180 Sentences With "pretentiousness" | Random Sentence Generator

Wine oratory and pretentiousness are never welcome, though judgment always is.

You can easily fall over the edge into pretentiousness or fakery.

And pretentiousness is kind of like the currency of the teenage experience.

In "Pretentiousness: Why It Matters," Dan Fox makes the case for pretentiousness, not as a form of snobbery and social jockeying, but as "the engine oil of culture," a patience for the unfamiliar and a willingness to take artistic risks.

The band aren't morbid by way of pretentiousness; it's in the air here, literally.

Essentially, they had the too-cool-for-everything attitude minus the usual accompanying pretentiousness.

I don't think it is possible to completely take the pretentiousness out of wine.

It points out the pretentiousness, weakness, and arbitrary nature of contemporary art production and display.

This is generally a good thing, though it can also mean periodic forays into pretentiousness.

The link seems to be a sense of pretentiousness, looking at the specific books that walk.

When he was still a young man, friends mocked his pretentiousness by naming their dog M'lord Turner.

Some other passages slide perilously close to pretentiousness, and much is shrouded in obscurity and frisky quirkiness.

On to the battle between pretentiousness and machismo that is Dollar Bill (Kelly AuCoin) and Spyros (Stephen Kunken).

Most people—including Wes Anderson fans—have a problem with The Life Aquatic's stilted off-comedy and pretentiousness.

Mr. Slimane "all but disappeared down a self-created hole of pretentiousness," Lisa Armstrong wrote in The Telegraph.

Mr. Martin, taking a lesson from Woody Allen, gives his character lots of amusing opportunities to skewer pretentiousness.

It's a ridiculous and hilarious scene, and it's about as sophisticated as the humor gets; no pretentiousness here.

That fact in itself suggests an aversion to pretentiousness, which is about as Yorkshire a trait as it gets.

Mr. LeMaster's bar serves eclectic food — the pork buns are fantastic — and quality cocktails without a whiff of pretentiousness.

She auditions for the school musical, goes to prom, dabbles in pretentiousness and stands by her dubious musical taste.

For diners, the mall is best known for its eating-and-drinking zone named, with matchless pretentiousness, the Restaurant Collection.

When you have a fetus quoting Michel Foucault, you are moving beyond absurdity and treading dangerously close to plain old pretentiousness.

And pleasure is, after all — once I scrape away the layers of self-image and pretentiousness — the reason that I read.

More often, these meditations set off the pretentiousness alarm that rests, like a smoke detector, at the top of one's mind.

But nothing like that happens in "Shab", which unravels under the weight of its own pretentiousness as it hurtles towards its conclusion.

" He later wrote that frequent mispronunciations of Guillaume (gee-YOME, with a hard g) were "the price I've paid for my pretentiousness.

He could hardly get started without taking a jab at Brooklyn's reputation for liberal pretentiousness — something it didn't have during his childhood.

The result is a series that is shrewd, emotional, and impolite, with a style that veers toward pretentiousness but never crosses over.

And yet, even at it teeters on the edge of pretentiousness, "A Hidden Life" exerts a cumulative power that cannot be ignored.

Hosted by New York comedian Nicole Byer, Nailed It is notorious for cutting through the culinary pretentiousness that's rampant across food TV shows.

The flaws are artistic: the pretentiousness, sentimentality, inscrutability and unintentional or lazy comedy that can be found in dance and film of any kind.

The insufferable pretentiousness of the symmetrically spiraling pubic hair reads like ideal smoke, or, with a bit of wit, as the wig of the king.

Pretentiousness is a driving force in art, because it entails risk—the risk of over-stretching your ability, of perhaps falling flat on your face.

"The pretentiousness that I've always associated with racing...I don't really feel here, like being really serious and arrogant dudes flanked by hot women," she said.

Even through the slow stretches and occasional pretentiousness, I loved the sensual experience of "Devs"; it was like a spa visit for my eyes and ears.

Somber and exciting, the film, directed by Matt Reeves, shows how large-scale action filmmaking can explore political and moral matters without bogging down in pretentiousness.

No one ever accused him of pretentiousness, as they sometimes did his chief rivals, Bernard B. Jacobs and Gerald Schoenfeld, the longtime leaders of the Shubert Organization.

Enter Dan Fox and his book, Pretentiousness: Why It Matters, which blends pop culture with high art, philosophy with rap lyrics, and Stanislavski's system with George Clooney.

Cassie doesn't respond since she's basically disowned Paige as a friend because of her pretentiousness regarding her newfound fame, and Jake is slaving over rewrites for the script.

You'd think that I would become blind to it after a while, or that I might occasionally feel embarrassed by its pretentiousness when guests come over, but nope!

Ever since he introduced his first eponymous line in Paris in October 2011 (remember that?), his shows have been marked, largely, by bombast, pretentiousness and overwhelming self-seriousness.

In "Squid," Walt (Jesse Eisenberg) idolizes the wrong parent, parroting the pretentiousness and misogyny of his father (Jeff Daniels) while treating his mother (Laura Linney) like a harlot.

The show has been refined and overhauled with new material over the years but still features gentle digs at pretentiousness and technology saturation, and a lot of good drumming.

Handsome cinematography and a highly competent supporting cast — including Michelle Monaghan, Nathan Lane and Alex Karpovsky — can't save "The Vanishing of Sidney Hall," a tortured mystery dripping with pretentiousness.

I was a little nervous to go in the first time, but soon found out it was my favorite kind of bar — welcoming, cheap, full of characters, free of pretentiousness.

Worse are the flares of pretentiousness, like an unidentified, unexplained narrator who growls platitudes ("The stars and the dirt, they're the same dust") while laboriously rehabbing an ancient pay phone.

Critics have not always been kind, and his penchant for playfulness, eventually shading into pretentiousness, began to grate, even as the clothes — more affordably priced than many of his contemporaries' — sold.

" David Barr Kirtley on Interstellar: "I feel like there's something there that people are getting stuck on, but it's not what I would call pretentiousness, it's what I would call pseudo-profundity.

A clear student of hip-hop, he not only has rhymes that reflect a lyricism-first attitude without the pretentiousness, but he often pays homage (presumably) to the rappers who influence him.

"AC/DC's music and approach had a worn-in, scruffy vibe that stood in stark contrast to the pretentiousness suffusing much rock music at the time," the Hall of Fame website said.

I've noticed a disturbing tendency among my friends and I to act as though drinking lager represents a badge of authenticity, a rejection of pretentiousness which ends up being, in its own way, pretentious.

If you were looking for your next Battlefield 1 or Overwatch soundtrack, this is the LP for you; nothing but crunchy riffs and gruff, yell-along choruses with zero pretentiousness and all the beer.

But I don't believe in all the religious elitism and pretentiousness, like people are better than you because they come to church, like you have to go to church and dress a certain way.

In their various roles as DJs, producers, party organizers, and even chefs, they go out of their way to prioritize community over competition, friendliness over pretentiousness, and most of all, good times over bad ones.

The Crazy Bitch drawings make mincemeat of Greenbergian flatness, aesthetic pietism, and academic pretentiousness (for starters), indulging in the unschooled pleasures of illusion and decoration, dishing up Lettrist metagraphics by way of the Grateful Dead.

Frankly, it's a relief that he hasn't suffered the pitfalls that aging rock stars are prone to: settling into a cheesy comfort zone, robotically trotting out the classics without feeling, or lapsing into self-indulgent pretentiousness.

The reason why "Techno Interests Me" remains so popular even today, several years after it first appeared on the web, is because it manages to make fun of musical pretentiousness while also being extremely on-point.

It's this kind of behavior that projects an image of fandom—both of Rick and Morty and in general—as an exclusionary (and often overwhelmingly male) communal exercise that prioritizes snobbery and pretentiousness over genuine appreciation.

It not only gets to the heart of where pretentiousness comes from and why we all hate it so much, but it also suggests that it's a crucially important cog in the great wheel of progression.

He didn't just mock the obsession with celebrities; he teased them to their face, displaying studious indifference to the projects they were promoting and a smirking skepticism to their hints of pretentiousness, self-importance or eccentricity.

The novel captures the deep loneliness of what life in NYC can become and pokes serious fun at the pretentiousness of the art world; Moshfegh also skewers those psychiatrists who prescribe pills as if they were Pez.

From sperm-glazed dough to edible human heads to a replica of Times Square made out of cheese, there is no shortage of artists utilizing food to express themselves creatively—with varying degrees of success and pretentiousness.

"Even through the slow stretches and occasional pretentiousness, I loved the sensual experience of 'Devs'; it was like a spa visit for my eyes and ears," James Poniewozik wrote in his review for The New York Times.

Her policy of denial is challenged by Lauren's new (and first) girlfriend, the self-named, radiantly confident Upendo (Ashley D. Kelley), an opinionated community organizer who is a figure of both parodied pretentiousness and life-altering wisdom.

Pretentiousness in his definition is not self-serious but playful, exemplified by the likes of Brian Eno (who has written about wanting "to turn the word 'pretentious' into a compliment"), Kate Bush and David Bowie, to name a few.

People with "grandiose" narcissism -- defined in the dictionary as "pompous superiority or pretentiousness" may achieve mental toughness, a form of resilience that could be protective, said lead author Kostas Papageorgiou, an assistant professor of psychology at Queen's University in Belfast.

We talk about the vagaries of memory and wonder if she did not, after all, assign her students to watch the Kennedy-Nixon debates, since she and her husband did not own a television, a decision whose cultural pretentiousness she now laughs at.

In 2016, pretentiousness—which has come to mean, basically, making references to films or New Yorker articles or really any book that your conversational partner might not be familiar with—relegates you to a place of shame, or at least to a weird corner of Twitter.

Thinking may be a hallmark of pretentiousness, but Greif—who is best known for being one of the founding editors of the literary and political magazine n+1—where many of the essays in Against Everything were first published—does it in a very fun way.

Earlier seasons also paved the way for the big formal risk of season five's eulogy; Bob-Waksberg and Hanawalt have always leaned into the elastic potential of animation, using the medium to paint with a wide range of moods, from playfulness and pretentiousness to desolation and profundity.

"The increased frequency, power and pretentiousness exhibited by these tests seem to confirm what governments have long feared: North Korea is closer than ever to its goal of building a military arsenal that can viably target both U.S. troops in Asia and the U.S. homeland," Ablin said.

Indeed, while Kimmel might have become a more polarizing figure with his entry into the healthcare and gun-control debates, he again brought a genial persona to the emcee role, one that somewhat leavened the seriousness and bouts of pretentiousness that can drip into the ceremony.

Cafecito Organico: If you're craving great coffee in Silver Lake but not in the mood to deal with any of the pretentiousness that often comes when stopping at some of the swankier places on Sunset, head straight to this low-key spot tucked away from the main strip.

Their titles announce a quarry, or query: "Men Explain Things to Me" (Rebecca Solnit), "The Selfishness of Others: An Essay on the Fear of Narcissism" (Kristin Dombek), "The Hatred of Poetry" (Ben Lerner), "Little Labors" (Rivka Galchen), "Pretentiousness: Why It Matters" (Dan Fox), "Nicotine" (Gregor Hens), "The Art of Death" (Edwidge Danticat).

Her performance, generally received as hilarious, was a send-up of art-world trivialities — the pretentiousness of artists talking about their stupid work, the idiocy of gallerists and curators asking questions far wide of the point, the strange voyeurism of art world spectators trying to learn something about the artist rather than focusing on the art.

But when it really gathers steam — nearly any time Mr. Alda opens his mouth, and especially in his scenes with Ms. Falco — it's like little else on TV. (If it can be said, technically, to be TV at all.) Like much of Louis C.K.'s TV work, "Horace and Pete" is a messy experiment that stays just on the good side of pretentiousness.

Lovango Cay St. John Honeymoon beach Caneel Bay Resort VIRGIN ISLANDS NATIONAL Park Cruz Bay The Westin St. John Resort Villas Caribbean Sea 2 mileS Atlantic Ocean 15 mileS U.S. VIRGIN ISLANDS British Virgin Islands CULEBRA ST. THOMAS Puerto Rico ST. JOHN Caribbean Sea Vieques Atlantic Ocean British Virgin Islands Lovango Cay St. John U.S. VIRGIN ISLANDS Honeymoon beach Caneel Bay Resort CULEBRA VIRGIN ISLANDS NATIONAL Park Cruz Bay ST. THOMAS Puerto Rico ST. JOHN The Westin St. John Resort Villas Caribbean Sea Vieques Caribbean Sea 15 mileS 2 mileS By The New York Times "It was a first-class experience without the pretentiousness of the rest of the world," said Bob Rice, a guest from Needham, Mass.

House of 9 received mixed reviews from critics and audiences. An especially harsh review from the web site Film Verdicts called the film "preposterous pretentiousness".

Bihar v Orissa 1958–59 He became a noted cricket writer, "a wry observer of both the game and academic pretentiousness" who produced "five [sic] elegant cricket books".Wisden 2004, p. 1549.

Sunayani Devi painted straight from her heart and her matriarchal duties could not prevent her from creating a world of simple and innocent pleasures, an art whose beauty lies in its total lack of pretentiousness, in its quiet originality.

Page 252. Routledge, 1970. His works were characterized by "whimsy, detachment, sympathy, tenderness, satire, humor, and occasionally cynicism". Street's satirical works assailed "snobbery, hypocrisy, vulgarity, and pretentiousness at all levels of society, especially among the aesthetes and the upper class".

She describes her early life in the Australian countryside as "very grounding ... there wasn't any pretentiousness and no one really cared what you were wearing. You could just be you."Elissa Blake (11 November 2007). Miranda's Model Life The Daily Telegraph Australia.

Allmusic called Phantasmagoria "the culmination of all that Curved Air promised over the course of its predecessors" and "the band's grandest hour by far". Their review praised the vast majority of the individual tracks, especially complimenting the blending of musical styles and absence of pretentiousness.

Roger Ebert, Five Easy Pieces Movie Review March 16, 2003 John Simon criticized Five Easy Pieces for its pretentiousness and oversimplification but said if anything saved the film from triviality, it was the performances, especially those of Karen Black, Lois Smith, and Billy Green Bush.

In a 2014 review of William Welfare’s Shunt author Annie Klopper noted: “As an Afrikaans rocker Welsyn proved that he’s not a Fokofpolisiekar-wannebe that can only play two false chords on the guitar. His music is always without a touch of pretentiousness and his lyrics are well-thought-out.

Robert Abele of the Los Angeles Times called it a "risible indie drama" that "grates as both an agonized-artist pity party and a male fantasy of envied power". At The New York Times, Jeannette Catsoulis wrote that the cinematography and performances can not save the film from its pretentiousness.

Rotten Tomatoes gives the film a score of 41% based on reviews from 29 critics. Variety called it a "misfire" but praised the lead performances.Film Review: ‘Comet’ at Variety.com Slashfilm praised the film overall but criticized the main character Dell for bordering on pretentiousness, and also criticized the writing as being slightly indulgent.

London: National Gallery Publishing, p. 8: "the National Gallery has suffered from the visual pretentiousness of its 19th century buildings". The modernist North Galleries opened the following year. The Crace ceiling decorations in the entrance hall were not to the taste of the director Charles Holmes, and were obliterated by white paint.

Carrie Knowles of The Booklist found it to be "a case of terminal poetic pretentiousness" in which Brautigan's introspection causes him to do Japan a disservice, whereas Arian Schuster found Japan to serve only as a metaphor for alienation. Publishers Weekly said the "haphazard" book will cause fans to "wince and wonder at this decline in Brautigan's talent".

Webster's New World Dictionary of the American Language, 1976 edition, sense 6, [Slang, orig., homosexual jargon, Americanism] banality, mediocrity, artifice, ostentation, etc. so extreme as to amuse or have a perversely sophisticated appeal The American writer Susan Sontag's essay Notes on "Camp" (1964) emphasized its key elements as: "artifice, frivolity, naïve middle-class pretentiousness, and shocking excess".

He contributed papers to the Royal Institute of British Architects and the Architectural Association, of which he was a member. He was a notable critic, in 1916, of the design of London's Tower Bridge, saying "it represents the vice of tawdriness and pretentiousness, and of falsification of the actual facts of the structure".THE WORLD'S MOST CONTROVERSIAL BUILDINGS, Architecture.

Roger Greenspun of The New York Times wrote of the film that "despite its pretentiousness, its prettiness, its 1,000 excesses—and to a degree perhaps because of them—it succeeds as vision even while it looks as if it were being suffocated by style."Greenspun, Roger (October 8, 1970). "Screen: Romantic Pose". The New York Times. 59.

Ellams attended boarding- school at the Plateau Private School in Jos. Growing up, Ellams wanted to be, variously, an architect, painter (he eventually became disillusioned with due to its perceived pretentiousness), and town planner. He followed both faiths in his household, Islam and Christianity, with "similar enthusiasm". He played with his sisters' Barbie dolls while composing stories about comic strip superheroes.

American author Louis Bayard said in The Washington Post that he expected more out of Who I Am from such an "articulate" person as Townshend. He said that the "pretentiousness" and the "endless [...] therapy" that pervades the book "makes you long for the angry yobbo who clobbered Abbie Hoffman at Woodstock, [and] got kicked out of every Holiday Inn in the world".

"De Daumier-Smith's Blue Period" marks a shift in Salinger's fiction towards subjects that contrast religious or mystical experiences with the spiritual emptiness of American society. John Smith is described as an extremely lonely and alienated young man whose narcissism (he admits to painting seventeen self-portraits) and pretentiousness serve to insulate himself from his own suffering.Slawenski, 2010, p. 222 f.

"Cult Heroes" by Xavier Russell, April 2010. Page 1. A second album was in the works in 1995, reportedly intended to be even more ostentatious than the first (perhaps in defiant response to the critics). The second album was to contain a 40-minute piece unofficially titled "Atlantis Falls: The Five-Part Trilogy", an apparent tongue-in-cheek reference to its own pretentiousness.

Auric continued to write classical chamber music, especially for winds, right up to his death. Music criticism was another major facet of Auric's career. His criticism was focused on promoting the ideals of Les Six and Cocteau, known as esprit nouveau. Specifically, his criticism focused on the perceived pretentiousness of Debussy, Wagner, Saint-Saëns, and Massenet, as well as the music of those who followed their styles.

As Lupton states, "He represents the absent father, the man who is not there for his children, literally and figuratively". Bailey Sr. "has respect for neither morals nor money", but Maya is fascinated by his "ironic pretentiousness". He appears twice in Caged Bird, when he shows up in Stamps to drive his children to St. Louis, and when Maya visits him for a summer in San Diego.

Dikhawa () is a Pakistani anthology soap series, premiered on 25 April 2020 on Geo Entertainment. It is Created by Abdullah Kadwani and Asad Qureshi under 7th Sky Entertainment. The spin-off to the anthology series Makafaat, it features different short episodic stories focusing on religious and social repercussions of showing off, pretentiousness and posturing. The show reruns currently as a daily soap, airing Monday to Friday.

Even though their outlooks towards life differ significantly, their love for the job (journalism) creates a strong bond of true friendship. Sixth, there is Chang, a man of power, of high position, but a wimp in his heart. His immense wealth cannot replace what he lacks in personality. He has no charisma, no morality, no care, and exists purely on his imaginary throne of pretentiousness and status.

He went on to study law at Magdalen College, Oxford, and graduated from the University of Oxford with a Bachelor of Arts (BA) degree; as per tradition, his BA was later promoted to a Master of Arts (MA Oxon) degree. He did not involve himself in the counterculture of the 1960s, disliking the music associated with it and the "pretentiousness" of many of those involved who had come from private schools.

"Neckbeard" is a pejorative term and stereotype for men who exhibit characteristics such as social awkwardness, underachievement or pretentiousness. The term is associated with the currently (2010–present) unfashionable facial hair style known as a neck beard, and by extension, to a stereotype of overweight, unkempt internet users. The "neckbeard" stereotype is also associated with comic books, Dungeons & Dragons, Magic: The Gathering, Otaku subculture, movies, animated TV series, and video gaming.

Rodney Crowell: Sex and Gasoline, Paste Magazine, September 2, 2008. Steve Horowitz of PopMatters agreed with the Dylan comparisons, saying Crowell shared Dylan's pretentiousness yielding "Dylan-like rage, prophecy, and poetry." He gave the album six out of ten stars, faulting it for being too much like his previous three releases, which gives the album strength but does not break any new ground or gain any new fans. Horowitz, Steve.

A contemporary review in Le Monde praised Chytilová's humor and virtuoso technique. The film won the main prize at the Mannheim Film Festival in 1963. The film has also received renewed attention from Anglophone critics in the 21st century. A review by The Arts Desk of a DVD release of the film in 2016 praised the film's ability to avoid pretentiousness, thanks to the work of the Chytilová, Curík, Slitr, and Hájek.

Aggregating website Metacritic reported a normalised rating of 72 out of 100, based on eight reviews, indicating "generally positive" reception. Reviewers generally praised the album's eccentricity; BBC Music's Alix Buscovic commented that "[Everything Everything] know more than most how to craft a song, how to make an album. They know how to give it depth, light and dark, and they – crucially – know when to stop." Other reviewers criticised the album for its pretentiousness.

The pagans are scrupulously honest, avoiding some of the pretentiousness of Christian Elizabethan society. At the same time, theirs is a "nature-worship paired with blood sacrifice, mindless ecstasy marred by fear, a relentless eye-for-eye accounting system that left no room for compassion." Kate ultimately decides to leave the Fairy Folk because she considers their society cruel and their religious beliefs wrong. She continues to respect them, however, and in some ways she misses their simple lifestyle.

"Day In, Day Out" is a popular song with music by Rube Bloom and lyrics by Johnny Mercer and published in 1939. According to Alec Wilder the song, 56 measures long, has a wonderful, soaring melodic line, free from pretentiousness, but full of passion and intensity which is superbly supported by the lyrics. Although the catch phrase "day in—day out" sounds like a dull routine, Mercer uses exotic images to contrast with the boring sound of the phrase.

Pepper, Hit Parader considered that the album had not endured as well as the Beatles' previous works, and opined: "Harrison has produced a soothing, sinuous, exotic sound for 'Within You Without You'. But even though his repetitious recitation of elementary Far Eastern philosophy is probably intended to reflect the infinity of the universe, it soon becomes a bit monotonous. The laughter at the end seems to be deflating the pretentiousness of the lyrics." Available at Rock's Backpages (subscription required).

"Replete with mock-scholarly footnotes and biographical information, The Works epitomizes Beerbohm's penchant for deflating pretentiousness with satiric imitation," wrote Ann Adams Cleary in the Dictionary of Literary Biography. "Anything large - ideas, ideals, literary works, London crowds - caused him dismay."'Dictionary of Literary Biography' Published by Gale (2000) In this, his first book, the 24-year-old Beerbohm announced gravely that he would now retire from letters, having said all there was to say. Of course, he did not.

His earliest biographer, Darrell Garwood, noted that Wood "thought it a form of borrowed pretentiousness, a structural absurdity, to put a Gothic-style window in such a flimsy frame house."Garwood, p. 119 At the time, Wood classified it as one of the "cardboardy frame houses on Iowa farms" and considered it "very paintable." After obtaining the permission of the Jones family, Wood made a sketch the next day in oil on paperboard from the house's front yard.

"These are thoughtful, considered performances; you feel Mr. Cole has a reason for everything he does." Review of Cole's recording of Bach's The Well-Tempered Clavier, book II in Gramophone Magazine, June 1963. "…unfailing musicality, control of partplaying, complete accuracy, admirably firm rhythm, and an avoidance of all posturing and pretentiousness (would that the same could be said for all other Bach players!)" Review of Cole's recording of Bach's Well-Tempered Clavier book I in Gramophone Magazine, November 1962.

The Face Behind the Mask was poorly received during its initial release. In its 1941 review of the film, The New York Times was critical of the film, writing "Despite a certain pretentiousness toward things psychological, The Face Behind the Mask may safely be set down as just another bald melodramatic exercise in which the talents of Peter Lorre again are stymied by hackneyed dialogue and conventional plot manipulations." Contemporary reviews of the film have been more positive. Blockbuster Inc.

Encouraged by their haughty mother, Lady Frugal, both Anne and Mary reject their suitors Sir Maurice Lacy, son of Lord Lacy, and Mr. Plenty, a country gentleman. They feel ridiculed and complain to Sir John Frugal about his wife and daughters' vanity and pretentiousness. Lady Frugal is angry towards her astrologer, Stargaze, who had predicted a great day for marriages. Shave'em the whore is visited by two of her customers, Ramble and Scuffle, but she rejects them, pretending she has become a lady.

Available at: [Accessed 8 Aug. 2017]. p. 174 A suggestion is that one reason for the resilience of the "art system" is its cunning inverse pretentiousness; on its own art seems stupid from the point of view of utilitarian interests, commerce, entertainment, academia and political agendas. As well as discussing art and creativity O'Connell advocates for a readdressing of the significance of human intelligence against, the often palpable, stupidity of the technological sphere including AI (understood in the broadest sense).

The young man was eventually reunited with his darling through misdeeds of his own. Throughout the play, Şinasi also took advantage of humor to condemn the frequent arrogance and pretentiousness of the "self-styled intellectuals". The play is presumed to have been commissioned to be performed at the Dolmabahçe Palace's court theater, but a performance may or may not have taken place at that location. It is believed that the first English translation of the play was published in 1981.

Other princes derive their title not from dynastic membership as such, but from inheritance of a title named for a specific and historical territory. The family's possession of prerogatives or properties in that territory might be long past. Such were most of the "princedoms" of France's ancien régime, so resented for their pretentiousness in the memoirs of Saint-Simon. These included the princedoms of Arches-Charleville, Boisbelle-Henrichemont, Chalais, Château-Regnault, Guéménée, Martigues, Mercœur, Sedan, Talmond, Tingrey, and the "kingship" of Yvetot, among others.

Lace curtain Irish and shanty Irish are terms that were commonly used in the 19th and 20th centuries to categorize Irish people, particularly Irish Americans, by social class. The "lace curtain Irish" were those who were well off, while the "shanty Irish" were the poor, who were presumed to live in shanties, or roughly-built cabins. Neither term was complimentary. Aside from financial status, the term "lace curtain Irish" connoted pretentiousness and social climbing, while the "shanty Irish" were stereotyped as feckless and ignorant.

The novelty of the work has waned, and "Wellington's Victory" is not performed much today. Many critics lump it into a category of so-called "battle pieces", along with Tchaikovsky's 1812 Overture and Liszt's Hunnenschlacht (Battle of the Huns): Charles Rosen wrote that 'Beethoven's contribution lacks the serious pretentiousness or the incorporation of ideology of Felix Mendelssohn's Reformation Symphony, or of Hector Berlioz's Symphonie funèbre et triomphale, but it is only the less interesting for its modesty.'Rosen, C: The Classical Style, p401. London: Faber & Faber, 1971.

Similarly, as is typical of mystery fiction, the killer was "the one you'd least expect". "Private View" satirises the pretentiousness of forms of contemporary art, but does so with the assumption that viewers are familiar with the art world, referencing, for example, Ron Mueck. One critic noted the work of Damien Hirst as a possible influence. The setting contrasts strongly with that of "Diddle Diddle Dumpling", the previous episode, with the "Auton-ish mannequin limbs and all that neon light [giving] the episode a distinct look".

" Vincent Canby wrote that while Boorman took Arthurian myths seriously, "he has used them with a pretentiousness that obscures his vision." In her review in The New Yorker, Pauline Kael wrote that the film had its own "crazy integrity", adding that the imagery was "impassioned" with a "hypnotic quality". According to her, the dialogue was "near-atrocious". She concluded by writing that "Excalibur is all images flashing by... We miss the dramatic intensity that we expect the stories to have, but there's always something to look at.

Aerial view of Tower Bridge Aerial view at night, with bridge open Although Tower Bridge is an undoubted landmark, professional commentators in the early 20th century were critical of its aesthetics. "It represents the vice of tawdriness and pretentiousness, and of falsification of the actual facts of the structure", wrote Henry Heathcote Statham,Statham, H.H., "Bridge Engineering", Wiley, 1916. while Frank Brangwyn stated that "A more absurd structure than the Tower Bridge was never thrown across a strategic river".Brangwyn, F., and Sparrow, W. S., "A Book of Bridges", John Lane, 1920.

The first post-World War II use of the word in print, marginally mentioned in the Sontag essay, may be Christopher Isherwood's 1954 novel The World in the Evening, where he comments: "You can't camp about something you don't take seriously. You're not making fun of it; you're making fun out of it. You're expressing what's basically serious to you in terms of fun and artifice and elegance." In the American writer Susan Sontag's 1964 essay Notes on "Camp", Sontag emphasized artifice, frivolity, naïve middle-class pretentiousness, and shocking excess as key elements of camp.

The Guardian. p. 45. The appreciation was not universal: some of the pianist's self-penned liner notes and interview comments, which included philosophical musings and complaints about comparisons with pianist Bill Evans, engendered dislike in some, thereby, in critic Nate Chinen's words, "leaving Mehldau with a lingering reputation for pretentiousness and self-indulgence." Many critics did, though, reassess their judgment of his main influences, which previously had often been given as Evans,Nicholson, Stuart (September 19, 1999) "Some Call It Plagiarism. In Brad Mehldau's Hands, It's Sheer Genius".

The company changed its name to C&C; Group and then launched itself on the Irish Stock Exchange in 2004.Ireland's C&C; Group readies IPO 27 April 2004 Introduced in 2003, the Oliver & Greg's flagship range was launched "to provide a quality drinking experience without pretentiousness or complicated wine language." The company started selling Magners cider in Northern Ireland, then in London, and then in the rest of Great Britain, Spain and Bavaria. Sales exploded in 2005 and 2006, and the company had to bring forward expansion plans to meet forecast demand.

We Are the Giant received positive reviews from critics. Dennis Harvey of Variety, said in his review that "Despite its harrowing on-the-ground footage, Greg Barker's Arab Spring documentary risks pretentiousness." Boyd van Hoeij in his review for The Hollywood Reporter praised the film by writing that "A slickly assembled and insightful documentary that looks at three individual stories from the Arab Spring." Robert Cameron Fowler of Indiewire grade the film A by writing that ""We Are the Giant” is both vital and devastating, with raw material conveyed through elegant construction.

The industry described the show with the buzzwords "dark and edgy". According to Robert C. Cooper, the essence of the story is "that sort of fear and terror of a tragedy combined with the sense that there is hope for us in the basic ways in which human beings survive". The planned increased levels of drama were balanced with humor to avoid pretentiousness. The differences between good and evil were meant to be less apparent, as the ship was populated with flawed and unprepared characters who are not supposed to go there.

Myers described the original article, which saw no end of responses from admirers and critics, as "a light-hearted polemic" about modern literature. Myers was particularly concerned with what he saw as the growing pretentiousness of American literary fiction. He was skeptical about the value of elaborate, allusive prose and argued that what was praised as good writing was in fact the epitome of bad writing. His critique concentrated on E. Annie Proulx, Cormac McCarthy, Paul Auster, David Guterson, and Don DeLillo,Matt Forney all of whom enjoyed substantial acclaim from the literary establishment.

Myers' Han Sŏrya and the North Korean literature: The Failure of Socialist Realism in the DPRK (1994) was adapted from his 1992 dissertation at the University of Tübingen and published as the sixty-ninth volume of the Cornell East Asia Series.“Han Sŏrya and North Korean Literature.” Bibliothekskatalog Tübingen. Eberhard Karls Universität Tübingen. (Accessed February 1, 2010) A Reader’s Manifesto: An Attack on the Growing Pretentiousness in American Literary Prose (2002) was developed from his critical review essay of the same name published in the Atlantic in 2001.

As illustrated, terms such as howler need not specify the discipline in which the blunder was perpetrated. Howlers have little special application to any particular field, except perhaps education. Most collections refer mainly to the schoolboy howler, politician's howler, epitaph howler, judicial howler, and so on, not always using the term howler, boner or the like. There are various classes in mood as well; the typical schoolboy howler displays innocent ignorance or misunderstanding, whereas the typical politician's howler is likely to expose smugly ignorant pretentiousness, bigotry, or self-interest (see examples below).

Thomas's work in particular was criticised. David Lodge, writing about The Movement in 1981 stated "Dylan Thomas was made to stand for everything they detest, verbal obscurity, metaphysical pretentiousness, and romantic rhapsodizing". Despite criticism by sections of academia, Thomas's work has been embraced by readers more so than many of his contemporaries, and is one of the few modern poets whose name is recognised by the general public. In 2009, over 18,000 votes were cast in a BBC poll to find the UK's favourite poet; Thomas was placed 10th.

99 Of "Carpenter Gothic," for example, Cram had written, "the sheer savagery of these box-like wooden structures, with their toothpick pinnacles and their adventitious buttresses of seven-eights-inch board and their jigsaw ornament, find no rival in all history."Ralph Adams Cram, My Life in Architecture p. 30 Cram forcefully argued that nineteenth-century American Gothic has resulted in nothing but sham and pretentiousness, and he considered the fifty-year period after 1930 to have been "worse than at any time or in any place recorded in history."Cram, The Gothic Quest p.

148 Such a strident polemic was based on moral as well as aesthetic grounds. According to Cram, the nineteenth-century Gothicists had been guilty of practicing "archaeology" rather than art, through the servile imitation of historical models. Furthermore, by their use of sham materials and construction methods, they had added pretentiousness to their sins. Cram, thus, argued for a return to the first principles of Gothic architecture whereby the artificial, derivative qualities of the previous decades could be avoided and a new organic structural integrity as well as functional responsiveness could be gained.

Like many of Poe's early tales, "Bon-Bon" was, as Poe wrote, "intended for half banter, half satire" and explores attempts at surviving death. Poe pokes fun at the pretentiousness of scholars by having his character make references to classic Greek and Latin authors, only to hear that their souls have been eaten. The comedy in the story is verbal, based on turns of phrase, funny euphemisms, and absurd names. The phrase "Bonbon" stems from the French word bon, "good", and is often used to describe sweet eatables.

The episode follows a number of people at the launch of Fragments, a retrospective exhibition featuring the work of the late sculptor Elliot Quinn. A projection of Quinn welcomes the motley assortment of guests, who have, the projection claims, been hand-picked for the occasion. Shortly after their arrival, they realise they are trapped in the basement gallery, and are being killed one-by-one. The episode lampoons pretentiousness in the contemporary art world, and pays homage to Agatha Christie's 1939 novel And Then There Were None and classic horror films, including Theatre of Blood.

On the contrary, they are frequently depicted in a very unflattering light, although there are others who are shown as more sympathetic and admirable characters. Mr Elton, in Emma, demonstrates an excessive social ambition in proposing to the eponymous Emma Woodhouse, and once he is married later in the novel, he and his wife Augusta patronise the villagers and disgust Emma with their pretentiousness. In Pride and Prejudice, Mr Collins is an example of what a clergyman ought not to be. He is obsequious towards the powerful, arrogant towards the weak, sententious and narrow- minded.

Bleiler notes "Both Alraune and The Sorcerer's Apprentice are remarkable for the emotion the author can arouse" and that Ewers' writing is, at its best, "very effective". However, Bleiler also argues Ewers' work is marred by "annoying pretentiousness, vulgarity, and a very obtrusive and unpleasant author's personality". The third novel of the sequence, Vampyr, written in 1921, concerns Braun's own eventual transformation into a vampire, drinking the blood of his Jewish mistress. Another novel, Der Geisterseher (The Ghost-Seer), Ewers' completion of the Friedrich Schiller novel, was published in 1922; Ewers' version was received badly.

Trimalchio's departure to the toilet (he is incontinent) allows space for conversation among the guests (41–46). Encolpius listens to their ordinary talk about their neighbors, about the weather, about the hard times, about the public games, and about the education of their children. In his insightful depiction of everyday Roman life, Petronius delights in exposing the vulgarity and pretentiousness of the illiterate and ostentatious wealthy of his age. After Trimalchio's return from the lavatory (47), the succession of courses is resumed, some of them disguised as other kinds of food or arranged to resemble certain zodiac signs.

Caesar wrote that the novellas were "not just a blending of village Sufism and the existential philosophies of post-war Europe, but a uniquely personal and original vision of what man is and should be" and that they were "intensely lyrical, intellectually provocative, and philosophical". Allen argued that the novella "Good News from the Afterlife" has "a final impression of irritating pretentiousness" and that compared to "Al-Mahdi" it "is more ambitious and less successful." He criticized the portions of the story dealing with the boy and "the reader's - or this reader's - inability to decide what actually happens".

Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals. Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.

Bosley Crowther of The New York Times wrote in a mixed review, "Here is a staggering combination of cinema brilliance and sheer banality, of visual excitement and verbal boredom, of historical pretentiousness and sex." Crowther thought that even Cecil B. DeMille's The Sign of the Cross "had nothing to match the horrendous and morbid spectacles of human brutality and destruction that Director Mervyn LeRoy has got in this. But within and around these visual triumph and rich imagistic displays is tediously twined a hackneyed romance that threatens to set your teeth on edge."Crowther, Bosley (November 9, 1951).

The show is still running, as of 2013. This Macedonian comedy trio has helped pave the very narrow path of open-mindedness and embodiment of the concepts of freedom of thought, expression and opinion, while shattering a half century old tradition of self- righteousness, faux-perfectionism, and pretentiousness that stem from the one party social order of communism in the former Yugoslavia. The fan base of K-15 is extremely wide in Macedonia. This is mainly fitting with the content of the jokes and skits of the show; problems and issues everyone can see first hand in their own community.

The pair kiss and make a date for later, but Christine admits that she feels guilty about seeing Dixon behind Bertrand's back and about Dixon's supposed relationship with Margaret. The two decide not to see each other again, but when Bertrand calls on Dixon to "warn him off the grass" he cannot resist the temptation to quarrel with Bertrand, until they fight. The novel reaches its climax during Dixon's public lecture on "Merrie England". Having attempted to calm his nerves by drinking too much, he caps his uncertain performance by denouncing the university culture of arty pretentiousness and passes out.

Roger Ebert gave the film three out of four stars and called it "a berserk exercise of demented genius, and on that level (I want to make my praise explicit) it functions and sometimes even works. Most people will probably despise it." Richard Eder of The New York Times wrote that for the first half-hour the film is "manic and extremely funny. Then it relapses into a noisy bit of pretentiousness in the manner of its predecessor, Tommy full of flashing lights, satin spacesuits, chrome-lucite furniture and mock agony."Eder, Richard (11 October 1975).

" Kerrang! gave it a score of four stars out of five and said of the band, "This infusion of punk is quite some achievement given the album is divided into movements, yet in stripping back to a four-piece they strip away pretentiousness and inject rough-hewn power." Alternative Press also gave it four stars out of five and said the album "hits a full-on prog rock pose with seamless transitions, classical movement structures and lunar background flourishes scraping the Dark Side Of The Moon." No Ripcord gave it eight stars out of ten and called it "a heroic symphony that sounds wholly constructed.

Grant Wood, Self-portrait, 1932, Figge Art Museum In August 1930, Grant Wood, an American painter with European training, was driven around Eldon, Iowa, by a young local painter named John Sharp. Looking for inspiration, he noticed the Dibble House, a small white house built in the Carpenter Gothic architectural style. Sharp's brother suggested in 1973 that it was on this drive that Wood first sketched the house on the back of an envelope. Wood's earliest biographer, Darrell Garwood, noted that Wood "thought it a form of borrowed pretentiousness, a structural absurdity, to put a Gothic-style window in such a flimsy frame house".

29 June 2014 Classic Rock reviewer Jerry Ewing agrees with Banks, writing that the album is made of "lush pastoral English prog rock that deserved better at the time" and is probably the musician's best solo effort. AllMusic gave a positive retrospective review, asserting that "Banks manages to capture the wonderment and allure that enveloped Genesis' Peter Gabriel days... yet he filters out the instrumental intricacies, unorthodox time signatures, and complex poetry which enveloped these works to create a milder but equally effective progressive realm." They praised the album for lacking the instrumental pretentiousness that most would have expected, instead focusing on strong progressive rock compositions.

People who knew Lokhvitskaya personally later spoke of the stark contrast between the poet's 'bacchanal' reputation and her real life persona. The author fond of erotic imagery (whom some critics labeled 'pornographer') in reality was, according to Ivan Bunin, "the most chaste woman in Saint Petersburg, a faithful wife and most caring, protective mother of several children." Playing 'Eastern beauty' at home, she received visitors lying languidly on a couch. Still, according to Bunin, there was not a trace of pretentiousness behind this posturing; on the contrary, the hostess greatly enjoyed matter-of-fact chattering about funny and trivial things, displaying wit and disarming self-irony.

At 1:45 am, Robin gets up so she will be in time for her 4 am talk show that she anchors and meets the gang at the bar, as they are still out from the previous night. Ted tells his friends that Karen, his girlfriend during high school and college, is now in town. Marshall and Lily are not happy with this news. They tell Ted how annoyed they were by Karen's pretentiousness, how Ted imitated her opinions and how Karen always cheated on Ted, left for a few months, and got back together with him, only for the process to begin all over again and again.

143 Two Wild Wiggler dances, Weird Wiggle and Hop on Pops, can be seen on YouTube. The Wigglers performed on the Saturday morning television show, No. 73, where they met The Stranglers, who booked them as a support act. This led to appearances in Wembley Arena, Oxford Apollo, Brighton Centre and Zenith Paris. J King in the Morning Star wondered 'whether or not all that hilarious jumping and swaying with feet tied together really qualifies as dance....It was certainly movement of a highly entertaining kind, to be remembered with gratitude by a critic so often threatened with drowning in a sea of self- indulgence, pretentiousness and insipidity.

Cainer, who spent the bulk of his career at the Mail although he "never once agreed with an editorial they have published", was the highest paid journalist of his era. Dacre told Lauren Collins for a 2012 article about the Mail in The New Yorker: "The family is the greatest institution on God’s green earth." The typical locale of his readers, he told Collins, is the area of North London in which Dacre himself was raised, Arnos Grove: "Its inhabitants were frugal, reticent, utterly self-reliant, and immensely aspirational. They were also suspicious of progressive values, vulgarity of any kind, self-indulgence, pretentiousness, and people who know best".

Chateaubriand, with P.M. Bardi's curatorial insight, acquired a vast collection of art for MASP, including art works by Bosch, Mantegna, Titian and Goya. In what she coins "Poor Architecture", one divorced from the pretentiousness often associated with cultured intellectuals, Bo Bardi sought to design a museum that embodied a simple form of monumental architecture. Formed from pre-stressed concrete without embellishment, the building is formed from raw and efficient solutions. The building features a suspended volume, spanning 74 meters, held aloft by 4 concrete columns connected by two concrete beam running along the length of the building, with 2 floors of gallery above and below the ground floor.

According to The New York Times, Prison Break was "more intriguing than most of the new network series, and it certainly is one of the most original", complimenting its ability to create a "suspenseful thriller" and its "authentic look". Gillian Flynn of Entertainment Weekly dubbed it as one of the best new shows of 2005. On the other hand, The Washington Post criticized the show for its "somber pretentiousness" and "uniformly overwrought" performances. Due to its ratings success, Fox decided to extend Prison Break by an extra nine episodes, making it the first new series in the 2005–2006 television season to receive a full season order of 22 episodes.

A distribution of power that prevents any one actor from dominating the rest is what he sees as the great insight of The Federalist Papers, an insight that remains fully applicable to international relations, despite changes in technology, ideologies, and economic ties. Thus he has engaged in a lifelong effort to synthesize the austere world of the realist, a world always verging on cynicism, with the ideals of the moralist, ideals that run the risk of pretentiousness. Thompson’s assertion of the truths derived by the realist tradition from political philosophy, international history, and Christian theology has been questioned by behaviorists and neo-realists, who see it as "soft," and by moral critics, who see it as cynical.

Like much of Southern's work, Red-Dirt Marijuana and Other Tastes presents a detailed portrait of American culture during the 1950s. Many stories, in particular "You're Too Hip, Baby", "The Blood of a Wig", and "The Night the Bird Blew for Doctor Warner", explore the mentality of the hipster and the pretentiousness of countercultures. Other stories, like "Recruiting for the Big Parade" and "Twirling at Ole Miss", present unusual non-fiction, and may be viewed as an early form of gonzo journalism. "Twirlin' at Ole Miss" has been cited by Tom Wolfe as one of the defining works of the genre and as such it was included in Wolfe and A.W. Johnson's anthology The New Journalism.

Leckey's video work has as its subject the "tawdry but somehow romantic elegance of certain aspects of British culture,"Dale McFarland, Frieze, Issue 81, March 2004. He likes the idea of letting "culture use you as an instrument." but adds that the pretentiousness that artists sometimes fall into is destructive to the artistic process: "What gets in the way is being too clever, or worrying about how something is going to function, or where it's going to be. When you start thinking of something as art, you're fucked: you're never going to advance." Matthew Higgs has described his work as “possess[ing] a strange nonartlike quality, operating, as it does, on the knife's edge where art and life meet.

John Simon reviewed the play in New York in 1979, when it was first performed in the United States: "The stultifying banality of the play is matched only by its arrogance—it is, for example, written in a pointless free verse that becomes even flatter in Anne Cattaneo's translation. The only thing big about Big and Little is its pretentiousness; everything else, except its length, is little." Mel Gussow of The New York Times described the play in 1983 as "a nonlinear but consequential tour of present- day alienation". He called it "theoretically tantalizing, more interesting to contemplate than to experience and less adventurous than works by Mr. Strauss's peers such as Peter Handke and Franz Xaver Kroetz".

Illustration by Jean Launois, 1935 In his peripatetic narrative, Mirbeau casts a glaring light on the defective human animal, who tries to compensate for his susceptibility to the most humiliating bodily afflictions by asserting scientific mastery of the dangerous world he tries to navigate. Mirbeau combines attacks on colonialism, psychiatry, the politics of intolerance with a rehabitation of man, deemed precious for his very unknowability. While doctors, bureaucrats, and billionaires try to overcome their sense of ontological uncertainty, using X-ray technology, money, or ideological fanaticism, Mirbeau suggests life’s value consists in its unprecitability. Opposing the pretentiousness of science, the deathliness of knowledge systems, Mirbeau invokes the vitality of an art of exploration and creative conjecture.

The episode satirizes anti-smoking education presentations by external providers that come across as cheesy or irritating to the young adult demographic they target, effectively negating any message they might be trying to send across. The episode also satirizes adult pretension, a common theme in South Park episodes, in their ineffective and nonsensical responses to the smoking problem in South Park. According to Brian C. Anderson, it also lampoons the pretentiousness of the Hollywood movie industry and liberalism, particularly through the use of Rob Reiner, the real-life American director widely known for advocating smoking restrictions. Reiner, and by extension Hollywood, adopt a holier-than-thou attitude with regard to smokers, and show a lack of understanding toward the poor and middle-class.

The collections Poems and Stories (1900) and Flowers of the Field (1901) were followed by Falling Leaves (Листопад, 1901), Bunin's third book of poetry (including a large poem of the same title first published in the October 1900 issue of Zhizn (Life) magazine). It was welcomed by both critics and colleagues, among them Alexander Ertel, Alexander Blok and Aleksandr Kuprin, who praised its "rare subtlety." Even though the book testifies to his association with the Symbolists, primarily Valery Bryusov, at the time many saw it as an antidote to the pretentiousness of 'decadent' poetry which was then popular in Russia. Falling Leaves was "definitely Pushkin-like", full of "inner poise, sophistication, clarity and wholesomeness," according to critic Korney Chukovsky.Odesskye novosty. 1903.

Rodney is barely able to hide his dislike of Stephen due to what he sees as his yuppie pretentiousness, while Del mistakenly thinks – to Stephen's annoyance – that he and Stephen are alike. Del invites Stephen to join the outing due to Joanne's absence visiting her parents for the weekend, but he politely declines. The night ends with a game of Trivial Pursuit, in which Del Boy suggests that a female swan is called a bic (after Rodney tried to give him a clue by discreetly showing him a pen). The day trip to Margate proves eventful: the coach driver, Harry, apparently gets drunk halfway through the journey, and Rodney gets arrested for accidentally kicking a football meant for Del at a policeman.

Raised in a Methodist family devoid of religious pretentiousness, Grant prayed privately and was not an official member of the church. Unlike his younger siblings, Grant was never disciplined, baptized, or forced to attend church by his parents. One of his biographers suggests that Grant inherited a degree of introversion from his reserved, even "uncommonly detached" mother (she did not visit the White House during her son's presidency). At home, Grant assumed the duties which were expected of him as a young man, and they primarily included maintenance of the firewood supply; he thereby developed a noteworthy ability to work with, and control, horses which were in his charge, and he used it to provide transportation as a vocation during his youth.

He also claims to have sustained a shrapnel injury to his leg in the Korean War, which has a tendency to flare up at convenient moments – usually when Sybil asks him an awkward question. (John Cleese was only 14 years old when the Korean War ended, suggesting that Basil is several years older than he.) Basil is often seen wearing regimental ties, most frequently that of the East Lancashire Regiment, and sometimes that of the Gordon Highlanders. He is also seen wearing a Winchester College tie (in "The Kipper and the Corpse"), and a Balliol College, Oxford tie (in "The Germans"). It is likely that these regimental and old boy ties were all worn dishonestly; an example of Basil's pretentiousness.

Goossen was responsible for organizing dozens of art exhibitions at galleries and museums around the United States. He oversaw a 1969 retrospective of works by Helen Frankenthaler at the Whitney Museum of American Art and those by Ellsworth Kelly in an exhibition at the Museum of Modern Art. In addition to essays in catalogues, Goossen's wrote several art books, including The Art of the Real, Stuart Davis and Ellsworth Kelly. In a review of the 1968 exhibition Art of the Real he organized as guest director at the Museum of Modern Art, John Canaday of The New York Times said that Goossen's essay about the exhibit was "probably the clearest definition yet of the goals and justification of a school of art that is usually written about with maximum pretentiousness".

Adrian Hennigan from the BBC writes, "the cheeky charm [of his previous films] has been replaced by plodding pretentiousness in a film that's illuminated by great action set-pieces and some powerful performances, but not redeemed". Ritchie responded to the criticism by stating, "I don't think anything went wrong with Revolver. By its very nature it's an esoteric movie. It's not designed for the masses". Budgeted at $27 million, the film earned only $7.1 million at the worldwide box office. In 2007, Revolver was re-edited and released for the United States. In 2008, Ritchie directed RocknRolla, for which he also wrote the screenplay for. Set in London, it tells the story of a crew of gangsters, a rock star and some powerful players, all connected to each other throughout the movie.

Donald Keene, The Pleasures of Japanese Literature, p.62 Mishima wrote: Although he did not compose any formal death poem on his deathbed, the last poem written by the great poet Matsuo Bashō (1644-1694) recorded by his disciple Takarai Kikaku during his final illness is generally accepted as his poem of farewell: Despite the seriousness of the subject matter, some Japanese poets have employed levity or irony in their final compositions. The Zen monk, Tokō (杜口; 1710–1795, aged 85), commented on the pretentiousness of some jisei in his own death poem: This poem by Moriya Sen'an (d. 1838) showed an expectation of an entertaining afterlife: The final line, "hopefully the cask will leak" (mori ya sen nan), is a play on the poet's name, Moriya Sen'an.

The reviewer for Game Informer regarded Soul Reaver 2 as "quite engrossing". Star Dingo of GamePro similarly praised its graphics, sound design and voice acting, but condemned missed creative opportunities concerning the potential of the spectral realm and time travel, saying that the game "takes as many steps back as it does forward, and ends up teetering precariously over the brink of being a disappointment". The review concurred with IGN that the plot and dialogue, though entertaining, sometimes bordered on pretentiousness, and Game Revolution's Duke Ferris repeatedly compared the story to a soap opera. Other critics, such as GameZone's Michael Lafferty, were less reserved in their praise of the narrative—The Electric Playground referred to it as "a textbook example to other console developers on how to write videogame prose"—but agreed that its complex and involved backstory could alienate some players.

The widespread disdain for the McMansion stems from perceptions that these houses look and feel inappropriate for a given neighborhood, waste land (suburban sprawl, too much room for too few people) and resources (building materials, utilities, long commutes), project the pretentiousness (or lack of taste or refinement) of their owners, and a general discordance in architectural preferences. McMansions have received extensive criticism in Australia because they do not blend in with the archetypal Australian house (generally single story red brick or bungalows) and because they use render materials perceived as giving an ugly, over the top, and exaggerated appearance. Australians often buy older, modest houses as tear downs and build McMansions on the vacant land, leading to one observer noting that in the country "a poor house stands side by side with a good house."Davison, Graeme.

He is usually enthusiastic about making new friends, and although he may find it difficult to express his feelings to his sons, he clearly loves them both, remaining proud of and devoted to them, and bitterly resenting any implication that this might not be the case. When Niles goes to a costume party as Martin and is asked to name his biggest disappointment in life, Niles' response (in character and slightly inebriated) turns this into a speech of his distaste for his and Frasier's pretentiousness, snobbery, and lack of athleticism before finally saying "if I had to choose my two biggest disappointments". Martin quickly cuts him off, angered at being portrayed "as a drunken judgmental jackass", and tells Niles that, while he and Frasier were not what he was expecting, he has always been proud of them.

John L. Flynn, a Towson University English professor who has written extensively about science-fiction film, unfavorably compared Night of the Blood Beast to The Creeping Terror (1964), which was also about an astronaut returning from space with a stowaway alien creature. Although Flynn said it lacked the "epic pretentiousness" of that film, he nevertheless said of Blood Beast: "Corman made a career out of making cheap knock-offs of popular films, but he seems to be scraping the bottom of the barrel here". The Washington Post writer Tom Shales said "it would be hard to find a worse movie" and that the monster "looks like the San Diego Chicken after having been tarred and feathered". Film critic and historian Steven H. Scheuer said the plot was a good idea but criticized what he called a "sloppy execution".

Clasquin said "Spontaneous Combustion" also demonstrates the ease with which people blend their religious convictions with lessons from pop culture, particularly with Stan's confusion of a biblical verse and a Star Trek quote. Nevertheless, Clasquin said Stan does ultimately learn lessons of sacrifice and selflessness from the story of Jesus' crucifixion, so the episode ultimately upholds some of the more positive aspects of religion and Christianity. The episode also satirizes adult pretentiousness, a common theme in South Park episodes, by portraying the children as wiser and more reasonable in seeking a solution to the spontaneous combustion problem. Although the adults follow trends and solutions that contradict common sense, namely avoiding spontaneous combustion by passing gas at all times, only the children are able to find a reasonable solution in the middle of two extremes: only passing gas when absolutely necessary or when it is "really, really funny".

Wallace-Johnson exploited this popular sense of "imbalance between rising expectations and actual living conditions" to rally support for the WAYL. Exploitative mining companies, both public and private, that profited from the mineral wealth of Sierra Leone while ignoring the very poor living and working conditions of the workers were consistent targets of his message.. Utilizing his previous experiences in the Gold Coast labour movement, Wallace-Johnson helped organise eight trade unions in Sierra Leone: the Public Works Workers' Union, the War Department Amalgamated Workers' Union, the Mabella Coaling Company Workers' Union, the King Tom Docks Workers' Union, the All Seamen's Union, the Bonthe Amalgamated Workers' Union, the Pepel and Marampa Miners Workers' Union, and the Motorists' Union. Each union's objective was to obtain increased wages and better working conditions through collective bargaining. Wallace-Johnson's charisma and lack of pretentiousness made him well liked among Sierra Leoneans.

" Neil Young of The Hollywood Reporter labeled the film as "offensively self- indulgent cubist folly". Young expressed admiration for Reygadas' previous film Silent Light, but wrote: "Suspicions that the lauded, award-laden Mexican is, in artistic terms, an emperor clad in exquisitely invisible garments will only crystallize further thanks to Post Tenebras Lux—which at its worst exudes the sort of smug pretentiousness that gives art-cinema a bad name in many quarters." In Screen International, Jonathan Romney wrote: "Alexis Zabé's vividly beautiful photography variously makes the images seem spontaneously caught, or deliberately framed and fixed in a video art manner—and it could be argued that this film has much more in common with gallery video than with most contemporary theatrical art cinema... However, you never feel that Reygadas is out to impose his unorthodox outlook, to impress himself on you as a visionary.

Grimshaw has contributed short stories to numerous anthologies, including: Myth of the 21st Century (Reed 2006); The Best New Zealand Fiction Volumes Two, Three, Four and Five (Vintage); The New Zealand Book of the Beach Volumes One and Two (David Ling); Some Other Country (VUP); Second Violins (Vintage, 2008). Grimshaw's novel, The Night Book (2010), a fiction finalist in the New Zealand Post Book Awards contains characters from her popular collections Opportunity and Singularity, and follows the lives of a group of Aucklanders, one of whom is a National Party Prime Minister. Grimshaw's fifth novel, Soon (2012) continues the story of National Party Prime Minister David Hallwright, and has been described as "a bold and biting satire on wealth and pretentiousness," and on the current political situation in New Zealand. Grimshaw's latest novel, Starlight Peninsula (2015) is a sequel to Soon, and also introduces a new cast of characters.

It was screened and won several prizes at the 1988 Toronto International Film Festival, San Francisco International Film Festival, Haifa International Film Festival, and 1988 Chicago International Film Festival, despite being a commercial flop with only 21,000 tickets sold.. Israeli Cinema. In: Journalist Meir Schnitzer dismissed the film for its “lack of plot” and “visual ugliness,” and similar pontifications were voiced by other journalists such as , who dismissed its “pretentiousness” and called it a stain on the Israeli film “industry,” and , who called it “miserable, tiring, heavy, a boring and slow film in which nothing happens” and complained that it utilized “too much dialogue and too little action.” Outside Israel, where the film was distributed by the National Center for Jewish Film, TV Guide also dismissed the “stagy, with a fair amount of speechmaking” approach. The film was released on DVD in Israel by as part of a boxset containing the complete filmography of Guttman Reported in: . . .

" Creem magazine's Robert Christgau said Springsteen's songs are dominated by the kind of mannered emotional transparency and "absurdist energy" that made Bob Dylan "a genius instead of a talent". In Christgau's Record Guide (1981), he wrote that despite the grandiloquent, unaccompanied "Mary Queen of Arkansas" and "The Angel", songs such as "Blinded by the Light" and "Growin' Up" foreshadow Springsteen's "unguarded teen-underclass poetry", while even the maundering "Lost in the Flood" is interesting. In All Music Guide to Rock (2002), William Ruhlmann gave Greetings from Asbury Park, N.J. five stars and said that it combined the mid-1960s folk rock music of Bob Dylan, accessible melodies, and elaborate arrangements and lyrics: "Asbury Park painted a portrait of teenagers cocksure of themselves, yet bowled over by their discovery of the world. It was saved from pretentiousness (if not preciousness) by its sense of humor and by the careful eye for detail ... that kept even the most high-flown language rooted.

Moen, Marriage and Divorce in the Herodian Family: A Case Study of Diversity in Late Second Temple Judaism, p.235 Glaphyra bore Alexander three children: two sons, Tigranes and Alexander, and an unnamed daughter.Eisenman's "New Testament Code", Chapter 4 The names of Glaphyra and Alexander's children reflect their cultural ancestry and royal descent. At the court of Jerusalem, Glaphyra made a nuisance of herself by genealogical pretentiousness, citing her paternal descent from the kings of Macedonia, and her maternal descent from the rulers of Persia. She taunted Salome and Herod’s wives about their low birth. Glaphyra sneered at Salome's daughter Berenice, regarding her ‘with indignation’, though they were of equal rank. Her attitude caused Berenice's husband, prince Aristobulus IV to describe Berenice as a commoner, a ‘woman of the people’. Salome in turn spread a rumor that Herod was "smitten with love for Glaphyra and that his passion was difficult to assuage".

Originally written for piano, but later scored for full orchestra, it contains reference to the music of the Cheyenne, Kiowa, Sioux, Chippewa, Pueblo, and Cree tribes, and is based on themes recorded and suggested by Thurlow Lieurance. The Rhapsody has been described as > very much a period piece, stylistically conventional and eclectic, post- > Romantic and neo-Lisztian in its mannerisms and pretentiousness, its > plethora of trills, arpeggios, broken chords, and repeated octaves (often > thunderous), and its bravura display of virtuosity, with indications ranging > from molto maestoso to allegretto scherzando, from andante affetuoso to > allegro con brio, from amabile to feroce (the savage!). It is probably the > most far-out Indianist composition ever written. Orem composed other works as well, including a piano quartet, a quintet, large numbers of songs, some works for piano, and numerous transcriptions and arrangements; among the latter is a movement from one of Johann Sebastian Bach's solo cello suites, arranged for organ.

The Hazards of Love drew mixed to favorable reviews from music critics, with most reviewers commending the album's ambition and musical craft, but criticizing its story and characters as vague and underdeveloped. Will Hermes of Rolling Stone wrote that "The Hazards of Love brings the glorious excess... The Decemberists approach this kind of pretentiousness somewhat ironically, but they also clearly love their models, Led Zeppelin and Fairport Convention among them", while James Christopher Monger of AllMusic summarized the album as "ambitious, pretentious, obtuse, often impenetrable, and altogether pretty great". Robert Christgau was a detractor, writing that "The Hazards of Love looked to be where Colin Meloy's obvious bad points permanently swallowed his subtle good points...He has the conceit to elevate melodies that are the musical equivalent of doggerel into mini-motives". Marc Hogan of Pitchfork criticized the album's plot and lamented the absence of the band's "catchy choruses" and "verisimilar emotions", but praised its heavier songs and Shara Nova's contribution to them.

The Golden Menagerie (Luath Press Ltd, 2004) :“Allan Cameron’s The Golden Menagerie is a work almost impossible to classify, although it is just possible to fit this marriage of fantastic invention and reflections on the human predicament and our times, not without a hint of autobiography, into the capacious container called ‘the novel’. In some ways it recalls the conversation pieces of Thomas Love Peacock, although the invention is more fantastic. Whatever we call it, it is consistently fascinating and readable, the work of a writer of high intelligence who has a stylish way with words.” Eric Hobsbawmilgarrulo, The Golden Menagerie , Retrieved 21 March 2013 :“Cameron’s work is neither deliberately obscure, nor is it solemn history or pompous tract á la Aleister Crowley. The Golden Menagerie treads, flies, chatters and barks that fine, aureate line between pretentiousness and patronization which is drawn from the fact that the author knows his stuff and relishes the ‘telling’ of it as though he were a reader coming across the work for the very first time.

In 1966 he turned to early popular song: his version of a 1916 Al Jolson comedy number, "Where Did Robinson Crusoe Go with Friday on Saturday Night?" was a West Coast hit, reviving the ukulele before the emergence of Tiny Tim. After making four albums for the Tower label, Whitcomb retired as a pop performer, later writing that he "wanted no part of the growing pretentiousness of rock with its mandatory drugs and wishy-washy spiritualism and its increasing loud and metallic guitar sounds." However, in 1969 he produced Mae West on her album called Great Balls of Fire for MGM Records. Whitcomb then returned to the UK and was commissioned by Penguin Books to write a history of pop music. This was After the Ball, published in 1972. He appeared on several BBC TV show and was an early presenter of the BBC TV show The Old Grey Whistle Test in 1971. Whitcomb settled in California in the late 1970s. He starred in and wrote L.A.–My Home Town (BBC TV; 1976) and Tin Pan Alley (PBS; 1974). He wrote Tin Pan Alley, A Pictorial History (1919–1939) and a novel, Lotusland: A Story of Southern California, published in 1979.