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bear a resemblance to (someone or something)

To share similarities, especially in appearance, with someone or something else. Wow, you really bear a resemblance to your mother! I was about to call you by her name. These two pieces of music certainly bear a resemblance to each other—it's a little suspicious, if you ask me.
See also: bear, resemblance
Farlex Dictionary of Idioms. © 2015 Farlex, Inc, all rights reserved.

bear a resemblance to someone or something

to have a degree of similarity to someone or something. This wallet bears a strong resemblance to the one I lost last month. Do you think that Wally bears any resemblance to his sister Mary?
See also: bear, resemblance
McGraw-Hill Dictionary of American Idioms and Phrasal Verbs. © 2002 by The McGraw-Hill Companies, Inc.
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References in periodicals archive ?
This projects implements a particular approach in measuring image resemblance called Perceptual Systems Approach, based on Near Sets Theory where image resemblance is viewed as a form of nearness between sets of perceptual objects.
The notion of family resemblance marks an important shift between the view endorsed in the Tractatus and Wittgenstein's later thought.
The Times said that readers had pointed out "a number of resemblances" between it and "Never Do That to a Book," an essay on the same subject by Anne Fadiman that appeared in her 1998 book "Ex Libris: Confessions of a Common Reader."
of Ulster), according to which certain intense kinds of conflict can arise out of a background of similarity--indeed because of similarity--and may perhaps even generate further resemblance between the antagonists.
They brought home some things, not only about Manet and Velazquez--this was the show that was really about that pairing, not the one at the Metropolitan Museum of Art in 2003--but also about questions of "influence" and dialogue and the very boundary between the resemblances and differences, the comparisons and contrasts, with which we work, both in the day-to-day practice of art history and in the general rule of thought.
This book is about resemblances and differences, modeling, imitating, shadows, and doubles.
Locke asserts that "the Ideas of primary Qualities of Bodies, are Resemblances of them, and their Patterns do really exist in the Bodies themselves; But the Ideas, produced in us by these Secondary Qualities, have no resemblance of them at all."(1) On an unsophisticated way of taking his words, he means that ideas of primary qualities are like the qualities they represent and ideas of secondary qualities are unlike the qualities they represent.(2) I will show that if we take his assertions in this unsophisticated way, our reward will be a straightforward and satisfying interpretation of the central arguments of his chapter on primary and secondary qualities.
However, Kenneth Carpenter of the Denver Museum of Natural History, who is also studying the new dinosaurs, contends that the resemblances appear to be superficial.
This alternative form of conventionalism achieves what Goodman claims resemblance must, but cannot, do: demarcate representational entities from non-representation entities; or, more precisely, distinguish content-conferring resemblances from non-content-conferring ones.
Moving from visual to textual fields, it is significant that the words we use as a common medium of communication bear no pictographic resemblances to the objects or concepts they represent.
Perhaps as a warning of sorts, Holler has placed a statement on the wall at the start of his maze denying the existence of any doubles: "They are only resemblances." Of course, the existence of resemblances depends on our ability to recognize them--an ability that the individual works provoke in invasive and subtle ways.
The close resemblances between several Burgess Shale organisms and some Ediacaran ones leads Conway Morris to suggest that at least some members of the early group were indeed animals that survived into the Cambrian period.
Not merely tokens of a postmodern self-consciousness about art history, these unexpected resemblances are yet another means by which Hernandez keeps us on our toes, leaving us feeling not quite sure of what criteria we're meant to use in examining his pictures.
Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation.