diaphaneity


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Related to diaphaneity: pellucidity

di·aph·a·nous

 (dī-ăf′ə-nəs)
adj.
1. Sufficiently thin or airy as to be translucent: a diaphanous gown; diaphanous gauze.
2. Of such fine composition as to be easily damaged or broken; delicate: diaphanous butterfly wings.

[From Medieval Latin diaphanus, transparent, from Greek diaphanēs, from diaphainein, to be transparent : dia-, dia- + phainein, phan-, to show; see bhā- in Indo-European roots.]

di′a·pha·ne′i·ty (dī′ə-fə-nē′ĭ-tē), di·aph′a·nous·ness n.
di·aph′a·nous·ly adv.

di•aph•a•ne•i•ty

(dɪˌæf əˈni ɪ ti, ˌdaɪ ə fə-)

n.
the quality of being diaphanous.
[1650–60]
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References in classic literature ?
'consciousness,' when once it has evaporated to this estate of pure diaphaneity, is on the point of disappearing altogether.
By integrating common points of different perspectives, this paper considers authority, exactitude, diaphaneity, trust, timeliness, standardization, coordination as the key elements of the effectiveness of government's response capability to network opinion on public emergencies, namely, seven basic dimensions.
Its luster, color and diaphaneity make it useful as a gemstone and also in the making of glass.
In general, the diaphaneity of the sapphires varied according to the amount of sheen that they displayed.
But despite the aggressive power of these works, the real impact of the show lay in subtler effects, such as the diaphaneity of rice paper, or the charged scrape of Schendel's fingernail across its delicate surface.
I believe that "consciousness," when once it has evaporated to this estate of pure diaphaneity, is on the point of disappearing altogether.
199D); streak is off-white to cream (and resinous looking); luster is resinous to greasy; diaphaneity is translucent; non-fluorescent; Mohs hardness is estimated at 3-4; tenacity is malleable; fracture is subconchoidal; cleavage and parting are not evident; calculated density is 7.212 g/[cm.sup.3] (for empirical formula and unit-cell parameter refined from powder data).
a bifocal perceptual oscillation between the minute particularization of objects and hazy evocations of the 'far, far away,' between careful focus and out-of-focus diaphaneity." (7) Arguably, then, Tennyson might have been intrigued by the mirror such a photographic style could offer his poetry.
This "diaphaneity" of ideality in relation to the sense-object, or the "supplementality" of the signifier in relation to the signified, finds its best metaphor in "voice" - the "voice that keeps silence." "Why is the phoneme the most 'ideal' of signs?