Sentence examples for form an inescapable from inspiring English sources

They form an inescapable interrogation, with biologists, neuroscientists, quack therapists, wack columnists and a flotilla of bigots holding the lamp.

At the heart of my affinity might be what the critic Julia Kristeva calls "abjection," in which desire and repulsion form "an inescapable boomerang".

"The facts in this report form an inescapable indictment of the status quo that begs for a comprehensive structural overhaul of our entire intelligence community," said Senator Olympia J. Snowe, Republican of Maine, a sponsor of a bill, along with Mrs. Feinstein, to create a director of national intelligence.

Instead of delivering impartial global justice and peace, a world government may form an inescapable tyranny that would have the power to make humanity serve its own interests, and opposition against which might engender incessant and intractable civil wars (Waltz 1979).

All the negative connotations of "man-made" cling to it, and the reflexive grammar forms an inescapable knot.

Men, of course, are an inescapable necessity.

In his Notes on "On the Origin and Significance of the Axioms of Geometry," Schlick sees the "chief epistemological result" of Helmholtz's work in the replacement of the Kantian necessary a priori with a judgment that "Euclidean space is not an inescapable form of our faculty of intuition, but a product of experience" (Schlick's note to Helmholtz 1921 [1868], 35).

We have shown here that the high fidelity of DinB is apparent upon alkylation damage, an inescapable and pervasive form of DNA damage, even when the DinB active site performs in vivo error-prone NFZ-induced lesion bypass.

In the search for Bondi's first swimmer, I highlight these choices that, I argue, simultaneously direct attention to the speculative nature of origins and reaffirm them as an inescapable dimension of narrative form.

But even researchers who aren't big fans of battle metaphors that highlight the zero-sum nature of some forms of competition acknowledge that competition is an inescapable part of life.

But, unlike their loosely organized, vivacious paintings, his House by the Railroad (1925) and Room in Brooklyn (1932) show still, anonymous figures and stern geometric forms within snapshot-like compositions that create an inescapable sense of loneliness.