How to Use uninflected in a Sentence

uninflected

adjective

• The first half of Adania Shibli’s novel Minor Detail tells the story of this crime in spare, uninflected prose.
  — Robyn Creswell, The New York Review of Books, 22 Oct. 2020
• Each monitor tells its own, slow-moving story in one long take from a single, uninflected point of view, the images behaving more like hybrids of photograph and movie than either one alone.
  — Charles Desmarais, San Francisco Chronicle, 25 May 2018
• And just as its allover, uninflected red doesn’t entirely flatten out the space (perspective lines, painted in reserve, remain to suggest depth), the colored works arrayed around the studio break up the monochrome with exquisite harmonies.
  — Sebastian Smee, Washington Post, 22 June 2022
• In its quiet, uninflected way, Battleground delivers valuable insights, leaving it to viewers to assess and take some action or not.
  — Caryn James, The Hollywood Reporter, 13 June 2022
• Even more noticeable is his uninflected direction and visual style.
  — Todd McCarthy, The Hollywood Reporter, 22 Jan. 2018
• This line, delivered in his usual uninflected, unemphatic tone, is chilling, something that the villain in a Hitchcock thriller, one of those immaculately amoral gentleman-monsters, might have said.
  — Lili Anolik, Vanities, 14 Dec. 2017
• The arrival of a dairy cow by boat from California into this rural backwater of new settlers is an almost surreal event, though it's witnessed in the director's typically uninflected manner.
  — David Rooney, The Hollywood Reporter, 31 Aug. 2019
• The report’s uninflected narrative—not an adjective or characterization in sight—actually serves to heighten the drama inherent in this scene.
  — Linda Greenhouse, The New York Review of Books, 30 May 2019
• Its view of the couple and others in their lives is clinical—there’s no subjectivity beyond what’s enacted onscreen, and the uninflected images mimic the conventions of observational documentaries.
  — Richard Brody, The New Yorker, 28 Apr. 2022
• One is relational, dispersed, anecdotal, and temporal, while the other is factual, immediate, non-hierarchical, and uninflected.
  — David Salle, The New York Review of Books, 13 Dec. 2020

Last Updated: 24 Jul 2024