88 Sentences With "uninflected" | Random Sentence Generator

And it is mostly uninflected, allowing for verbs and nouns to switch places.

Because what is love, if not listening, as uninflected — as uncontained — as possible.

And his narrative voice is terse and uninflected: crisp, clean, and unfussy, without ornamentation.

Executed in an uninflected D.I.Y. documentary style, "Generation" is alternately funny, poignant and sad.

This is fiction in touch with the starker parables, with Kafka and Beckett, with the austerity of bare rooms and declarative, uninflected sentences.

Is it because his monochromes do not have uninflected surfaces, like those we see in the work of Ad Reinhardt and Ellsworth Kelly?

Both works are completely pared down, uninflected and unfeeling at first glance, but then revealed to be full of sentiment, deeply human, and poignant.

Rhys Meyers can be an adept screen presence, but the flat, uninflected American accent he uses here turns every line into a line reading.

And while genres imply categorization, poetry's departure from structured form allows a phrase like "the dead" to double as "the dead" and the (uninflected) dead.

She is peripheral to his daily routine and crowded living arrangement, which Mr. McKay captures in vivid but uninflected detail, though critical to his reasoning.

It's an emblematic turn for Mr. Stanton, who didn't so much steal scenes as inhabit them, employing an uninflected naturalism that could make other actors seem forced.

In the first of several intelligently uninflected leaps in time or geography, the director, Sudabeh Mortezai, jumps from this scene in Nigeria to a title card and then to Austria.

Whereas the rest of the book is written in dry, largely uninflected prose, the epilogue — which almost reads like a Republican attack ad — devolves into a condescending diatribe unworthy of a serious historian.

It's a version of the "uninflected continuity" that Ms. Rainer introduced in her seminal 1965 work "Trio A," connecting many disparate actions with the same weight and emphasis, the same even level of energy.

Her approach can be read as a refutation of the mechanical side of the Minimalism (the use of masking tape , hard edges, and the cool, uninflected application of paint to signal the removal of the hand).

Dressed in rough garments (by Sydney Gallas) that evoke the early days of the Western frontier, the cast speaks in largely uninflected American accents (though Ms. Kerr is identified as Jamaican Scottish in her program biography).

Listen to David Foster Wallace read some of his stories from "Brief Interviews With Hideous Men," and compare his plain, uninflected flow with the histrionics of actors on the same audiobook, who turn his voice into an advertisement for themselves, not for the stories.

"The artist has a practiced and learned skill in rendering the arm and hands, showing depth and movement, while the depiction of the face is consistently flat and uninflected with any sense of depth, except for the slight curl to indicate the nostril," the paper reads.

In linguistic morphology, an uninflected word is a word that has no morphological markers (inflection) such as affixes, ablate, consonant gradation, etc., indicating declension or conjugation. If a word has an uninflected form, this is usually the form used as the lemma for the word.Glasgow.com In English and many other languages, uninflected words include prepositions, interjections, and conjunctions, often called invariable words.

These cannot be inflected under any circumstances (unless they are used as different parts of speech, as in "ifs and buts"). Only words that cannot be inflected at all are called "invariable". In the strict sense of the term "uninflected", only invariable words are uninflected, but in broader linguistic usage, these terms are extended to be inflectable words that appear in their basic form. For example, English nouns are said to be uninflected in the singular, while they show inflection in the plural (represented by the affix -s/-es).

Etruscan was inflected, varying the endings of nouns, pronouns and verbs. It also had adjectives, adverbs, and conjunctions, which were uninflected.

Baker, F., and Wigram, T., Finding climax and cadence in the uninflected voice. Music Therapy Perspectives, Vol. 22 No. 1, 2004, pp4-10.

The term "uninflected" can also refer to uninflectability with respect to one or more, but not all, morphological features; for example, one can say that Japanese verbs are uninflected for person and number, but they do inflect for tense, politeness, and several moods and aspects. In the strict sense, among English nouns only mass nouns (such as sand, information, or equipment) are truly uninflected, since they have only one form that does not change; count nouns are always inflected for number, even if the singular inflection is shown by an "invisible" affix (the null morpheme). In the same way, English verbs are inflected for person and tense even if the morphology showing those categories is realized as null morphemes. In contrast, other analytic languages like Mandarin Chinese have true uninflected nouns and verbs, where the notions of number and tense are completely absent.

In Italian, possessive determiners behave in almost every respect like adjectives. Some Germanic languages, such as English and Dutch, use different pronouns depending on the owner. English has the (uninflected) words his and her; Dutch uses the (uninflected) zijn and haar. Other Germanic languages, such as German and several Dutch dialects including Limburgish and Brabantian, also use different forms depending on the grammatical gender of the object owned.

Russian Language Institute, question 210775 A basic radical element plus a null morpheme is not the same as an uninflected word, though usage may make those equal in practice.

The end of Early Middle Japanese sees the beginning of a shift where the attributive form (Japanese rentaikei) slowly replaces the uninflected form (shūshikei) for those verb classes where the two were distinct.

Markers are also attached to fixed stems of verbs, to denote person, number, tense, voice, mood, and aspect, a process called conjugation. Some words are uninflected and undergo neither process, such as adverbs, prepositions, and interjections.

The inflectional suffixes fall into categories creating morphological classes; mainly, verbs, animates, substantives, and four minor classes, adverbial indefinites, locatives, directionals and directional preverbs. There are also uninflected words, which include proper names, interjections and syntactic particles.

Those that have a plural make it by preposing the pluralizer id, for example id lagar "stations". The uninflected noun mddn or middn "people, humans" is morphologically masculine singular but takes masculine plural agreement. Names of people and foreign place-names can be seen as a subtype of uninflected nouns, for example Musa (man's name), Muna (woman's name), Fas "Fès", Brdqqiz "Portugal". Gender is not transparently marked on these names, but those referring to humans take gender agreement according to the natural sex of the referent (male/masculine, female/feminine).

German adjectives come before the noun, as in English, and (usually) are not capitalized. However, as in French and other Indo-European languages (but not English), they are generally inflected when they come before a noun: they take an ending that depends on the gender and case of the noun phrase. Note that when using an uninflected indefinite article, or when no article is used, the adjective takes the ending letter of the definite article of the noun. : Uninflected adjective following a noun: : Der Mann ist gut, das Kind ist gut, die Frau ist gut und die Menschen sind gut.

Quantifiers are uninflected forms which always occur in noun phrases following nouns, locative/alienable genitive pronouns, and attributive stative nouns, but before determiners, locative/alienable genitive prepositional phrases, relative clauses and demonstratives. The Mbula counting system is based upon the notions of five and twenty.

Udayaravichandrika and Suddha Dhanyasi are closely related, so much that many performers treat the two as interchangeable. Some contemporary practitioners consider Shuddha Dhanyasi as more inflected (i.e., using more gamakas), and Udayaravichandrika to be more in the Hindustani tradition with almost bare (i.e., uninflected) notes.

Thomas Struth, Ferdinand-von-Schill-Strasse, Dessau (1991) Tate Collection. Strong contrasts of light and shade are also avoided, Struth preferring the greyish, uninflected light of early morning. This serves to enhance the neutral treatment of the scenes.Thomas Struth, Shinju-ku (TDK), Tokyo (1986) Tate Collection.

Inuktitut-English Pidgin was an Inuit pidgin used as a contact language in Quebec, Labrador, and neighboring areas of the eastern Arctic. It consisted of uninflected Inuktitut word stems arranged in an English SVO order. Thus for Inuit takuvagit "I see you" was pidgin uvanga taku ivvit.

This is the least common type, which also includes some loans. Examples: ::dikkuk "cuckoo" ::fad "thirst" ::gmz "thumb" ::kḍran "tar" (from Arabic) ::lagar "station" (from French) ::laẓ "hunger" ::maṭiša "tomatoes" (from Spanish?) ::mllɣ "index finger" ::sksu "couscous" ::wazdwit "light afternoon meal" ::wiẓugn "cricket" ::xizzu "carrots" It is probable that all uninflected nouns were originally masculine. The few that now take feminine agreement contain elements that have been reanalyzed as marking feminine gender, for example ttždmnni "type of spider" (initial t seen as feminine prefix), hlima "bat" (not an Arabic loan- word, but final a analyzed as the Arabic feminine ending). Many uninflected nouns are collectives or non-count nouns which do not have a separate plural form.

But it isn't violent in the way it presents those deaths. There is no pumped-up style, no lingering, no release, no climax. Just implacable, poker-faced, flat, uninflected death. Truffaut said it was hard to make an anti-war film because war was exciting even if you were against it.

These forms are a set of optionally inflected verbs which occur in serialisations functioning as case markers. As they may potentially contain inflection for third person singular in these serialisations they depart from the typical uninflected preposition. However, they retain the prepositional function of relating a dependent noun phrase to a verbal head.

There are definite articlesDavid V. Kaufman. 2014. The Lower Mississippi Valley as a Language Area. (Doctoral dissertation, University of Kansas; 299pp.) in Chitmacha. Nouns are mostly uninflected, there are only approximately 30 nouns (mostly kinship or referring to persons) which distinguish a singular or plural form through a plural suffix or other formations.

Like participles and some nouns, adjectives form their feminine by the suffixation of a. For example, جيعان jīɛān > جيعانة jīɛāna “hungry”, سخون sxūn > سخونة sxūna “hot”. In some cases, when the adjective ends with an i vowel, the i becomes a y. E.g. باهي bāhi > باهية bāhya Some uninflected adjectives are in the feminine.

In linguistics, modal particles are always uninflected words, and are a type of grammatical particle. They are used to indicate how the speaker thinks that the content of the sentence relates to the participants' common knowledgeFabian Bross (2012): German modal particles and the common ground. In: Helikon. A Multidisciplinary Online Journal, 2. 182-209.

Nouns are uninflected and have no gender; there are no articles. Nouns are neither singular nor plural. Some specific nouns are reduplicated to form collectives: ละอ่อน (', , child) is often repeated as ละอ่อนๆ (', ,) to refer to a group of children. The word หมู่(', ) may be used as a prefix of a noun or pronoun as a collective to pluralize or emphasise the following word.

Possession is marked on the possessed noun, the head of the NP. Otherwise, nouns are uninflected, number being an optional category and grammatical gender being absent from the languages. Numerals quantifying nouns bear classificatory prefixes, something that is unusual cross-linguistically as affixal classifiers tend heavily to be suffixes . Totonacan languages are also known for their use of sound symbolism.

All of the people and places mentioned in the Fasti Triumphales occur in the ablative case: de Samnitibus means, roughly, "(he triumphed) over the Samnites"; pro cos. ex Hispania means "proconsul of (literally out of or from) Spain". In this list, the first form is the one appearing in the fasti, and the second is the nominative, or uninflected form. The suffix -que, usually abbreviated -q.

A work for solo piano that lasted around six hours, it demonstrated many features that would come to be associated with minimalism, such as diatonic tonality, phrase repetition, additive process, and duration. La Monte Young credits this piece as the inspiration for his own magnum opus, The Well-Tuned Piano.Gann 2010, 481. In 1960, Terry Riley wrote a string quartet in pure, uninflected C major.

In the process of grammaticalization, an uninflected lexical word (or content word) is transformed into a grammar word (or function word). The process by which the word leaves its word class and enters another is not sudden, but occurs by a gradual series of individual shifts. The overlapping stages of grammaticalization form a chain, generally called a cline. These shifts generally follow similar patterns in different languages.

The Huichol language, Wixarika, is a Uto- Aztecan language (Corachol branch) related to Cora. Huichol words conform to four patterns according to their inflection: type I words, principally verbs, are inflected for person and mode, and type II words, principally nouns, are capable of being inflected for number and possession. Type III words include quantifiers and are inflected for case and optionally for gender and person. Type IV words are uninflected.

In the German language, a modal particle ( or ) is an uninflected word used mainly in spontaneous spoken language in colloquial registers. It has a dual function: reflecting the mood or attitude of the speaker or narrator, and highlighting the sentence focus. A modal particle's effect is often vague and dependent on the overall context. Speakers sometimes combine several particles, as in doch mal, ja nun, or ja doch nun mal.

'toast bread'). This construction exists in English, generally with the verb and noun both in uninflected form: examples are spoilsport, killjoy, breakfast, cutthroat, pickpocket, dreadnought, and know-nothing. Also common in English is another type of verb–noun (or noun–verb) compound, in which an argument of the verb is incorporated into the verb, which is then usually turned into a gerund, such as breastfeeding, finger-pointing, etc. The noun is often an instrumental complement.

Uninflected native stem syllables are overwhelmingly monosyllabic. With few exceptions, these monosyllabic stems typically consist of an onset, a vowel (nucleus), and a coda. Their structure is as follows: C (Cj/w) V (V) (V) C The monosyllabic stems give rise to polysyllabic words through processes of derivation or inflection. For verbs and nouns alike, the most common prefixes are /a- ʊ-/, and the most common suffixes are /-Cɪ -ɪ -a (-ɔ)/.

Based on Suttles' (2004) recordings of several speakers of the Downriver (Musqueam) dialect, stress in Halkomelem consists of an increase in intensity and an accompanying rise in pitch. The three levels of stress are primary (marked /׳/), secondary (marked /`/), and weak (unmarked). There is one vowel with primary stress in every full word, however, its occurrence is not completely predictable. In uninflected words with more than one vowel, the primary stress usually falls on the first vowel (e.g.

These two posts he held until his death. A few years before his death, he also took the position of secretary to the College of Preceptors in London (later known as the College of Teachers). Key is best known for his introduction of the crude-form (the uninflected form or stem of words) system, in general use among Sanskrit grammarians, into the teaching of the classical languages. This system was embodied in his Latin Grammar (1846).

Futhorc manuscripts give different names to the t-rune. Sangallensis 270 (9th century) and Vindobonensis 795 (9th century) call the rune "Ti", while Cotton MS Domitian A IX (10th century?) calls it "Tir", and the Byrhtferth's Manuscript (12th century) calls it "Tyr". Ti may be an uninflected form of the possessive "Tiwes" as found in "Tiwesdæg", which would make it the name of an English god. Similar spellings of this god's name (such as Tii) are attested to in Old English.

Uninflected words include proper nouns, interjections and syntactic particles. The basic morphological unit is the stem, which can be either common or unanalyzable. Common stems have a root with the canonical shape CV’(:). The difference between common stems and unanalyzable stems is that commons stems can include an additional single position class of instrumental prefixes with the shape CV(·)-, and/or a member of one or both of two position classes of manner suffixes, with the shape -C, -CC, or .

There is no overt preterite in Unserdeutsch,Maitz and Volker 2017, pp.377. but a generalized past tense can be indicated through the use of the uninflected verb hat (“have”) alongside a highly regularized German participle form, which is constructed by the addition of the prefix ge- to the infinitive. Even verbs borrowed from English or Tok Pisin are prefixed in this way. Thus: ::Wi hat geheiraten, orait, wi hat gegeht… ::We got married, all right, (then) we went away…Maitz et al 2019, pp.12.

The other artists there included Leslie Cole, Mary Kessell, Sergeant Eric Taylor (one of the camp's liberators), Edgar Ainsworth, and Mervyn Peake. Her painting Human Laundry shows German orderlies washing camp inmates before they go to hospital. Thomas Sutcliffe, columnist for The Independent described the painting as "flatly representational", "as uninflected as a travel poster", showing "brutalisers obliged to become carers, victims turned to patients". By the time Zinkeisen had become a war artist her palette had already darkened from the colours of her society paintings.

The comparative and superlative forms are formed by inserting -r- and -st- or -ar- and -ast- between the uninflected form of the adjective and a strong or weak ending. In the strong adjectives, the definite and superlative are strong when indefinite, weak when definite. The comparatives are weak when both definite and indefinite, and are declined like the active participle. Some strong adjectives i-umlaut their root vowel in their comparatives and superlatives, so that stórt hús (a large house) becomes stœrst (a house most large).

Categories may be marked on words by means of inflection. In English, for example, the number of a noun is usually marked by leaving the noun uninflected if it is singular, and by adding the suffix -s if it is plural (although some nouns have irregular plural forms). On other occasions, a category may not be marked overtly on the item to which it pertains, being manifested only through other grammatical features of the sentence, often by way of grammatical agreement. For example: > The bird can sing.

If the language also has cases, the citation form is often the masculine singular nominative. For many languages, the citation form of a verb is the infinitive: French ', German ', Spanish '. For English, that usually coincides with the uninflected, least marked form of the verb (that is, "run", not "runs" or "running"), but the present tense is used for some defective verbs (shall, can, and must have only the one form). For Latin, Ancient Greek, and Modern Greek, however, the first person singular present tense is traditionally used, but some modern dictionaries use the infinitive instead.

Old Norse kennings take the form of a genitive phrase (báru fákr "wave's horse" = "ship" (Þorbjörn Hornklofi: Glymdrápa 3)) or a compound word (gjálfr-marr "sea-steed" = "ship" (Anon.: Hervararkviða 27)). The simplest kennings consist of a base-word (Icelandic stofnorð, German Grundwort) and a determinant (Icelandic kenniorð, German Bestimmung) which qualifies, or modifies, the meaning of the base-word. The determinant may be a noun used uninflected as the first element in a compound word, with the base- word constituting the second element of the compound word.

Sentences in analytic languages are composed of independent root morphemes. Grammatical relations between words are expressed by separate words where they might otherwise be expressed by affixes, which are present to a minimal degree in such languages. There is little to no morphological change in words: they tend to be uninflected. Grammatical categories are indicated by word order (for example, inversion of verb and subject for interrogative sentences) or by bringing in additional words (for example, a word for "some" or "many" instead of a plural inflection like English -s).

Two-handed signs are signs which are necessarily performed with both hands. Their formation is in accordance with certain phonotactic limitations, such as the rule of symmetry (when both hands move at the same time, they have the same handshape) and the rule of dominance (if the two hands have different handshapes, only the dominant hand is moved while the non-dominant hand remains passive). Uninflected lexical signs in German Sign Language have at most two syllables. Syllables consist of two syllabic positions, described as Hold (H) and Movement (M).

How does do it? To start with, the three words of the rule in their uninflected form are ' and ac which are a type of acronym for their respective series of letters: the simple vowels '; the semivowels y, v, r, l; and all the vowels '. The cases are used to indicate the operation which is to take place: The genitive of ik indicates “In place of ik”; the locative of ac indicates “when ac follows” and ' in the nominative indicates “there should be a '” or “' is the replacement”.

Sentence-final particles, sometimes called sentence-ending particles or interactional particles, are uninflected lexical items that appear at the end of a phrase or sentence. Unlike other types of particles such as case particles or conjunctive particles, sentence-final particles do not indicate the grammatical relation of different elements in a clause. Instead, they can be described as indicating "the illocutionary force of the proposition as well as the speaker's attitude towards the proposition and/or the interloculor(s)". This means that, among other things, sentence- final particles can be used to indicate how true the speaker believes the utterance is (e.g.

The colour plates are similarly > presented as anonymous entities, each a flat spatial field of an uninflected > hue: turquoise, brown, purple, green, pink, gray, yellow, ultramarine, mint, > orange, or red. Here, too, there is no attempt to represent or symbolize > anything.... > The booklet thus offers an utterly pared down presentation. Unlike most art > books, it provides no reverential prose about the artist or the art, and no > embellishing descriptions meant to convey meaning or context. Instead the > booklet itself is made into a work of art that shares the same spirit of > nothingness exemplified by the monochrome paintings that it features.

Unlike Middle Chinese and the modern Chinese dialects, Old Chinese had a significant amount of derivational morphology. Several affixes have been identified, including ones for the verbification of nouns, conversion between transitive and intransitive verbs, and formation of causative verbs. Like modern Chinese, it appears to be uninflected, though a pronoun case and number system seems to have existed during the Shang and early Zhou but was already in the process of disappearing by the Classical period. Likewise, by the Classical period, most morphological derivations had become unproductive or vestigial, and grammatical relationships were primarily indicated using word order and grammatical particles.

Certain adjectives can be used, uninflected, as plurals denoting people of the designated type. For example, unemployed and homeless can be used to mean "unemployed people" and "homeless people", as in There are two million unemployed. Such usage is common with the definite article, to denote people of a certain type generally: the unemployed, the homeless. This is common with certain nationalities: the British, the Dutch, the English, the French, the Irish, the Spanish, the Welsh, and those where the adjective and noun singular and plural are identical anyway, including the Swiss and those in -ese (the Chinese etc.).

Comedy Central agreed to pick up the series, and the premiere episode, "Cartman Gets an Anal Probe", debuted on the network on August 13, 1997, while Mr. Hankey would debut in the tenth episode, "Mr. Hankey, the Christmas Poo". In tradition with the show's cutout animation style, the characters are composed of simple geometrical shapes and uninflected patches of predominantly primary colors. They are not offered the same free range of motion associated with hand-drawn characters, as they are mostly shown from only one angle, and their movements are animated in an intentionally jerky fashion.

Richard Corliss, for Time, wrote, "its creators, Earl Mac Rauch and W.D. Richter, propel their film with such pace and farfetched style that anyone without PhDs in astrophysics and pop culture is likely to get lost in the ganglion of story strands. One wonders if the movie is too ambitious, facetious and hip for its own box- office good". In The New Yorker, film critic Pauline Kael wrote, "I didn't find it hard to accept the uninflected, deadpan tone, and to enjoy Buckaroo Banzai for its inventiveness and the gags that bounce off other adventure movies, other comedies. The picture's sense of fun carried me along".

Most Old English examples take the form of compound words in which the first element is uninflected: "heofon- candel" "sky-candle" = "the sun" (Exodus 115 b). Kennings consisting of a genitive phrase occur too, but rarely: heofones ġim "heaven's gem" = "the sun" (The Phoenix 183). Old English poets often place a series of synonyms in apposition, and these may include kennings (loosely or strictly defined) as well as the literal referent: Hrōðgar maþelode, helm Scyldinga ... "Hrothgar, helm (=protector, lord) of the Scyldings, said ..." (Beowulf 456). Although the word "kenning" is not often used for non-Germanic languages, a similar form can be found in Biblical poetry in its use of parallelism.

This type of art represents what we see with our human eyes. Anton Chekov, for instance, used camera works to reproduce an uninflected slice of life, exposing the rhetorical and suasive character of realistic theatricality. Scholars such as Thomas Postlewait noted that throughout the nineteenth and twentieth centuries, there were numerous joinings of melodramatic and realistic forms and functions, which could be demonstrated in the way melodramatic elements existed in realistic forms and vice versa. In the United States, realism in drama preceded fictional realism by about two decades as theater historians identified the first impetus toward realism during the late 1870s and early 1880s.

This helps to make infinitive clauses very common in these languages; for example, the English finite clause in order that you/she/we have... would be translated to Portuguese like para teres/ela ter/termos... (Portuguese is a null-subject language). The Portuguese personal infinitive has no proper tenses, only aspects (imperfect and perfect), but tenses can be expressed using periphrastic structures. For instance, "even though you sing/have sung/are going to sing" could be translated to "apesar de cantares/teres cantado/ires cantar". Other Romance languages (including Spanish, Romanian, Catalan, and some Italian dialects) allow uninflected infinitives to combine with overt nominative subjects.

Habitual be is the use of an uninflected be in African American Vernacular English (AAVE) and Caribbean English to mark habitual or extended actions, in place of the Standard English inflected forms of be, such as is and are. In AAVE, use of be indicates that a subject repeatedly does an action or embodies a trait. In Standard English, the use of (an inflection of) be merely conveys that an individual has done an action in a particular tense, such as in the statement "She was singing" (the habitual being "she sings"). It is a common misconception that AAVE speakers simply replace is with be across all tenses, with no added meaning.

The Thai language lacks grammatical number. A count is usually expressed in the form of an uninflected noun followed by a number and a classifier. "Five teachers" is expressed as "teacher five person" ( or with the numeral included .) "person" is a type of referent noun that is also used as the Thai part of speech called in English a linguistic classifier, or measure word. In Thai, counting is kannap (; nap is "to count", kan is a prefix that forms a noun from a verb); the classifier, laksananam ( from laksana characteristic, form, attribute, quality, pattern, style; and nam name, designation, appellation.) Variations to this pattern do occur, and there really is no hierarchy among Thai classifiers.

This led her to exaggerate the generality of ideogrammatic principles and to seem to hold that English was really rather like Chinese if only seen correctly, with its meaning atoms, highly ambiguous and virtually uninflected. It was a view that found little or no sympathy in the dominant linguistic or computational currents of the time. Her main creation in 1953, one which endured for twenty years, was the Cambridge Language Research Unit, which grew out of an informal discussion group with a very heterogeneous membership interested in language from philosophical and computational points of view. Subsequently, the attempt to build language processing programs which had a sound philosophical basis was a distinctive feature of the Unit's work.

The grand entrance hall originally envisaged, with a screen of columns leading to the great hall, had to be abandoned in favour of a cramped vestibule to support the tower above, but this was considered a worthy price for the extra drama and power a tower would provide. The film-maker Jonathan Meades reflected that the "symbolic, representative function of Leeds Town Hall increased during the period of its gestation and construction. In Brodrick’s earlier scheme, the only thing that rose above its uninflected parapet was a low storey reminiscent of a theatre’s fly tower in the centre. A magnificently sullen, passive building was transformed into a magnificently sullen, aggressive one, at the behest of the hall's promoters".

Such a language as English is a coalesced language; it is > a coalescence of Anglo-Saxon and Norman French and Scholar's Latin, welded > into one speech more ample and more powerful and beautiful than either. The > Utopian tongue might well present a more spacious coalescence, and hold in > the frame of such an uninflected or slightly inflected idiom as English > already presents, a profuse vocabulary into which have been cast a dozen > once separate tongues, superposed and then welded together through bilingual > and trilingual compromises. [Footnote: Vide an excellent article, La Langue > Française en l'an 2003, par Leon Bollack, in La Revue, 15 Juillet, 1903.] In > the past ingenious men have speculated on the inquiry, “Which language will > survive?” The question was badly put.

All three languages are prefixing, and their verbs consist of either a single inflected stem or an uninflected "main verb" preceding an inflected auxiliary verb.Sharpe, M. C. (1976) Such verbal particles are absent in the languages to the north.Heath, J. (1976) The Marran languages also share verbal features such as particle reduplication within the verbal complex indicating a repeated or continuous action (a pattern common in Australian languages), and the negation of verbs is indicated by a particle immediately preceding the verb complex (' in both Warndarang and Marra but ' in Alawa). Marra has a significantly more complex verbal inflection system than Warndarrang (sixteen different tense/aspect/mood categories in Marra but only eight in Warndarrang and apparently seven in Alawa), an unusually intricate system for Australian languages.

For example, lay one's cards on the table meaning to reveal previously unknown intentions, or to reveal a secret. Transparency is a matter of degree; spill the beans (to let secret information become known) and leave no stone unturned (to do everything possible in order to achieve or find something) are not entirely literally interpretable, but only involve a slight metaphorical broadening. Another category of idioms is a word having several meanings, sometimes simultaneously, sometimes discerned from the context of its usage. This is seen in the (mostly uninflected) English language in polysemes, the common use of the same word for an activity, for those engaged in it, for the product used, for the place or time of an activity, and sometimes for a verb.

Depending on context, the meaning of the term may overlap with concepts such as morpheme, marker, or even adverb as in English phrasal verbs such as out in get out. Under a strict definition, in which a particle must be uninflected, English deictics like this and that would not be classed as such (since they have plurals and are therefore inflected), and neither would Romance articles (since they are inflected for number and gender). This assumes that any function word incapable of inflection is by definition a particle. However, this conflicts with the above statement that particles have no specific lexical function per se, since non-inflecting words that function as articles, prepositions, conjunctions, interjections have a clear lexical function.

42 In other instances, Lax used repetition of a few words either as a device for instilling a sense of serenity or to create a sense of surprise in the reader when a change in the pattern occurs. Despite the limited vocabulary of his poems, some create narratives, while others seem more like examples for use in meditative practice or even spiritual discipline. This can be experienced in the tape made of a 1974 performance of Lax's poems given by himself and Robert Wolf in 1974, resembling an uninflected incantation.A reading from Sea & Sky, Black & White at SoundCloud When Mark Van Doren expressed his doubt about Lax's change in direction, the poet suggested that he might appreciate them more by reading them aloud in this way.

Stained glass windows designed by Jaffe for the Chapelle La Funeraria, Perpignan Jaffe's new style featured flat, uninflected surfaces, single-colour shapes and predominantly straight, rather than curved, lines. On her return to Paris, both her dealer Fournier and her artist friends were "shocked" at the change; however, Fournier continued to exhibit her work in his gallery. Later analyses of her work note that Jaffe's style moved in a "different direction" from other painters of her time, and was characterised by "an incredible vitality of form and complexity". The evolution of her style, which happened gradually over a period of decades, was described by critics as an "internal development" apparently unrelated to contemporary trends, and therefore she could not be seen as a part of any particular art movement.

The Ethiopian language area is a hypothesized linguistic area that was first proposed by Charles A. Ferguson (1970, 1976), who posited a number of phonological and morphosyntactic features that were found widely across Ethiopia, which then included Eritrea, including the Ethio-Semitic, Cushitic and Omotic languages but not the Nilo-Saharan languages. Others scholars have since pointed out smaller areas of shared features within the larger area (Appleyard 1989, Breeze 1988, Sasse 1986, Tosco 1994, Wedekind 1989). One of area's most notable features seems to be the use of the verb "say" as an inflected dummy element for an uninflected lexical base (Appleyard 2001, Cohen et al. 2002). Hayward also pointed out patterns of lexicalisation as evidence of a shared linguistic unity across the area (1999, 2000), and Treis noted further examples (2010).

Old English was a moderately inflected language, using an extensive case system similar to that of modern Icelandic or German. Middle and Modern English lost progressively more of the Old English inflectional system. Modern English is considered a weakly inflected language, since its nouns have only vestiges of inflection (plurals, the pronouns), and its regular verbs have only four forms: an inflected form for the past indicative and subjunctive (looked), an inflected form for the third-person-singular present indicative (looks), an inflected form for the present participle (looking), and an uninflected form for everything else (look). While the English possessive indicator 's (as in "Jane's book") is a remnant of the Old English genitive case suffix, it is now considered by syntacticians not to be a suffix but a clitic,Lyons, C. (1986).

Lazzarini's installation "skulls" was first exhibited in the Whitney Museum of American Art in the 2001 exhibition, "Bitsreams," and brought the artist into wider public visibility. The installation was made up of four sculptural variations based on a specific human skull, each mounted to one wall at eye level in an offset square room measuring fifteen by fifteen feet. Bathed in diffused fluorescent light, the shadows within the room heightened the works “image aspect” where “the walls of the gallery become a kind of uninflected visual field against which the form of each object is defined.” The experience presented a new type of embodied viewing wherein “You feel the space around you begin to ripple, to bubble, to infold, as if it were becoming unstuck from the fixed coordinates of its three-dimensional extension.

In Danish, the plural endings are -er, -e or zero-ending. The choice of ending is difficult to predict (although -er is especially common in polysyllables, loanwords and words ending in unstressed e; -e is most usual in monosyllables; and zero-ending is most usual in neuter monosyllables). In Norwegian, the plural suffix -e is used too, but the system is rather regularized, since it is only nouns ending with -er in uninflected form that get -e in indefinite plural form, and this is current for both masculine, feminine and neuter nouns; en skyskraper – skyskrapere "a skyscraper – skyscrapers"; en hamburger – hamburgere "a hamburger – hamburgers"; et monster – monstre "a monster – monsters"; et senter – sentre "a center – centers". The ending -er is dominant in masculine/feminine nouns and some neuters with several syllables, while zero-ending is prevalent in neuter gender monosyllables.

The skalds also employed complex kennings in which the determinant, or sometimes the base-word, is itself made up of a further kenning: grennir gunn-más "feeder of war-gull" = "feeder of raven" = "warrior" (Þorbjörn Hornklofi: Glymdrápa 6); eyðendr arnar hungrs "destroyers of eagle's hunger" = "feeders of eagle" = "warrior" (Þorbjörn Þakkaskáld: Erlingsdrápa 1) (referring to carnivorous birds scavenging after a battle). Where one kenning is embedded in another like this, the whole figure is said to be tvíkent "doubly determined, twice modified".Faulkes (1999), p. 5/12. Frequently, where the determinant is itself a kenning, the base-word of the kenning that makes up the determinant is attached uninflected to the front of the base-word of the whole kenning to form a compound word: mög-fellandi mellu "son-slayer of giantess" = "slayer of sons of giantess" = "slayer of giants" = "the god Thor" (Steinunn Refsdóttir: Lausavísa 2).

In JazzTimes, Duck Baker wrote: "A less known figure, Brown is nevertheless a wonderful player; his style basically as it was in the ’50s, occupying sort of a middle ground between Warne Marsh and Lester Young. It’s interesting to note the subtle difference in Konitz’s approach here, compared to his work with the like-minded Marsh. ... I’ve always felt that returning to this material brings out the best in Konitz, and it’s great to hear Brown again".Baker, D. JazzTimes Review, March 1, 2000 On All About Jazz, Marc Corotto noted "This reunion in a pianoless quartet is all about their mentor, Lennie Tristano. His music (their music) of the 1940/50’s paralleled bebop, but in a complex multi- layered way. Tristano was said to have instructed the two to play “...deliberately uninflected, in a neutral tone, concentrating instead on the solo.” This style, reflected on this release, is anything but unemotional. Konitz and Brown’s cool tones create a delicate internal tension that is and was a bridge between Charlie Parker and Ornette Coleman".

Most notably, the use of the prefix ee- for noun class 10 (like in Kwanyama) sets Kwambi apart from Ndonga, which uses oo-. The existence of a form emu- or eemu- co-existing with omi- as a noun class 4 prefix is only found in Kwambi, not in Ndonga. Furthermore, Kwambi has a simplified system for negative concords, where the forms for the negative subjunctive are the same as those of the negative habitual (1p sing ‘kandi’, 1p pl ‘katu’ etc.). Another difference is that Kwambi makes a distinction between noun classes 8 and 9 in that many of the grammatical forms for class 9 have an /h/ where Ndonga uses /j/, which makes the Ndonga class 9 forms such as ‘otayi’ (present tense concord) and ‘oya’ (past tense concord) identical to those used by both dialects for class 8. Lastly, whereas Ndonga has a full set of forms for ‘only’, inflected according to noun class (‘alike’, ‘aguke’ etc.), Kwambi uses the uninflected word ‘ike’, as in ‘omadhina ike’ (=only the names).