polymorphic

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polymorphous

, polymorphic
1. (of a substance) exhibiting polymorphism
2. (of an animal or plant) displaying or undergoing polymorphism

polymorphic

References in periodicals archive ?
He surveys evidence from Roman mimes and Teutonic singers of epics through medieval jongleurs to early modern and modern performers--Albert Lord's singers of tales in twentieth-century Yugoslavia, stage performance of the Spoon River Anthology, and contrasting modern performances of Juan del Encina songs--who performed on multiform stages, in which the theater comes to its audience rather than vice-versa, and performance was one part of a larger event, combining flexible texts, music, and other non-verbal performance aspects.
The last two articles are the most searching, evincing the extraordinary modernity of the novel's multiform self-referentiality, as it attempts--and, as any text, ultimately fails--to create a symbolic counter-world over against the reality of the 'devorante bouche du monde' (pp.
The Multiform Coated Solid Form (CSF) sorbents can easily be integrated into DPI designs.
Yet the most basic claims of the book are clear enough, and the marshaling of multiform evidence has the cumulative effect of driving home the central point: that for medieval Europeans "salvation is from the East" (59).
Trials have shown that MultiForm V effectively increases fiber support and provides a more even top surface to improve sheet smoothness.
Welter has exposed more of his multiform intellectual personality.
reminds us repeatedly that memory is a complex, multiform, and ongoing process.
Aristotle refers to "poetry for the possessed, of being multiform, its plasticity, its potential for ecstasy.
Faced with the multiform challenges of presenting the world's greatest opera, the students of Birmingham Conservatoire do a tremendous job.
Since its debut Tapestry has steadily carved a unique niche; the company defines itself as multiform, fusing Gray's expertise in rhythm tap with Strand's skills in ballet and jazz.
Associated as women are with what Sergio Zatti calls the multiform (though Zatti's concern is religion and not gender), it is not surprising that Tasso places most of his feminine characters within the pagan world (24).
More conservative commentators have, as he rightly points out (83-5), been sometimes mistakenly inclined to separate religion from other ideological practices of the period, but Shapiro's reductive binary opposition between Jew and Christian is too rigid to take account of, say, the more openly iconoclastic multiform representations of Marlowe, or the combination of orthodox catholicism and political expediency of a Machiaveli.

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