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13] By refusing one conventional, if not hegemonic, novel format--linear temporality culminating or climaxing in revelation or epiphany--and by linking her episodic narrative format to the repetitiousness of the bar experience, DeLynn can be understood as having written a lesbian counterpart of the gay male cruising narrative that Ross Chambers identifies as an example of "loiterature"--literature (including critical literature) of a wayward and digressive orientation--under which rubric he groups such diverse authors as Marcus Aurelius, Jacques Diderot, Paul Auster, and Meaghan Morris.
Francesco Vettori felt the need to enhance his narrative of the bare facts and their unexciting repetitiousness, otherwise "in questi miei scritti non sia altro che giunsi, venni, arrivai, parti', cavalcai, cenai, udi', risposi e simil cose le quali, replicate spesso, a il lettore danno fastidio" (Scritti storici e politici, cit.
It is interesting that people who had endured the wild creations of Zorn and the repetitiousness of Reich should decide to leave through the middle of the hall, demonstratively and noisily, during a nostalgic old Prague song.
As it is, there is a certain repetitiousness which makes the show a little wearing.
Plus, the daunting task of adapting John Corigliano's Pied Piper Fantasy: Concerto for Flute and Orchestra to his narrative led inevitably to anticlimactic repetitiousness.
In such cases the source mocks its audience, perhaps assuming that the latter does not immediately grasp the repetitiousness of the message.
In the fourth and fifth stanzas, "Joy" is described with a striking repetitiousness.
In the majority of cases this is correct, even if wearisome in its obviousness and repetitiousness.
These include the jobs' dangers, their unpleasantness (dirtiness, repetitiousness, and so forth), and perhaps even the esteem in which they are held.
The King James Version I have at hand might read more smoothly than the Buber translation, yet misses the point in its attempt to evade the repetitiousness of the original by inventing equivalents where the Hebrew constructs phrases out of identical word roots, or by compressing the original.
Their movements have the stark simplicity of minimalism, but not its impersonal and mechanical repetitiousness.
Or the repetitiousness can be a long dialogue turning around on itself with the initial point stated and restated ad infinitum, such as Daisy's twenty-nine line chastisement of Yemoja right at the play's onset.