29 Sentences With "whimsicality" | Random Sentence Generator

As a child, Mr. Person was "into the whimsicality of life," his friend Mr. Bhatia recalled.

By contrast, Denpasar artist Jonas Sestakresna's boyish bamboo tower opens the exhibition with a touch of whimsicality.

Jane's Addiction's Perry Farrell followed with a performance of "Rebel Rebel" that infused the show with Bowie's signature glam-rock whimsicality.

The flip side of the whimsicality, of skipping along, is wanting to slow down at times, to deepen our feelings about the characters.

Audrey Tautou's title character in Amélie also wore her micro bangs soft, her jawline-grazing bob only adding to the whimsicality of her story.

These early gems (including 21975's Harry and 21976's The Point!) spotlight Nilsson's impeccable ear for melody and his almost childlike sense of whimsicality.

It may hide beneath the whimsicality of a children's story, but the protagonists are teenagers and their circumstances decidedly adult for the level of trauma and peril.

" Carter, always lovably forthright, replied that the person who wrote that "put her finger on my weakest spot, which is a tendency to a batty kind of whimsicality.

The Last Bookstore453 S. Spring Street, Los Angeles, CA 90013 The whimsicality of this place can be a bit overbearing, but the selection more than makes up for it.

But the movie also has more in common with the loose, sometimes dreamlike whimsicality of Michel Gondry than a straight-up monster tale or comedy/drama about grown-up problems.

Sure, it's an odd moniker for a 40-year-old dad, but it seems to capture the dual poles of Lennox's solo career—both the tuneful whimsicality and the sense of wilderness conveyed through long, serpentine passages of sample-based psychedelia.

It can carry with it aspects of arbitrariness or domineeringness, or whimsicality or abstractedness.

His informally toned editorials, which covered a variety of topics, were also very successful. Using whimsicality and humor, he was purposely informal to allow his personality to show in his writing.Callow, 113 He addressed his readers personally, as if having a private conversation with them.

Crowther, pp. 87–89 This attention to detail was typical of Gilbert's stage management and would be repeated in all of his Savoy Operas.Crowther, p. 90 Gilbert's focus on visual accuracy provided a "right- side-up for topsy-turvydom", that is, a realistic point of reference that serves to heighten the whimsicality and absurdity of the situations.

Retrieved 2011-07-10. brimming with "quality star wattage".(2007-01-23). "$UCCESS COMES TO ADRIENNE". NYPost.com. Retrieved 2011-07-10. The reviewer from The A.V. Club was less glowing, concluding: Mick LaSalle called it a "great American film" that transcends its "air of whimsicality and its emphasis on small-town characters and humble locations."LaSalle, Mick (2007-05-11). "Bittersweet film served up with heart and soul".

1886 Savoy Theatre programme for The Carp and The Mikado The Carp is a one-act comic opera (styled "a whimsicality") with a libretto by Frank Desprez and music by Alfred Cellier. It was first produced at the Savoy Theatre from 13 February 1886The Daily News, 15 February 1886, p. 3; "Theatrical Mems", The Bristol Mercury, 16 February 1886, p. 5; and "Savoy Theatre", The Standard, 15 February 1886, p.

Douglas's most famous work South Wind is a fictionalised account of life in Capri, with controversial references to moral and sexual issues. It has been frequently reprinted. His travel books also combine erudition, insight, whimsicality, and some fine prose. These works include Siren Land (1911), Fountains in the Sand, described as "rambles amongst the oases of Tunisia" (1912), Old Calabria (1915), Together (Austria) (1923) and Alone (Italy) (1921).

Suett depended a good deal upon make-up, at which he was an adept. He was given to distorting his features, and saying more than was allotted him. William Hazlitt called him 'the delightful old croaker, the everlasting Dicky Gossip of the stage.' O'Keeffe declared that he was 'the most natural actor of his time,' and Leigh Hunt speaks of him as 'the very personification of weak whimsicality, with a laugh like a peal of giggles.

He is also known for his odd displays of whimsicality; he often uses humour to make people feel comfortable in his presence. As a supremely talented wizard, Dumbledore displays numerous examples of extraordinary powers. His abilities as a wizard are combined with a kind of cunning and subtlety of mind that allowed him to comprehend human nature and turn the better aspects of humanity (trust, love, and friendship) to Voldemort's disadvantage in particular. More than anything else, Dumbledore has a deep capacity for love, frequently reminding Harry that love was the greatest magic of all.

The greater part of Dunbar's work is occasional—personal and social satire, complaints, orisons and pieces of a humorous character. His best-known orison, usually remembered as Timor mortis conturbat me which is repeated as the fourth line of each verse, is titled Lament for the Makaris and takes the form of prayer in memory of the medieval Scots poets. The humorous works show Dunbar at his finest. The best specimen of this work, of which the outstanding characteristics are sheer whimsicality and topsy-turvy humour, is The Ballad of Kynd Kittok.

Shelley King, Yaël Rachel Schlick, Refiguring the Coquette: Essays on Culture and Coquetry (Associated University Press, 2008), p. 152 Timbury’s The story of Le Fevre, from the works of Mr. Sterne (1787) attempted to increase the drama of Laurence Sterne's work by putting it into verse, but has been judged to “contort Tristram’s spontaneous profession of whimsicality into pedestrian metre and verse”.Mary-Celine Newbould, Adaptations of Laurence Sterne's Fiction: Sterneana, 1760–1840 (Routledge, 2016), p. 87 Her book of verse, The History of Tobit, self-published in 1787, included a long list of subscribers, among whom were Samuel Arnold and Jeremy Bentham.

In 1760 Münchhausen retired to live as a Freiherr at his estates in Bodenwerder, where he remained until his death in 1797. It was there, especially at parties given for the area's aristocrats, that he developed a reputation as an imaginative after-dinner storyteller, creating witty and highly exaggerated accounts of his adventures in Russia. Over the ensuing thirty years, his storytelling abilities gained such renown that he frequently received visits from travelling nobles wanting to hear his tales. One guest described Münchhausen as telling his stories "cavalierly, indeed with military emphasis, yet without any concession to the whimsicality of the man of the world; describing his adventures as one would incidents which were in the natural course of events".

In May 1964 Walter Reade-Sterling released a 126-minute version of the film; according to Bosley Crowther, that version is a "simple social drama [that] turns out to be engrossingly human, compassionate and humorous....Marcello Mastroianni ... plays the title role with a delightful blend of ardor, ingenuousness and whimsicality. He excels as the shaggy-haired, near-sighted, idealistic intellectual who leads a handful of downtrodden workers ... in a revolt. But the whole thing is done with such veracity and the other roles are so strongly played or, at least, so graphically represented--that one feels right in the middle of one of those classic demonstrations in which the labor movement was born." In 1964 the National Board of Review placed the film on its "Year's Five Best Foreign Films".

Little known during his lifetime beyond a small circle of his devotees, Watteau "was mentioned but seldom in contemporary art criticism and then usually reprovingly". Sir Michael Levey once noted that Watteau "created, unwittingly, the concept of the individualistic artist loyal to himself, and himself alone". If his immediate followers, Lancret and Pater, would depict the unabashed frillery of aristocratic romantic pursuits, Watteau in a few masterpieces anticipates an art about art, the world of art as seen through the eyes of an artist. In contrast to the Rococo whimsicality and licentiousness cultivated by Boucher and Fragonard in the later part of Louis XV's reign, Watteau's theatrical panache is usually tinged with a note of sympathy, wistfulness, and sadness at the transience of love and other earthly delights.

The Morning Post printed the following review and synopsis: > Cryptoconchoidsyphonostomata, as Mr. Collette calls the whimsicality he has, > with the aid of Mr. R. H. Edgar, invented for the display of his own powers, > though it brings upon the stage four characters is in fact little more than > a monologue. A street genius named Plantagenet Smith, whose versatile > talents have not been enough to keep his head above water, has seen and > loved Polly Toddleposh, the lovely and romantic daughter of a successful > tradesman. His passion is returned, and he has ventured, strong in his > impudence, into the presence of the worthy cit to coax, bully, or cajole him > into a consent to his marriage. A prospect more uninviting than that of a > son-in-law of this species, dirty, dingy and wholly disreputable, cannot > easily be put before a father.

Campbell asked Russell for revisions to the story to emphasize the fantastic elements but still demanded that Russell work out the logical implications of his premises. This became a defining characteristic of the fiction published in Unknown; in Ashley's words, Campbell "brought the science fiction rationale to fantasy". The first issue also contained Horace L. Gold's "Trouble with Water", a comic fantasy about a modern New Yorker who offends a water gnome; in its whimsicality and naturalistic merging of a modern background with a classic fantasy trope, "Trouble with Water" was a better indication than Sinister Barrier of the direction Unknown would take. Campbell commented in a letter at the time that Sinister Barrier, "Trouble with Water", and Where Angels Fear ... by Manly Wade Wellman were the only stories in the first issue that accurately reflected his goals for the magazine.

In his senior year at university Huang has already won the first prize of the National Art Exhibition (全國美展) and a permanent exemption from prior screening for watercolor works. After graduation he has won the Medal of Chinese Literature and Arts (中國文藝獎章) from the 38th Chinese Writer's & Artist's Association 中國文藝協會 and the Golden Goblet Award from the Chinese Art Society for his work in watercolor. In recent years Huang has been inspired by the fluid and transforming nature of globalization to use the oriental philosophy familiar to him as his creative source. His paintings demonstrate a unique style rich in oriental charms. The ethereality, elegance, whimsicality, and capriciousness demonstrated in his solo exhibitions “Oriental Lyricism,” “Summit Images of Taiwan,” and “Eastern Wind” embody the sentiments of the Orient.

But is there in art any originality of genius without naïveté? Such criticism of Mendelssohn for his very ability – which could be characterised negatively as facility – was taken to further lengths by Richard Wagner. Mendelssohn's success, his popularity and his Jewish origins irked Wagner sufficiently to damn Mendelssohn with faint praise, three years after his death, in an anti-Jewish pamphlet Das Judenthum in der Musik: > [Mendelssohn] has shown us that a Jew may have the amplest store of specific > talents, may own the finest and most varied culture, the highest and > tenderest sense of honour – yet without all these pre-eminences helping him, > were it but one single time, to call forth in us that deep, that heart- > searching effect which we await from art [...] The washiness and the > whimsicality of our present musical style has been [...] pushed to its > utmost pitch by Mendelssohn's endeavour to speak out a vague, an almost > nugatory Content as interestingly and spiritedly as possible. The philosopher Friedrich Nietzsche expressed consistent admiration for Mendelssohn's music, in contrast to his general scorn for "Teutonic" Romanticism: > At any rate, the whole music of romanticism [e.g.