Sentence examples for representational of a from inspiring English sources

These names are representational of a cross-section of the United States and predominantly include real-use names of European, South Asian, and East Asian origin.

But Gidwitz explains to me how Tumbledneath is representational of a real experience from her life--it's a painting of a specific place and time.

Salih notes the use of American pidgin, against Seacole's clear English, as representational of a supposed white moral and intellectual superiority.

Each small square on the cross stitch fabric is representational of a single stitch (or 'x' shaped cross), and can be counted across to get your exact size.

Another is to accept that causal role determines the representational status of a mental state (i.e., that it is a representation) but does not fully specify representational content (i.e. how that representation represents things as being); but this seems to involve abandoning full-blown functionalism.

Criteria for appointment to the court include the 'willingness to participate in the wider representational role of a justice', by delivering lectures and talking to conferences.

The simple "Net Drawing No. 12" by Sandra Butler is a rote abstract exercise on the order of "Drawn Combo," and it might also be a representational study of a basketball net.

What we seek and value in a work of art is its relevance to human life, its emotional and intelligible relation to a representational vision of a living being.

Artists like Gary Panter, Raymond Pettibon, Bruno Richard, Pascal Doury and Mark Beyer were expressing themselves through ratty, angry lines — marks that were in no way similar to the keen representational draftsmanship of a generation before but appropriate to their tumultuous time.

The works stolen were a cubist female bust by Picasso with a dedication that read "in homage to the Greek people" for their resistance to Nazi occupiers during World War II, a representational painting of a riverside windmill dated 1905 by Mondrian and a pen-and-ink drawing of St. Diego de Alcala by the 16th-century painter Guglielmo Caccia.

The resulting images, each of which focusses on a single landscape feature — from tree blossoms to desert mirages — turn commonplace source material into complex geometric abstractions that have more in common with the experimental photography of Matt Lipps or Jessica Eaton than with the representational splendor of a traditional landscape photograph.