Search results

Open Access (free)
Duncan Sayer

Introduction: mortuary grammar and community identity Cemeteries were spaces in which to dispose of the dead, to remove social and physical pollution by partitioning the dangerous decomposing body away from living space; and so prevent exposure to noxious odours. But disposal alone is too simplistic and perfunctory to explain the role of a burial ground because cemetery spaces hosted funerals, which were temporal events that recreated social bonds, allowing them to be forged anew following loss (Metcalf and Huntington, 1991 ). As a consequence, cemeteries

in Early Anglo-Saxon cemeteries
Andrew Balmer and Anne Murcott

mood is conjured and how the character’s train of thought in the second is helped by sentences so long that anyone reading it aloud has to make good use of the commas to take a breath. Contrast that with the way the first extract paints a vivid, realistic picture of movement, noise, smells and heat (among many other things), helped by short, punchy sentences. Keep these contrasting quotations in mind as you continue reading about grammar and punctuation in this third part of the book. The purpose of Part III We have written this part primarily to

in The craft of writing in sociology
Keith Dowding

The grammar of rights and freedoms 13 Social choice and the grammar of rights and freedoms The tools of social choice and game theory are being marshalled in order to get a new handle on old concepts in political philosophy. There is a large literature on the nature of equality as a value and what we should expect to be equalized (see, for example, Roemer 1996, 1998). There is a growing literature on the nature of liberty, its potential measurability (for example, Jones and Sugden 1982; Sen 1988, 1989, 1990a, 1990b, 1990c, 1991b, 1992, 1997, 1999; Bossert et al

in Power, luck and freedom
Anna Siebach Larsen

11 The humanist grammar of sanctity in the early Lives of Thomas More Anna Siebach Larsen In the dedicatory epistle of his Life of Sir Thomas More, Nicholas Harpsfield refers to his text as ‘a garlande decked and adorned with pretious pearles and stones’, fashioned from the ‘pleasaunt, sweete nosegaye of most sweete and odoriferous flowers’ of William Roper’s own, earlier Lyfe of Sir Thomas Moore.1 Collapsing temporal and technological boundaries, Harpsfield’s description encompasses his subject, his style, and – in its evocation of the verdant borders of the

in Sanctity as literature in late medieval Britain
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Chiao-I Tseng

The recent uses of digital technology in war films have sparked a wave of discussions about new visual aesthetics in the genre. Drawing on the approach of film discourse analysis, this article critically examines recent claims about new visual grammar in the war film and investigates to what extent the insertion of different media channels has affected the persuasive function of the genre. Through a detailed analysis of Redacted (2007), which constitutes an extreme case of a fiction filmmaking use of a variety of digital channels, this article demonstrates that the multimedia format works within systems of classical film discourse while also generating new patterns of persuasion tied to new visual technology.

Film Studies
Bert Ingelaere

language by knowing syntax, grammar, etc.), on the other hand it also means that one is familiar with the use of language, thus that one masters the codes of communicating ( Rukebesha, 1985 ; Nkusi, 1987 ; Ntampaka, 1999 ). A second and probably more important element in these Rwandan ethics of communication was (and still is) the concept of ubwenge. Ubwenge can be considered an essential form in the local social imaginary that defines – in a tacit fashion – how things go on between people and the expectations one has of the other. Ubwenge is a complex notion

Journal of Humanitarian Affairs

This book guides students in how to construct coherent and powerful essays and dissertations by demystifying the process of creating an argument and helping students to develop their critical skills. It covers everything from the beginning stages of reading critically and keeping notes, through to the final stages of redrafting and proof-reading. It provides step-by-step instructions in how to identify, define, connect and contrast sociological concepts and propositions in order to produce powerful and well-evidenced arguments. Students are shown how to apply these lessons in essay writing, and to a longer piece of writing, such as a dissertation, as well as how to solve common problems experienced in writing, including getting rid of waffle, overcoming writer’s block and cutting an essay down to its required length. For students wishing to improve their basic writing skills or to refresh their memories, the book also gives a clear and concise overview of the most important grammatical rules in English and how to use them to good effect in writing clear sentences and sensible paragraphs.

Examples from essays written by sociology students at leading universities are used throughout the book. These examples are used to show what students have done well, what could be done better and how to improve their work using techniques of argument construction. It will be of use to students studying sociology and related disciplines, such as politics, anthropology and human geography, as well as for students taking a course which draws upon sociological writing, such as nursing, social psychology or health studies.

Imogen Julia Marcus

3 Bess’s use of language Imogen Julia Marcus This chapter will discuss the language use of Elizabeth Talbot, countess of Shrewsbury, commonly referred to as Bess of Hardwick (c. 1527–1608). It is based on seventy-eight letters, both scribal and holograph, that Bess wrote to various correspondents throughout her life. With a particular focus upon her spelling and grammar, it will place Bess’s use of English within the context of what we already know about how women were using the language in Tudor and Stuart England, and the changes taking place in the language

in Bess of Hardwick