from The American Heritage® Dictionary of the English Language, 4th Edition
- n. The state or quality of being transient.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. The quality of being transient, temporary, brief or fleeting.
- n. An impermanence that suggests the inevitability of ending or dying.
from the GNU version of the Collaborative International Dictionary of English
- n. The quality of being transient; transientness.
from The Century Dictionary and Cyclopedia
- n. Transientness; also, that which is transient or fleeting.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. an impermanence that suggests the inevitability of ending or dying
- n. the attribute of being brief or fleeting
Jane Simonsen, in her study of attempts to "domesticate" Native American women, writes that "implicit in this condemnation of gossip and transience is the suggestion that isolating women in their homes would keep them from speaking out in tribal councils, preserving rituals and stories, and maintaining kinship ties."
"I like the idea of transience, perishing, loneliness," he said during the installation.
'I like the idea of transience, perishing, loneliness,' said the designer.
"In some ways I'm jealous of writers whose work is grounded in place, because mine feels more grounded in transience, which is probably in part due to my sense of Northern Virginia, and to a lesser extent D.C., as a place," she says.
According to Mr. Davies, the Greek philosopher Heraclitus pioneered the idea of transience, but it pervades the Christian tradition.
When it comes to mono no aware in cinema, very few directors seemed to express the concept as successfully as Yasujiro Ozu, who frequently examined the idea of transience within the family unit across a number of great classics, perhaps most successfully through a thematic trilogy of films that is often referred to as
Ken’s the same way on pretty much all accounts although I don’t know if the transience is a factor.
Studying the millennial sects of Europe from the eleventh to the sixteenth century, Norman Cohn believed he found a persistent psychic complex that corresponds broadly with what I have been considering — a style made up of certain preoccupations and fantasies: “the megalomaniac view of oneself as the Elect, wholly good, abominably persecuted, yet assured of ultimate triumph; the attribution of gigantic and demonic powers to the adversary; the refusal to accept the ineluctable limitations and imperfections of human existence, such as transience, dissention, conflict, fallibility whether intellectual or moral; the obsession with inerrable prophecies … systematized misinterpretations, always gross and often grotesque.”
Written by Simon Stephens – whose Punk Rock was a big success at the Royal Exchange Theatre Manchester as well as the Lyric Hammersmith – it consists of a trio of two-handed playlets, each focusing on a different couple on the edges of Heathrow airport and exploring relationships, the transience of humanity, and the power of nature to uplift or destroy.
“Everything is a blip of transience and impermanent.”