Both used ferocious internal repression.
Thoroughly captivating and without artifice, Ms. Nishimura creates an imaginative and highly rhythmic inner world in which repression and self-expression battle to a charming resolution.
Hergé wrote to his first wife after one of his breakdowns, "Tintin has been for me the means to express myself, to project my desire for adventure and violence, the bravery and resourcefulness within me," and yet in the end the character seems less a projection of Hergé's inner self than the repression of it.
In Excursus II of Dialectic, this repression of inner nature is related to Kant's moral theory, insofar as it specifies that the will should follow reason against inclination.
This now fairly common line of critique is complicated in Horkheimer's work from the 1940s, however, because instrumental rationality's distortion of "outer nature" (nature taken in the most straightforward sense), is directly tied to the repression of "inner nature".
A blend of repression, gentleness and inner turmoil was to feature in many later, often inferior, films but this remains a benchmark in her career.
While the development of the ego is necessary, undue repression of our inner drives leads to pathological results.
They grasped the inner ferocity that glamorously repressed images contained, concealed, and conveyed and, seeing the same fierce passions and fierce repressions at work in their own time, they reclaimed a new symbolism in the name of a new liberation.
They grasped the inner ferocity that glamorously repressed images contained, concealed, and conveyed — and, seeing the same fierce passions and fierce repressions at work in their own time, they reclaimed a new symbolism in the name of a new liberation.
Looking at Gingrich's and Romney's public lives through this lens, Romney conveys an absence -- or more likely, repression -- of an inner life.
