53 Sentences With "literalness" | Random Sentence Generator

What rankles is the equation of literalness with political value in music.

He also succeeds in locating a plangent, unpatronizing humor in Ginny's literalness and deadpan certitude.

No. Literalness and a lack of interest in social norms are not enough to sustain a series.

To admit that the literalness of film might surpass the stimulus to the imagination of Austen's language. 'Abominable!

To a new speaker of the language, English idioms retain a troubling trace of literalness long after they are understood.

But Sartre's analysis helps us understand that it's precisely the line between literalness and fabulation that anti-Semitism tries to erase.

The contrast between the exhibition title's scientific literalness — Elements of Geology — and the works' crazy quilt coloration drives home the point.

The literalness of film and the creaky conventions of the biopic threaten to dissolve that strangeness, to domesticate genius into likable quirkiness.

Columbine touches and links many of the works, but ostensibly not others, unless, perhaps, we take them to a maudlin degree of literalness.

This goes along with a general literalness and glumness — little of the satire and humor of the novel has seeped into the mini-series.

At first their paintings portended a refusal of both metaphor and natural resemblance in the interests of the abstract paint-is-paint-is-paint literalness.

And as for whether the president is acting presidential, Mr. Goldberg says, "literalness is on his side": Whatever the president does is, by definition, presidential.

But I prefer not to let literalness get in the way of remembering how small I am, how insignificant in the flow of history and time.

Alas, despite appealing actors, handsome drawing rooms and impressive estates, "the story's lone joke and its grinding literalness grow dull," Manohla Dargis wrote in The Times.

Onscreen, "On Chesil Beach" loses some intensity at the end, as the supple suggestiveness of Mr. McEwan's prose is replaced by the stagy literalness of film.

Galleries and museums have long embraced the earnest literalness of these portraits, stuck somewhere between the illusionistic hyperrealism of Duane Hanson and the morose classicism of George Segal.

In Dessau, the complex known as the Laubenganghäuser, and usually translated with dogged literalness as the "Houses With Balcony Access," reflects the humane principles of reproducible workers' housing.

The literalness of the images of pink (and here, also white) hats suspended in the swirling abstraction is arresting, even without the supporting narrative of midday mayhem in Dallas.

Such images are great fun to look at, though it can be argued that their literalness limits rather than extends the imagination, while mixing the metaphors of theatrical art.

But as one zombie brain after another is pulverized, and as Elizabeth and her crew slip through another close call, the story's lone joke and its grinding literalness grow dull.

To watch this movie is, above all, to make a list of all the other movies it evokes, sometimes with a literalness that treads the boundary between homage and outright plagiarism.

While his ambivalence to criticism merits some laughs, "literalness and a lack of interest in social norms are not enough to sustain a series," Margaret Lyons wrote in The New York Times.

People hate Christina's World—and Wyeth's oeuvre—for its literalness, sentimentalism, and abject lack of metaphor, and The Killing of a Sacred Deer is guaranteed to make such critics squirm in their seats.

Although North lacks the heavy-handed literalness of empathy games like Project Syria, this only allows it to better negotiate the intense feelings of horror, grief, confusion and guilt that accompany the plight of refugees.

Mr. Van Sant has always had a sentimental streak — reaching some kind of apogee with "Restless," in 2011 — but a better script might have replaced literalness with the emotional intelligence that the film badly needs.

Kitaj defined himself as a Jewish painter perpetually in exile, whose work could be understood through exegesis, which is a far cry from the literalness and "what you see is what you see" attitude that has long been prevalent in the American art world.

It goes like this: I methodically tie myself into submission, feel the literalness of the constraints, experiment with ways I can struggle, panic at the possibility that escape is impossible, force myself to relax into the discomfort of being powerless, and then free myself.

Her transformation suffuses the film with animalistic energy — like a cat, she chews on her hair, then vomits it up — and her isolation produces a melancholy that permeates even her erotic encounters, where the connection between sex and sustenance is presented with nerve-twanging literalness.

Amid some truly stunning production moments, Robyn often takes her time on the tracks following "Missing U." (The literalness of her absence—her pause—from music is not at all lost here.) "Baby Forgive Me" is a slowed down, lush and steamy track of remorse and loving.

He utilizes un-PC standup routines at the nightclubs Arthur visits, and invokes frequent trolling music cues ("Send in the Clowns" for its literalness, Frank Sinatra's "That's Life" for the triumphant tone, "Rock and Roll Part 2" by imprisoned child molester Gary Glitter), which complement the fart-trombone irony of the clown prince of crime himself.

According to an article published in The Burning Bush, Quek has questioned the literalness of the "years" of Genesis and the universality of the Genesis Flood.

Now if a figurative expression needs less processing effort than the literal expression (as with "I earn €2000"), or has more contextual effects (as with good metaphors), the principle of relevance mandates its use over literalness.

Idiom transparency can refer to the “literalness” of an idiom; how easy it is to understand an idiom based on the words it contains. Idioms can be sorted depending on their degree of transparency. Three categories of idioms have been identified: decomposable, abnormally decomposable, and nondecomposable. Decomposable idioms are composed of words that literally contribute to their overall figurative meaning, e.g.

Jastrzębska's third full length collection is At The Library of Memories.(Waterloo Press 2013) She is the co-founder of Queer Writing South and South Pole and co-edited Queer in Brighton (New Writing South 2014) with Anthony Luvera. Her poetry features in the British Library project Poetry Between Two Worlds and her drama Dementia Diaries toured nationally to sell-out audiences ('like a piece of chamber music, and transcends … the literalness of language').Disability Arts Online, 27 October 2011.

The Chinese name Nánhǎi Jìguī Nèifǎ Zhuán literally means "An Account of the Inner Law Sent Home from the Southern Sea", in reference to Buddhism's idea of dharma as a cosmic law and the Chinese name for the South China Sea. The work has appeared in English under various translations of varying literalness, from Accounts of the Inner Law Sent Home from the South Sea to Takakusu's Record of the Buddhist Religion as Practised in India and the Malay Archipelago to Record of Buddhist Practices..

The right panel depicts John the Evangelist on the island of Patmos, recording his visions of the apocalypse in a book. The rest of the panel shows "with astonishing literalness" the most important events from the Book of Revelation, chapters four to twelve (Revelation 4-12).Blum (1969), 90 As with the two other two panels, Memling presents a series of events according to a narrative.Ridderbos (2005), 138 The Evangelist looks up at Heaven; the detail of his vision "unfold in a series of events at sea, on land, and in the air".

Although he never confronted his family about their religious views, Osborn writes that Cope was at least aware of the conflict between his scientific career and his religion. Osborn writes: "If Edward harbored intellectual doubts about the literalness of the Bible ... he did not express them in his letters to his family but there can be little question ... that he shared the intellectual unrest of the period."Davidson, 23. Lanham writes that Cope's religious fervor (which seems to have subsided after his father's death) was embarrassing to even his devout Quaker associates.

The terms dynamic equivalence and formal equivalence, coined by Eugene Nida, are associated with two dissimilar translation approaches that are employed to achieve different levels of literalness between the source text and the target text, as evidenced in biblical translation. The two have been understood basically, with dynamic equivalence as sense-for-sense translation (translating the meanings of phrases or whole sentences) with readability in mind, and with formal equivalence as word-for-word translation (translating the meanings of words and phrases in a more literal way), keeping literal fidelity.

Justice Antonin Scalia issued a very short dissenting opinion. Scalia noted that, while he joined Sotomayor's dissent, he disagreed with her suggestion that here "literalness may strangle meaning". He goes on to opine the phrase "continued custody" could refer to "custody in the future" – in other words, even if the biological father had no custody of the child in the past, he could have it in the future, and therefore USC § 1912(f) would still apply. Scalia also noted that biological parents also had legal rights and that there was no reason in law or policy to dilute those rights.

Therefore, a "literal approach" was not the proper way to analyze the case: > But this is not a question simply of determining whether two or more > potential competitors have literally "fixed" a "price." As generally used in > the antitrust field, "price fixing" is a shorthand way of describing certain > categories of business behavior to which the per se rule has been held > applicable. The Court of Appeals' literal approach does not alone establish > that this particular practice is one of those types or that it is "plainly > anticompetitive" and very likely without "redeeming virtue." Literalness is > overly simplistic and often overbroad. . . .

The translation of plays poses many problems such as the added element of actors, speech duration, translation literalness, and the relationship between the arts of drama and acting. Successful play translators are able to create language that allows the actor and the playwright to work together effectively. Play translators must also take into account several other aspects: the final performance, varying theatrical and acting traditions, characters' speaking styles, modern theatrical discourse, and even the acoustics of the auditorium, i.e., whether certain words will have the same effect on the new audience as they had on the original audience.

Like most Flemish artists of the time he paid a great deal of attention to jewelry, edging of garments, and ornamentation in general. The Virgin and Child Enthroned, with Four Angels (1513) Oil on panel, 62.2 × 43.2 cm National Gallery, London Most of the emphasis in his works lies not upon atmosphere, which is in fact given very little attention, but to the literalness of caricature: emphasizing the melancholy refinement of saints, the brutal gestures and grimaces of gaolers and executioners. Strenuous effort is devoted to the expression of individual character. A satirical tendency may be seen in the pictures of merchant bankers (Louvre and Windsor), revealing their greed and avarice.

The novel is unique in its portrayal of medieval English drama and mystery plays, as it implies that instead of merely rehearsing and performing standard Biblically- based morality plays of the period, that an acting troupe might actually create and structure a play around events in their village, community or surrounding culture. The existence of such culturally-connected playcraft is important to scholars of the period, as it implies that works such as the N-Town Plays may have a provenance beyond simple Biblical literalness, and may speak to the concerns of the culture at that period, much as later drama of the Elizabethan period spoke directly to cultural concerns.

While even German readers can find Adorno's work difficult to understand, an additional problem for English readers is that his German idiom is particularly difficult to translate into English. A similar difficulty of translation is true of Hegel, Heidegger, and a number of other German philosophers and poets. As a result, some early translators tended toward over-literalness. In recent years, Edmund Jephcott and Stanford University Press have published new translations of some of Adorno's lectures and books, including Introduction to Sociology, Problems of Moral Philosophy and his transcribed lectures on Kant's Critique of Pure Reason and Aristotle's "Metaphysics", and a new translation of the Dialectic of Enlightenment.

Edmonds paintings were well-received in his lifetime and are in museums across the US. He is recognized to be following the Scottish painter Wilkie. A book in 1867 “credited Edmonds with popularizing “humorous every-day-life-scenes” whose “homely” subjects and “naïve literalness” appealed to “average taste.”” The purchasers of his paintings did not consider their own taste to be average; rather they felt they bought truly American art. Edmonds “art consistently garnered positive critical commentary throughout the 1840s and 1850s, the decades during which he frequently exhibited paintings”. His “genre paintings with contemporary settings and identifiably American narratives were instantly legible to the majority of viewers”.

Sir Edmund Chambers noted that "in a comparison between the best works of Matthew Arnold and that of his six greatest contemporaries ... the proportion of work which endures is greater in the case of Matthew Arnold than in any one of them."Chambers, 1933, p. 159. Chambers judged Arnold's poetic vision by > its simplicity, lucidity, and straightforwardness; its literalness ... ; the > sparing use of aureate words, or of far-fetched words, which are all the > more effective when they come; the avoidance of inversions, and the general > directness of syntax, which gives full value to the delicacies of a varied > rhythm, and makes it, of all verse that I know, the easiest to read > aloud.Chambers, 1933, p. 165.

Smith accomplished this work on her own in the span of eight years (1847 to 1855). She had sought out no help in the venture, even writing, "I do not see that anybody can know more about it than I do."Metzger, Bruce M., The Bible in Translation, Baker Academic, Grand Rapids, MI, 2001 Smith's insistence on complete literalness, plus an effort to translate each original word with the same English word, combined with an odd notion of Hebrew tenses (often translating the Hebrew imperfect tense with the English future) results in a translation that is mechanical and often nonsensical. One notable feature of this translation was the prominent use of the Divine Name, Jehovah, throughout the Old Testament of this Bible version.

As have many other photographers of his generation - most notably Cindy Sherman, Robert Mapplethorpe, and Lucas Samaras - and due to his complex view of double identity, Adál has systematically explored identity issues to their ultimate consequences. From suggestive, “surreal” photographic collages in the early 1970s, to the ironic concreteness of his Auto-Portraits series, and, finally, to the creation of an ethereal, ubiquitous country where he and his Out of Focus Nuyoricans colleagues live, Adál has collapsed self- portraiture’s allegedly self-referential quality. Indeed, a great deal of his work’s satiric trademark arises from the constant mockery of the possibility of ever achieving an ultimate, definitive picture of one’s self. By exposing the absurdity behind the search for ultimate reference to selfhood in art, Adál challenges the notion of literalness.

The Authorised Daily Prayer Book (formally The Authorised Daily Prayer Book of the United Hebrew Congregations of the British Empire, commonly known as Singer's Prayer Book or Singer's Siddur) was an English translation of the Hebrew siddur created by Rabbi Simeon Singer. First published in 1890, it has gone through many editions, and is still used in many British Orthodox synagogues and homes. Singer's goal was "to unite accuracy and even literalness with due regard to English idiom, and to the simplicity of style and diction which befits the language of prayer". The siddur became popular not only due to the quality of its translation, and its relatively compact size, but also because the Montefiore family paid for its production, allowing it to be sold for one shilling.

Village Voice critic Robert Christgau wrote: "Prine is described as surrealistic and/or political even though the passion of his literalness is matched only by that of his detachment: inferential leaps and tall songs do not a dreamscape make, and Prine offers neither program nor protest." Writing for Allmusic, critic Jim Smith wrote of the album "Sympathy takes a back seat to cynicism here, and while that strips the record of some depth, Prine's irreverence is consistently thrilling, making this one of his best. It's not as uniformly brilliant as the debut, but it did steer his music in a new direction — where that record is often hallmarked for its rich sensitivity, Sweet Revenge established cynicism as Prine's dominant voice once and for all. In 1993, David Fricke opined that the album marks "a swing back to the expansive textures of John Prine but with a harder edge, born of Prine's own increased confidence.

This interpretation reduced a near-divine figure (a daughter of the Sun) to a stereotyped emblem of grotesque bestiality and the shocking excesses of lust and deceit.This was the commonplace of brief notices of Pasiphaë among Latin poets, too, Rebecca Armstrong notes, in Cretan Women: Pasiphae, Ariadne, and Phaedra in Latin Poetry (Oxford University Press) 2006:169. Armstrong falls into the trap of literalness: in discussing the list of candidates for children of Pasiphaë and Minos, she remarks, "It seems unlikely that Pasiphaë gave birth to these human children after her liaison with the bull" (172 note 9); but there is no chronologically coherent narrative before and after in myth or dream, the aspect of myth that Ruck and Staples (1994:9) call "the suspension of linear chronology", a feature which is remarked upon in all introductions to Greek myth. Pasiphaë appeared in Virgil's Eclogue VI (45–60), in Silenus' list of suitable mythological subjects, on which Virgil lingers in such detail that he gives the sixteen-line episode the weight of a brief inset myth.

Coming of age in the 1940s, DeCarava appears nothing short of iconoclastic in both his approach to photography, a medium strenuously identified with evidentiary truth, and in his aesthetic ambitions to, as he said, “break through a kind of literalness,” and “express some things I felt.” Maintaining his quest to create a visually autonomous photographic subject of color, DeCarava endured decades of embittering misunderstanding. He has pointed out over and over that despite his “reputation as a documentar[y] photographer, … I really never was,” and reiterated his steadfastly modernist concern to achieve “a creative expression,” rather than a “documentary or sociological statement.” While DeCarava never worked in the field of cinema himself, he grew up in the era of black-and-white filmmaking and, in an interview much later in his career, noted, “I think I absorbed the visual aesthetic of black- and-white films, so that when I started taking pictures, it was natural.” His largest work is Roy DeCarava: A Retrospective, over 200 black and white photos spanning the late 1940s to the 1990s.

Harvard University Press, and Swift Edgar and Angela Kinney at Dumbarton Oaks Library have used a version of Challoner's Douay–Rheims Bible as both the basis for the English text in a dual Latin- English Bible (The Vulgate Bible, six volumes), and, unusually, they have also used the English text of the Douay-Rheims in combination with the modern Biblia Sacra Vulgata to reconstruct (in part) the pre-Clementine Vulgate that was the basis for the Douay-Rheims for the Latin text. This is possible only because the Douay-Rheims, alone among English Bibles, and even in the Challoner revision, attempted a word-for-word translation of the underlying Vulgate. A noted example of the literalness of the translation is the differing versions of the Lord's Prayer, which has two versions in the Douay- Rheims: the Luke version uses 'daily bread' (translating the Vulgate quotidianum) and the version in Matthew reads "supersubstantial bread" (translating from the Vulgate supersubstantialem). Every other English Bible translation uses "daily" in both places, the underlying Greek word is the same in both places, and Jerome translated the word in two different ways because then, as now, the actual meaning of the Greek word epiousion was unclear.

What rankles is the equation of literalness with political value in music. from Hyperallergic
He also succeeds in locating a plangent, unpatronizing humor in Ginny's literalness and deadpan certitude. from The New York Times
No. Literalness and a lack of interest in social norms are not enough to sustain a series. from The New York Times
To admit that the literalness of film might surpass the stimulus to the imagination of Austen's language. 'Abominable! from The New York Times
To a new speaker of the language, English idioms retain a troubling trace of literalness long after they are understood. from New Yorker
But Sartre's analysis helps us understand that it's precisely the line between literalness and fabulation that anti-Semitism tries to erase. from New Republic
The contrast between the exhibition title's scientific literalness — Elements of Geology — and the works' crazy quilt coloration drives home the point. from Hyperallergic
The literalness of film and the creaky conventions of the biopic threaten to dissolve that strangeness, to domesticate genius into likable quirkiness. from The New York Times
Columbine touches and links many of the works, but ostensibly not others, unless, perhaps, we take them to a maudlin degree of literalness. from Vice
This goes along with a general literalness and glumness — little of the satire and humor of the novel has seeped into the mini-series. from The New York Times
At first their paintings portended a refusal of both metaphor and natural resemblance in the interests of the abstract paint-is-paint-is-paint literalness. from Hyperallergic
And as for whether the president is acting presidential, Mr. Goldberg says, "literalness is on his side": Whatever the president does is, by definition, presidential. from The New York Times
But I prefer not to let literalness get in the way of remembering how small I am, how insignificant in the flow of history and time. from Vox
Alas, despite appealing actors, handsome drawing rooms and impressive estates, "the story's lone joke and its grinding literalness grow dull," Manohla Dargis wrote in The Times. from The New York Times
Onscreen, "On Chesil Beach" loses some intensity at the end, as the supple suggestiveness of Mr. McEwan's prose is replaced by the stagy literalness of film. from The New York Times
Galleries and museums have long embraced the earnest literalness of these portraits, stuck somewhere between the illusionistic hyperrealism of Duane Hanson and the morose classicism of George Segal. from Vice
In Dessau, the complex known as the Laubenganghäuser, and usually translated with dogged literalness as the "Houses With Balcony Access," reflects the humane principles of reproducible workers' housing. from The New York Times
The literalness of the images of pink (and here, also white) hats suspended in the swirling abstraction is arresting, even without the supporting narrative of midday mayhem in Dallas. from Hyperallergic
Such images are great fun to look at, though it can be argued that their literalness limits rather than extends the imagination, while mixing the metaphors of theatrical art. from The New York Times
But as one zombie brain after another is pulverized, and as Elizabeth and her crew slip through another close call, the story's lone joke and its grinding literalness grow dull. from The New York Times
To watch this movie is, above all, to make a list of all the other movies it evokes, sometimes with a literalness that treads the boundary between homage and outright plagiarism. from The New York Times
While his ambivalence to criticism merits some laughs, "literalness and a lack of interest in social norms are not enough to sustain a series," Margaret Lyons wrote in The New York Times. from The New York Times
People hate Christina's World—and Wyeth's oeuvre—for its literalness, sentimentalism, and abject lack of metaphor, and The Killing of a Sacred Deer is guaranteed to make such critics squirm in their seats. from Vice
Although North lacks the heavy-handed literalness of empathy games like Project Syria, this only allows it to better negotiate the intense feelings of horror, grief, confusion and guilt that accompany the plight of refugees. from Vice
Mr. Van Sant has always had a sentimental streak — reaching some kind of apogee with "Restless," in 2011 — but a better script might have replaced literalness with the emotional intelligence that the film badly needs. from The New York Times
Kitaj defined himself as a Jewish painter perpetually in exile, whose work could be understood through exegesis, which is a far cry from the literalness and "what you see is what you see" attitude that has long been prevalent in the American art world. from Hyperallergic
It goes like this: I methodically tie myself into submission, feel the literalness of the constraints, experiment with ways I can struggle, panic at the possibility that escape is impossible, force myself to relax into the discomfort of being powerless, and then free myself. from Vice
Her transformation suffuses the film with animalistic energy — like a cat, she chews on her hair, then vomits it up — and her isolation produces a melancholy that permeates even her erotic encounters, where the connection between sex and sustenance is presented with nerve-twanging literalness. from The New York Times
Amid some truly stunning production moments, Robyn often takes her time on the tracks following "Missing U." (The literalness of her absence—her pause—from music is not at all lost here.) "Baby Forgive Me" is a slowed down, lush and steamy track of remorse and loving. from Vice
He utilizes un-PC standup routines at the nightclubs Arthur visits, and invokes frequent trolling music cues ("Send in the Clowns" for its literalness, Frank Sinatra's "That's Life" for the triumphant tone, "Rock and Roll Part 2" by imprisoned child molester Gary Glitter), which complement the fart-trombone irony of the clown prince of crime himself. from Hyperallergic
According to an article published in The Burning Bush, Quek has questioned the literalness of the "years" of Genesis and the universality of the Genesis Flood.
Now if a figurative expression needs less processing effort than the literal expression (as with "I earn €2000"), or has more contextual effects (as with good metaphors), the principle of relevance mandates its use over literalness.
Idiom transparency can refer to the “literalness” of an idiom; how easy it is to understand an idiom based on the words it contains. Idioms can be sorted depending on their degree of transparency. Three categories of idioms have been identified: decomposable, abnormally decomposable, and nondecomposable. Decomposable idioms are composed of words that literally contribute to their overall figurative meaning, e.g.
Jastrzębska's third full length collection is At The Library of Memories.(Waterloo Press 2013) She is the co-founder of Queer Writing South and South Pole and co-edited Queer in Brighton (New Writing South 2014) with Anthony Luvera. Her poetry features in the British Library project Poetry Between Two Worlds and her drama Dementia Diaries toured nationally to sell-out audiences ('like a piece of chamber music, and transcends … the literalness of language').Disability Arts Online, 27 October 2011.
The Chinese name Nánhǎi Jìguī Nèifǎ Zhuán literally means "An Account of the Inner Law Sent Home from the Southern Sea", in reference to Buddhism's idea of dharma as a cosmic law and the Chinese name for the South China Sea. The work has appeared in English under various translations of varying literalness, from Accounts of the Inner Law Sent Home from the South Sea to Takakusu's Record of the Buddhist Religion as Practised in India and the Malay Archipelago to Record of Buddhist Practices..
The right panel depicts John the Evangelist on the island of Patmos, recording his visions of the apocalypse in a book. The rest of the panel shows "with astonishing literalness" the most important events from the Book of Revelation, chapters four to twelve (Revelation 4-12).Blum (1969), 90 As with the two other two panels, Memling presents a series of events according to a narrative.Ridderbos (2005), 138 The Evangelist looks up at Heaven; the detail of his vision "unfold in a series of events at sea, on land, and in the air".
Although he never confronted his family about their religious views, Osborn writes that Cope was at least aware of the conflict between his scientific career and his religion. Osborn writes: "If Edward harbored intellectual doubts about the literalness of the Bible ... he did not express them in his letters to his family but there can be little question ... that he shared the intellectual unrest of the period."Davidson, 23. Lanham writes that Cope's religious fervor (which seems to have subsided after his father's death) was embarrassing to even his devout Quaker associates.
The terms dynamic equivalence and formal equivalence, coined by Eugene Nida, are associated with two dissimilar translation approaches that are employed to achieve different levels of literalness between the source text and the target text, as evidenced in biblical translation. The two have been understood basically, with dynamic equivalence as sense-for-sense translation (translating the meanings of phrases or whole sentences) with readability in mind, and with formal equivalence as word-for-word translation (translating the meanings of words and phrases in a more literal way), keeping literal fidelity.
Justice Antonin Scalia issued a very short dissenting opinion. Scalia noted that, while he joined Sotomayor's dissent, he disagreed with her suggestion that here "literalness may strangle meaning". He goes on to opine the phrase "continued custody" could refer to "custody in the future" – in other words, even if the biological father had no custody of the child in the past, he could have it in the future, and therefore USC § 1912(f) would still apply. Scalia also noted that biological parents also had legal rights and that there was no reason in law or policy to dilute those rights.
Therefore, a "literal approach" was not the proper way to analyze the case: > But this is not a question simply of determining whether two or more > potential competitors have literally "fixed" a "price." As generally used in > the antitrust field, "price fixing" is a shorthand way of describing certain > categories of business behavior to which the per se rule has been held > applicable. The Court of Appeals' literal approach does not alone establish > that this particular practice is one of those types or that it is "plainly > anticompetitive" and very likely without "redeeming virtue." Literalness is > overly simplistic and often overbroad. . . .
The translation of plays poses many problems such as the added element of actors, speech duration, translation literalness, and the relationship between the arts of drama and acting. Successful play translators are able to create language that allows the actor and the playwright to work together effectively. Play translators must also take into account several other aspects: the final performance, varying theatrical and acting traditions, characters' speaking styles, modern theatrical discourse, and even the acoustics of the auditorium, i.e., whether certain words will have the same effect on the new audience as they had on the original audience.
Like most Flemish artists of the time he paid a great deal of attention to jewelry, edging of garments, and ornamentation in general. The Virgin and Child Enthroned, with Four Angels (1513) Oil on panel, 62.2 × 43.2 cm National Gallery, London Most of the emphasis in his works lies not upon atmosphere, which is in fact given very little attention, but to the literalness of caricature: emphasizing the melancholy refinement of saints, the brutal gestures and grimaces of gaolers and executioners. Strenuous effort is devoted to the expression of individual character. A satirical tendency may be seen in the pictures of merchant bankers (Louvre and Windsor), revealing their greed and avarice.
The novel is unique in its portrayal of medieval English drama and mystery plays, as it implies that instead of merely rehearsing and performing standard Biblically- based morality plays of the period, that an acting troupe might actually create and structure a play around events in their village, community or surrounding culture. The existence of such culturally-connected playcraft is important to scholars of the period, as it implies that works such as the N-Town Plays may have a provenance beyond simple Biblical literalness, and may speak to the concerns of the culture at that period, much as later drama of the Elizabethan period spoke directly to cultural concerns.
While even German readers can find Adorno's work difficult to understand, an additional problem for English readers is that his German idiom is particularly difficult to translate into English. A similar difficulty of translation is true of Hegel, Heidegger, and a number of other German philosophers and poets. As a result, some early translators tended toward over-literalness. In recent years, Edmund Jephcott and Stanford University Press have published new translations of some of Adorno's lectures and books, including Introduction to Sociology, Problems of Moral Philosophy and his transcribed lectures on Kant's Critique of Pure Reason and Aristotle's "Metaphysics", and a new translation of the Dialectic of Enlightenment.
Edmonds paintings were well-received in his lifetime and are in museums across the US. He is recognized to be following the Scottish painter Wilkie. A book in 1867 “credited Edmonds with popularizing “humorous every-day-life-scenes” whose “homely” subjects and “naïve literalness” appealed to “average taste.”” The purchasers of his paintings did not consider their own taste to be average; rather they felt they bought truly American art. Edmonds “art consistently garnered positive critical commentary throughout the 1840s and 1850s, the decades during which he frequently exhibited paintings”. His “genre paintings with contemporary settings and identifiably American narratives were instantly legible to the majority of viewers”.
Sir Edmund Chambers noted that "in a comparison between the best works of Matthew Arnold and that of his six greatest contemporaries ... the proportion of work which endures is greater in the case of Matthew Arnold than in any one of them."Chambers, 1933, p. 159. Chambers judged Arnold's poetic vision by > its simplicity, lucidity, and straightforwardness; its literalness ... ; the > sparing use of aureate words, or of far-fetched words, which are all the > more effective when they come; the avoidance of inversions, and the general > directness of syntax, which gives full value to the delicacies of a varied > rhythm, and makes it, of all verse that I know, the easiest to read > aloud.Chambers, 1933, p. 165.
Smith accomplished this work on her own in the span of eight years (1847 to 1855). She had sought out no help in the venture, even writing, "I do not see that anybody can know more about it than I do."Metzger, Bruce M., The Bible in Translation, Baker Academic, Grand Rapids, MI, 2001 Smith's insistence on complete literalness, plus an effort to translate each original word with the same English word, combined with an odd notion of Hebrew tenses (often translating the Hebrew imperfect tense with the English future) results in a translation that is mechanical and often nonsensical. One notable feature of this translation was the prominent use of the Divine Name, Jehovah, throughout the Old Testament of this Bible version.
As have many other photographers of his generation - most notably Cindy Sherman, Robert Mapplethorpe, and Lucas Samaras - and due to his complex view of double identity, Adál has systematically explored identity issues to their ultimate consequences. From suggestive, “surreal” photographic collages in the early 1970s, to the ironic concreteness of his Auto-Portraits series, and, finally, to the creation of an ethereal, ubiquitous country where he and his Out of Focus Nuyoricans colleagues live, Adál has collapsed self- portraiture’s allegedly self-referential quality. Indeed, a great deal of his work’s satiric trademark arises from the constant mockery of the possibility of ever achieving an ultimate, definitive picture of one’s self. By exposing the absurdity behind the search for ultimate reference to selfhood in art, Adál challenges the notion of literalness.
The Authorised Daily Prayer Book (formally The Authorised Daily Prayer Book of the United Hebrew Congregations of the British Empire, commonly known as Singer's Prayer Book or Singer's Siddur) was an English translation of the Hebrew siddur created by Rabbi Simeon Singer. First published in 1890, it has gone through many editions, and is still used in many British Orthodox synagogues and homes. Singer's goal was "to unite accuracy and even literalness with due regard to English idiom, and to the simplicity of style and diction which befits the language of prayer". The siddur became popular not only due to the quality of its translation, and its relatively compact size, but also because the Montefiore family paid for its production, allowing it to be sold for one shilling.
Village Voice critic Robert Christgau wrote: "Prine is described as surrealistic and/or political even though the passion of his literalness is matched only by that of his detachment: inferential leaps and tall songs do not a dreamscape make, and Prine offers neither program nor protest." Writing for Allmusic, critic Jim Smith wrote of the album "Sympathy takes a back seat to cynicism here, and while that strips the record of some depth, Prine's irreverence is consistently thrilling, making this one of his best. It's not as uniformly brilliant as the debut, but it did steer his music in a new direction — where that record is often hallmarked for its rich sensitivity, Sweet Revenge established cynicism as Prine's dominant voice once and for all. In 1993, David Fricke opined that the album marks "a swing back to the expansive textures of John Prine but with a harder edge, born of Prine's own increased confidence.
This interpretation reduced a near-divine figure (a daughter of the Sun) to a stereotyped emblem of grotesque bestiality and the shocking excesses of lust and deceit.This was the commonplace of brief notices of Pasiphaë among Latin poets, too, Rebecca Armstrong notes, in Cretan Women: Pasiphae, Ariadne, and Phaedra in Latin Poetry (Oxford University Press) 2006:169. Armstrong falls into the trap of literalness: in discussing the list of candidates for children of Pasiphaë and Minos, she remarks, "It seems unlikely that Pasiphaë gave birth to these human children after her liaison with the bull" (172 note 9); but there is no chronologically coherent narrative before and after in myth or dream, the aspect of myth that Ruck and Staples (1994:9) call "the suspension of linear chronology", a feature which is remarked upon in all introductions to Greek myth. Pasiphaë appeared in Virgil's Eclogue VI (45–60), in Silenus' list of suitable mythological subjects, on which Virgil lingers in such detail that he gives the sixteen-line episode the weight of a brief inset myth.
Coming of age in the 1940s, DeCarava appears nothing short of iconoclastic in both his approach to photography, a medium strenuously identified with evidentiary truth, and in his aesthetic ambitions to, as he said, “break through a kind of literalness,” and “express some things I felt.” Maintaining his quest to create a visually autonomous photographic subject of color, DeCarava endured decades of embittering misunderstanding. He has pointed out over and over that despite his “reputation as a documentar[y] photographer, … I really never was,” and reiterated his steadfastly modernist concern to achieve “a creative expression,” rather than a “documentary or sociological statement.” While DeCarava never worked in the field of cinema himself, he grew up in the era of black-and-white filmmaking and, in an interview much later in his career, noted, “I think I absorbed the visual aesthetic of black- and-white films, so that when I started taking pictures, it was natural.” His largest work is Roy DeCarava: A Retrospective, over 200 black and white photos spanning the late 1940s to the 1990s.
Harvard University Press, and Swift Edgar and Angela Kinney at Dumbarton Oaks Library have used a version of Challoner's Douay–Rheims Bible as both the basis for the English text in a dual Latin- English Bible (The Vulgate Bible, six volumes), and, unusually, they have also used the English text of the Douay-Rheims in combination with the modern Biblia Sacra Vulgata to reconstruct (in part) the pre-Clementine Vulgate that was the basis for the Douay-Rheims for the Latin text. This is possible only because the Douay-Rheims, alone among English Bibles, and even in the Challoner revision, attempted a word-for-word translation of the underlying Vulgate. A noted example of the literalness of the translation is the differing versions of the Lord's Prayer, which has two versions in the Douay- Rheims: the Luke version uses 'daily bread' (translating the Vulgate quotidianum) and the version in Matthew reads "supersubstantial bread" (translating from the Vulgate supersubstantialem). Every other English Bible translation uses "daily" in both places, the underlying Greek word is the same in both places, and Jerome translated the word in two different ways because then, as now, the actual meaning of the Greek word epiousion was unclear.