Search results

You are looking at 1 - 10 of 46 items for :

  • functional differentiation x
  • Manchester Literature Studies x
Clear All
Satire and panegyric as forms of historical writing

, 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

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

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
Economy, exchange and cultural theory

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

in Rethinking the university
Abstract only

of utility’, he asserts. While some may argue that the beauty of the nose is ‘determined by opinion … that seeming beauteous unto one, which hath no favour with another’, Bulwer’s conviction that all foreign fashions mutilate the body and thus compromise its God-given functionality militates against such foolishness. Flat noses are ‘in request’ in the ‘great Turks Court’, for example, but this trend

in Plain ugly
Abstract only

universal cliché of exclusiveness – that is, what differentiates Australians from the rest of the world. Instead of being part of a broader humanity, it has its own special label: Made In Australia. The challenge has been to work outside this exclusivity, not only by aiming at the representative diversity in poetic styles (and, hopefully in the future, languages), but by clarifying how liberty of expression can be packaged to deny a liberty of day-to-day living. The marketing of the Bronzed Aussie, of the sports-mad high-achieving athlete bred in the wide-open spaces of

in Disclosed poetics
Tourism, cross-cultural space, and ethics in Irish poetry

-packaged notions of the native, than truly discovering anything new or noteworthy – was put into place. Secondly, a crucial differentiation between tourists and true travellers was set up. Even if those who aspired to the latter position were typically middle-class, they inherited – in their own perception at least – something of the distinction, individuality, and leisurely perceptiveness formerly associated with the upper classes. When on the road, writers and critics still typically identify themselves as this kind of traveller – in a movement akin, say, to the way in which

in Literary visions of multicultural Ireland
The Virgin in the Garden and Still Life

Alexandrine. You had to think differently, the actual form of your thought was different, if you thought in closed couplets, further divided by a rocking caesura, and if you thought in French. ( VG: 202, emphasis added) Frederica’s rather abstract meditations on differentiation, which take place during a solitary day trip to the

in A. S. Byatt
Franco-Maghrebi identity in Hassan Legzouli’s film Ten’ja

is dead at the very beginning of the movie and only appears in his son’s memories through numerous flashbacks, his physical and spiritual presence is evoked throughout the narrative. Nordine’s journey to Morocco can also be viewed as a process of spiritual renewal undertaken together with his father. The viewer can grasp the functional relationship between the two characters in this movie as it is emphasized from the first scene of Ten’ja. The first few minutes show a close-up of Nordine in his vehicle inside a carwash. The camera frames his facial and body profile

in Reimagining North African Immigration
Kipling’s Edwardian summer

deeper unity than their separate elements. But he was a pattern-maker from the beginning, and he was also interested in what I would call functional as opposed to organic unity: that is, the co-operation or co-ordination of parts in a system that enabled that system to work, to do its job. The breakdown of such a system horrified him, as it does in ‘The Mother Hive’, in which the infiltration of the hive by the Wax-Moth leads to a disintegration which is traced with obsessive precision in the mechanics of the hive’s operation (the bees take to ‘cadging round sugar

in In Time’s eye