affectless


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affectless

(ăf′fĕkt′lĭs)
adj.
Having or showing no emotion; unfeeling: "Her voice, ... low and affectless, yielded as little as possible" (Rebecca Goldstein).

af′fect′less·ness n.
References in periodicals archive ?
From there they wear away at the conscious defenses he has constructed and undermine the detached, affectless tone of the notebooks.
(Interesting that this "new flatness"--which has some overlap with what gets called New Sincerity--has coincided with film director Wes Anderson's aesthetic, which brilliantly mixes visual sweetness, emotion, and a kind of clipped, affectless delivery.)
His determined, affectless approach yields ever-greater results.
Indeed, in engaging Scalapino's work, the reader must negotiate and figure out a way of responding to the text's entirely flat, affectless tone in which "nothing" happens.
Hisfluent and forthright language matches the style and rhythm of his own originalArabic and theunadorned, sometimes affectless tonereflects thehollowness of life as the onslaught of war brings an onslaught of bodies forthe corpse washers of Baghdad.
On one of her many solo jaunts, she runs into billionaire Will Stacks (Jamie Foxx), an affectless, Bloombergian cellphone titan in the midst of a mayoral campaign.
Vector Two: Communicating self through affectless cognition
273), the world survives a nuclear war only in the form of pale, affectless neo-humans created from genetic blueprints of their more savage, more vigorous, and more passionate antecedents.
The Velvets juxtaposed childlike melodies with dry, affectless vocals on Sunday Morning and Femme Fatale.
The Neil-Marina-Jane love-triangle is not only hackneyed but as agonizingly affectless as the Affleck character.
Geoff Hamilton's 2009 article, "Between Mailer and DeLillo: The 'Affectless Person' in Robert Stone's A Hall of Mirrors," notes that DeLillo "often seems to be in dialogue with the legacy of Norman Mailer," but goes on to say that while "Like Mailer, DeLillo constructs American worlds in which 'awe' and 'mystery' are obsessive concerns, while also seeing 'revelation' in moments of violence ...
Further, as Ryan suggests, to view Robbe-Grillet's The Voyeur (1955), the paradigmatic nouveau roman, as merely an affectless "formal exercise"--as Barthes does in his review of it--diminishes the moral import of the murder that is central to the novel (28).