Sentence examples for a kind of simultaneous from inspiring English sources

They create the conditions in which people can turn inwards, away from the world, away from confidence: a kind of simultaneous agoraphobia and claustrophobia.

Suddenly, she said: "How do you go for a wee?" There was no mistaking the question, but because I'm English I let out a kind of simultaneous laugh-gasp apology.

Contemporary news channels present a kind of simultaneous reductiveness and overload that squelches reflection and analysis far more thoroughly than the blatant political partisanship of Mr. Watkins's fictional reporters.

When Mr. Blair is addressing the subject of Iraq, he often sounds defensive and lawyerly — in sharp contrast to the aplomb he displayed in the walk-up to the invasion, when his eloquence enabled him to serve as a kind of simultaneous translator for the less-silver-tongued Mr. Bush on the case for war.

One American who was particularly fond of Trollope's style was Mark Twain, whose copy of her book is said to have been meticulously annotated, and in many respects his own first success, Innocents Abroad, served as a kind of simultaneous homage to her and an American revenge on dusty, broken-down Europe.

The property, that two events may have, of "being simultaneous relative to frame of reference F" is recognizably a kind of simultaneity.

Page's guitar solos were based primarily on melodic ideas derived from the blues scale ("Heartbreaker" is a good example), and he is especially known for creating multiple, simultaneous guitar parts—a kind of guitar orchestra in such songs as "Achilles Last Stand" and "The Song Remains the Same".

But there's also this: any kind of simultaneous engagement between these three nations, with so much in common and so much that sets them apart, is almost unheard of within the subcontinent itself.

One is Hannah Lash, a professor at Yale, whose music is featured in a concert at Miller Theatre on April 7. Lash's best work employs a kind of strategic patience: a simultaneous embrace of Romantic yearning and postminimalist stasis that can yield unexpected pleasures.

A fifth of our media time is this kind of "simultaneous" consumption.

But when he wrote it at the dawn of the 1600s, Monteverdi was already looking back from some distance at the previous century – already inventing a kind of neo-Renaissance gloss that simultaneous confirmed him as a master of the old polyphony and blazed into new baroque sounds and styles.