Sentence examples for so often characterised from inspiring English sources

It is also where the women, so often characterised as mute and oppressed, are finding their voice through art.

Why are discussions of race, class, and disability within feminism so often characterised as infighting, or sideshows to the main event?

Maria Schneider: Jazz à Vienne 2008 A lot of partying goes on at the festival, but a lot of captivating slow-burn music gets made too – the American composer and former Gil Evans protegée Maria Schneider's concert on 17 November is sure to furnish the latter, without losing that undertow of cool grooving that so often characterised the work of Evans himself.

It has none of the sterility that so often characterises recently renovated buildings — that neurotic keeping-at-bay of what lies without — but at the same time has a den-like ambience that reminded me of being a boy and retreating from the world in coal-holes or second world war bunkers.

Well, they bring home that strange combination of serendipity and revelation that so often characterises our encounters with music: those BBC advertisements for the proms in which a passerby steps into an invisible circle of sound and is suddenly transfixed and transported tap into a particular preoccupation with "the secret power of music" which is both profoundly ideological and all too real.

The role and capacity of the Treasury, including its understanding of science, research and investment, have long been under scrutiny, and Kerslake will have no truck with the dogma that says control over public spending necessitates the short-termism and sterility that so often characterises Treasury judgments.

He claims (somewhat dubiously) to have written the first book "thoroughly and calmly to examine all the arguments offered in support of religious beliefs", without the ill-temper that so often characterises many of these debates.The first half of his book attacks both the human institution of religion and the intellectual idea of a God, or of supernatural beings in general.

These intimate sections are as often characterised by bittersweet observation as jokes: witness Munnery's reflections on his Paddington-born granddad's so-called "exile" to Marylebone.

The city, of course, has so often been characterised as an infernal, workaday dream destroyer: from poor Lily Bart's descent on the social ladder to working in a hat shop in Edith Wharton's The House of Mirth all the way to the Bret Easton Ellis's murderous Wall Street yuppie phantasmagoria in American Psycho.

These so-called innovation networks are often characterised by loose, semitemporal linkages between actors who seek to employ the right resources and engage in strategic collaborations to deal with specific problems and develop innovative services and solutions.

Discussions of New College of the Humanities (NCH) are often characterised by as much heat as light, so I appreciate the thoughtful analysis Sylvia McLain advanced on the network this week.