Example sentences of "[Wh det] [pers pn] " in BNC.

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1 Wot me , guv ?
2 Thass wot I call livin' if you mus ' know .
3 ‘ These 'ere smugglers is a dangerous bunch from wot I 've 'eard ! ’
4 Know wot I mean ? ’
5 ‘ That was n't w-hat I meant , ’ Nogai protested .
6 ‘ Here lies an honest lawyer , wot ye what
7 I often don't. erm and in some ways coming on a programme like this , or finding other ways to make your views be heard is erm I think very important in a way which me and my colleagues try to do something about the anger that we 're feeling .
8 The word for questioning postnominal attributives , which ? , fares no better : ( 4 ) which them does muzak drive ? ( 5 ) which keys did Ellen shake ?
9 And in fact , if the argument above is sound , to conceive of a knee other than yours hurting in the way in which yours hurts is to conceive of it as hurting you .
10 Thus Barthes 's account of wrestling does not seem so strange and unlikely as if it were merely his own and there were no alternative account against which his was implicitly juxtaposed .
11 But , seeing that a fine picture is nature reflected by an artist , the criticism which I approve will be that picture reflected by an intelligent and sensitive mind .
12 A split appears to be spoken of in the conversation from which I have just quoted : formed by the past , he is also deformed by it .
13 It was published in America in 1974 , translated by Peter Kussi , who has revised his translation for the new edition of 1986 which I am discussing here .
14 To imagine this is to be aware that the aggressive term which I have applied to Amis 's novelistic method , ‘ ventriloquism ’ , has the drawback of suggesting that when an author throws his voice , the character who receives it will necessarily be found to be inanimate , a dummy .
15 In the ambience and tradition to which I am referring personality is defined in terms of breadth and contrast ; the effect is at once stereophonically-internal — a number of speakers has been installed , so to speak — and invasive .
16 Faussone talks about ‘ the way we bent our elbows ’ — an expression ( for eating or drinking ) which I have heard spoken in English , but which I had never before seen written down in a book .
17 Faussone talks about ‘ the way we bent our elbows ’ — an expression ( for eating or drinking ) which I have heard spoken in English , but which I had never before seen written down in a book .
18 The measure expresses a mean between saving and lashing-out , and it has remained a feature of my own Scots-Irish domestic economy which I would bet is widespread in northern parts .
19 Here is a suggested first reading list , which I 've put together to provide a broadly representative selection of significant periods in the theatre 's development .
20 Without the which I am not to be won ,
21 For example , one exercise which I have used in class is a play called Justice by John Galsworthy .
22 And in tutorials there is opportunity to take well judged risks — by which I mean being unafraid of going for the character and seeing where it leads — even with well known speeches .
23 We did a fortnight 's production which I enjoyed immensely .
24 And that got me into the last three so I had to do it all again at the Barbican which I think was to see if I could fill that theatre with enough presence and vocal range .
25 I also put together an adaptation of my own from The Pickwick Papers in which I took on four characters all travelling in a coach together , then mixed it with the narration , rather as they did with the production of Nicholas Nickleby .
26 And I discovered the language and size of the plays in which I was working with all their complexities .
27 Luckily we were still in time to get into the RADA auditions , which I did and got a letter from them saying ‘ not only are you rejected but we strongly advise you to think about another career ’ .
28 I can remember doing my Mick again from The Caretaker and for Shakespeare I did an outrageous choice of Cardinal Wolsey from Henry VIII , which I do n't think I shall ever be suited to playing .
29 One job has led to another but I do remember a particular film audition which I walked out of , much to the concern of everyone , my agent , and the casting director .
30 I frankly do not know which I prefer , wrote Harsnet .
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