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Books on the topic 'Expressive Prose'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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1

Frost, Sadie. Back In 5 Minutes: An Expression of Depression, Volume 1. Edited by Lucie Barat and Fawn Neun. London, England: Little Episodes Publishing, 2010.

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2

McLean, Alex (Christopher Alex), 1975-, ed. Speaking code: Coding as aesthetic and political expression. Cambridge, Mass: The MIT Press, 2012.

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3

Judi, Lesiak, ed. Problems in written expression: Assessment and remediation. New York, N.Y: Guilford Press, 1989.

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4

Caldwell, Patricia. Puritan conversion narrative: The beginnings of American expression. Cambridge: Cambridge Univeristy Press, 1986.

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5

Expressives Sprachhandeln als Ausdrucksform der Persönlichkeit: Eine kommunikationsgeschichtliche Studie an den Briefen der Pirckheimer-Frauen aus den Jahren 1505-1547. Hildesheim: G. Olms, 2005.

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6

Ontario. Le curriculum de l'Ontario 11e et 12e année: Affaires et commerce. Toronto, Ont: Imprimeur de la Reine, 2000.

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7

Ontario. Le curriculum de l'Ontario 11e et 12e année: English. Toronto, Ont: Imprimeur de Reine, 2007.

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8

Ontario. Le curriculum de l'Ontario 11e et 12e année: English. Toronto, Ont: Imprimeur de Reine, 2000.

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9

Ontario. Le curriculum de l'Ontario 11e et 12e année: Orientation et formation au cheminement de carrière. Toronto, Ont: Imprimeur de la Reine, 2000.

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10

Ontario. Le curriculum de l'Ontario 11e et 12e année: Études canadiennes et mondiales. Toronto, Ont: Imprimeur de la Reine, 2000.

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11

Ontario. Le curriculum de l'Ontario 11e et 12e année: Mathématiques. Toronto, Ont: Imprimeur de la Reine, 2000.

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12

Ontario. Le curriculum de l'Ontario 11e et 12e année: Langues autochtones. Toronto, Ont: Imprimeur de la Reine, 2000.

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13

Ontario. Le curriculum de l'Ontario 11e et 12e année: Éducation physique et santé. Toronto, Ont: Imprimeur de la Reine, 2000.

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14

Ontario. Le curriculum de l'Ontario 11e et 12e année: Répertoire des cours. Toronto, Ont: Imprimeur de la Reine, 2000.

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15

Ontario. Le curriculum de l'Ontario 11e et 12e année: Études classiques et langues internationales. Toronto, Ont: Imprimeur de la Reine, 2000.

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16

Ontario. Le curriculum de l'Ontario 11e et 12e année: Mathématiques. Toronto, Ont: Imprimeur de la Reine, 2007.

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17

Ontario. Le curriculum de l'Ontario 11e et 12e année: Affaires et commerce. Toronto, Ont: Imprimeur de la Reine, 2006.

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18

Ontario. Le curriculum de l'Ontario 11e et 12e année: Études interdisciplinaires. Toronto, Ont: Imprimeur de la Reine, 2002.

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19

Ontario. Le curriculum de l'Ontario 11e et 12e année: Sciences. Toronto, Ont: Imprimeur de la Reine, 2000.

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20

Ontario. Le curriculum de l'Ontario 11e et 12e année: Études autochtones. Toronto, Ont: Imprimeur de la Reine, 2000.

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21

Ontario. Le curriculum de l'Ontario 11e et 12e année: Français révisé. Toronto, Ont: Imprimeur de la Reine, 2007.

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22

Ontario. Le curriculum de l'Ontario 11e et 12e année: Sciences humaines et sociales. Toronto, Ont: Imprimeur de la Reine, 2000.

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23

Ontario. Le curriculum de l'Ontario 11e et 12e année: Éducation technologique. Toronto, Ont: Imprimeur de la Reine, 2000.

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24

Rosas, Marie J. Effortless Expression: Poetry & prose. iUniverse, Inc., 2005.

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25

Adlington, Hugh. John Donne. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.20.

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This chapter argues that the distinctive qualities of John Donne’s religious thought and temperament are revealed as much through the manner or expressive mode of his religious writing as they are through its matter or doctrinal content. To illustrate, the chapter analyses the rhetoric and prosody of Holy Sonnet 19 (‘Oh, to vex me’) in the light of two key contexts: Donne’s letters, poems, and prose works from his middle years (1606–14), and the religious and theological controversies of the same period, including fiercely argued doctrinal debates about the means of salvation and bitter religio-political disputes over the Oath of Allegiance. The chapter concludes by showing the degree to which Donne’s compelling union of dialectical reason and associative poesis in his religious writing both shares in and departs from literary traits and mentalities found in other religious writers of the period.
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26

Heine, Steven. Tones. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190637491.003.0008.

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Chapter 8 uses the multifaceted term “tones” to explain the expressive role of texts that were produced as part of a growing publication industry to record and circulate various sermons in prose and verse that reflected a master’s awakened state of mind beyond logical thinking. This section also explains the importance of nuanced ink tones for the creation of sparse, monochromatic calligraphy and painting that reveals the interior depths of enlightened engagement with all forms of human and natural existence. Advances in literary and visual arts greatly contributed to the success of maritime transitions and transfers. Salons located within and outside of temple compounds propagated the production of writings and drawings, and contributed to the formation of the tradition that at once affirmed and negated the importance of artistic pursuit in relation to the religious goal of attaining spiritual awakening.
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27

Hutchinson, G. O. Motion in Classical Literature. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855620.001.0001.

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Ancient literature is full of people, gods, and animals in impressive motion. But while the importance of space has been realized recently, motion has had little attention, for all its prominence in literature, and its interest to ancient philosophy. Motion is bound up with decisions, emotions, character; its specific features are expressive. The book starts with motion in visual art: this leads to the characteristics of literary depiction. Literary works discussed are: Homer’s Iliad; Ovid’s Metamorphoses; Tacitus’ Annals; Sophocles’ Philoctetes and Oedipus at Colonus; Parmenides’ On Nature; Seneca’s Natural Questions. The two narrative poems here diverge rewardingly, as do philosophical poetry and prose; in the prose narrative, as in the philosophical poem, the absence of motion, and metaphorical motion, are important; the dramas scrutinize motion verbally and visually. Each discussion pursues the general roles of motion in a work, with detail on its language of motion; then passages are analysed closely, to show how much emerges when this aspect is scrutinized. A conclusion brings works and passages together. It considers the differences made by genre and by the time of writing. Among aspects of motion which emerge as important are speed, scale, shape of movement, motion and fixity, movement of one person and a group, motion willed and imposed, motion in images and unrealized possibilities. A companion website makes it easier to see passages and analyses together; it offers videos of readings to convey the vitality and subtlety with which motion is portrayed.
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28

Hutchinson, G. O. Plutarch's Rhythmic Prose. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.001.0001.

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Greek literature is divided, like many literatures, into poetry and prose; but in the earlier Roman Empire, 31 BC to AD 300, much Greek (and Latin) prose was written in one organized rhythmic system. Whether most, or hardly any, Greek prose adopted this patterning has been entirely unclear; this book for the first time adequately establishes an answer. It then seeks to get deeper into the nature of prose-rhythm through one of the greatest Imperial works, Plutarch’s Lives. All its phrases, almost 100,000, have been scanned rhythmically. Prose-rhythm is revealed as a means of expression, which draws attention to words and word-groups. (Online readings are offered too.) Some passages in the Lives pack rhythms together more closely than others; the book looks especially at rhythmically dense passages. These do not occur randomly; they attract attention to themselves, and are marked out as climactic in the narrative, or as in other ways of highlighted significance. Comparison emerges as crucial to the Lives on many levels. Much of the book closely discusses particular dense moments, in commentary form, to show how much rhythm contributes to understanding, and is to be integrated with other sorts of criticism. These remarkable passages make apparent the greatness of Plutarch as a prose-writer: a side not greatly considered amid the huge resurgence of work on him. The book also analyses closely rhythmic and unrhythmic passages from three Greek novelists. Rhythm illuminates both a supreme Greek writer, Plutarch, and three prolific centuries of Greek literary history.
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29

Strube, Cordelia. Exhilarating Prose: Cognitions, Contemplations, Insights, Introspections, Lucubrations, Meditations, Musings, Prognostications, Reflections, Reveries and Ruminations on the Process of Writing. Baraka Books, 2015.

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30

McLean, Alex, Geoff Cox, and Franco "Bifo" Berardi. Speaking Code: Coding As Aesthetic and Political Expression. MIT Press, 2019.

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31

Fuller, Matthew, Lev Manovich, Alex McLean, Geoff Cox, and Franco "Bifo" Berardi. Speaking Code: Coding As Aesthetic and Political Expression. MIT Press, 2012.

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32

Fuller, Matthew, Lev Manovich, Alex McLean, Geoff Cox, and Franco "Bifo" Berardi. Speaking Code: Coding As Aesthetic and Political Expression. MIT Press, 2012.

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33

Jean, Garapon, and Université de Nantes. Centre de recherches "Textes, langages, imaginaires.", eds. L' expression de l'inoubliable dans les mémoires d'Ancien Régime. Nantes: Éditions Cécile Defaut, 2005.

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34

Jean, Garapon, and Université de Nantes. Centre de recherches "Textes, langages, imaginaires.", eds. L' expression de l'inoubliable dans les mémoires d'Ancien Régime. Nantes: C. Defaut, 2005.

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35

Jean, Garapon, and Universite de Nantes. Centre de recherches "Textes, langages, imaginaires"., eds. L' expression de l'inoubliable dans les memoires d'Ancien Regime. Nantes: Editions Cecile Defaut, 2005.

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36

Power, Timothy. Musical Persuasion in Early Greece. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780195386844.003.0008.

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This chapter on archaic and classical Greek music finds the political dimensions of musical expression to be paramount. Music, according to Power, presents a synesthetic form of communication—verse, instruments, often dance and, in Athenian drama, prose dialogue—of unrivalled modal complexity that reinforced the popular impact of this art form. Solon and other politicians used music, while Pindar and other poets introduced political motifs into performances of their works. In Power’s view, the generally accepted notion that early Greece was a “song culture”—differing in this respect from ancient Mesopotamia with its scribal culture, or from imperial Rome with its predilection for monuments and public spaces—should not lead to overemphasizing private life and personal communication as opposed to the political forms of expression developed by Solon, Pindar, and others.
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37

Stevenson, Jane. Streams of Consciousness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0006.

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A number of modernist writers are profoundly engaged with the classical tradition (or traditions) and the relevance of the past to the present. Writers singled out include Djuna Barnes, expressing a modern sensibility through a fantastical neo-Elizabethan prose style, and the way Woolf in Orlando also patched the Elizabethan era onto the present: in both cases, the obliquity of their narrative relates to the problem of expressing a lesbian viewpoint without provoking censorship. The chapter examines the camp streak in interwar literature and its debt to Saki and Ronald Firbank. Also explored is the importance of fantasy: not just Tolkien together with his friends C. S. Lewis and Charles Williams, a nexus of mutually connected writers who reacted to modernity by going somewhere else entirely, but the writers of many contemporary bestsellers and critically successful books.
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38

Hutchinson, G. O. Bewilderments of Joy (Heliodorus 10.38.3–4). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0020.

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A climactic non-rhythmic passage from a novelist is analysed, to show its difference from Chariton, and more especially from the passage in the next chapter. The passage is climactic, part of the great finale of Heliodorus’ novel. The language flows without rhythmic stopping-points, and perhaps even seeks to compensate for the absence of rhythm with arresting complication of expression and thought. Thucydides is the basis for developments which are obscure in meaning and recall in stylistic balance other prose of the fifth and fourth centuries. The writing is far from the sharpness of Chariton, to which rhythm makes such a contribution.
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39

Green, Steven J., ed. Text and Translation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198789017.003.0002.

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This section contains a Latin text of the poem based on the editions of Baehrens and Vollmer (1911) and Enk (1918): no independent assessment of the manuscripts has taken place. It also contains a new English prose translation of the poem—the first published English translation since that of Duff and Duff in the 1934 Loeb edition, Minor Latin Poets—which seeks in particular to represent more faithfully the poem’s extensive use of anthropomorphic expression. The translation is accompanied by notes that provide brief comment on thematic and interpretive issues, and offer reflections on Grattius’ skill as a poet, a particularly underrated topic.
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40

Michael, Furmston, Tolhurst G J, and Mik Eliza. 4 Acceptance. Oxford University Press, 2016. http://dx.doi.org/10.1093/law/9780198724032.003.0004.

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The clearest way to prove that the parties have reached an agreement is for them to execute a written contract. Where such a document does not exist it is then necessary to prove an agreement has been reached by using the tools of offer and acceptance or by showing that an agreement has been reached by other conduct or communications. This chapter is concerned with acceptance and discusses the various rules governing acceptance. In general terms, an acceptance involves the communication of an unequivocal assent to the terms of an offer. Such ‘assent’ requires a commitment to the terms of the offer and not an acknowledgement of the offer or an expression of interest in the offer.
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41

Huber, Judith. Latin and medieval French in the motion verb typology. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657802.003.0007.

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Since Latin and medieval French are the contact languages from which the path verbs analysed in chapter 9 are borrowed, this chapter summarizes earlier research on Latin and medieval French in the motion verb typology and offers a case study on motion expression in the prose parts of the Old French Aucassin et Nicolette. It is shown that while medieval French can be called satellite-framing with respect to the structures used to talk about motion, which typically feature satellites (though less often in the form of adverbs than in medieval English), the use of path verbs is considerably higher than of manner verbs, and manner verbs are less frequently combined with satellites than are other motion verbs. This is related to narrative styles typical of medieval French romances and epics.
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42

Esterhammer, Angela. The 1820s and Beyond. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.5.

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In light of new research on print culture and media history, the 1820s—once considered an age of superficiality, conservatism, and mediocrity—are emerging as a key moment of experimentation and innovation at the interface of Romanticism and modernity. The era abounds in periodicals and literary magazines, non-traditional stage performances and spectacles, popular novels and serialized fiction, and curious hybrids of prose, poetry, drama, fiction, and non-fiction. The chapter argues that a recurring contrast between theatricality and authenticity characterizes these forms of expression, as do themes of spectatorship and speculation. The 1820s may be redefined and reinterpreted as an ‘age of information’ as well as an ‘age-in-formation’, a time when literature thematizes and reflects on rapid changes in the conditions of communication and in the relationship between writers and readers.
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43

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. A History of Russian Literature. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.001.0001.

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The History of Russian Literature provides a comprehensive account of Russian writing from its earliest origins in the monastic works of Kiev up to the present day, still rife with the creative experiments of post-Soviet literary life. Five chronological parts by design unfold in diachronic histories; they can be read individually but are presented as inseparable across the span of a national literature. Throughout its course, this History follows literary processes as they worked in respective periods and places, whether in monasteries, at court, in publishing houses, in the literary marketplace, or the Writers’ Union. Evolving institutional practices used to organize literature are themselves a part of the story of literature told in poetry, drama, and prose including diaries and essays. Equally prominent is the idea of writers’ agency in responding to tradition and reacting to larger forces such as church and state that shape the literary field. Coverage strikes a balance between extensive overview and in-depth thematic discussion, addressing trans-historical questions through case studies detailing the importance of texts, figures, and notions. The book does not follow the decline model often used in accounts of the nineteenth century as a change-over between ages of prose and poetry. We trace in the evolution of literature two interrelated processes: changes in subjectivities and the construction of national narratives. It is through categories of nationhood, literary politics, and literary life, forms of selfhood, and forms of expression that the intense influence of literature on a culture as a whole occurs.
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44

Bahoora, Haytham. Iraq. Edited by Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.16.

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This chapter examines the development of the novel in Iraq. It first considers the beginnings of prose narrative in Iraq, using the intermingling of the short story and the novel, particularly in the first half of the twentieth century, as a framework for reassessing the formal qualities of the Arabic novel. It then turns to romantic and historical novels published in the 1920s, as well as novels dealing with social issues like poverty and the condition of peasants in the countryside. It discusses the narrative emergence of the bourgeois intellectual’s self-awareness and interiority in Iraqi fiction, especially the novella; works that continued the expression of a critical social realism in the Iraqi novelistic tradition and the appearance of modernist aesthetics; and narratives that addressed dictatorship and war in Iraq. The chapter concludes with an overview of the novel genre in Iraq after 2003.
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45

Wilcox, Helen. Sacred and Secular Love. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.35.

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This chapter explores early modern literary responses to one of the most fundamental issues in the Christian faith—the love of God for humankind, and its reception and reciprocation by individuals and communities. Textual explorations of sacred love, closely interlinked with writings about secular love, are drawn from the full chronological span of the volume, ranging from Richard Rolle in 1506 to Damaris Masham in 1696. The works discussed are from a wide variety of genres, including lyric poetry, devotional prose, prayers, sermons, and autobiographical writings. The subject of love is seen to open up some of the major religious controversies of the period, including the nature of Christ’s redemptive love and its expression in the Eucharist; the possible tension between love for God and charity towards others; and the roles of gender, sacrifice, perplexity, and mystery in the relationship between God and humanity.
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46

Caldwell, Patricia. The Puritan Conversion Narrative: The Beginnings of American Expression (Cambridge Studies in American Literature and Culture). Cambridge University Press, 1985.

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47

Isett, Philip. Notation. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691174822.003.0004.

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This chapter explains the notation for the basic construction of the correction. It employs the Einstein summation convention, according to which there is an implied summation when a pair of indices is repeated, and the conventions of abstract index notation, so that upper indices and lower indices distinguish contravariant and covariant tensors. It also presents the notation concerning multi-indices which will later prove helpful for expressing higher order derivatives of a composition. In this notation, a K-tuple of multi-indices is said to form an ordered K-partition of a multi-index if there is a partition whereby the subsets are pairwise disjoint and are ordered by their largest elements.
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48

Braunmuller, A. R. Shakespeare’s Late Style. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0025.

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‘Shakespeare’s Late Style’ explores stylistic aspects of Shakespeare’s dramatic verse (and a little of the prose) in plays composed after Hamlet. It suggests that Dryden was among the first to recognize that Shakespeare’s style changed over time and seems to have thought that the style became less ‘pestered’ with ‘figurative expressions’ as the career advanced. Like most early commentators, however, Dryden left little detailed analysis to support his larger, often metaphorical, claims. The purpose of this chapter is to identify the features of Shakespeare’s style in the second half of his professional career, to explore the imaginative effect of those features, and to speculate on why these changes from his earlier plays might have occurred. One principal claim made in this chapter concerns the degree to which the dramatic verse is rooted in dramatic events and characters’ motivations and designs. Increasing abstraction in both thought and expression combine to create the distinctive quasi-allegorical qualities especially visible in the four or five plays last written by Shakespeare alone or in collaboration.
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49

Tierney, R. Kenji, and Emiko Ohnuki-Tierney. Anthropology of Food. Edited by Jeffrey M. Pilcher. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199729937.013.0007.

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Food is an important indicator of social differentiation, which defines the boundaries between social groups, and social hierarchy, which entails class, status, and power inequality. Because food is a basic element of material culture and social life, it has occupied a central place in the discipline of anthropology from its earliest days. Anthropologists view food and foodways as tools with which to understand individual cultures and societies, especially when they are situated in the context of global and historical flows and connections. Ethnography, the methodology used by anthropologists and by some other social scientists, relies on a holistic and empathetic approach based on lived experience among the people being studied. Anthropologists have long been interested in commensality as both a source and an expression of group identities. Another way to probe sociality is to analyze gifts and manners.
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50

Rumfitt, Ian, and Bradley Armour-Garb. The Liar without Truth. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199896042.003.0008.

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Liar sentences say nothing, according to this chapter—which, it claims, we can, in effect, prove. But extending the proof as the chapter does appears to result in revenge. The solution to this problem is to restrict the laws of logic by distinguishing expressing a falsehood from failing to express a truth. But the question that presses is how we can signify that a given sentence—a liar sentence, for example—fails to express a truth without being mired in paradox. To this end, the chapter revisits the sort of bilateral system that Rumfitt (2000) has discussed. The chapter shows that there is a way of developing Aristotle’s conception of truth into a definition of truth that does not yield a contradiction, even when applied to a semantically closed language. If successful, the proposal will enable us to reject a Strengthened Liar as untrue without asserting its negation.
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