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16 Sentences With "conventionalities"

How to use conventionalities in a sentence? Find typical usage patterns (collocations)/phrases/context for "conventionalities" and check conjugation/comparative form for "conventionalities". Mastering all the usages of "conventionalities" from sentence examples published by news publications.

Because it's a novel by Dag Solstad, none of these conventionalities are entered into.
These were women who burned for resisting conventionalities and displaying non-conventional, non-patriarchal religious beliefs.
Trump is the exact opposite, gleefully breaking all conventionalities with his bombast, narcissism and seeming indifference to the intricacies of running a powerful, complex government.
A critic remarked that his subject matter was 'a shock to the > artistic conventionalities of the city'.Andréa Fernandes. "Feel Art Again: > The Champion Single Sculls." Mental floss magazine: October 18, 2007.
A reporter's description in the Sacramento Daily Union is typical: > A little, thin, angular, wiry figure, long past the bloom of youth, scorning > all pretensions to the conventionalities of society or the rostrum, she is > pre-eminently the champion and exponent of the working-women of New England.
"Aunt Nabby" was an entertaining picture of country life, customs, dialects and ideas. The book was a successful essay in laughing down the overdone conventionalities of fashionable life. Another of her successful books was "From Summer to Summer," an entertaining home story. She also wrote many short stories and sketches, published under the pen name "Esta Brook" (or "Esta Brooks").
The poem features images typical of the Petrarchan sonnet, yet they are more than the "threadbare Petrarchan conventionalities". In critic Clay Hunt's view, the entire poem gives "a new twist to one of the most worn conventions of Elizabethan love poetry" by expanding "the lover–saint conceit to full and precise definition", a comparison that is "seriously meant".Hunt, Clay. Donne's Poetry: Essays in Literary Analysis.
His selection of a contemporary sport was "a shock to the artistic conventionalities of the city".Marc Simpson, Thomas Eakins, Philadelphia Museum of Art, 2001, , p. 28 Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat. Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water.
After being educated at an Ursulines convent school in Fritzlar from 1794 to 1797, Bettina lived for a while with her grandmother at Offenbach am Main and from 1803 to 1806 with her brother-in-law, Friedrich von Savigny, the famous jurist, at Marburg. She formed a friendship with Karoline von Günderrode. The two friends acknowledged only natural impulses, laws, and methods of life, and brooded over the "tyranny" of conventionalities. In 1806, Günderrode committed suicide on account of a passion for the philologist Georg Friedrich Creuzer.
In history, lumpers are those who tend to create broad definitions that cover large periods of time and many disciplines, whereas splitters want to assign names to tight groups of inter-relationships. Lumping tends to create a more and more unwieldy definition, with members having less and less mutually in common. This can lead to definitions which are little more than conventionalities, or groups which join fundamentally different examples. Splitting often leads to "distinctions without difference", ornate and fussy categories, and failure to see underlying similarities.
His manly proportions and devil-may-car > airishness were attractive to women, and aroused in them that admiration for > masculine qualities so natural to the female sex. Always jolly and willing, > he was an ideal companion among men. His rollicking songs and jovial stories > awakened the dullest to rapture. Free and easy in manner and with but little > regard for the nicer conventionalities of society he floated along, light > hearted and gay, upon the flood tide of enjoyment, seemingly regardless of > what the ebb might have in store for him.
" Veeyen of Nowrunning.com wrote, "There is a deconstruction of sorts that occurs in Venu's Munnariyippu, as conventionalities are discarded without a second thought." He gave the film 3 stars out of 5 and wrote about the film as, "a revelatory drama that throws together an emphatic, no-nonsense narrative with a couple of out-of-the-world performances." He also lauded the performance of Mammootty as he wrote that the film "marks the reinvention of an actor [Mammootty] whom we simply adore, and lays forth a hundred reasons as to why we have been in awe of him for so long.
Hankin's admiration of the work of George Bernard Shaw led him to associate himself with the Stage Society and the Royal Court Theatre. Both groups were supportive of attempts to break loose from the conventionalities of the day. Hankin was actively involved in running the Stage Society, a London theater group that was founded in part to avoid the Lord Chamberlain's censorship. Hankin's first play, The Two Mr. Wetherbys, was produced by the Stage Society in 1903, and was followed by The Return of the Prodigal (Court Theatre, 1905), The Charity that Began at Home (Court Theatre, 1906), The Cassilis Engagement (Stage Society, 1907) and The Last of the De Mullins (Stage Society, 1908).
Under the title of Personen en Onderwerpen ("Persons and Subjects") many of Potgieter's criticisms had collectively appeared in 3 volumes at Haarlem in 1885, with an introduction by Conrad Busken-Huet. Potgieter's favourite master among the Dutch classics was Hooft, whose peculiarities in style and language he admired and imitated. The same vein of altruistic, if often exaggerated and biased, abhorrence of the wonted conventionalities of literary life runs through all his writings, even through his private correspondence with Huet, parts of which have been published. Potgieter remained to his death the irreconcilable enemy of the Dutch Jan Salie, as the Dutchman is nicknamed who does not believe in the regeneration of the Dutch people.
In the fifth assertion, analysis of objects with respect to approximate (enumerated) ultimates does not create a problem of true establishment. A distinction can be made when analyzing for each case, including the two approaches to cognition (one for the conventional domain and the other to analyze for ultimacy) which are his additions to the Pramana tradition of valid cognition. Mipham uses this demonstration in his commentary to point out a problem with Je Tsongkhapa's approach of negating the predicate of "true establishment" instead of the object of perception, which is avoided in Śāntarakṣita's approach. Mipham also notes that many Prasaṅgika writers (similar to their Svatantrika counterparts) made positive assertions to move students closer to the ultimate view, pointing out that the distinction between Prasangika and Svatantrika lies in how students are taught about conventionalities and not in the consideration of ultimate truth.
These poems, though derivative, indicate a resolute determination to challenge the literary conventionalities. Improving on the poems of his youth, he showed himself an innovator in his lyrics, rejecting at once Petrarchism, Secentismo and Arcadia, the three maladies that he thought had weakened Italian art in the preceding centuries. In the Odi the satirical note is already heard, but it comes out more strongly in Del giorno, in which he imagines himself to be teaching a young Milanese patrician all the habits and ways of gallant life; he shows up all its ridiculous frivolities, and with delicate irony unmasks the futilities of aristocratic habits. Dividing the day into four parts, the Mattino, the Mezzogiorno, the Vespero, and the Notte, he describes the trifles of which they were made up, and the book thus assumes major social and historical value.

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