sylphid


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sylph·id

 (sĭl′fĭd)
n.
A young or diminutive sylph.
adj.
Relating to or resembling a sylph.
[French sylphide, from sylphe, sylph, from New Latin sylpha; see sylph.]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

sylph•id

(ˈsɪl fɪd)

n.
a little or young sylph.
[1670–80]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
Translations

sylphid

n → Sylphide f
Collins German Dictionary – Complete and Unabridged 7th Edition 2005. © William Collins Sons & Co. Ltd. 1980 © HarperCollins Publishers 1991, 1997, 1999, 2004, 2005, 2007
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References in periodicals archive ?
Eve's spoiled 23-year-old daughter Sylphid hates Ira and bullies her mother into having an abortion.
The book is a wretched piece of hackwork and political propaganda, filled with lies, portraying Ira as a calculating monster and spy for the Russians, and Eve and Sylphid as heroic Americans protecting democracy.
RED SCARE: THE EARLY COLD WAR IN NOVELS BY MAILER, DOCTOROW, AND ROTH
Evil Eve!--who used to be Chava Fromkin, a nice Jewish girl from Brooklyn, before she went Hollywood, cohabited with a gay actor who did icky things in the south of France, gave birth to an egregious girl-child (the harp-playing overeater Sylphid) and put on uppity English airs.
But her thralldom to the jealous Sylphid causes her to abort a baby Ira longs for, and her fury at his infidelities with a vulgar Polish masseuse will lead her to publish a ghostwritten tell-all, likewise called I Married a Communist, in which she fingers her own "Machiavellian" husband as the "ringleader of the underground Communist espionage unit committed to controlling American radio." Iron Rinn, a blunt instrument, uses "the weapon of mass culture to tear down the American way of life."
I MARRIED A COMMUNIST
To appreciate fully the conflicted ground of Robinson's self-authorization in the Memoirs, however, we need to look beyond the self that she constructs in the autobiographical narrative of Volumes 1 and 2 to the invisible and protean persona that she adopts in The Sylphid, a group of fourteen editorials collected in Volume 3.
Mary Robinson's Sylphid self: the end of feminine self-fashioning

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