sort of idea of the novel as a little village, and the novel as a microcosm, a smaller world standing in for a larger one.

Whether individual, collective, or even written history, memory is not a fixed, passive storage system: it is dynamic, changing according to different circumstances. The unconscious is always at play, rearranging conscious memories in time and space, juxtaposing some and splitting or reshaping others, suppressing or recalling. Memory has been likened to stones from antiquity that are re-used to make different, later buildings.

I’ve always thought of God as the only first-rate artist. There’s so much that’s miraculous about us—the way three tiny bones in our ears can process sound waves, for instance; and around us his perfect hand has painted the greatest masterpiece, the ecology of nature with its balance and precision, the way it can juxtapose competing forces into something harmonious. Stop and look sometime at the beauty of a weeping willow—I can go on and on

a foreign affair juxtaposed with a stateside and domestically approved romantic fancy is mysteriously attractive due to circumstances knowing it will only be parlayed into a memory

Eno again: “I know he liked Another Green World a lot, and he must have realised that there were these two parallel streams of working going on in what I was doing, and when you find someone with the same problems you tend to become friendly with them.” Another Green World (1975) has a different feel to Low, but it deploys some of the same strategies. It mixes songs that have recognisable pop structures with other, short, abstract pieces that Eno called “ambient”—with the emphasis not on melody or beat, but on atmosphere and texture. These intensely beautiful fragments fade in then out, as if they were merely the visible part of a vast submarine creation; they are like tiny glimpses into another world. On the more conventional tracks, different genres juxtapose, sometimes smoothly, sometimes not—jazzy sounds cohering with pop hooks but struggling against intrusive synthetic sound effects. The end result is a moodily enigmatic album of real power and ingenuity. One structural difference between the two albums, though, is that while Eno interspersed the “textural” pieces across Another Green World, Bowie separated them out and put them on another side, which provides Low with a sort of metanarrative.

She recognized the strangeness of the moment, how it juxtaposed joy and tragedy.

In the best of contextual theologies it is therefore no longer possible to juxtapose theory and praxis, orthodoxy and orthopraxis: “Orthopraxis and orthodoxy need one another, and each is adversely affected when sight is lost of the other” (Gutiérrez 1988:xxxiv). Or as Samuel Rayan puts it: “In our methodology, practice and theory, action and reflection, discussion and prayer, movement and silence, social analysis and religious hermeneutics, involvement and contemplation, constitute a single process” (quoted in Fabella and Torres 1983:xvii).

In the space between wake and sleep, where the real world juxtaposes with the imagination, that's where I live.

Barabbas (“Son of the Father”) is a kind of Messianic figure. Two interpretations of Messianic hope are juxtaposed here in the offer of the Passover amnesty. In terms of Roman law, it is a case of two criminals convicted of the same offense—two rebels against the Pax Romana. It is clear that Pilate prefers the nonviolent “fanatic” that he sees in Jesus. Yet the crowd and the Temple authorities have different categories. If the Temple aristocracy felt constrained to declare: “We have no king but Caesar” (Jn 19:15), this only appears to be a renunciation of Israel’s Messianic hope: “We do not want this king” is what they mean. They would like to see a different solution to the problem. Again and again, mankind will be faced with this same choice: to say yes to the God who works only through the power of truth and love, or to build on something tangible and concrete—on violence. Jesus

Indeed, the two actions are juxtaposed in the same story. This is the crucial point. A similarity is also at stake here. If one must use the term ‘sacrifice’ for the good prostitute, it doesn’t mean that it cannot be used for the other woman as well. Things Hidden was still written from the perspective of anthropology and, therefore, Christianity seems like a kind of ‘supplement’, rather than converting everything to its perspective. Today I would write from the point of view of the Gospels, showing that the Gospels read the bad woman and the bad sacrifice as a metaphor of the old humanity, unable to escape violence without sacrificing others. Christ, through his own sacrifice, frees us from this necessity. We have then to use the word ‘sacrifice’ as self-sacrifice, in the sense of Christ. Then it becomes viable to say that the primitive, the archaic, is prophetic of Christ in its own imperfect way. No greater difference can be found: on the one hand, sacrifice as murder; on the other hand, sacrifice as the readiness to die in order not to participate in sacrifice as murder. These two forms are radically opposed to one another, and yet they are inseparable. There is no non-sacrificial space in between, from which everything could be described from a neutral viewpoint. The moral history of humanity is the shifting from the first to the second meaning, accomplished by Christ but not by humanity, who did everything to escape this dilemma, and above all not to see it.

If these two worldviews--postmodern secular humanism and Christian theism--are juxtaposed, something very interesting happens. With the former you are left empty and hopeless; man is left worthless, and you are left to pursue your own satisfaction and never find it. But with the latter, you are precious; you have purpose, and you are powerless--but it's okay because you were purchased. This is the supremacy of Christ in truth in a postmodern world. Ultimately, this is what Christian theism tells us: Who am I? I am the crown and glory of the creation of God. Why am I here? I am here to bring glory and honor to the Lord Jesus Christ. What is wrong with the world? What is wrong is me, and everyone like me who refused to acknowledge the supremacy of Christ and instead chose to live in pursuit of the supremacy of self. How can what is wrong be made right? What is wrong can be made right through the penal, substitutionary, atoning death of the Son of God, and through repentance and faith on the part of sinners.

Second, we observe that the Epistle to the Hebrews juxtaposes two descriptive nouns—“author and perfecter”—to form a polarity implied in their roots: Archegos (“author”) is based on the root arche, which means “beginning,” and teleotes (“perfecter”) is derived from telos, which means “end.” “Beginning” and “end” are syntactical poles. Thus, as the two nouns are employed in this text—covered by a single article in Greek—they convey the tension of contrast. Jesus is both the beginning and the goal of faith.

Language would not be a gestalt of the moment but a gestalt in movement, evolving toward a certain equilibrium and, moreover, capable once reaching this equilibrium of losing it by a phenomenon of wearing down and looking anew for another direction...Here chance and reason, diachronic and synchronic, are no longer simply juxtaposed, as Saussure would have it...An essential element remains: the idea of a kind of blundering logic in which development is not guaranteed, there could be all sorts of derailments, and wherein order and system are, however, reestablished by the drive of speaking subjects who want to understand and be understood.

Op-Ed Practice Pointers •  Lead off with a short and memorable opening line. •  Narrate the factual and procedural context. •  Introduce the parties and juxtapose their competing legal positions. •  Conclude with a sentence or paragraph summarizing the result and offering at least one reason in support.

Second, Mexicanness is also juxtaposed to and fashions Americanness. This results in not simply imagining whites to be American but the converse as well: to be American, one must be white.

A stronger analogy to Eisenstein's analysis of the rising pattern in the music and the visuals can be found in the contrapuntal practice in music whereby a theme is juxtaposed against either an augmented (the note values are doubled) or diminished (the note values are halved) version of itself. The listener can thus simultaneously experience two different temporal elaborations of the same melodic line across a single block of chronological time, just as the viewer/listener in Alexander Nevsky can experience two different temporal elaborations of the rising motion across a single block of chronological time. (Needless to say, an oppositional "counterpoint" could also be set up by creating, for instance, an upward movement in the music and a downward one in the visuals.) But the experience here is doubly enriched, since the simultaneity also includes two different modes of perception, visual and aural, which is, one suspects, one of the underlying raisons d'être of the gesamtkunstwerk. Even on the simplest of levels, then, Eisenstein's "vertical montage" involves the simultaneous, layered presentation of a number of different elements. For the first shot, these layers would stack up as follows: 1. Graphic perception (photography) 2. Musical perception (score) 3. Upward movement 1 (graphic) 4. Upward movement 2 (musical) 5. Synchronicity 1 (graphic) 6. Synchronicity 2 (musical)

Hinduism" and the "mainstream"; how frequently are these words juxtaposed, and made synonymous, with each other by the ruling political party! "Mainstream": the word that would mean, in a democratic nation, the law-abiding democratic polity, is cunningly conflated, in the newspeak of our present government, with the religious majority; and those who don't belong to that majority become, by subconscious association and suggestion, anti-democratic, and breakers of the law. Ironically, saffron is the colour of our mainstream. Saffron, "gerua": its resonances are wholly to do with that powerful undercurrent in Hinduism, "vairagya", the melancholy and romantic possibility of renunciation. At what point, and how, did the colour of renunciation, and withdrawal from the world, become the symbol of a militant, and materialistic, majoritarianism? "Gerua" represents not what is Brahminical and conservative, but what is most radical about the Hindu religion; it is the colour not of belonging, or fitting in, but of exile, of the marginal man. Hindutva, while rewriting our secular histories, has also rewritten the language of Hinduism, and purged it of these meanings; and those of us who mourn the passing of secularism must also believe we are witnessing the passing, and demise, of the Hindu religion as we have known it.

The deeply held belief of peace-loving nations in which people had a right to be whoever they wanted, practice whatever faith they wanted, was horribly juxtaposed by the horrors of what Hitler was trying to do.

When the plot strategy is executed well, each strand is a variation on a theme, and the crosscut from one strand to another creates a shock of recognition at the moment two scenes are juxtaposed. The multistrand plot is clearly a much more simultaneous form of storytelling, emphasizing the group, or the minisociety, and how the characters compare.

The coordinated elements are not only coupled with each other, they constitute together, by their very union, a whole which has its proper law and which manifests it as soon as the first elements of excitation are given, just as the first notes of a melody assign a certain mode of resolution to the whole. While the notes taken separately have an equivocal signification, being capable of entering into an infinity of possible ensembles, in the melody each one is demanded by the context and contributes its part by expressing something which is not contained in any one of them and which binds them together internally. The same notes in two different melodies are not recognized as such. Inversely, the same melody can be played two times without the two versions having a single common element if it has been transposed. Coordination is now the creation of a unity of meaning which is expressed in the juxtaposed parts, the creation of certain relations, the creation of certain relations which owe nothing to the materiality of the terms which they unite.

In his recent critique of fashionable ecological philosophies, Andreas Malm pointedly remarks: 'When Latour writes that, in a warming world, 'humans are no longer submitted to the diktats of objective nature, since what comes to them is also an intensively subjective form of action,' he gets it all wrong: there is nothing intensively subjective but a lot of objectivity in ice melting. Or, as one placard at a demonstration held by scientists at the American Geophysical Union in December 2016: 'Ice has no agenda - it just melts.'' The reverse claim is that human interventions have only had such a menacing and even fatal consequences for our living conditions within the Earth system because human agency has not yet sufficiently freed itself from its dependence on natural history. This seems to be the conviction behind the 'Ecomodernist Manifesto,' for instance, which claims that 'knowledge and technology, applied with wisdom, might allow for a good, even great, Anthropocene,' and that a good Anthropocene 'demands that humans use their growing social, economic, and technological powers to make life better for people, stabilize the climate, and protect the natural world.' In this confrontation, an age-old dualism has assumed a new guise: the attempt to establish a complicity with the forces of destiny - if necessary at the price of surrendering human subjectivity or perhaps involving other forms of self-sacrifice - is juxtaposed with the attempt to achieve human autonomy by subordinating the planet under the superior power of human ingenuity. These two positions, a modernist stance and a position critical of it, are usually considered to represent mutually exclusive alternatives. Actually, however, the two positions have more in common than first meets the eye. At the beginning of chapter 3, I referred to Greek philosophers who suggested that the best way to protect oneself against the vicissitudes of fate was to learn how to submit oneself to it willingly, sacrificing one's drives and ambitions while expecting, at the same time, that this complicity with destiny would empower one to master worldly challenges. What unites the seemingly opposite positions, more generally speaking, is a shared move away from engagement with the concrete and individual human agency (i.e., with empirical human subjects and with the unequal power distribution in human societies) toward some powerful form of abstraction, be it 'to distribute agency' or to use the 'growing social, economic, and technological powers' of humanity for a better Anthropocene. I suggest that we take a more systemic look at the role of humanity in the Earth system, taking into account both its material interventions and the knowledge that enabled them.

Quiet is the color of midnight, juxtaposing with the silence of an unfolding spring’s mood.

Spritz is for not-real readers, evidently. And here’s where our most sacred class values come in, pounded with a mallet. It’s no surprise that the Atlantic and the New Yorker serve as the old guardians, policing the borders of literacy. Spritz works, they concede, for stuff you have to read—discovery, briefs, memos, and social media “updates” for data merchants and info tradesmen—but not for the pleasure reading of books that defines the bona fide man of leisure and letters. Juxtaposing a moral line on a class line, Spritz, several reviewers argue, is not for virtuous people who like to read. It is for subliterate business types who have to read.

The Young Tradition’s third and final album, Galleries (1968), was an epic of time-banditry, whizzing through the seven ages of English folk song, from field to ballad to seventeenth-century Puritan hymns. It boldly juxtaposed music by Renaissance poet Thomas Campion and Methodist preacher Charles Wesley, making one daring leap forward to blues singer Robert Johnson’s complaint of stones in his passway, and with a pastiche ‘Medieval Mystery Tour’ copped from Bert Jansch and John Renbourn. A staple diet of English folk was also included in the shape of ‘John Barleycorn’, ‘The Husband and the Servingman’ and ‘The Bitter Withy’. But the most eyebrow-raising element was the instrumental ensemble that made its guest appearance on two songs, Campion’s ‘What If a Day’ and the traditional ‘Agincourt Carol’. The Early Music Consort’s David Munrow, Christopher Hogwood and Roddy and Adam Skeaping were among the first of a new breed of authentic instrumentalists, avid collectors of medieval rebecs, shawms and hurdy-gurdies, reviving a medieval Gothic and Renaissance repertoire all but lost to the classical mainstream. Their approach was at once scholarly and populist; in what was to prove a short life, Munrow managed to raise the profile of Early Music significantly, with around fifty recordings and plentiful appearances on TV and radio. Munrow and Bellamy had this in common: neither was afraid to tilt quixotically at a canon.

When I press my two hands together, it is not a question of two sensations that I could feel together, as when we perceive two objects juxtaposed, but rather of an ambiguous organization where the two hands can alternate between the functions of 'touching' and 'touched.' In speaking of 'double sensations,' psychologists mean that, in the passage from one function to the other, I can recognize the touched hand as the same hand that is about to be touching; in this package of bones and muscles that is my right hand for my left hand, I glimpse momentarily the shell or the incarnation of this other right hand, agile and living, that I send out toward objects in order to explore them. The body catches itself from the outside in the process of exercising a knowledge function; it attempts to touch itself touching, it begins 'a sort of reflection,' and this would be enough to distinguish it from objects.

juxtaposed against the breaking down.

There are not two histories, one profane and one sacred, 'juxtaposed' or 'closely linked.' Rather there is only one human destiny.

Iraqi became a work of art before producing works of art. If he sang the love of God in verses of great beauty, it is because his soul had itself become a song of God, a melody in harmony with, and a strain of, the music issuing from the abode of the Beloved. Iraqi was a gnostic who spoke in the language of love. For him, as for Sufism in general, love is not juxtaposed to knowledge. It is realized knowledge. The Truth, which is like a crystal or a shining star in the mind, becomes wine when it is lived and realized. It inundates the whole of man‘s being, plucking the roots of his profane consciousness from this world of impermanence and bringing about an inebriation that must of necessity result from the contact between the soul of man and the infinite world of the Spirit. But Iraqi was a Sufi gifted particularly in expressing the „mysteries of Union“ in the language of love. (p. xi)

having a good understanding of what the exponential mindset looks like. In a piece for the Harvard Business Review, Mark Bonchek, founder and chief epiphany officer of Shift Thinking, describes the linear mindset as a line appearing on a graph that rises gradually over time. He then juxtaposes this with a second line that curves upward, slowly at first, and then shooting over the other line before heading far off the graph. This is his visual depiction of the exponential mindset.