portentous

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24) While Curnow would probably reply that yes, that means it is more truly postmodern in that it does not look back nostalgically to the myths of depth and the self but deals with a postmodern culture of simulacra in its own terms, the book does raise the question as to whether its intellectual portentousness is undercut by its literary pretentiousness, whether its moral fable message and its postmodern narrative medium are at odds with each other.
Herrmann's score charges the entire sequence with grandiloquent portentousness.
Busch wants to contemplate identity and mortality, but Dust to Dust is weighed with portentousness.
The argument set out in this opening poem may involve negotiating weak links, but critically the syntax resists the easy recourse to the paratactical that curses much contemporary avant-garde verse with portentousness.
It is amazing that someone whose early sensibility was so rooted in sentimentality and symbolist portentousness eventually worked his way to this.
It is possible, using the clue that the order of texts gives us, to reconcile the portentousness of the V&D with Gosse's call for "chaste moderation" in the estimate of FitzGerald's achievement.
Two-in-the-bar tempi gave the two opening movements the character of marches militaires, the scherzo's Trio sang gloriously, and the finale had an unstoppable momentum, stripping away the portentousness accrued over 150 years.
It's the plodding portentousness of the piece, the huge reliance on repetition of sound (Mark Anthony Thompson is the composer) and image that neither entertains nor enlightens.
As Stephen Vizinczey writes in Truth and Lies in Literature, with plain speaking breaking down the wall of portentousness that has protected the story, "This is what later became known as the Nuremberg defense.
33) What Bloom adds to this formulation, in addition to a certain portentousness, is the Gnostic disdain for creation in favor of personal re-creation on the part of the divine self:
Moreover, whereas with Yeats, Eliot, or Larkin one finds oneself repeating lines never consciously memorized, here there is no, in the strictest sense, memorable language: Bowers, at least one remove from ordinary speech, the "real language of men," seems rather to strive for portentousness, as in "Late Winter Night," where he adopts a quasi-Yeatsian, even quasi-Shakespearean, heroic strain.
Democracy', the opening sentence proclaims with Orwellian portentousness, 'may turn out to have been an historical accident, a brief parenthesis which is being closed before our very eyes'.