Monomane

Mon´o`mane


n.1.A monomaniac.
Webster's Revised Unabridged Dictionary, published 1913 by G. & C. Merriam Co.
References in periodicals archive ?
Ces procedes textuels presents dans les autres contes du recueil vehiculent une impression generale de frenesie de l'existence autour d'une obsession monomane revelee par la repetition.
L'excentricite des caracteres de Richepin n'est certainement pas unique en cette fin de siecle et ces derniers tiennent leur place dans la galerie des monomanes a raideur obsessionnelle et fantasque qui peupleront les mouvances multiples de la Decadence et du Fumisme.
A stylistic dichotomy in Noh plays is embodied by the terms monomane and yugen, expressing the contrast between a concrete element-imitation of reality, and an abstract one--a hidden and indefinable essence.
(33) Matsumoto Yasushi, "No 'mau' 'utau' no iso: monomane to mai" (The forms of 'dancing' and 'chanting' in Noh: imitation and dance), Kokubungaku (June 1978): 69-73.
Waters, chairman of the sociology department at Harvard, as asking, "and knew that the president of Harvard didn't think that women scientists were as good as men, which one would you take?" And, I wondered, if you were contemplating taking up an appointment in the Harvard sociology department and saw that quotation's wilful distortion of what Summers had said--and if you were not an ideological monomane yourself--would you take it?
In short, such occasions are marked by regression on all fronts, not least those of speech and eating: "personne ne sait plus ce qu'il mange, ce qu'il boit, ni ce qu'il dit; les uns sont tristes, les autres babillent; celui-ci est monomane et repete le meme mot comme une cloche qu'on a mise en branle; celui-la veut commander au tumulte; le plus sage propose une orgie."
Soos talle voorbeelde van die liefdespoesie het die Hooglied ook 'n sekere obsessiewe en monomane eienskap: deur herhaling--telkens met geringe variasies--word die terrein van die liefde van man en vrou steeds dieper binnegedring en verken.
For example, Zeami (1363-1443), the founder of no, writes of monomane (imitation) as being a salient part of any actor's performance.
His careful analysis of Zeami's views of monomane make evident the keen differences between Noh (nonrepresentational, intensely corporeal) and Western dramatic genres based on Platonic-Aristotelian mimesis (representational, idealistic).