" With the musicians, Benjamin was ineffably polite: "Harps and celesta?
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Ineffably silly animal jokes remain one of the show's chief pleasures.
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The sum exceeds the parts: an airy, hushed, ineffably lovely sonic contraption.
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The effect is alternately informative, sobering and weirdly optimistic and ineffably touching.
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As befits the generally dark tone, there's something ineffably unsettling about her art style.
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DL: So you'd disagree with those who say that Garcia Marquez is an ineffably Colombian writer.
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To make him ineffably relevant, regardless of if he actively has something to promote at any given time.
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Her dancing had an ineffably French perfume: spirited and charming but always precise and articulate, particularly the footwork.
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All those spec bullet points don't really convey it, but the Voyage just feels ineffably nicer than the Paperwhite.
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To call it precocious is an understatement; it is a document of singular vitality, made ineffably poignant by its author's fate.
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There's something ineffably terrible about 'Bass Bumpers' as a name that it's difficult to pinpoint exactly what's so vile about it.
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Recurring motifs include mirrors, demons, clouds, and dreams, all interacting in ambiguous shorts that are ineffably sinister, entrancingly beautiful, or both.
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The lines between the sacred and profane have been blurred ineffably, as has that merest breath that separates the living from the dead.
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The way I feel about this film is the way I feel about Peter: ambivalent, but smitten by something ineffably electric within him.
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Then the sound grows, divided as if by a prism into many lines, and the music embarks on a reluctant, ineffably tender descent.
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You are no longer going from point A to point B. Because the interstates have rendered what was once a simple route ineffably complex.
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And this haunting,—ineffably sweet, inexplicably sad,—may fill you with rash desire to wander over the world in search of somebody like her.
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Even on a ballad — like "A Quiet Thing," the ineffably lovely John Kander and Fred Ebb song — she's like a singing ray of sunshine.
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That is to say, they've created unfamiliar worlds that somehow feel deeply, ineffably familiar — the sort of places that you visit as you're falling asleep.
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An ineffably chipper woman named Tiffany pushed a baby carriage containing her dog, a Pomeranian wearing a bedazzled hair (fur?) clip, into the makeshift classroom.
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The variety of drink differs and the picks on rotation tonight are beer (Aguila), Coke to chase, and the ineffably potent aguardiente, known as fire water.
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The word moni means "gem" in Bengali, but in common usage it also refers to something ineffably beautiful: the shining pinpricks of light in each eye.
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Contact with them is "ineffably spoiling," but when "the uneasy sense of precariousness intrudes" Tina is reporting sidewalks spotted with the homeless and streets full of limos.
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It is a portrait, in short, of an ineffably individual being made of fine gradations of thought and feeling that can never be reduced to formulas or calculations.
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J.C. Mr. Parker, the guitarist in Tortoise, released the most ineffably soulful instrumental album of the summer: "The New Breed," a convergence of loopy beats and melodic suggestion.
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This year, the brewer's pumpkin source reneged on an order of 5,000 pounds of gooey, orange puree—the stuff that gives Wick For Brains that ineffably earthy and spicy taste.
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"Painting" is a bit sombre, for him, but it has the ineffably friendly air of nearly all his art: adventurous but easy-looking, an eager gift to vision and imagination.
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Some portion of his athleticism was inherited from his father, the French cinema legend Jean-Pierre Cassel, the limber and ineffably suave movie idol who was known as the French Fred Astaire.
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Compare his takes on "Don Carlo" in 2010 and 2015; the more recent version was ineffably yet unmistakably deeper, as Mr. Nézet-Séguin did something unusual with the duet for Carlo and Elisabetta.
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She sang Zerlina in a school production of "Don Giovanni" when she was just 13, and while she made a mistake — the performance even needed to be briefly stopped — it was ineffably right.
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Gimmick piled upon gimmick, and it was too bad, because it obscured the fact that Mr. Gaultier is still a master at making a sleeveless gold shirtdress and a beige anorak look ineffably chic.
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Image: White DesertIf, unlike me, you look ineffably cool wearing a giant parka, slogging around in the snow and freezing your butt off, you might consider a jaunt to the White Desert camp in Antarctica.
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And, in an extension of Siah Armajani's traveling survey at the Met Breuer, the Public Art Fund installed that artist's ineffably poetic "Bridge Over Tree" on the East River between the Brooklyn and Manhattan Bridges.
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As extreme as these visions are, they also feel ineffably linked to the more everyday worries and make-believe speculations (what bird would you like to be?) that have been shared by Sally, Lena and Vi.
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I didn't know much about fashion at the time — I think it was my first season in Paris — but I knew enough to understand there was something ineffably elegant and also slightly twisted about the dress.
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That's what they all have in common, this strangely assembled, ineffably interconnected group that includes drag queens, wandering Mormons, assorted lawyers, a breast-beating Jewish intellectual and the real-life power-broker (and Donald J. Trump mentor) Roy Cohn.
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This Friday, when she flies to Lahore from London, where she has been spending the past few weeks with her ill mother who is being treated there, this ineffably composed woman will face arrest for having aided her father's graft.
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His entranced performance of that speech, in which he traces a cross-generational long view that gives him vertigo, makes it clear, though Vince's kin may have been slow to claim him, that he is now ineffably and inexorably one of them.
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Even in this scratchy recording of an aria from "La Traviata," her voice is both crystalline and soft-grained, her Violetta a woman both realistic and dreamy, as in this note, in which innocent purity ineffably subsides into something richer and sadder.
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The red berries of the dogwood trees and the red seedpods of the magnolias flare up, too, and so do the berries of the bush honeysuckle, invasive but still ineffably beautiful in the failing light at the end of an October day.
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That style is typified by the first moments of standout, "Déjà vu," in which Porter imbues a simple run of notes with what feels like the entire spectrum of human feeling—joy, longing, contentment, perseverance and so much more all ineffably balanced on his every exhale.
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Writer and artist Alison Bechdel recalls the first time she saw an adult lesbian when she was just a child, and feeling ineffably drawn to her presence — the way the other woman carried herself in dungarees and lace-up boots, with a large ring of keys at her waist.
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Thus, when he turned up for the recent Global Food Innovation Summit event in Milan wearing a slim dark suit over a white dress shirt with two buttons left open, social media lit up with reports of his going "full Italian," so effortlessly and ineffably cool did he appear.
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But add Henry Purcell's ineffably beautiful melodies in "Dido and Aeneas," and Dido, the jilted heroine, in a parting lament sung to her maid, Belinda, delivers this as one of the most heart-rending lines in all of opera, as she faces a lonely death with dignity and generous spirit intact.
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Fine, all right — but: without discipline, which you lack, the very beauty of your men and women is ineffably scarred by excess; the poetic metaphysic, which you sing, becomes pretentious and adolescent; the very wonderful sadness and joy, the whole synthesis, at once noble and tragic and magical is lost, ruined; lifeless.
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In general, film and video are the show's strength: Eva Stefani's stunning mix of politics and pornography called "Acropolis;" Terre Thaemlitz's explosive video collages on American racism; and Rosalind Nashashibi's ineffably tender documentary on the daughter-and-mother painters Vivian Suter and Elisabeth Wild, both of whom have work of their own in the show.
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But the idea that this ineffably gorgeous work of art was wrought from four hands working overtime in an environment which, as music journalist and author David Stubbs remembers was "heated by means of leaving the three functioning gas rings on at full blast until the fumes make us all feel stoned," adds another layer of pleasure to one of the most downright pleasurable musical experiences imaginable.
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About midway through Nocturnal Animals I had one of those pleasant movie-watching moments of self-awareness where I realized I was watching Jake Gyllenhaal and Michael Shannon (a grade-A Texas cop in a year full of them at the movies) essentially play out what should have been the second season of True Detective, and was so ineffably satisfied by watching their interaction.
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Against this American backdrop the new biography of de Gaulle is relevant — in addition to just being educational, a sweeping-yet-concise introduction to the most brilliant, infuriating and ineffably French of men — because his grand project, his only consistent purpose apart from his own ambition, was a struggle to reintegrate the competing narratives of Frenchness, to get his country to transcend its ideological civil war.
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Not the least of the movie's joys is the roster of unflappable seamstresses, with years of experience, on whom he relies; in the course of one especially taxing night, they have to repair a wedding dress that has been tainted and torn, to be ready by 9 A.M. As for Day-Lewis, he strikes the eye as ineffably dapper, with a hint of the sacerdotal; in the opening minutes, he pulls on a magenta sock, buffs the toe cap of a shoe, and, wielding a pair of hairbrushes, sweeps back his lightly silvered locks with solemn care, as if robing himself in a vestry.
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This is strictly stronger than κ being ineffably Ramsey. The existence of a Ramsey cardinal implies the existence of 0# and this in turn implies the falsity of the Axiom of Constructibility of Kurt Gödel.
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Pregeometry, and in full combinatorial pregeometry, are essentially synonyms for "matroid". They were introduced by Gian-Carlo Rota with the intention of providing a less "ineffably cacophonous" alternative term. Also, the term combinatorial geometry, sometimes abbreviated to geometry, was intended to replace "simple matroid". These terms are now infrequently used in the study of matroids.
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" Washington Post. June 15, 1969. The building's reputation has not improved over time. In 1992, a Washington Post reporter called the building "ineffably ugly". The Historic American Buildings Survey concluded in 2004, "Instead of the planned vista of the Smithsonian Castle, visitors to the promenade now catch only a glimpse of that building above and below the concrete barrier located on Independence Avenue, between Ninth and Eleventh streets.
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Homoianism (from gr. hómoios) declared that the Son was similar to God the Father, without reference to essence or substance. Some supporters of Homoian formulae also supported one of the other descriptions. Other Homoians declared that God the father was so incomparable and ineffably transcendent that even the ideas of likeness, similarity or identity in substance or essence with the subordinate Son and the Holy Spirit were heretical and not justified by the Gospels.
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These included meeting dignitaries, making speeches on ʻAbdu'l-Bahá's behalf, meeting officials of both sexes and offering medical help for the sick and poor. Bahíyyih also dealt with the spiritual and administrative guidance of the worldwide Baháʼí community which entailed writing letters of encouragement to communities around the world. She kept in constant correspondence with her brother during this period. Juliet Thompson described Bahíyyih Khánum as having shining "great blue eyes, eyes that had looked upon many sorrows and now were ineffably tender".
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December 25 -- Christmas. The nativity account (Gospel of Luke ) begins with Mary and Joseph (Mary's betrothed) traveling to Bethlehem to be enrolled in the Roman census ordered by Augustus Caesar. On the way, they look for a place for Mary to give birth to her child, but all the inns are full and the only suitable place is a cave (show as a stable in most Western descriptions) where animals are kept. The Theotokos (God-bearer, the Virgin Mary) gives birth ineffably (without pain or travail) and remains virgin after childbirth.
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Cher shines brightest of all." Roger Ebert, who later added the film among his "Great Movies" list, said: "Reviews of the movie tend to make it sound like a madcap ethnic comedy, and that it is. But there is something more here, a certain bittersweet yearning that comes across as ineffably romantic, and a certain magical quality". According to Gene Siskel, writing for the Chicago Tribune: "Moonstruck, which is being sold as a romance but actually is one of the funniest pictures to come out in quite some time.
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Morley comments, "The truth is that, although the theatrical and political world had changed considerably through the century for which he stood as an ineffably English icon, Noël himself changed very little."Morley, Sheridan. "Noël Coward", Noël Coward. Retrieved 5 April 2020 Chothis comments, "sentimentality and nostalgia, often lurking but usually kept in check in earlier works, were cloyingly present in such post-World War II plays as Peace in Our Time and Nude with Violin, although his writing was back on form with the astringent Waiting in the Wings".
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Stephen Thomas Erlewine from AllMusic called the song "excellent standard-issue dance-pop". Sal Cinquemani from Slant Magazine called the song sugary. Also from Slant Magazine, Eric Henderson opined it was "the ultimate “this is better than I remember it” single of Madonna’s career, 'Angel' is best half-remembered, the better by which to keep rediscovering it again and again". Billboards Joe Lynch deemed it a "a sadly undervalued gem from her second album [...] this ineffably charming dance-pop lark also features some of Madge's cutest come- ons".
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The cinematographer was Arthur Edeson, a veteran who had previously shot The Maltese Falcon and Frankenstein. Particular attention was paid to photographing Bergman. She was shot mainly from her preferred left side, often with a softening gauze filter and with catch lights to make her eyes sparkle; the whole effect was designed to make her face seem "ineffably sad and tender and nostalgic". Bars of shadow across the characters and in the background variously imply imprisonment, the crucifix, the symbol of the Free French Forces and emotional turmoil.
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Summer and Smoke is set in Glorious Hill, Mississippi, from the "turn of the century through 1916", and centers on Alma Winemiller, a highly strung, unmarried minister's daughter, and the spiritual/sexual romance that nearly blossoms between her and John Buchanan Jr., a wild, undisciplined young doctor who grew up next door. She, ineffably refined, identifies with the Gothic cathedral, "reaching up to something beyond attainment"; her name, as Williams makes clear during the play, means "soul" in Spanish; whereas Buchanan, doctor and sensualist, defies her with the soulless anatomy chart. By the play's end, however, Buchanan and Alma have traded places philosophically. She has been transformed beyond modesty.
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The Oriental Orthodox Church denies that it is monophysite and prefers the term "miaphysite", to denote the "united" nature of Jesus (two natures united into one) consistent with St. Cyril's theology: "The term union...signifies the concurrence in one reality of those things which are understood to be united" and "the Word who is ineffably united with it in a manner beyond all description" (St. Cyril of Alexandria, On the Unity of Christ). Both the Eastern Orthodox and Oriental Orthodox churches formally believe themselves to be the continuation of the true church, although over the last several decades there has been considerable reconciliation and the prospect of reunification has been discussed.
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In August 2004, he backed unsuccessful impeachment procedures against Prime Minister Tony Blair for "high crimes and misdemeanours" regarding the war, and in December 2006 described the invasion as "a colossal mistake and misadventure". Although labelling Johnson "ineffably duplicitous" for breaking his promise not to become an MP, Black decided not to dismiss him because he "helped promote the magazine and raise its circulation". Johnson remained editor of The Spectator, also writing columns for The Daily Telegraph and GQ, and making television appearances. His 2001 book, Friends, Voters, Countrymen: Jottings on the Stump, recounted that year's election campaign, while 2003's Lend Me Your Ears collected together previously published columns and articles.
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In mathematics, a Ramsey cardinal is a certain kind of large cardinal number introduced by and named after Frank P. Ramsey, whose theorem establishes that ω enjoys a certain property which Ramsey cardinals generalize to the uncountable case. Let [κ]<ω denote the set of all finite subsets of κ. An uncountable cardinal number κ is called Ramsey if, for every function :f: [κ]<ω → {0, 1} there is a set A of cardinality κ that is homogeneous for f. That is, for every n, f is constant on the subsets of cardinality n from A. A cardinal κ is called ineffably Ramsey if A can be chosen to be stationary subset of κ.
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But was it an easily forgiveable weakness that his > opponents had to be chosen for being his inferiors or else, if their form > was unknown, instructed not to let themselves win? Hahn's behaviour came to seem to Worsley "so ineffably, so Germanically silly" that he was unable to share the clear adulation of the teaching staff: > We were going through the classrooms when, in one, he suddenly stopped, > gripped my arm, raised his nostrils in the air, and then, in his marked > German accent, he solemnly pronounced: 'Somevon has been talking dirt in > this room. I can smell it.' Hahn's views on Shakespeare led to an open disagreement: > He had what I have since learned to be a common German belief that > Shakespeare was better in German than in English.
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Robot Monster, a science-fiction film originally shot and exhibited in 3D, features an actor dressed in a gorilla suit and what looks almost like a diving helmet. The film, produced and directed by Phil Tucker, is listed in Michael Sauter's book The Worst Movies of All Time among "The Baddest of the Bs". It is also featured in The Book of Lists 10 worst movies list, and in The Fifty Worst Films of All Time. The Golden Turkey Awards confers on its main character the title of "Most Ridiculous Monster in Screen History" and, listing director Tucker among the runners-up to "Worst Director of All Time" (the winner being Ed Wood), states, "What made Robot Monster ineffably worse than any other low-budget sci-fi epic was its bizarre artistic pretension".
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""A ten-year- old's take on War Horse at the New London Theatre", The Sunday Times, 22 May 2009 Joey and members of the cast at a production of the play in Australia In reviewing the Broadway production, Ben Brantley wrote in The New York Times, "...it is how Joey is summoned into being, along with an assortment of other animals, that gives this production its ineffably theatrical magic...Beautifully designed by Rae Smith ... and Paule Constable, this production is also steeped in boilerplate sentimentality. Beneath its exquisite visual surface, it keeps pushing buttons like a sales clerk in a notions shop."Brantley, Ben."Theater Review:A Boy and His Steed, Far From Humane Society" The New York Times, 2011. Brantley suggests, > "The implicit plea not to be forgotten applies not just to the villagers, > soldiers and horses portrayed here, but also to theater, as an evanescent > art that lives on only in audiences’ memories.
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Students of Modernist painting and sculpture are familiar with Pierrot (in many different attitudes, from the ineffably sad to the ebulliently impudent) through the masterworks of his acolytes, including Pablo Picasso, Juan Gris, Georges Rouault, Salvador Dalí, Max Beckmann, August Macke, Paul Klee, Jacques Lipchitz--the list is very long (see Visual arts below). As for the drama, Pierrot was a regular fixture in the plays of the Little Theatre Movement (Edna St. Vincent Millay's Aria da Capo [1920], Robert Emmons Rogers' Behind a Watteau Picture [1918], Blanche Jennings Thompson's The Dream Maker [1922]),For direct access to these works, go to the footnotes following their titles in Plays, playlets, pantomimes, and revues below. which nourished the careers of such important Modernists as Eugene O'Neill, Susan Glaspell, and others. In film, a beloved early comic hero was the Little Tramp of Charlie Chaplin, who conceived the character, in Chaplin's words, as "a sort of Pierrot".
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Battlefield Earth received polarized mixed reviews, with some critics, and readers, considering the book Hubbard's most enjoyable sci-fi work and a classic of the genre, while others consider it to be genuinely terrible. The book had a negative reception from some literary critics: The Economist, for instance, called Battlefield Earth "an unsubtle saga, atrociously written, windy and out of control" while in the science fiction magazine Analog, Thomas Easton criticized it as "a wish- fulfillment fantasy wholly populated by the most one-dimensional of cardboard characters." Other critics pointed to the book's slipshod writing, such as "the ineffably klutzy destruction of the planet of the evil Psychlos by atomic bombs, which turns it into a 'radioactive sun'". Punch sarcastically commended Hubbard's "excellent understanding of evil impulses, particularly deviousness, which helps with the plot, and [he] is well-enough aware of his weaknesses not to dwell upon frailties like love, generosity, compassion".
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The author composed a letter to the as yet unknown publisher, requesting the omission of his birth name and substitution of the nom de plume "Philipp Mainländer", and stating that he would abhor nothing more than "being exposed to the eyes of the world". On November 1, 1875, Mainländer – originally committed for three years, but in the meantime, as he noted in a letter to his sister Minna, "exhausted, worked-out, ... at completely ... healthy body ineffably tired" – was prematurely released from military service, and traveled back to his hometown of Offenbach, where he – again having become obsessed with work – within a mere two months, corrected the unbound sheets of Die Philosophie der Erlösung, composed his memoirs, wrote the novella Rupertine del Fino, and completed the 650-page second volume of his magnum opus. Around the beginning of 1876, Mainländer began to doubt whether his life still had value for humanity. He wondered whether he had already completed the duties of life, or whether he should employ it to strengthen the social-democratic movement.
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The first and second violins weave curly parallel melodic lines, a tenth apart, underpinned by a pedal point in the double basses and a sustained octave in the horns. Wind instruments respond in bars 104-5, accompanied by a spidery ascending chromatic line in the cellos.Symphony 39, first movement, bars 102-119 Symphony 39, first movement, bars 102-105A graceful continuation to this features clarinets and bassoons with the lower strings supplying the bass notes.Symphony 39, first movement, bars 106-109Next, a phrase for strings alone blends pizzicato cellos and basses with bowed violins and violas, playing mostly in thirds:Symphony 39, first movement, bars 110-114The woodwind repeat these four bars with the violins adding a counter-melody against the cellos and basses playing arco. The violas add crucial harmonic colouring here with their D flat in bar 115. In 1792, an early listener marvelled at the dazzling orchestration of this movement “ineffably grand and rich in ideas, with striking variety in almost all obbligato parts.”Symphony 39, first movement, bars 115-119“The main feature in [his] orchestration is Mozart’s density, which is of course part of his density of thought.” Robbins Landon, H. (1989, p.137), Mozart, the Golden Years.
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