Example sentences of "[adv] [pron] about the " in BNC.

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1 ‘ Renascia and as much as I can remember of Earth legends and perhaps something about the Dark Lodestar as well . ’
2 So what about the King tribute , Elvis On Velvet ?
3 So what about the Dickens ? ’
4 So what about the retro space-cadet '70s image — hipsters and plastic zap guns , is n't it all just a bit comic-strip ?
5 After all , Twickenham only holds 65,000 people , so what about the other fans throughout the country ?
6 " So what about the fifty ? "
7 So what about the facts fairly put ?
8 Here 's the damage for Gloucester … the bottom of the table … four go down … there are four matches left and two wins are needed for safety … so what about the worry of relegation …
9 So what about the insulators the non-conductors ?
10 So what about the things that we occasionally hear of colour shifts and so on — is that relevant to what we 're talking about at the moment ?
11 So what about the team tomorrow ?
12 ‘ There 's just something about the place , I do n't know if it 's the daffodils about to bud , the horse-chestnuts about to burst into leaf , the colonnade … ’
13 Van Fraassen offers a challenge in saying : show exactly what about the explanatory relationships tends to guarantee that if x explains y and y is true , then x should be true as well .
14 And there was still something about the place 's atmosphere that she found unnerving .
15 I know authors say they prefer to let their work speak for them , but I hardly think it would harm the integrity of the book to know a little something about the man , such as that he is forty-two , married to American academic Antonia Phillips , with two children , Louis and Jacob , and that he has what he calls a ‘ middle-aged obsession ’ with competitive games , particularly tennis .
16 Vermeer sprang to mind as there is also something about the intense luminosity of the effect of the light-boxes that reminded me of that unique concentration of light in paintings executed with the aid of camera obscuras ( ancestor of the camera ) .
17 However , the decision to make this assumption explicit in [ 18b ] does convey something — something about the speaker 's assessment of the hearer 's processing resources , and hence something about the speaker 's assessment of their relationship .
18 Also what about the fear that somebody 's gon na not gon na do it as well as you ?
19 Now what about the peanuts ?
20 right , good , right , now what about the ideals that you , what ideals have you actually got ?
21 Now what about the number in this box then ?
22 Now what about the trade union , were you involved in the trade union ?
23 Now what about the coming campaign .
24 Now what about the cream , how are things going on with that , cos you 've been
25 Now what about the one balancing factor , the planning system ?
26 So it 's A squared plus B squared and now what about the other bits ?
27 Erm we asked the question about the aircraft 's reduced operational capabilities as far as Britain is concerned , we were told that there was no reduction , erm there was no percentage figure that could be produced but w now what about the other countries , I mean , which countries are asking for what to be omitted and by how much is the percentage , in percentage terms er is the performance of the aircraft reduced in those cases and further on from that , picking up something that that Wing Com er Group Captain Granville White has just mentioned which i is the question of sales .
28 I see , now what about the red ?
29 Now what about the depot numbers ?
30 Now what about the six ?
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