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Satire and panegyric as forms of historical writing

, and adventure dangerously at the most eminent vices among the greatest persons’.8 Dryden similarly linked both satire and panegyric with epic, beginning the Discourse of Satire (1693) with a discussion of epic and tragedy, and arguing in the preface to Annus Mirabilis that ‘the same images serve equally for the Epique Poesie, and for the Historique and Panegyrique, which are branches of it’.9 Physician-cum-poet Richard Blackmore linked satire with epic and tragedy on functional rather than stylistic grounds, contending that all three genres aimed ‘to deter Men from

in Historical literatures

to differentiate the Examen from formal historical narrative. While the subject matter and format of the text were clearly consistent with the rhetoric of secret history, North anxiously pointed to his royalist politics as proof of his work’s respectability, insisting that his own account, unlike those of secret historians, was written ‘on the Side of the established Religion and Government’ (iv). Like its erudite theological form, the Examen’s Tory political orientation was intended to elevate North’s formal historical ‘enquiry’ above those scandalous exposés that

in Historical literatures

recipes is underpinned by the principles of functional grammar.4 This model favours the description of a text in terms of its function in society and the relationship of the text with the audience in terms of lexical formalities: that is, its register. The main characteristics of the text-types illustrated in recipes will be commented upon and duly exemplified with data taken from our corpus of research, corresponding to the Modern English (i.e. 1500– 1900) section of the CoER. To my knowledge, the modern English recipe has not been the object of textual study in the

in Reading and writing recipe books, 1550–1800
Patricia Duncker’s The Deadly Space Between and The Civil Partnership Act

deviation, sameness with difference. Similarly, the relation between Toby and his mother derives from a process of gender fusion instead of heteronormative differentiation. Toby and Iso are said to look alike, and through mimetic desire swap conventional gender characteristics: ‘short, straight, blonde hair, like a couple of Nordic heroes, pale freckled skins which burn easily, and the same grey-blue eyes

in Gothic kinship

speech (and vice versa) depends on the fact that they work in totally different media. Speech operates through sound while writing and other graphic forms depend on the utilisation of a surface: ‘Functionally, it is true that writing may become an extension of speech; but technically it is not. From a technical point of view writing is an extension of drawing, or more generally of graphic art’ (Harris 1986: 25–6). In other words, the linguisticsbased attitude to the graphic form of language neglects its totally separate physical context. Harris argues that virtually

in Reading the graphic surface
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Women, body hair and feminism

anxiety about sexual identity, since such hair is one of the obvious symbolic characteristics that differentiate the male from the female. Moreover, the authors find that many women are unable to discuss the problem because of the threatening symbolic implications of any amount of hair beyond what is culturally considered the female distribution. In sum, superfluous hair is viewed by women as a confusion of symbolic categories, blurring the boundaries that separate woman from man . . . [Hirsute] subjects [in a North German study, Zerssen and Meyer (1960)] believe they

in The last taboo
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New Sincerity and the performance of post-Soviet national identities

-giving’ are closely related to its socialist past. While the exchange of money for favours is clearly recognized as a bribe, certain items such as candy, flowers, and cognac have become recognized in Russia as appropriate gifts or ‘signs of attention’ (znaki vnimaniia) commonly given to teachers, doctors, or other people in service positions who have shown particular care to a consumer (2002: 351). In Batalov’s case, the differentiation between bribery and ‘gift-giving’ is ambiguous in that he presents his ‘signs of attention’ to the women at the military registration

in Witness onstage
Economy, exchange and cultural theory

interdisciplinary university whose exchanges actually exceed final determination or controlled regulation (as the debate ‘for’ and ‘against’ deconstruction or theory shows). If, as we saw in the last chapter, the (re)positioning of academic boundaries, especially shifting and thus incessant ones, remains vital in the crossing or journey towards enlightenment, so that the instability of institutional limits may be longstanding and in a certain way functional or productive rather than indicative of a new crisis or sudden moment of breakdown, then nevertheless the limit of coherence

in Rethinking the university
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Calendar time in balade form

:34 Reforming calendar Afterword: sanctity time in balade form 229 ‘literature’, which generally take as axiomatic its difference from instrumental texts. The use of verse in a premodern text such as this one does not complicate this classification, since verse often had a clear functional role in aiding memory in this period. Indeed, Bokenham’s stanza is a mnemonic on the order of a much better known Middle English kalende, ‘Thirty days hath November’, though it is clumsier, and surely less effective than this lyric, which is, of course, still in use in only slightly

in Sanctity as literature in late medieval Britain
Friedrich Schiller and the liberty of play

3 Theatre as dialectic institution: Friedrich Schiller and the liberty of play We have started exploring how Regie reveals through scenes and senses a historically situated ‘style of thinking’, associated with the post-Kantian, post-1789 Western European ‘aesthetic regime of art’. No longer serving the functional semiotic economy of representation, it uses the three theatral ‘sensibles’ of kinesis, aisthesis and semiosis to insist on a subjective, affective intelligibility and sensibility. Already in 1803, we find a detailed outline by none other than German

in Directing scenes and senses