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"dissimilitude" Definitions
  1. lack of resemblance

8 Sentences With "dissimilitude"

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

In 1775, when John Adams fretted about the "dissimilitude of character" between his home town of Boston and the other American colonies, the city was far from the cradle of American unity portrayed by later historians.
These three, the man of medicine, the man of money and the morosoph, formed a remarkable nominative possessive and objective triangle of dissimilitude.
The tables below show typical realizations of sounds and the Latin alphabets in Lojban. In all cases except the rhotic consonant the first phoneme represents the preferred pronunciation, while the rest are the permitted variants intended to cover dissimilitude in pronunciation by speakers of different linguistic backgrounds.
Przywara's understanding of the analogy of being is set forth principally in his 1932 work, Analogia Entis. For Przywara, following the teaching of Thomas Aquinas, the distinction between essence and existence runs through the whole of created reality, indeed, it defines created reality in its difference from God, the creator, whose essence is to be; and therein, for Przywara, lies the ground of the analogy of being. Its theological expression, however, he found best summarized in the teaching of the Fourth Lateran Council of 1215, according to which "between Creator and creature no similitude can be expressed without implying an even greater dissimilitude".CCC § 43.
Inspired by these works of Romantic nationalism, the Catalan economic elite became conscious of "the growing dissimilitude between the Catalonia's social structure and that of the rest of the nation" (Vilar 1963: 101). Consequently, Romantic nationalism expanded beyond its philosophical bounds into the political arena. Nonetheless, this idea lost its importance, and even were abandoned by many sectors (specially from the left-wing Catalanism) during the last years of the 19th century and the first third of the 20th century, thanks to the contact with the ideas of Ernest Renan and its civic and republican concept of nation. Antoni Rovira i Virgili (1882–1949), Catalan nationalist and republican historian and politician, gave support to these ideas.
Contrary to the tranquil and idealized settings typical of the pastoral genre, Góngora maintains a fluctuating Background–Foreground dynamic throughout the Polifemo, which makes itself apparent at the very beginning of the poem. Given his fondness for convoluted and self-fashioned metaphors in addition to his profuse use of hiperbatón, the quality of the lyrical poetry defamiliarizes and reconfigures all aspects of the original narration (see ostranenie). The presence of contrasts, of antithesis and dissimilitude reflects a veritable lack of aesthetic concentration as well as deficient narrative unity deemed necessary in traditional Aristotelean aesthetics. Instead, Góngora juxtaposes conflicting images of beauty and ugliness, harmony and discord to hint at an underlying dichotomy of erotic love as both prolific and destructive.
Sicily, the setting of the tale, resembles the classical archetype of Arcadia. This contrasts sharply with the Darkness of Polyphemus’ cave. Contrasts or dissimilitude were often employed in Baroque art, more so than in the art of the Renaissance. As Enrica Cancelliere explains in her article "Dibujo y Color en la fabula de Polifemo y Galatea", the commonality of aesthetic interests existing between visual and poetic artists was often quite remarkable during the Baroque epoch: > Cancelliere 279 > Being a work written during the Baroque Epoch, an epoch which favored the > profuse use of contrasts in painting more so than any of the other period in > Western History, the Fable of Polyphemus and Galatea takes upon itself this > very theme concerning chromatic contrasts, the clash between darkness and > radiance.
The power of imagination is evident in the relationship of reality between parts and whole, and the ability thereby to associate parts of the same whole (phenomenon) (association by contiguity) that are not ordinarily so associated in time and space (association by continuity), "the perception of similitude in dissimilitude" which "principle is the great spring of the activity of our minds, and their chief feeder." (Wordsworth's Preface to the Lyrical Ballads) Indeed, it is in the ability to see what is similar in what appears dissimilar, and what is dissimilar in what presents as similar (continuity) that resides the creative genius of a man. Art is an artificial arrangement, that is to say, not that of crude nature, but nature re-arranged is “re- presented” to the mind of man so that there is a condensed unity of parts in a given representation (compare Literature with History). It is not an illusion, but a re-creation of nature's innate unity, unconscious and promiscuous, into a new unity.

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