“And I got shorthanded as ‘That Guy: Jennifer Lopez movies bombed’, therefore he must be a sort of thoughtless dilettante, solipsistic consumer blah blah blah,” he said.
Despite the over-the-top autobiographical aspect of much of Mailer’s writing, characterized by the solipsistic paean Advertisements for Myself (1959) and a number of other collections of essays and social commentary, the young Mailer seems to have lived a relatively normal childhood.
6 Carlos (Olivier Assayas) The French critic and cineaste’s immersive assessment of terrorist as solipsistic bungler both extends and disputes Godard’s La Chinoise and Fassbinder’s The Third Generation.
What odd and solipsistic choices playwright Rebecca Gilman makes in her newest play, “The True History of the Johnstown Flood,” a recounting of a horrific, mostly forgotten disaster she uses to contemplate the role of art in depicting disasters.
But I admit to wishing I had a hobby, something that would prevent me from falling into an entirely solipsistic existence.
This is an oversimplification of the liberal tradition, which is in part a distillation of a Judao-Christian ethical culture which cannot be correctly characterized as solipsistic. Despite this quibble, I would recommend this book to any properly trained reader willing to invest the time to learn more about the sense of space.–Glenn Statile, St.
Inundated by insane accounts of interoffice infighting and uncertain whether they have been contracted to report an accurate history of African American experience or merely Strom’s solipsistic spin on the past, authors Everett and Kincaid decide to produce their “history without what is usually regarded as an ‘historical record.'” Their epistolary form foregrounds every character’s function as his own author.
Constance, the constant wife, was constantly humiliated, her trust abused; but it is Mr McKenna’s contention that she knew full well about her husband’s furtive garnerings of the ‘Apples of Sodom’ and had forgiven him for his solipsistic sunderings of the vinculum matrimonii.
Only a generation as terminally solipsistic as Apter’s could cast itself as saviors in this situation–or deride both the idea of maturity and the notion of the spoiled child as a “myth.” The not-so-hidden message beneath these pronouncements is just as troubling as Apter’s calmly polemic vision of arrested development as the norm, nay the desideratum, of young adult experience: a transparently hysterical rejection of the maturity of the boome rs’ children as an augur of the boomers’ mortality or (worse, from their perspective) their own historical obsolescence.
But taken to an extreme, this type of questing, like that of the heroine in Milkrun, can easily become a kind of permanent adolescence: tiring, solipsistic, and ultimately stagnating–not to mention that it’s hardly the stuff of page-turners.
Hofmannsthal and Kralik shared an interest in the theme of the theatrum mundi, with its fixed hierarchies and emphasis on the collective, despite the more famous writer’s early fascination with the solipsistic existence of the poet/aesthete.
Equity in relationships is not the same thing as exploitation of the other party, of ignoring their needs or their feelings, of failing to understand the hurt their own solipsistic actions or attitudes will cause to someone close to them.