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Related to unemphatic: enthralled
See: insipid
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Margaret Dalziel writes that The Rainbirds gives a 'splendid account of our own particular unemphatic yet all-pervasive brand of materialism' (8) and the reviewer in the Times Literary Supplement says that the 'exposure of small town New Zealand life is quite savage'.
Experiments made with a "ROUSSELOT voice-key," as outlined by Scripture, indicated that in recitations of trochaic verse "the emphatic syllable [was] usually longer than the unemphatic one" (p.
He makes Vittorio as unemphatic as he is implacable, a quiet monster who has forged his own reasonable nature into a terrible, two-edged sword.
The colours, like delicately tinted porcelain, of the gods, figurines rather than figures, accord with the unemphatic grace of the composition.
This is said to be so consistent that it might be more accurate to say that all pronouns have two forms in the accusative: one for emphasis, coinciding with the nominative, and a separate one developed from historical oblique forms, now serving in unemphatic constructions.
23) Toward this end, he sees in a kitchen scene in Vittorio De Sica's Umberto D (1952, Italy) and, better still, in Vermeer's "Woman Pouring Milk" (1658-60) occasions in art where the world is allowed to impart itself through the precise, unemphatic composition of everyday objects, set within everyday situations.
2, had also been characterised by an essentially civilised and in the first movement at least, unemphatic reading.
When the negative reaction that Arberry seemed to feel impending actually arrived, it took an unexpected, and dual, form--on the one hand diffuse and unemphatic, on the other acute, hysterical, and nasty.
It's a fine display of controlled, unemphatic and honest presentation by all.
They shunned the Impressionists' hazy unemphatic diffusion of colour.
Directed by the oft-offbeat Robert Altman, whose movies range from ``M*A*S*H'' and ``Nashville'' to ``Short Cuts'' and ``Gosford Park,'' the film eschews the usual ``Turning Point'' histrionics and ``Red Shoes'' fantasizing for an unemphatic, observational study of what makes dancers and one of their organizations tick.
From the engraving of 1508, the goddesses in the paintings at Cologne (1512-14) and Seattle (1516-18) become progressively slimmer, until in the series of 1527-37 they take on the slender, adolescent form typical of Cranach's later female nudes, gymnastic but unemphatic in contour.