asyntactic

a·syn·tac·tic

 (ā′sĭn-tăk′tĭk)
adj.
Not conforming to accepted patterns of syntax.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

asyntactic

(ˌeɪsɪnˈtæktɪk)
adj
(Grammar) showing no syntactical rules or regularity
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014
References in periodicals archive ?
Still, within its borders the novel hints at the tendencies of its author and tale to keep accruing episodes in the style of the conjunction Deleuze and Guattari took under their philosophical wing and made the asyntactic wayfarer and ...
Further, many (but not all) individuals with agrammatic speech production present with asyntactic comprehension [7].
While it may be arguable that Lucetta intends a pun on each word emphasised above (especially that the play on STICK would be asyntactic, (11) i.e., impaired in a sense), the overall sexual imagery is rather powerful.
For Deleuze and Guattari, great style is a non-style; it becomes asyntactic, strained, and agrammatical.
Deleuze feels especially intrigued by people's asyntactic stutter, stammer, and wordless cries.
(5) In turn, the "higher-order" CAPTCHA that utilizes phrases and possibly even regular English words approximates L=A=N=G=U=A=G=E poetry and other strains of avant-garde contemporary poetics, with its semantic play and asyntactic construction.
Miming simultaneously the inner speech or sensual thought of its central character and, through him, the spectator, The Colour of Pomegranates, like Ivan, demands visual memory and active association to give meaning to its asyntactic (relative to the continuity editing of conventional narrative cinema) string of images.
Coolidge was a "language" poet before there was "language-poetry," and the procedural premises of his often asyntactic work in the late 1960s and early 1970s were an important influence on the development of language-poetry.
The striking range of the work-from Jamaican-accented narratives included in Shara McCallum's The Water Between Us (Pittsburgh) to the "asyntactic, non-narrative" poems G.E.
It is tempting, indeed, to claim idiomatic expressions to be syntactically irregular, describing them as "asyntactic idioms" or "non-canonical phrases" (Cruse 1986); such expressions as by and large, off with his head, as it were, etc.
The non-narrative, often asyntactic reviews and prose poems in the first volume of L=A=N=G=U=A=G=E were less readily dismissed as dada nonsense appearing as they did side-by-side with sophisticated theoretical prose including a translated excerpt from Roland Barthes's Writing Degree Zero.