Example sentences of "he [verb] it to [art] [adj] " in BNC.
Next page| No | Sentence |
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| 1 | His ‘ act as if you own the place ’ approach seemed to work , and he made it to the double doors that opened into the main tunnel complex , not even pausing as he attached a circuit board to a second brick and casually tossed it into the heart of the pile of drums on the dock nearby . |
| 2 | Three days after receiving the inspectors report , he passed it to the Serious Fraud Office for further investigation . |
| 3 | An owner now obtained ( in theory at least ) the same price for his land irrespective of whether he sold it to a private individual or to a public authority . |
| 4 | After this but before the rogue was traced , the rogue took the car along to a market in Warren Street ( where dealers commonly sold cars ) and he sold it to an innocent purchaser . |
| 5 | He sold it to an American bookseller , who broke up the historic volumes that had survived the hazards of more than six centuries . |
| 6 | The star lot , Holbein 's Lady with a Squirrel , was withdrawn two weeks ago by Lord Cholmondeley , when he sold it to the National Gallery for £10 million . |
| 7 | Davidson had of course great opportunity for influence upon Baldwin , and he used it to the full on this occasion . |
| 8 | In Sybil he had rejoined his past but he transplanted it to an artistic suburb of London which had been the haunt of legendary highwaymen , was now the roost of exiles and writers and only fifteen minutes from the West End theatre . |
| 9 | Slipping them into a plain buff envelope , he transferred it to the inside pocket of his jacket and prepared to go out . |
| 10 | He likened it to an intermediate era between the collapse of the Roman Empire in 476 A.D. and the re-birth of classicism in the Renaissance ideals of the fifteenth century . |
| 11 | He returned it to the failed initiate without comment . |
| 12 | He raised it to the blushing Thérèse . |
| 13 | He tied it to the hanging bell rope . |
| 14 | Again , the way he applies it to the specific case of popular music poses problems : the utopian promise which , for Adorno , is the mark of great art 's autonomy is in his view relevant to popular music solely by its absence , for here , he thinks , social control of music 's meaning and function has become absolute , musical form a reified reflection of manipulative social structures ; and this moment in the historical process actually represents , in effect , the end of history — the possibility of movement by way of contradiction and critique has disappeared . |
| 15 | He applies it to the particular case of young people living with their parents after marriage , by arguing that in the expanding industrial towns there was every opportunity for young people to be wage earners and therefore to be net contributors to the parental household , at a time when wages were at a very low level . |
| 16 | He tells it to an Indian friend , and soon ceases to speak the tale in his own language , substituting instead the Indian 's . |
| 17 | One has to wonder then why he made it and how he related it to the archaic world of his plot . |
| 18 | As he put it to a prominent resister shortly after the liberation , France was not a country just beginning , but a country continuing . |
| 19 | But perhaps he preferred it to a haunted house , because , as he saw it , that would require metaphysics as well . |
| 20 | Well , he gave it to the dirty little bugger . |
| 21 | Once he said it to the answering service . |
| 22 | He leaves it to the local man : the local man , whose tremulous reliance on a few patented drugs Hamilton observes with a speechless sneer . |
| 23 | What he has done is describe certain linguistic features of the text which distinguish it from other texts ( he refers to Yeats 's ‘ Phoenix ’ and Tennyson 's , ‘ Morte d'Arthur ’ , as well as instances of non-literary usage ) , and which look as if they may be of some literary significance ; but he leaves it to the literary specialist to determine what the nature of that literary significance is . |