Search results

Abstract only
Author: David Brauner

This is a study of the contemporary American novelist, Philip Roth. Reading alongside a number of his contemporaries and focusing particularly on his later fiction, it offers a view of Roth as an intellectually adventurous and stylistically brilliant writer who constantly reinvents himself in surprising ways. At the heart of this book are a number of readings of Roth's works both in terms of their relationships with each other and with fiction by Nathaniel Hawthorne, Thomas Pynchon, Tim O'Brien, Bret Easton Ellis, Stanley Elkin, Howard Jacobson and Jonathan Safran Foer. The book identifies as a thread running through all of Roth's work the use of paradox, both as a rhetorical device and as an organising intellectual and ideological principle.

Vito Zagarrio

The one-shot sequence – the articulation of an entire scene through a single, unbroken long take – is one of the cinema’s most important rhetorical devices and has therefore been much used and widely theorised over the years. This article provides a brief overview of these theories and of the multiple ways in which the one-shot sequence has been used both in world cinema (in general) and Italian cinema (in particular) in order to contextualise its use by one of Italian cinema’s best-known and most significant practitioners, Paolo Sorrentino. Through close analyses of one-shot sequences in Sorrentino’s films L’uomo in più/One Man Up, Le conseguenze dell’amore/The Consequences of Love, This Is the Place and Il divo – La vita spettacoloare di Giulio Andreotti – the article argues that Sorrentino’s predilection for the device is best explained by the wide variety of functions that it serves (as a mark of directorial bravura and auteur status; as a self-reflexive device and meditation on the cinematic gaze; as a political tool; and as a means of generating emotion). While rooted in history, Sorrentino’s use of the one-shot sequence thus transcends its position within Italian film history and discourse.

Film Studies
Mark Bennister

, when freed from the constraints The oratory of Tony Blair 157 of office-seeking, he rose beyond party politics in a personalised projection of his leadership. This chapter provides a critical analysis of the Blair oratory. It argues that his party leadership can be divided into three distinct oratorical phases: as opposition leader; as prime minister before 2003; and after 2003. The chapter will consider what rhetorical devices Blair used and to which audiences. How did the Blair oratory differ and what impact did it have on both the Labour Party and his

in Labour orators from Bevan to Miliband
The case of ‘Old Labour’, 1979–94
Eric Shaw

. In constructing this Old Labour narrative, the modernisers made extensive use of two rhetorical devices which I call essentialism and stereotyping. Essentialism refers to the belief that an entity or organisation is constituted by a set of properties which define its essential being and which are therefore a fixed part of its DNA. Further, it implies a deterministic analysis of behaviour, since the properties which define an organisation necessarily impel it to act in a particular way. Thus, for the architects of New Labour, Old Labour’s dogged refusal to modernise

in Labour and the left in the 1980s
Abstract only
Rhetorics of empire
Martin Thomas and Richard Toye

to the death-throes of European empires three generations later. Imperial rhetoric, we argue, camouflaged the violence of empires but was, at the same time, used to conjure images of imperial progress and generous decolonization.The chapters that follow thus explore the rhetorical devices used by political and military leaders, administrators, investors and lobbyists to justify colonial domination

in Rhetorics of empire
Abstract only
Hugo Frey

surround the political or artistic merits of Lacombe Lucien . Instead, I prefer to analyse how Lacombe Lucien works as a film, to discuss its core rhetorical devices and what they mean today. Here important comparisons will also be made with the equivalently ambiguous rhetorical strategies deployed by Malle in Pretty Baby . That film is important because it throws a powerful sidelight on the nature of Malle’s better

in Louis Malle
The historiographical legacy of internment
Wendy Ugolini

views and glosses over the Fascist history of Italian immigrant communities.7 Indeed, several contributors argue for the ‘reasonableness’ of wartime internment policies intended to suppress suspected Fascist activists.8 This chapter also presents a critical ~90~ The historiographical legacy of internment overview of current representations of Italian internment in Britain, in particular the ways in which the rhetorical device of ‘Collar the lot!’ is utilised to give the misleading impression that ‘all’ Italians were interned. It also explores how the notion of the

in Experiencing war as the ‘enemy other’
Abstract only
William Hughes

twentieth-century histories of hypnotism, Franz Anton Mesmer is more often deployed in the manner of a rhetorical device than advanced in the guise of a historical figure. His perceived character is customarily presented in these ostensibly historical accounts in such a way as to enforce a necessary distinction between the spectacular phenomena of unregulated eighteenth-century magnetism and more recent

in That devil's trick
The Big Society narrative
Timothy Heppell

austerity programme of public expenditure cuts, in which their commitment to public services would be questioned. The Big Society was a ‘rhetorical device’ (Pattie and Johnston, 2011 : 404) designed to legitimise their claim that they were committed to the public services in principle, not opposed, but they were engaging in a reform agenda that would create solutions to the socially ‘broken Britain’ that

in Cameron
Andrew Taylor

in a manner foregrounding Baldwin’s character (Williamson, 1999: 337). Commonplaces were, therefore, Baldwin’s fundamental rhetorical device. To examine topoi I focused primarily, but not exclusively, on the famous ‘England’ speech (6 May 1924) which Wright refers to as the ur-text of an understanding of ‘deep 26 Conservative orators from Baldwin to Cameron England’ common to both intellectuals and wider society (Wright, 1985: 82–3). The Mass Observation report cited earlier found the clearest images among all classes, urban or rural, were topographical: ‘The

in Conservative orators from Baldwin to Cameron