Adrienne Lehrer
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195307931
- eISBN:
- 9780199867493
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195307931.003.0016
- Subject:
- Linguistics, Theoretical Linguistics
Wine culture, according to Robert Fuller, shares features with popular religion: a special vocabulary, ritualized behaviors, and ceremonies. Although wine drinking has become popular, there are still ...
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Wine culture, according to Robert Fuller, shares features with popular religion: a special vocabulary, ritualized behaviors, and ceremonies. Although wine drinking has become popular, there are still elements of elitism. Wine marketing sometimes uses snob appeal, but just as often makes fun of snobbery. Names of wines and wineries has become colorful and entertaining, partly to attract customers, but also as a larger part of the word-play in contemporary advertising. Many wines and wineries use animal names (Yellowtail, Black Swan, Funky Llama), and some are puns, like Bored Doe. Although choosing wines to complement food has always been a concern, greater attention and specificity has recently been applied to food-wine pairings; not just red wine with meat, but a Australian Shiraz with grilled rib lamb chops marinated in a mustard cream sauce.Less
Wine culture, according to Robert Fuller, shares features with popular religion: a special vocabulary, ritualized behaviors, and ceremonies. Although wine drinking has become popular, there are still elements of elitism. Wine marketing sometimes uses snob appeal, but just as often makes fun of snobbery. Names of wines and wineries has become colorful and entertaining, partly to attract customers, but also as a larger part of the word-play in contemporary advertising. Many wines and wineries use animal names (Yellowtail, Black Swan, Funky Llama), and some are puns, like Bored Doe. Although choosing wines to complement food has always been a concern, greater attention and specificity has recently been applied to food-wine pairings; not just red wine with meat, but a Australian Shiraz with grilled rib lamb chops marinated in a mustard cream sauce.
Christopher Ricks
- Published in print:
- 1978
- Published Online:
- October 2011
- ISBN:
- 9780198120902
- eISBN:
- 9780191671289
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198120902.003.0002
- Subject:
- Literature, Milton Studies
This chapter presents the argument of Milton's critics that Milton's Grand Style is not that it is not grand, but that its grandeur forfeits the possibility of delicacy and subtlety. It selects four ...
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This chapter presents the argument of Milton's critics that Milton's Grand Style is not that it is not grand, but that its grandeur forfeits the possibility of delicacy and subtlety. It selects four important Miltonic topics — rhythm or music, syntax, metaphor, and word-play. It explains that to examine what has been said about Milton's rhythms and music is soon to realize that it provided one of the elements of the Grand Style which is both indisputably important and almost impossible to analyse. That Milton's sound-effects are magnificent is not denied even by his detractors. It notes that the key to any understanding of the Grand Style is decorum. It illuminates that it is decorum that demanded Milton to elevate his style by deviating greatly from common usage and it is decorum again which explains Milton's use of metaphor.Less
This chapter presents the argument of Milton's critics that Milton's Grand Style is not that it is not grand, but that its grandeur forfeits the possibility of delicacy and subtlety. It selects four important Miltonic topics — rhythm or music, syntax, metaphor, and word-play. It explains that to examine what has been said about Milton's rhythms and music is soon to realize that it provided one of the elements of the Grand Style which is both indisputably important and almost impossible to analyse. That Milton's sound-effects are magnificent is not denied even by his detractors. It notes that the key to any understanding of the Grand Style is decorum. It illuminates that it is decorum that demanded Milton to elevate his style by deviating greatly from common usage and it is decorum again which explains Milton's use of metaphor.
Nicolás Guillén and Lydia Cabrera
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780813037479
- eISBN:
- 9780813042329
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813037479.003.0004
- Subject:
- Society and Culture, Latin American Studies
This chapter examines how race is explored rhetorically and structurally in the short stories of Lydia Cabrera and the Afro-Antillean poems of Nicolás Guillén. Building on Henry Louis Gates Jr.'s ...
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This chapter examines how race is explored rhetorically and structurally in the short stories of Lydia Cabrera and the Afro-Antillean poems of Nicolás Guillén. Building on Henry Louis Gates Jr.'s concept of Signifyin(g), it shows how Cabrera and Guillén improvise on Afro-Cuban culture at a structural level, playing with genres such as the son and the folktale, to make Signifyin(g) function as both a racial and a national strategy. Guillén's Motivos de son, Sóngoro cosongo, and West Indies, Ltd., and Cabrera's Cuentos negros de Cuba combine high-culture literary style with popular linguistic styles to augment elements of word-play, improvisation, and humor already available in language production in the Caribbean. While Guillén's poetry uses Signifyin(g) to critique racist stereotypes and postcolonial structures of domination, Cabrera's stories contest and play with contemporary assumptions of literary and cultural authority.Less
This chapter examines how race is explored rhetorically and structurally in the short stories of Lydia Cabrera and the Afro-Antillean poems of Nicolás Guillén. Building on Henry Louis Gates Jr.'s concept of Signifyin(g), it shows how Cabrera and Guillén improvise on Afro-Cuban culture at a structural level, playing with genres such as the son and the folktale, to make Signifyin(g) function as both a racial and a national strategy. Guillén's Motivos de son, Sóngoro cosongo, and West Indies, Ltd., and Cabrera's Cuentos negros de Cuba combine high-culture literary style with popular linguistic styles to augment elements of word-play, improvisation, and humor already available in language production in the Caribbean. While Guillén's poetry uses Signifyin(g) to critique racist stereotypes and postcolonial structures of domination, Cabrera's stories contest and play with contemporary assumptions of literary and cultural authority.
Mark D. LeBlanc and Betsey Dexter Dyer
- Published in print:
- 2007
- Published Online:
- April 2010
- ISBN:
- 9780195305890
- eISBN:
- 9780199773862
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195305890.003.04
- Subject:
- Biology, Biomathematics / Statistics and Data Analysis / Complexity Studies
This chapter describes some hurdles, which can be overcome, so that the pattern matching syntax of regular expressions (‘regex’) can be used immediately. It also presents some surprisingly relevant ...
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This chapter describes some hurdles, which can be overcome, so that the pattern matching syntax of regular expressions (‘regex’) can be used immediately. It also presents some surprisingly relevant word play. Almost all DNA sequence analysis is a form of pattern matching. Whether one compares sequences to build phylogenetic trees or to determine their identities, similar patterns are looked for. Many different programming languages use regex's but they fit especially well within Perl's syntax. Facing page translations are often used to help with the translation between two different languages, e.g. English text on the left-hand, even numbered pages and the comparable French text on the right-hand odd numbered pages. The chapter introduces regular expressions syntax in small doses, first applying regex to English text on the left and then applying that same regex to DNA sequences on the right-hand page. Side boxes include Alice Kober and Why search for repeats?Less
This chapter describes some hurdles, which can be overcome, so that the pattern matching syntax of regular expressions (‘regex’) can be used immediately. It also presents some surprisingly relevant word play. Almost all DNA sequence analysis is a form of pattern matching. Whether one compares sequences to build phylogenetic trees or to determine their identities, similar patterns are looked for. Many different programming languages use regex's but they fit especially well within Perl's syntax. Facing page translations are often used to help with the translation between two different languages, e.g. English text on the left-hand, even numbered pages and the comparable French text on the right-hand odd numbered pages. The chapter introduces regular expressions syntax in small doses, first applying regex to English text on the left and then applying that same regex to DNA sequences on the right-hand page. Side boxes include Alice Kober and Why search for repeats?
Athanassios Vergados
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780198807711
- eISBN:
- 9780191845536
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198807711.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval, Poetry and Poets: Classical, Early, and Medieval
This study aims to define Hesiod’s place in early Greek intellectual history by exploring a network of issues related to language, knowledge, and authority in Hesiod’s Theogony and Works and Days. ...
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This study aims to define Hesiod’s place in early Greek intellectual history by exploring a network of issues related to language, knowledge, and authority in Hesiod’s Theogony and Works and Days. Part I demonstrates how much we can learn about the poet’s craft and his relation to the poetic tradition if we read his etymologies carefully. At the same time, Parts I and II together discuss aspects of the ‘correctness of language’: this correctness does not amount to a naïvely assumed one-to-one correspondence between signifier and signified. Correct names and correct language are ‘true’ because they reveal something particular about the concept or entity named as numerous examples have shown. More importantly, however, correct language is imitative of reality, in that language becomes more opaque, ambiguous, and indeterminate as we delve deeper into the exploration of the condicio humana and the ambiguities and contradictions that characterize it in the Works and Days. Part III addresses three moments of Hesiodic reception. Chapter 10 compares the results of Parts I and II (Hesiod’s implicit theory of language and cognition) with the more explicit statements found in early mythographers and genealogists and shows that these later prose authors use discursive techniques similar to Hesiod’s. Chapter 11 demonstrates the importance of Hesiod’s poetry for Plato’s etymological project in the Cratylus. Finally, chapter 12 discusses the ways in which some ancient philologists treat Hesiod as one of their own, an expert reader of poetry who, however, misunderstood the Poet and spun out some of his narratives which he supported through the use of etymology.Less
This study aims to define Hesiod’s place in early Greek intellectual history by exploring a network of issues related to language, knowledge, and authority in Hesiod’s Theogony and Works and Days. Part I demonstrates how much we can learn about the poet’s craft and his relation to the poetic tradition if we read his etymologies carefully. At the same time, Parts I and II together discuss aspects of the ‘correctness of language’: this correctness does not amount to a naïvely assumed one-to-one correspondence between signifier and signified. Correct names and correct language are ‘true’ because they reveal something particular about the concept or entity named as numerous examples have shown. More importantly, however, correct language is imitative of reality, in that language becomes more opaque, ambiguous, and indeterminate as we delve deeper into the exploration of the condicio humana and the ambiguities and contradictions that characterize it in the Works and Days. Part III addresses three moments of Hesiodic reception. Chapter 10 compares the results of Parts I and II (Hesiod’s implicit theory of language and cognition) with the more explicit statements found in early mythographers and genealogists and shows that these later prose authors use discursive techniques similar to Hesiod’s. Chapter 11 demonstrates the importance of Hesiod’s poetry for Plato’s etymological project in the Cratylus. Finally, chapter 12 discusses the ways in which some ancient philologists treat Hesiod as one of their own, an expert reader of poetry who, however, misunderstood the Poet and spun out some of his narratives which he supported through the use of etymology.
Aaron Jaffe
- Published in print:
- 2014
- Published Online:
- August 2015
- ISBN:
- 9780816692019
- eISBN:
- 9781452949017
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816692019.003.0007
- Subject:
- Philosophy, General
When a thing gets talked about, it tends to get framed in one of three kinds of deceptive life stories: first, the thing lives insofar as it is subject to human attention; second, it lives an ...
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When a thing gets talked about, it tends to get framed in one of three kinds of deceptive life stories: first, the thing lives insofar as it is subject to human attention; second, it lives an all-too-human life as a human proxy; and third, the thing assumes the form of the gadget, becoming the lead character in a fable of production. The book in general then strays from a narrative approach in its analysis of things, including essayism and poiesis; conceptual art and prop comedy; or thing-play and word-play. It is not interested in the story of stuff, arguing that stories about stuff are insufficient as critical practice for the ways things go. Instead, it stresses the critical and aesthetic necessity for the continued exposition of these stories’ side effects.Less
When a thing gets talked about, it tends to get framed in one of three kinds of deceptive life stories: first, the thing lives insofar as it is subject to human attention; second, it lives an all-too-human life as a human proxy; and third, the thing assumes the form of the gadget, becoming the lead character in a fable of production. The book in general then strays from a narrative approach in its analysis of things, including essayism and poiesis; conceptual art and prop comedy; or thing-play and word-play. It is not interested in the story of stuff, arguing that stories about stuff are insufficient as critical practice for the ways things go. Instead, it stresses the critical and aesthetic necessity for the continued exposition of these stories’ side effects.
Qianshen Bai
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780824846763
- eISBN:
- 9780824873035
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824846763.003.0007
- Subject:
- Society and Culture, Asian Studies
This essay discusses the role of animals in China rebus painting. The homophonic richness of Chinese is the linguistic foundation for using animal images in rebus painting, a richness that allows the ...
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This essay discusses the role of animals in China rebus painting. The homophonic richness of Chinese is the linguistic foundation for using animal images in rebus painting, a richness that allows the use of animal names to make meaningful puns on multiple other words. In this sense, rebus painting is only part of a larger word-play tradition closely associated with the nature of the Chinese language and its literary tradition, and it is an important component of a long tradition invoking the auspicious. The rebus is not an isolated phenomenon in China but is closely associated with many other cultural phenomena.Less
This essay discusses the role of animals in China rebus painting. The homophonic richness of Chinese is the linguistic foundation for using animal images in rebus painting, a richness that allows the use of animal names to make meaningful puns on multiple other words. In this sense, rebus painting is only part of a larger word-play tradition closely associated with the nature of the Chinese language and its literary tradition, and it is an important component of a long tradition invoking the auspicious. The rebus is not an isolated phenomenon in China but is closely associated with many other cultural phenomena.
Chad Kia
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781474450386
- eISBN:
- 9781474464864
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474450386.003.0002
- Subject:
- Society and Culture, Middle Eastern Studies
Due to the programmatic dependence of the Persianate figural arts on narrative literature this chapter contextualizes the art of book illustration at the late Timurid court in Herat by considering ...
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Due to the programmatic dependence of the Persianate figural arts on narrative literature this chapter contextualizes the art of book illustration at the late Timurid court in Herat by considering the essential history and development of Sufi discourse and the tradition of Persian poetry in which it was largely anchored. The development of Persian verse and its dense use of imagery, word-play and illustrative tales, make it central to any assessment of the common repository of ideas, forms, symbols and structures that permeated the iconography of Persian manuscript painting in the late fifteenth century.Less
Due to the programmatic dependence of the Persianate figural arts on narrative literature this chapter contextualizes the art of book illustration at the late Timurid court in Herat by considering the essential history and development of Sufi discourse and the tradition of Persian poetry in which it was largely anchored. The development of Persian verse and its dense use of imagery, word-play and illustrative tales, make it central to any assessment of the common repository of ideas, forms, symbols and structures that permeated the iconography of Persian manuscript painting in the late fifteenth century.
