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Satire and panegyric as forms of historical writing
Noelle Gallagher

, 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

in Historical literatures
Glyn White

relationship between speech and the graphic form of writing will not, however, hold up to scrutiny. The reason that writing is not subservient to 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

in Reading the graphic surface
Noelle Gallagher

subversive Procopian tradition of secret history, as well as 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

in Historical literatures
Francisco Alonso-Almeida

and medical practices. Methodology and definitions My linguistic description of 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

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

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
Open Access (free)
Jen Archer-Martin and Julieanna Preston

-activity, its dynamic and contingent differentiation into specific relationalities. “We humans” don’t make it so, not by dint of our own will, and not on our own. But through our own advances, we participate in bringing forth the world in its specificity, including ourselves’ ( 2007 : 353). In the case of the roadworks encounter, the field is all of the things in the scene, including the spectators. The impatient driver is not outside of the act of world repair, but always-already entangled as a road user, resource consumer and world sharer – an implicated party with a vested

in Performing care
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New Sincerity and the performance of post-Soviet national identities
Molly Flynn

-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
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Women, body hair and feminism
Karín Lesnik-Oberstein

rooted in constructs of gender … Case studies by Ross et al. (1965) indicate that superfluous facial and body hair on women triggers 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

in The last taboo
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Calendar time in balade form
Catherine Sanok

: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
Peter M. Boenisch

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