Once the construct is clarified, a contrasting description (the counterpole
) is sought.
(38) Here, Being (Sein) is clearly understood not as the objective counterpole
to subjectivity or to the theoretical dimension or anything of the sort, but instead as the comprehensive, primordial dimension.
* China will act as a growth counterpole
as its economy slows only modestly, from 9.9 per cent this year to 8.6 per cent in 2009.
to the kind-hearted immigrant Giacomo, the American Rennell is a fellow elevator attendant who exploits Karl's goodwill by regularly asking him to take over his shift while he goes out on the town in his fine suit.
The Britannica's description of the work he is translating--"reflections on the shortness of life inspired by the unearthing of some funeral urns"--introduces its author as a counterpole
to Descartes: whereas the one strives for technical means to extend human life, the other reflects upon its brevity.
As the product to be coated is the counterpole
to the loaded powder, a strong and even adhesion is said to be given.
Schmidt was explicit about seeking a wider European area of monetary stability over which pressures for currency appreciation, previously concentrated on the deutsche mark, the so-called counterpole
to the dollar, could be spread.(59) The instability of the dollar and the changeability of U.S.
Nielsen's own clue, in his description of the second movement as the 'counterpole
' of the first, may not be sufficient to justify an attempt to frame an analysis in terms of Stravinskian polarities.
In somewhat more concrete terms, this touching human warmth, the all-permeating sympathy, the precise and detailed depiction of all the violence, crime, and perfidy which, despite everything, never posits hatred as the unavoidable counterpole
- that is what, it seems to me, shines forth from your early language.
A cardboard character not found in Pushkin, the scheming Jesuit Rangoni (the counterpole
to the good high-minded Orthodox Pimen, full of virtue), absorbs and orchestrates their scheming.
Early on, Whittall speaks of "the evolution of twentieth-century music" in terms of "the aesthetic counterpoles
of Apollo and Dionysus," and cites Schoenberg's and Stravinsky's recognition of the Nietzschean dictum that "'When the Dionysian element rules, ecstasy and inchoateness threaten; when the Appoline predominates, the tragic feeling recedes'" (p.
of John Fowles's Daniel Martin." Critique: Studies in Modern Fiction 21 (1980): 59-71.