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21 Sentences With "set in opposition"

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

And they just happen to be constituencies that he's worked hard to set in opposition against each other.
The constant surveillance has a profound effect on Thomasin, and increasingly she and her family are set in opposition to one another.
The format, oversized and egotistical by nature, is a showy delivery system no matter how you look at it, a loud scream set in opposition to a gallery world where everyone converses in careful whispers.
It is a rhetorical tactic that is, in fact, most at home on the left, where personal stories of grievance and oppression are typically set in opposition to the status quo in the wider society.
Surely that would be the meaning of the dramatic move last March in which Britain left America behind on only 24 hours notice to join China's new Asian Infrastructure Investment Bank, dead set in opposition to American leadership's wishes.
Jander 1998, pp. 380–81 The phrase "bel canto" was not commonly used until the latter part of the 19th century, when it was set in opposition to the development of a weightier, more powerful style of speech-inflected singing associated with German opera and, above all, Richard Wagner's revolutionary music dramas.
In 1886 the painting was exhibited at the Grosvenor Gallery in London. The flowers strewn around Aurora and the pale glow of her naked body are set in opposition to the shadowy drapery of Night. Aurora's frontal, open pose reverses the anonymity of Night, who is turned away from the viewer. The painting currently belongs to the Russell-Cotes Museum in Bournemouth.
"Strange fits" is probably the earliest of the poems and revolves around a fantasy of Lucy's death. It describes the narrator's journey to Lucy's cottage and his thoughts along the way. Throughout, the motion of the moon is set in opposition to the motion of the speaker. The poem contains seven stanzas, a relatively elaborate structure which underscores his ambivalent attitude towards Lucy's imagined death.
Aurora Triumphans () is a painting by Evelyn De Morgan, featuring the Roman goddess of dawn Aurora, that breaks the shackles of night. Aurora lies naked in the lower right corner, covered with carefully draped ropes of pink roses. Taking up two-thirds of the painting, there are three red-winged angels with trumpets and gold tunics. Set in opposition to Aurora, in the lower left corner is a dark-robed Night, who swirls away a black cloak.
Sections I–IV (stanzas 1–20) The narrator, distraught at the loss of his Pearl, falls asleep in an "erber grene" – a green garden – and begins to dream. In his dream he is transported to an other-worldly garden; the divine is thus set in opposition to the terrestrial, a persistent thematic concern within the poem. Wandering by the side of a beautiful stream, he becomes convinced paradise is on the other shore. As he looks for a crossing, he sees a young maid whom he identifies as his Pearl.
The boy is tugging his forelock to a passing member of the gentry on horseback (visible as a shadow). The rustic aspects of the composition draw on the established tradition of the picturesque, epitomised by the work of artists such as John Constable and William Collins. The satirical and critical aspects of Hogarth's style work in tandem with Brown's Pre-Raphaelitism, with its intense concentration on the complication of the pictorial surface in conflicting details. This image of potentially violent and jarring confrontation is set in opposition to the social harmony and deference epitomised by the picturesque tradition.
In 2003, Obadina and the gallery were prominently featured as major subjects in Flag Wars, a critically acclaimed, but controversial documentary around the subject of gentrification. The film detailed cultural conflicts between longtime black residents of Columbus' Olde Towne East neighborhood, and younger, wealthier gay white new residents moving into the area. The title of the film is a reference to the gay pride flags displayed by the new residents, as set in opposition to the hand-carved wooden sign hung over the gallery's door. The documentary was nominated for an Emmy Award, and won a Peabody Award.
As the planter class came back to prominence, the rural and urban middle class lost power, and the poor rural tenant farmers were set in opposition based both on race, and the inherent superiority of the wealthy landowner (Nicholls 1964:25). It was in this social climate that the Jim Crow laws began to appear, amidst the Populist challenges of the tenant farmers of both races; thus, the laws may be seen as a tactic to drive a wedge between the members of the lowest social class, by using obvious physical traits to define the opposing sides (Roscigno & Tomaskovic-Devey 1996:568).
The emergence of queer theory in the 1990s built upon certain principles of lesbian feminism, including the critique of compulsory heterosexuality, the understanding of gender as defined in part by heterosexuality, and the understanding of sexuality as institutional instead of personal. Despite this, queer theory is largely set in opposition to traditional lesbian feminism. Whereas lesbian feminism is traditionally critical of BDSM, butch/femme identities and relationships, transgender and transsexual people, pornography, and prostitution, queer theory tends to embrace them. Queer theorists embrace gender fluidity and subsequently have critiqued lesbian feminism as having an essentialist understanding of gender that runs counter to their stated aims.
" Levine also commended Minaj's personality stating "it's the 32-year-old's fiery attitude that really impresses." Levine criticized an "unnecessary audience participation segment", but greatly praised the final segment of the show comparing the atmosphere to a "New York basement sweatbox." Alice Vincent from The Daily Telegraph gave a differing review of the same show in London stating that "this [the show] was a 90-minute struggle of a set." In opposition to Levine, Vincent favored the beginning of the spectacle rather than the end stating "Her Minajesty was imperious for the first six songs, viciously spitting the quickfire rhymes of 'Only', purring through the languorous reflection of 'I Lied'.
A brief clarification of these terms in relation to digital theatre is in order. The significance of the terms “live” or “liveness” as they occur in theatre can not be over-emphasized, as it is set in opposition to digital in order to indicate the presence of both types of communication, human and computer-created. Rather than considering the real-time or temporality of events, digital theatre concerns the interactions of people (audience and actors) sharing the same physical space (in at least one location, if multiple audiences exist). In the case of mass broadcast, it is essential that this sharing of public space occurs at the site of the primary artistic event.
Gothic Revival architecture became increasingly significant during the period, leading to the Battle of the Styles between Gothic and Classical ideals. Charles Barry's architecture for the new Palace of Westminster, which had been badly damaged in an 1834 fire, was built in the medieval style of Westminster Hall, the surviving part of the building. It constructed a narrative of cultural continuity, set in opposition to the violent disjunctions of Revolutionary France, a comparison common to the period, as expressed in Thomas Carlyle's The French Revolution: A History and Charles Dickens' Great Expectations and A Tale of Two Cities. Gothic was also supported by critic John Ruskin, who argued that it epitomised communal and inclusive social values, as opposed to Classicism, which he considered to epitomise mechanical standardisation.
In his mock-judicious, mock-pompous setting of genteel debate ("...May, merely may, madame,..."), Stevens has fun with the idea of an objective moral order possessed of religious authority, the word "nave" suggesting "knave" as in "knaves will continue to proselyte fools"; the resulting heaven is "haunted". Just as a classical peristyle might be set in opposition to a Gothic nave, a pagan moral perspective might, "palm for palm", replace Palm-Sunday palms/psalms by squiggling-saxophone palms. The alternative to the haunted heaven is still simply a "projection", though of an allegorical masque rather than an architecture. The bawdy adherents of such an "opposing law" would not exhibit Christianity's ascetic virtues but instead—"equally"—with a "tink and tank and tunk-a-tunk-tunk", might just produce a jovial hullabaloo comparing favorably with history's construction of "haunted heaven".
Lacan distinguishes between the Symbolic, the Imaginary and the Real father: "It is in the name of the father that we must recognise the support of the symbolic function which, from the dawn of history, has identified his person with the figure of the law" – as distinct from "the narcissistic relations, or even from the real relations, which the subject sustains with the image and action of the person who embodies it".Lacan, Ecrits p. 67 This paternal function imposes the law and regulates desire in the Oedipus complex, intervening in the imaginary dual relationship between mother and child to introduce a necessary symbolic distance between them. 'The true function of the Father is fundamentally to unite (and not to set in opposition) a desire and the Law', and the Symbolic Father is thus not an actual subject but a position in the Symbolic Order.
He skillfully played the press, telling them not to dwell on his royal title, as he "looks upon kingdoms and principalities as of frivolous import, when set in opposition to the honourable and estimable title of American citizen".Macintyre, pg. 258 His glory quickly faded after the publication of A Memoir of India and Afghanistan − With observations upon the present critical state and future prospects of those Countries, published in Philadelphia. Harlan had been working on a longer book called The British Empire in India, but the news of the almost total annihilation of the British force retreating from Kabul in the Hindu Kush in January 1842 attracted much media attention in the United States, causing Harlan to try to cash in with his hastily written and published A Memoir of India and Afghanistan.Isani, Mukhtar Ali "Melville and the "Bloody Battle in Afghanistan"" pages 645-649 from American Quarterly, Volume 20, No. 3 Autumn, 968 pages 647-648.
Bucholtz positions the "Nerd" as a separate and distinct community of practice set in opposition to the Burnouts, Jocks and In-betweens: Nerds purposely reject the Burnouts', Jocks', and In-betweens' pursuit of "coolness" and instead prioritize knowledge and individuality. Bucholtz uses the concepts of positive identity practices (linguistic and social behaviors that confirm and reflect an intragroup identity) and negative identity practices (linguistic and social behaviors that distance individuals from other groups) to show how Nerds construct their community of practice. Her research suggests that the Nerd identity is "hyperwhite", characterized linguistically by more infrequent use of Valley girl speech and slang than other social categories; by a preference for Greco- Latinate over Germanic words; by the use of the discourse practice of punning; and by adherence to conventions of "super-standard English," or excessively formal English. Additionally, Bucholtz found that the speech of Nerds often included consonant-cluster simplification, phonological reduction of unstressed vowels, careful and precise enunciation, and reading style speech (wherein Nerds pronounce words more closely to how they're spelled).

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