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Impossible to hear: an inaudible conversation.

in·au′di·bil′i·ty n.
in·au′di·bly adv.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.inaudibility - the quality of not being perceptible by the ear
physical property - any property used to characterize matter and energy and their interactions
audibility, audibleness - quality or fact or degree of being audible or perceptible by the ear
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nUnhörbarkeit f


(inˈoːdəbl) adjective
not loud or clear enough to be heard. Her voice was inaudible because of the noise.
inˈaudibly adverb
inˌaudiˈbility noun
References in periodicals archive ?
These texts are so crucial that we despair yet again at their inaudibility in general within this shrouding cathedral acoustic; possible subtitles on the CCTV relays need costing as a desperate concern.
Other BBC productions blasted for inaudibility were SS-GB, Birdsong, Quirke and Happy Valley.
46) The opening pages that imagine, from 'below', the execution of the king from the perspective of the waiting crowd, are marked by inaudibility and interruption.
Also descended from Intervista are the inaudibility of a woman's moving lips in Answer Me, 2008, and the title of Lak-kat 2.
Caliban and the maid are both white Europeans (like Kundera himself), but their respective tongues (invented and real) that are not French result in negative racialized othering and in a strange concomitant invisibility and inaudibility to the French guests at the party.
Feminist scholarship in the Western tradition has constantly denounced the historical invisibility and inaudibility of the female subject.
Common link of this term with inaudibility led to another term, commonly used in Anglophone literature, namely floodplain.
As the movement progresses, the music rises in register, building to its striking apex, then fades to inaudibility.
A POINT of order was called by Labour over the inaudibility of fast-talking Liberal Democrat councillor Greg Stone at Newcastle City Council.
This includes monotonous one-way communication, inaudibility of lectures, and injudicious use of projection.
40) What we see in Winnicott's critique of interpretation is that this gift of language is a gift that keeps on giving: the analyst's speech may be a gift, an offering the patient is finally free to refuse, yet the risk is the patient's absorption into the gift itself, his language's inaudibility inside the analyst's gifted language (that sounds, in the end, like a gift of truth).
Furthermore, it is important to note that van Elferen's move between the beginning and ending of her book emphasizes the transition between the inaudibility of Gothic literature and the fecund imaginative soundscape of Gothic music "throughout old school Goth, neoromantic Goth, neofolk, Cybergoth and their subgenres"(167).