Sentence examples for essential ambiguity from inspiring English sources

In the first section, the narrator discovers the mystery of character; in the second, he discovers that the essential ambiguity of character has eluded him.

The lyrical warmth of the result held an immediate appeal while maintaining an essential ambiguity that avoided any suggestion of the facile, demonstrating Langer's ability to connect spontaneously without sacrificing subtlety.

But it is the 1961 adaptation called The Innocents starring Deborah Kerr - scripted by William Archibald, who wrote the Broadway play of the story, and Truman Capote, with some dialogue by John Mortimer, and just re-released in cinemas - that best catches the psychological eeriness, the claustrophobia and the essential ambiguity of the original story by James.

An essential ambiguity characterises also the experience of the audience.

Finally, claiming there is an essential ambiguity in the term 'exists', Ingarden also goes on to distinguish different existential categories or "modes of being" — different ways in which entities may exist, e.g., dependently or independently, in time or not, contingently or necessarily, etc.

A central, shared assumption of existentialist aesthetics, beyond the stark religious and political differences of the existentialists, is the essential ambiguity of the human condition: I am radically free as consciousness, yet radically determined by my facticity, the physical, social and other circumstances in which my consciousness comes to the world.

So the art is in bringing clarity to a poem without losing the ambiguity essential to its subject.

In addition, krotovinas provide a very valuable archive of the biological activities of soil, which is essential when stratigraphical ambiguities are to be solved.

It is necessary for the interpreter to capture these ideas, both for their own sakes and because doing so is frequently essential for resolving ambiguities at the level of particular verbal expressions.

Given how essential both brevity and ambiguity are to his style, translation can be particularly difficult.

Knowing this, we might want to listen to the Variations for orchestra of 1940 a little more carefully and a little more critically: to pay less attention, perhaps, to the coherence and symmetry the music so ostentatiously exhibits than to the delicacy, strangeness and variety of its component parts, and even to insist, contra Webern, on multiplicity and ambiguity as essential elements in his art.