45 Sentences With "impenetrably" | Random Sentence Generator

This sounds impenetrably dense and boring, but please don't click away yet!

Definitions of camp vary from the classic and elaborate to the impenetrably academic.

They are designed to be impenetrably unreadable to convince app users not to bother.

Gradually, they can see—in light so dim that moments before felt impenetrably dark.

That script, a series of rhymed couplets barnacled with topical quips, "was so impenetrably difficult," she said.

They are working to not to let their baby's illness cast an impenetrably dark shadow on their lives.

"The songs from the early portion of the movie are almost impenetrably perfect," said Brittany Spanos in Rolling Stone.

Now he's this imposingly big, impenetrably chill, multiracial, biker type, sheathed in tribal tattoos, with a long, dark mane.

Every time a character leans unwisely into an impenetrably dark corner, audiences get a glimpse of that better, leaner, more merciless movie.

But crucially, the texts are tiny, almost impenetrably so, representing the difficulty of fully reconstructing stories that have been repressed for decades.

ANTHONY TOMMASINI at 59 minutes 16 seconds Karlheinz Stockhausen has a forbidding reputation as a composer of imposingly austere and impenetrably highbrow works.

Nursed back to health, they return to their plane to find it scuttled — not by violence, but by being impenetrably sewn up in canvas.

These were set in a saw-tooth pattern that makes the enormous cube blend gauzily with the sky or stand out like an impenetrably dark mesa.

Here at Vox, we're big fans of clever graphics and visualizations that make climate change, which can sometimes seem abstract and impenetrably complex, easier to grasp.

For better or worse, Babbitt, who died in 2011 at 94, is best known as an avowed serialist whose ingeniously organized pieces strike many listeners as impenetrably complex.

Case in point: Loincloth, the Southern Lord-backed instrumental quartet who specializes in impenetrably dense acrobatics marked by sinew, economy, and hypercomplex time signatures that consistently avoid baroque frills and cartoonish machismo.

Our bias may stem from the fact that modern day Venus is so forbidding, with its impenetrably thick atmosphere, toxic thunderclouds, and atmospheric pressure nearly 63 times higher than that of Earth.

Morris wrote the book with the help of the novelist Wesley Stace (who is also the singer-songwriter John Wesley Harding), but its voice is unmistakably his: direct, brash, flippant, charming, impenetrably self-assured.

The hope, for a small but dedicated community of researchers, is to use the quirky but simpler world of two-dimensional fluids as a fresh entry point into processes that have otherwise proved impenetrably messy.

In that indifferent, inscrutable human engineering, the kind you find in adventure games from the same era: this character must use this object on that one, in this specific order, for reasons that are simply, impenetrably, encoded.

Today, as these photos show, some commuters faced longer lines just to enter subway stations and extremely packed buses and trains (there was even a fake photo that made the rounds, showing what looked like impenetrably thick crowds).

Arguably, the generation for whom the store was most resonant — those who came of age in the "Sex and the City" era, when Barneys was shorthand for New York's most impenetrably chic inner circle — are already past target-consumer age.

Far from simply emboldening the sitter and recording for the purpose of emphasising dynastic security, he imbued depictions of Charles and Queen Henrietta Maria — he of slight stature and impenetrably aloof character, she of famously protruding teeth — with warmth and humanity, even vulnerability.

It is the same debate dogging the Democratic Party at large, but amplified by an only-in-New-York mix of vibrant activism, impenetrably blue politics and — unlike in the rest of the country — still-mighty unions eager to quell perceived threats to their clout.

Even Monday at the Met Gala, which is known for bolder fashions and hairstyles than Hollywood awards shows, you could have bet your blow dryer there would be an ingénue with "effortless" beach waves or a more "serious" actress going for the shock of an impenetrably sleek blowout.

That those points sometimes feel a little glossed over isn't necessarily excusable, but it's made understandable, at least, by Homecoming's obvious intent: The series' first season (the show was picked up for a two seasons from the jump) is made up of 10 half-hour episodes and hyper-focused on its characters, rather than on building an impenetrably twisty plot.

And Anne Anlin Cheng's essay for the LA Review of Books: This dream of an Asian subject so impenetrably protected by wealth, so inculcated in faultless taste and beauty, so globally at ease, and so properly educated that he or she can go anywhere and not suffer the slings and arrows of outrageous racist discrimination accrues its most intense gratification under the assumption of universal anti-Asian racism.

Blowin 'in the Wind is a cover of the song written by Bob Dylan in 1962 and released on his album The Freewheelin' Bob Dylan in 1963. The refrain "The answer, my friend, is blowin' in the wind" has been described as "impenetrably ambiguous: either the answer is so obvious it is right in your face, or the answer is as intangible as the wind".Mick Gold, "Life & Life Only: Dylan at 60" in Judas! magazine, April 2002, p.

Angel (2008) is a teen fantasy novel about a fourteen-year-old girl, Freya, whose life is shaped by two angels: Hestron, bright, beautiful, surrounded by a mane of golden sunshine, and Mestraal, so impenetrably dark that nearly everything is erased by its shadow. Unusually in McNish's fiction, Angel incorporates gritty elements of teen angst and bullying, as well as a moral debate about how to behave in the world. Angel was shortlisted for the North East Teenage fiction Award and the Tayshas Reading List.

The work was premiered on 1 February 1933 by Harriet Cohen, with the BBC Symphony Orchestra directed by Sir Adrian Boult. The Finale was edited shortly thereafter and the work was published in 1936. The concerto was not well received at first, being considered unrewarding to the soloist. Though the piece provides ample opportunity for virtuosity in all movements, Vaughan Williams treated the piano as a percussion instrument, as did Béla Bartók and Paul Hindemith during this period, with the texture at times impenetrably thick.

"Blowin' in the Wind" is a song written by Bob Dylan in 1962 and released as a single and on his album The Freewheelin' Bob Dylan in 1963. It has been described as a protest song, and poses a series of rhetorical questions about peace, war, and freedom. The refrain "The answer, my friend, is blowin' in the wind" has been described as "impenetrably ambiguous: either the answer is so obvious it is right in your face, or the answer is as intangible as the wind".Gold, Mick (2002).

David Badder, in Monthly Film Bulletin, was of the opinion that even if the film had been truncated, it would not improve its quality. He described Sorcerer as "remarkably lacklustre", and did not appreciate the unstable tone of the movie which he called "impenetrably obscure". Additionally, he considered Scheider's role to be severely underdeveloped and "consist[ing] of meaningful stares off camera and mournful grimaces." On the other hand, Sorcerer garnered some acclaim from several major critics, including the Chicago Sun-Times's Roger Ebert, The New York Times's chief film critic Vincent Canby, and Jack Kroll of Newsweek fame.

MorrisMorris "Darkness" has been able to track down some of the specific scenes that inspired these poems but the poems themselves are still in the dense style that Alberti had adopted. Con los zapatos puestos tengo que morir ('With My Shoes On I Must Die') (1930) – a quote from Calderón – is his final work in this style. Written in the aftermath of the exhilaration of being involved in the anti-Primo de Rivera riots, whilst still impenetrably dense at times, it shows the beginning of the socially aware poetry that would be the next direction he would take.

The word is a pseudo-Latin neologism (real Latin: adamans, from original Greek ἀδάμας [=indomitable]; adamantem [Latin accusative]) based on the English noun and adjective adamant (and the derived adjective adamantine) added to the neo- Latin suffix "-ium." The adjective adamant has long been used to refer to the property of impregnable, diamondlike hardness, or to describe a very firm/resolute position (e.g. He adamantly refused to leave). The noun adamant describes any impenetrably or unyieldingly hard substance and, formerly, a legendary stone/rock or mineral of impenetrable hardness and with many other properties, often identified with diamond or lodestone.

Hand-waving has been used to describe work-related situations where productivity is seemingly displayed, but deliverables are not produced, especially in the context of intentional engagement in busy work or pretend-work, vague claims of overwork or complications, impenetrably buzzword-laden rationalizations for delays or otherwise poor performance, and plausible-sounding but weak excuse-making and attention-deflecting tactics. In employment situations, as in political discourse, a hand-waving effort may seek to shift blame to other parties. Another use is in reference to fiscal problems, such as an inability to adequately explain accounting discrepancies or an avoidance of accountability for missing funds.

Bellini's Baptist is depicted within a conventional framework that his audience would know and share; Caravaggio's is almost impenetrably private. In 1604 Caravaggio was commissioned to paint a John the Baptist for the papal banker and art patron Ottavio Costa, who already owned the artist's Judith Beheading Holofernes and Martha and Mary Magdalene. Costa intended it for an altarpiece for a small oratory in the Costa fiefdom of Conscente (a village near Albenga, on the Italian Riviera), but liked it so much that he sent a copy to the oratory and kept the original in his own collection. It is now in the Nelson-Atkins Museum in Kansas City.

The Tapestry of life is an immeasurably enormous tapestry containing all the threads of life from the beginning of time to the end, chronicling all of human existence. Fate's task is to build and maintain the tapestry, though like all of the Incarnations, she has a staff that handles the routine issues – there is simply too much for her to do it all herself. The Tapestry has many unusual properties – its main one being that it does not function as something only half complete. It does not end where they are working on it, but simply fades into the future or becomes impenetrably tangled and impossible to read.

Young leaves are vividly white-felted all over; as they mature, they shed the felt on the upper surface, but retain the felt on their under- surfaces. Unlike the leaves of other members of the genus, the leaves of Oldenburgia paradoxa are crowded impenetrably closely at the branch tips around the periphery of the plant, and they are much smaller, being some 10 cm long. The branches have thick, corky bark that generally is not visible on an undamaged plant. The flower heads are pedunculate to nearly sessile, but are exceptional among Oldenburgias, being borne among the leaves at the surface of the plant cushion; the other Oldenburgia species have tall peduncles that stand proud of the plant.

Music critic Johnny Rogan described the lyrics as "exotic and allusive without really saying anything at all." Critic Toby Creswell describes the lyrics as "cryptic love lyrics" noting that they are sung "over the crunching power of Crazy Horse." Critic John Mendelsohn felt the song conveyed a message of "desperation begetting brutal vindictiveness," hinted at by the "almost impenetrably subjective words" but carried strongly by the sound of Crazy Horse's "heavy, sinister accompaniment." Introducing the song at a performance associated with Writer's Week at Whittier College (California) in April, 2015, Los Lobos co-founder Louie Perez said that when he first heard "Cinnamon Girl", he was sure it was about a Mexican girl.

A threshold test considered by courts applying Section 116 is whether a belief seeking constitutional protection is a "religion". The leading authority on the question is the 1983 judgment of the High Court in Church of the New Faith v Commissioner for Pay-Roll Tax (Vic).. The court found that Scientology was a religion, despite some justices commenting that its practices were "impenetrably obscure". In reaching this finding, the court argued that the definition of religion needed to be flexible but should recognise the need to be sceptical of disingenous claims of religious practice. Justices Anthony Mason and Gerard Brennan held: > ... the criteria of religion [are] twofold: first, belief in a supernatural, > Being, Thing or Principle; and second, the acceptance of canons of conduct > in order to give effect to that belief.

"Thomas, Kevin. "'Yesterday' looks noir, lacks depth" Los Angeles Times, (December 11, 2009) while John Wheeler in LA Weekly wrote that the film's "pitch" was "'a metaphysical noir about a beautiful alcoholic detective searching for the key to understanding nonlinear time'" but commented that the "film can't hope to live up to that premise, and it doesn't." It comments that "the film jumps around aimlessly, repeating dialogue and images of Hoyle's search while using non sequitur discussions of Dalí and Eliot to justify its often impenetrably surreal structure." It praises the film as being in "gorgeous black-and-white and lit by some extremely competent artisans" but concludes that "the film is finally too disjointed and incomprehensible to be enjoyed as much else besides an exercise in style.

Byars' works are often noted as constantly incorporating specific personal themes and motifs, leaning towards the esoteric while simultaneously being ritualistic and materialistic: Robert Clark, writing for The Guardian on the occasion of a Milton Keynes exhibition of his work, described it as 'impenetrably yet intriguingly hermetic'. Most in particular was gold as a material, which served as an elemental identifier. As well as this, works of his demonstrate a fascination with the symbolism of numbers: Clark quotes in the same exhibition, referring to a specific piece of his, writing that he 'imbued the number 100 with symbolic significance, having made a symmetrical arrangement of 100 white marbles and draping 100 nude volunteers in a collective red garment'. A common theme in his works is perfection (especially upon the word 'Perfect'), which he extended into a personal journey that led to his ambiguously celebratory exploration of shapes, numbers and precious materials.

Some modern studies have concluded that the Alexandra cannot be the work of the third-century BC author; in one scholar's summary of this view, the poem was:Peter Marshall Fraser, "Lycophron," in Who's Who in the Classical World, ed. Simon Hornblower and Tony Spawforth, Oxford University Press, 2000. > written in the immediate aftermath of the victory of Flamininus at Battle of > Cynoscephalae over Philip V of Macedon in 197/6 BC. The author, whose true > name and place of origin are probably concealed beneath the impenetrably > enigmatic biographical tradition concerning "Lycophron," probably used the > name, and some of the literary substance, of Lycophron, not in emulation, > but as an ironic reminiscence of the earlier writer, who had combined the > practice of tragedy and the elucidation of comedy. Only on this assumption > of a deliberate pseudepigraphon can the full irony of his work be > appreciated.

The iconographic program of Earthly Vanity and Divine Salvation is complex, although not impenetrably so, hence the title given to the work. The proponents of the theory that a fourth recto-verso panel is missing suggest that it could have shown the Virgin Mary (responding to her son depicted as a Salvator Mundi but also with attributes of a Christ in Majesty, such as the crown) on one side, and Adam on the other (responding to Eve, depicted as the allegorical figure of Vanity). The purposes of Death, Hell, Memento mori, and the coat of arms, are quite clear, although their position is not. Vanity (which may also represent Luxuria) and Death share aesthetic and thematic parallels, not least in the very prominent genital area, a fact that has prompted the tenants of the triptych hypothesis to dismiss the idea that Vanity/Luxuria should have been paired with another painting instead. On the other hand, the probable pairing of Christ with Hell is theologically untenable; as in Memling’s own Last Judgment, depictions of Hell are generally paired with depictions of Heaven.

Condon attacked his targets, usually gangsters, financiers, and politicians, wholeheartedly and with a uniquely original style and wit that make almost any paragraph from one of his books instantly recognizable. Reviewing one of his works in the International Herald Tribune, the well-known playwright George Axelrod (The Seven-Year Itch, Will Success Spoil Rock Hunter), who had collaborated with Condon on the screenplay for the film adaptation of The Manchurian Candidate, wrote: > "The arrival of a new novel by Richard Condon is like an invitation to a > party.... the sheer gusto of the prose, the madness of his similes, the > lunacy of his metaphors, his infectious, almost child-like joy in composing > complex sentences that go bang at the end in the manner of exploding cigars > is both exhilarating and as exhausting as any good party ought to be." In Prizzi's Honor, Condon's normal exuberance was somewhat curbed by choosing to narrate the events through the viewpoints of its various semi-literate gangsters, which limited the scope of his imagery. In Money, however, he returns to being his usual omniscient narrator, giving the reader: > Vincent had a totally closed face, like a bank vault shut impenetrably by a > system of time locks.

This sounds impenetrably dense and boring, but please don't click away yet! from The Verge
Definitions of camp vary from the classic and elaborate to the impenetrably academic. from Vice
They are designed to be impenetrably unreadable to convince app users not to bother. from TechCrunch
Gradually, they can see—in light so dim that moments before felt impenetrably dark. from Vice
That script, a series of rhymed couplets barnacled with topical quips, "was so impenetrably difficult," she said. from The New York Times
They are working to not to let their baby's illness cast an impenetrably dark shadow on their lives. from Vice
"The songs from the early portion of the movie are almost impenetrably perfect," said Brittany Spanos in Rolling Stone. from Business Insider
Now he's this imposingly big, impenetrably chill, multiracial, biker type, sheathed in tribal tattoos, with a long, dark mane. from The New York Times
Every time a character leans unwisely into an impenetrably dark corner, audiences get a glimpse of that better, leaner, more merciless movie. from The Verge
But crucially, the texts are tiny, almost impenetrably so, representing the difficulty of fully reconstructing stories that have been repressed for decades. from Hyperallergic
ANTHONY TOMMASINI at 59 minutes 16 seconds Karlheinz Stockhausen has a forbidding reputation as a composer of imposingly austere and impenetrably highbrow works. from The New York Times
Nursed back to health, they return to their plane to find it scuttled — not by violence, but by being impenetrably sewn up in canvas. from Hyperallergic
These were set in a saw-tooth pattern that makes the enormous cube blend gauzily with the sky or stand out like an impenetrably dark mesa. from The New York Times
Here at Vox, we're big fans of clever graphics and visualizations that make climate change, which can sometimes seem abstract and impenetrably complex, easier to grasp. from Vox
For better or worse, Babbitt, who died in 2011 at 94, is best known as an avowed serialist whose ingeniously organized pieces strike many listeners as impenetrably complex. from The New York Times
Case in point: Loincloth, the Southern Lord-backed instrumental quartet who specializes in impenetrably dense acrobatics marked by sinew, economy, and hypercomplex time signatures that consistently avoid baroque frills and cartoonish machismo. from Vice
Our bias may stem from the fact that modern day Venus is so forbidding, with its impenetrably thick atmosphere, toxic thunderclouds, and atmospheric pressure nearly 63 times higher than that of Earth. from Gizmodo
Morris wrote the book with the help of the novelist Wesley Stace (who is also the singer-songwriter John Wesley Harding), but its voice is unmistakably his: direct, brash, flippant, charming, impenetrably self-assured. from The New York Times
The hope, for a small but dedicated community of researchers, is to use the quirky but simpler world of two-dimensional fluids as a fresh entry point into processes that have otherwise proved impenetrably messy. from Wired
In that indifferent, inscrutable human engineering, the kind you find in adventure games from the same era: this character must use this object on that one, in this specific order, for reasons that are simply, impenetrably, encoded. from Vice
Today, as these photos show, some commuters faced longer lines just to enter subway stations and extremely packed buses and trains (there was even a fake photo that made the rounds, showing what looked like impenetrably thick crowds). from Gizmodo
Arguably, the generation for whom the store was most resonant — those who came of age in the "Sex and the City" era, when Barneys was shorthand for New York's most impenetrably chic inner circle — are already past target-consumer age. from The New York Times
Far from simply emboldening the sitter and recording for the purpose of emphasising dynastic security, he imbued depictions of Charles and Queen Henrietta Maria — he of slight stature and impenetrably aloof character, she of famously protruding teeth — with warmth and humanity, even vulnerability. from Hyperallergic
It is the same debate dogging the Democratic Party at large, but amplified by an only-in-New-York mix of vibrant activism, impenetrably blue politics and — unlike in the rest of the country — still-mighty unions eager to quell perceived threats to their clout. from The New York Times
Even Monday at the Met Gala, which is known for bolder fashions and hairstyles than Hollywood awards shows, you could have bet your blow dryer there would be an ingénue with "effortless" beach waves or a more "serious" actress going for the shock of an impenetrably sleek blowout. from The New York Times
That those points sometimes feel a little glossed over isn't necessarily excusable, but it's made understandable, at least, by Homecoming's obvious intent: The series' first season (the show was picked up for a two seasons from the jump) is made up of 10 half-hour episodes and hyper-focused on its characters, rather than on building an impenetrably twisty plot. from Vox
And Anne Anlin Cheng's essay for the LA Review of Books: This dream of an Asian subject so impenetrably protected by wealth, so inculcated in faultless taste and beauty, so globally at ease, and so properly educated that he or she can go anywhere and not suffer the slings and arrows of outrageous racist discrimination accrues its most intense gratification under the assumption of universal anti-Asian racism. from Hyperallergic
Blowin 'in the Wind is a cover of the song written by Bob Dylan in 1962 and released on his album The Freewheelin' Bob Dylan in 1963. The refrain "The answer, my friend, is blowin' in the wind" has been described as "impenetrably ambiguous: either the answer is so obvious it is right in your face, or the answer is as intangible as the wind".Mick Gold, "Life & Life Only: Dylan at 60" in Judas! magazine, April 2002, p.
Angel (2008) is a teen fantasy novel about a fourteen-year-old girl, Freya, whose life is shaped by two angels: Hestron, bright, beautiful, surrounded by a mane of golden sunshine, and Mestraal, so impenetrably dark that nearly everything is erased by its shadow. Unusually in McNish's fiction, Angel incorporates gritty elements of teen angst and bullying, as well as a moral debate about how to behave in the world. Angel was shortlisted for the North East Teenage fiction Award and the Tayshas Reading List.
The work was premiered on 1 February 1933 by Harriet Cohen, with the BBC Symphony Orchestra directed by Sir Adrian Boult. The Finale was edited shortly thereafter and the work was published in 1936. The concerto was not well received at first, being considered unrewarding to the soloist. Though the piece provides ample opportunity for virtuosity in all movements, Vaughan Williams treated the piano as a percussion instrument, as did Béla Bartók and Paul Hindemith during this period, with the texture at times impenetrably thick.
"Blowin' in the Wind" is a song written by Bob Dylan in 1962 and released as a single and on his album The Freewheelin' Bob Dylan in 1963. It has been described as a protest song, and poses a series of rhetorical questions about peace, war, and freedom. The refrain "The answer, my friend, is blowin' in the wind" has been described as "impenetrably ambiguous: either the answer is so obvious it is right in your face, or the answer is as intangible as the wind".Gold, Mick (2002).
David Badder, in Monthly Film Bulletin, was of the opinion that even if the film had been truncated, it would not improve its quality. He described Sorcerer as "remarkably lacklustre", and did not appreciate the unstable tone of the movie which he called "impenetrably obscure". Additionally, he considered Scheider's role to be severely underdeveloped and "consist[ing] of meaningful stares off camera and mournful grimaces." On the other hand, Sorcerer garnered some acclaim from several major critics, including the Chicago Sun-Times's Roger Ebert, The New York Times's chief film critic Vincent Canby, and Jack Kroll of Newsweek fame.
MorrisMorris "Darkness" has been able to track down some of the specific scenes that inspired these poems but the poems themselves are still in the dense style that Alberti had adopted. Con los zapatos puestos tengo que morir ('With My Shoes On I Must Die') (1930) – a quote from Calderón – is his final work in this style. Written in the aftermath of the exhilaration of being involved in the anti-Primo de Rivera riots, whilst still impenetrably dense at times, it shows the beginning of the socially aware poetry that would be the next direction he would take.
The word is a pseudo-Latin neologism (real Latin: adamans, from original Greek ἀδάμας [=indomitable]; adamantem [Latin accusative]) based on the English noun and adjective adamant (and the derived adjective adamantine) added to the neo- Latin suffix "-ium." The adjective adamant has long been used to refer to the property of impregnable, diamondlike hardness, or to describe a very firm/resolute position (e.g. He adamantly refused to leave). The noun adamant describes any impenetrably or unyieldingly hard substance and, formerly, a legendary stone/rock or mineral of impenetrable hardness and with many other properties, often identified with diamond or lodestone.
Hand-waving has been used to describe work-related situations where productivity is seemingly displayed, but deliverables are not produced, especially in the context of intentional engagement in busy work or pretend-work, vague claims of overwork or complications, impenetrably buzzword-laden rationalizations for delays or otherwise poor performance, and plausible-sounding but weak excuse-making and attention-deflecting tactics. In employment situations, as in political discourse, a hand-waving effort may seek to shift blame to other parties. Another use is in reference to fiscal problems, such as an inability to adequately explain accounting discrepancies or an avoidance of accountability for missing funds.
Bellini's Baptist is depicted within a conventional framework that his audience would know and share; Caravaggio's is almost impenetrably private. In 1604 Caravaggio was commissioned to paint a John the Baptist for the papal banker and art patron Ottavio Costa, who already owned the artist's Judith Beheading Holofernes and Martha and Mary Magdalene. Costa intended it for an altarpiece for a small oratory in the Costa fiefdom of Conscente (a village near Albenga, on the Italian Riviera), but liked it so much that he sent a copy to the oratory and kept the original in his own collection. It is now in the Nelson-Atkins Museum in Kansas City.
The Tapestry of life is an immeasurably enormous tapestry containing all the threads of life from the beginning of time to the end, chronicling all of human existence. Fate's task is to build and maintain the tapestry, though like all of the Incarnations, she has a staff that handles the routine issues – there is simply too much for her to do it all herself. The Tapestry has many unusual properties – its main one being that it does not function as something only half complete. It does not end where they are working on it, but simply fades into the future or becomes impenetrably tangled and impossible to read.
Young leaves are vividly white-felted all over; as they mature, they shed the felt on the upper surface, but retain the felt on their under- surfaces. Unlike the leaves of other members of the genus, the leaves of Oldenburgia paradoxa are crowded impenetrably closely at the branch tips around the periphery of the plant, and they are much smaller, being some 10 cm long. The branches have thick, corky bark that generally is not visible on an undamaged plant. The flower heads are pedunculate to nearly sessile, but are exceptional among Oldenburgias, being borne among the leaves at the surface of the plant cushion; the other Oldenburgia species have tall peduncles that stand proud of the plant.
Music critic Johnny Rogan described the lyrics as "exotic and allusive without really saying anything at all." Critic Toby Creswell describes the lyrics as "cryptic love lyrics" noting that they are sung "over the crunching power of Crazy Horse." Critic John Mendelsohn felt the song conveyed a message of "desperation begetting brutal vindictiveness," hinted at by the "almost impenetrably subjective words" but carried strongly by the sound of Crazy Horse's "heavy, sinister accompaniment." Introducing the song at a performance associated with Writer's Week at Whittier College (California) in April, 2015, Los Lobos co-founder Louie Perez said that when he first heard "Cinnamon Girl", he was sure it was about a Mexican girl.
A threshold test considered by courts applying Section 116 is whether a belief seeking constitutional protection is a "religion". The leading authority on the question is the 1983 judgment of the High Court in Church of the New Faith v Commissioner for Pay-Roll Tax (Vic).. The court found that Scientology was a religion, despite some justices commenting that its practices were "impenetrably obscure". In reaching this finding, the court argued that the definition of religion needed to be flexible but should recognise the need to be sceptical of disingenous claims of religious practice. Justices Anthony Mason and Gerard Brennan held: > ... the criteria of religion [are] twofold: first, belief in a supernatural, > Being, Thing or Principle; and second, the acceptance of canons of conduct > in order to give effect to that belief.
"Thomas, Kevin. "'Yesterday' looks noir, lacks depth" Los Angeles Times, (December 11, 2009) while John Wheeler in LA Weekly wrote that the film's "pitch" was "'a metaphysical noir about a beautiful alcoholic detective searching for the key to understanding nonlinear time'" but commented that the "film can't hope to live up to that premise, and it doesn't." It comments that "the film jumps around aimlessly, repeating dialogue and images of Hoyle's search while using non sequitur discussions of Dalí and Eliot to justify its often impenetrably surreal structure." It praises the film as being in "gorgeous black-and-white and lit by some extremely competent artisans" but concludes that "the film is finally too disjointed and incomprehensible to be enjoyed as much else besides an exercise in style.
Byars' works are often noted as constantly incorporating specific personal themes and motifs, leaning towards the esoteric while simultaneously being ritualistic and materialistic: Robert Clark, writing for The Guardian on the occasion of a Milton Keynes exhibition of his work, described it as 'impenetrably yet intriguingly hermetic'. Most in particular was gold as a material, which served as an elemental identifier. As well as this, works of his demonstrate a fascination with the symbolism of numbers: Clark quotes in the same exhibition, referring to a specific piece of his, writing that he 'imbued the number 100 with symbolic significance, having made a symmetrical arrangement of 100 white marbles and draping 100 nude volunteers in a collective red garment'. A common theme in his works is perfection (especially upon the word 'Perfect'), which he extended into a personal journey that led to his ambiguously celebratory exploration of shapes, numbers and precious materials.
Some modern studies have concluded that the Alexandra cannot be the work of the third-century BC author; in one scholar's summary of this view, the poem was:Peter Marshall Fraser, "Lycophron," in Who's Who in the Classical World, ed. Simon Hornblower and Tony Spawforth, Oxford University Press, 2000. > written in the immediate aftermath of the victory of Flamininus at Battle of > Cynoscephalae over Philip V of Macedon in 197/6 BC. The author, whose true > name and place of origin are probably concealed beneath the impenetrably > enigmatic biographical tradition concerning "Lycophron," probably used the > name, and some of the literary substance, of Lycophron, not in emulation, > but as an ironic reminiscence of the earlier writer, who had combined the > practice of tragedy and the elucidation of comedy. Only on this assumption > of a deliberate pseudepigraphon can the full irony of his work be > appreciated.
The iconographic program of Earthly Vanity and Divine Salvation is complex, although not impenetrably so, hence the title given to the work. The proponents of the theory that a fourth recto-verso panel is missing suggest that it could have shown the Virgin Mary (responding to her son depicted as a Salvator Mundi but also with attributes of a Christ in Majesty, such as the crown) on one side, and Adam on the other (responding to Eve, depicted as the allegorical figure of Vanity). The purposes of Death, Hell, Memento mori, and the coat of arms, are quite clear, although their position is not. Vanity (which may also represent Luxuria) and Death share aesthetic and thematic parallels, not least in the very prominent genital area, a fact that has prompted the tenants of the triptych hypothesis to dismiss the idea that Vanity/Luxuria should have been paired with another painting instead. On the other hand, the probable pairing of Christ with Hell is theologically untenable; as in Memling’s own Last Judgment, depictions of Hell are generally paired with depictions of Heaven.
Condon attacked his targets, usually gangsters, financiers, and politicians, wholeheartedly and with a uniquely original style and wit that make almost any paragraph from one of his books instantly recognizable. Reviewing one of his works in the International Herald Tribune, the well-known playwright George Axelrod (The Seven-Year Itch, Will Success Spoil Rock Hunter), who had collaborated with Condon on the screenplay for the film adaptation of The Manchurian Candidate, wrote: > "The arrival of a new novel by Richard Condon is like an invitation to a > party.... the sheer gusto of the prose, the madness of his similes, the > lunacy of his metaphors, his infectious, almost child-like joy in composing > complex sentences that go bang at the end in the manner of exploding cigars > is both exhilarating and as exhausting as any good party ought to be." In Prizzi's Honor, Condon's normal exuberance was somewhat curbed by choosing to narrate the events through the viewpoints of its various semi-literate gangsters, which limited the scope of his imagery. In Money, however, he returns to being his usual omniscient narrator, giving the reader: > Vincent had a totally closed face, like a bank vault shut impenetrably by a > system of time locks.