a netlike formation, arrangement, or appearance; network.
Reticulation Is a derivative of the adjective reticulate (and the noun suffix -ion), of Latin origin. Reticulate comes from Latin rēticulātus “covered with a net, having a netlike pattern,” a derivative of the noun rēticulum “small net, a network bag,” itself a derivative of rēte “net (for hunting, fishing, fowling).” Reticulation entered English in the 17th century.
… Ralph Marvell, stretched on his back in the grass, lay gazing up at a black reticulation of branches between which bits of sky gleamed with the hardness and brilliancy of blue enamel.
Her appearance has changed as well, and I don’t mean just the intense reticulation of lines and wrinkles, the true stigmata of life.
Atweel is an alteration and contraction of Scots (I) wat weel, (I) wot well in standard if archaic English, meaning (I) know well in modern standard English. Unsurprisingly, atweel is found only in Scottish authors, the two most famous being Robert Burns (1759–1796) and Sir Walter Scott (1771–1832). Atweel entered English in the 18th century.
Atweel, I can do that, and help her to buy her parapharnauls.
Atweel, I dinna ken yet.
needless repetition of an idea, especially in words other than those of the immediate context, without imparting additional force or clearness, as in “widow woman.”
Tautology comes from Late Latin tautologia, a borrowing of a Hellenistic Greek rhetorical term tautología “repetition of something already said.” The second half of tautology is clear enough, being the same suffix as in theology or philology. The first element tauto- needs some clarification: it comes from tò autó “the same,” formed from the neuter singular of the definite article and the third person pronoun (the combination of tò autó to tautó is called krâsis “mixture,” which appears in idiosyncrasy “personal temperament”—a “personal blend” as it were. Tautology entered English in the 16th century.
Take away perspective and you are stranded in a universal present, something akin, weirdly, to the unhistoried — and, at the risk of tautology, perspective-less — art of the Middle Ages.
… the central moral question is whether we are going to use the language of tautology and self-justification – one that gives us alone the right to be called reasonable and human – or whether we labour to discover other ways of speaking and imagining.