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15 Sentences With "cliquishness"

How to use cliquishness in a sentence? Find typical usage patterns (collocations)/phrases/context for "cliquishness" and check conjugation/comparative form for "cliquishness". Mastering all the usages of "cliquishness" from sentence examples published by news publications.

It also breeds a certain kind of cliquishness and backbiting.
On the other hand, a subcultural cliquishness creeps into the movie.
I loved that there wasn't a sense of cliquishness at Club Getaway.
It also represents, I think, an impatience with minority cliquishness and discontent.
Childish names signal cliquishness and the immunity to ridicule that comes with money and power.
It was a marked difference from the cliquishness and gamesmanship that sometimes sets the tone at gay bars.
By seeming to offer snippets from the everyday life of a privileged member of the art world clubhouse, it celebrates upward mobility while reveling in its cliquishness.
As in any caldron of attention seekers who live and work together in the same building, it's an atmosphere rife with cliquishness, jealousy, insecurity and the social hierarchy of high school, except everyone knows precisely how popular (or unpopular) you are.
Refusing to take a buttload of money from Wall Street would have done both—it would have elevated the political centrism that Obama has come to symbolize and made the case that politicians are listening to the people, not continuing the same crony cliquishness that got us into this political/economic/social/cultural mess in the first place.
Groups are identified as 'cliques' if every individual is directly tied to every other individual, 'social circles' if there is less stringency of direct contact, which is imprecise, or as structurally cohesive blocks if precision is wanted. Clustering coefficient: A measure of the likelihood that two associates of a node are associates. A higher clustering coefficient indicates a greater 'cliquishness'. Cohesion: The degree to which actors are connected directly to each other by cohesive bonds.
Recent studies have tried to examine the deeper connection between socioeconomic factors and phenomena and the scale free property. They found that business networks have scale-free property, and that the merger among companies decreases the average separation between firms and increase cliquishness. In another research, scientists found that payment flows in an online payment system exhibits free- scale property, high clustering coefficient and small world phenomenon, and that after 9/11 attacks the connectivity of the network reduced and average path length increased. These results were found to be useful in order to understand how to overcome a possible contagion of similar disturbances in payment networks.
He is a bassist/trombonist for Jazz Mafia affiliate Shotgun Wedding Quintet which he co-leads with the other 4 members of the quintet, he is the conductor and chief arranger of the 50 piece Jazz Mafia Symphony and leads his own classical/crossover string quartet. He also schedules rehearsals, hustles gigs, and does publicity. One of Theis’ goals was to create a group that centers on the concept of community. Theis knows market for finding gigs is tough, but wants to disband some of the cliquishness of the jazz scene. In 2008, Theis was awarded the prestigious Gerbode-Hewlett Foundation “Emerging Composers” Grant.
Eulenburg in his turn saw the Bayreuth festival as the "cultural founding" of the empire that had failed to take place in 1871, and Eulenburg believed in time that the Bayreuth festival would become the "cultural center" of the "Germanic race". The Wagnerite Eulenburg saw the Bayreuth festival as a way of promoting not only Wagner's music, but also his anti-Semitic politics to the German public. A vivid display of Eulenburg's anti-Semitism occurred in October 1895 when he reluctantly attended a Jewish charity concert in Vienna. In a dispatch back to the Kaiser, Eulenburg complained that he was the "sole Aryan" in the entire concert hall and stated his ears were pained to hear of "the indescribable mishmash of German spoken with Austrian, Bohemian and Hungarian accents with international cliquishness".
Brown's first book, co-authored with Carol Gilligan, was Meeting at the Crossroads: Women's psychology and girls' development (1992), which focused attention on a previously little-studied stage of female development, the transition from girlhood to adolescence, and introduced the "Listener's Guide" as a research tool. The book was named one of the New York Times Notable Books of the Year. For her 2003 book, Girlfighting: Betrayal and rejection among girls, Brown interviewed more than 400 girls in grades 1 through 12 to explore the hypothesis that gossiping, backstabbing, and cliquishness stem from pressure to live up to society's idea of the perfect female. She co-authored, with Sharon Lamb, a pair of books on the sexualization of teens in the media and marketing, Packaging Girlhood: Rescuing our daughters from marketers' schemes (2006) and Packaging Boyhood: Saving our sons from superheroes, slackers, and other media stereotypes (2009); her partner, Mark Tappan, was a co-author on the latter book.
Baum would later organize two exhibitions for the Museum of Contemporary Art Chicago. The first of these, Don Baum Says Chicago Needs Famous Artists, included works by Wetzel. The second show, Made in Chicago, did not. Made in Chicago traveled on to the São Paulo Bienal in Brazil and also to the Smithsonian Museum in Washington. James Yood offered a concise definition of the Imagist aesthetic: > … funky and irreverent subject matter (often with sexual and/or violent > overtones, with imaginative fantasies dealing with the figure under extreme > physical or psychological stress), a predilection for narrative themes drawn > from vernacular sources, a decided openness to influences from self-taught > artists and from sources outside the mainstream of Western art history, a > taste for garish and obsessively busy small-scale compositions driven by a > concern for symmetry and a linear approach to the figure, surrealistic > whimsy and ironic and caustic humor undercutting the “serious” status of the > art object, high-keyed color, scrupulous and fastidious craftspersonship > [sic] tending toward the suppression of evidence of the experiential residue > of the artist's hand, and iconic independence and idiosyncratic mannerism of > the most manic sort. Franz Schultze in ARTNews 1971 described a cliquishness in the various groups.

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