Search results

You are looking at 1 - 10 of 330 items for :

  • "rhetorical devices" x
  • Refine by access: All content x
Clear All
Abstract only
Landscape, display and identity

This book explores the influence of imperialism in the landscapes of modern European cities including London, Paris, Rome, Vienna, Marseilles, Glasgow and Seville. The first part considers some ways in which the design of urban landscapes articulated competing visions of the imperial city, including large-scale planning and architectural schemes, urban design and public monuments. The final shape of the Queen Victoria Memorial in London suggests an oddly tenuous relationship between the creation of imperial space and the representation of the empire itself. The notions of empire and romanità are expressed through the location, styling and form of the Vittoriano in Rome. The second part of the book considers the role of various forms of visual display, including spectacular pageants, imperial exhibitions and suburban gardens, in the cultural life of metropolitan imperialism. The material transformation of Paris with rhetorical devices reveals a deep-seated ambiguity about just how 'imperial' Paris wanted to appear. Sydenham Crystal Palace housed the Ethnological and Natural History Department, and its displays brought together animals, plants and human figures from various areas of the globe. The largest part of imperial Vienna's tourist traffic came from within the Austrian lands of the empire. The last part of the book is primarily concerned with the associations between imperial identities and the history of urban space in a variety of European cities. The book considers the changing cultural and political identities in the imperial city, looking particularly at nationalism, masculinity and anti-imperialism.

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
Politics and dress in Melbourne Punch, 1860s–1870s
Shu-chuan Yan

argue that the magazine exploits three major rhetorical devices – the tailor metaphor, literary and cultural allusions, and the trope of sport – as idiomatic metaphoric expressions to construct its clothing languages as a common ground for discussion. 5 These rhetorical devices, I contend, form a sartorial grammar sharing the lexicon of the political economy of colonial Australia. They, as an embodiment of referentiality and intertextuality, supplement the visual elements of clothes with illustrated humour and

in Political and Sartorial Styles
Abstract only
Hybridity of rhetoric in Harley 585
Lori Ann Garner

. Building from previous scholarship that has addressed productive connections between healing charms and rhetoric at a general level and numerous studies devoted to identification of rhetorical devices within vernacular verse in particular, 6 the present exploration isolates the particular mode of verbal discourse within the broadly conceived genre of medical lore involving persuasive speech directed toward plants. After a brief examination of such rhetoric within medieval healing practice more widely, this chapter then explores the

in Hybrid healing
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
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
Abstract only
Rhetorics of empire
Martin Thomas
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
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
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