If it's made public, it becomes cheap, shoddy, full of commonplaces.
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I found a file of commonplaces, her favorite thoughts typed out in one long poem.
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At the same time, there is something oddball and comical about them, which challenges commonplaces views of the heroic.
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But Mrs Merkel will have known that voicing these commonplaces in this moment and in these terms would make waves.
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And so the repurposing goes, with the latest big-screen iteration a clunky composite of visual extravagance and Hollywood commonplaces about a life well lived.
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The dialogue is riddled with commonplaces — some of Mr. Gagosian's lines are lifted verbatim from a recent profile in The Wall Street Journal — and groaners.
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The most sacred of commonplaces during the transfer window, the 'come-and-get-me plea' must be treated with the utmost reverence, for overuse can diminish its powers.
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Because it fails to support the themes of these stories, State of Decay 2 ends up missing the point of its own genre even as characters occasionally mouth its commonplaces.
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But these are commonplaces, and without a plausible link back to the real world—some insidious force in the culture we can recognize amplified in the dystopia—the film's overall effect is silliness.
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Sae-Eun Park and Hugo Marchand of the Paris Opera Ballet showed how the high-tension extremes of this duet, now commonplaces of the global ballet tradition, haven't lost the power to shock.
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Rather than force his characters into moments of acute discomfort, Mr. Hong lets them amble toward awkwardness, talking in circles and commonplaces until their rage, need, embarrassment and loneliness bubble to the surface.
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" Heti is at her best — her sharpest and funniest — when she writes about why having a child doesn't appeal to her, cutting against saccharine commonplaces about the importance of child-rearing: "It's like the story my religious cousin told me when we were at her home for Shabbat dinner — of the girl who made chicken the way her mother did, which was the way her mother did: always tying the chicken legs together before putting it in the pot.
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His songs, several of which are historical, are free from the commonplaces of their class, and contain curious strictures on the corruptions of the time.
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Many of Fleetwood's works remained in manuscript. Among them are Observacons sur Littleton (Harl. MS. 5225), besides four volumes of reports and law commonplaces (Harl. MS. 5153–6).
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A commonplace book from the mid-17th century Commonplace books (or commonplaces) are a way to compile knowledge, usually by writing information into books. They have been kept from antiquity, and were kept particularly during the Renaissance and in the nineteenth century. Such books are essentially scrapbooks filled with items of every kind: recipes, quotes, letters, poems, tables of weights and measures, proverbs, prayers, legal formulas. Commonplaces are used by readers, writers, students, and scholars as an aid for remembering useful concepts or facts.
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Kandel, Susan. "Gender Talk", Los Angeles Times, March 11, 1994. Retrieved April 14, 2020. Los Angeles Times critic Susan Kandel called it a deft reversal of gendered positions that upended critical commonplaces about the male gaze.
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They prove nothing except that Shakespeare and Oxford, like all other Elizabethans, indulged in the use of fashionable commonplaces and figures."Rollins, Hyder Edwards, ed. The Paradise of Dainty Devices: 1576–1606 (1927) Cambridge: Harvard University Press, pp. lix–lx. According to Steven May, who produced the standard edition of Edward de Vere's poetry, "[t]he motifs and stylistic traits that Looney and his followers have claimed through the years to be unique to the verse of both the Earl of Oxford and Shakespeare are in fact commonplaces of Elizabethan poetry employed by many other contemporary writers.
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No wonder that she came to be admired as a great beauty and > broke many hearts. After the usual commonplaces, the conversation at the > breakfast table, in which Miss Kate took a lively and remarkably intelligent > part, soon turned itself upon politics.
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Some further commonplaces of state drawn up by Thomas for the king's use are also printed in Strype. cites: op. cit. ii. ii. 315–27. Froude suggests that Thomas's teaching, if not his hand, is also perceptible in the king's journal. cites: Preface to Pilgrim, vol. viii.
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These settings are typical of epic fantasy and, to a lesser extent, of sword and sorcery — which contains more urban settings — than of fantasy in general; the preponderance of epic fantasy in the genre has made them fantasy commonplaces. They are less typical of contemporary fantasy, especially urban fantasy.
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But such marvels become commonplaces in the life of Charles Dickens.George Gissing, Chapter VII: Dombey and Son, The Immortal Dickens, London: Cecil Palmer, 1925 There is some evidence to suggest that Dombey and Son was inspired by the life of Christopher Huffam,West, Gilian. "Huffam and Son." Dickensian 95, no.
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Translated in English as European Literature and the Latin Middle Ages, by Willard R. Trask. New York: Harper Row, 1953. It was a major study of the Medieval Latin literature and its effect on subsequent writing in modern European languages, and argued that, first, the standard "Classic-Medieval-Renaissance-Modern" division of literature was counterproductive given the continuity between those literatures, and second, that "much of Renaissance and later European literature cannot be fully understood without a knowledge of that literature's relation to Medieval Latin rhetoric in the use of commonplaces, metaphors, turns of phrase, or, to employ the term Curtius prefers, topoi". The book was largely responsible for introducing the "literary topos" concept as a scholarly and critical discussion of literary commonplaces.
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The younger Wallace substituted a dedication from himself to Charles Sackville, 6th Earl of Dorset. The original work, with illustrative notes, edited by John Small, was reprinted at Edinburgh in 1883. Wallace left in manuscript, besides sermons and miscellaneous pieces, “A Harmony of the Evangelists,” “Commonplaces,” a treatise of the ancient and modern church discipline, and anti-Catholic writings.
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The first part is general and treats the principia et media nostrae et pontificiae religionis. The other three volumes treat the disputed articles of faith in the order of Bellarmine, the controversialist par excellence. Its contents may be compared with Gerhard's Theological Commonplaces: On the Church, an earlier handling with many themes in common with the Confessio Catholica.
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The selection of guilds reflects the cross-genre setting, ranging from fantasy commonplaces such as knights, priests (formerly called clerics), mages, and necromancers to Jedi, cyborgs, Fremen and changelings (formerly called the animal guild). 3Ks Web site features ongoing news about the MUD; at one time this news feed was called the 3K New York Times.
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However, Nighman has argued that, although it was surely used by preachers, Thomas did not actually intend his anthology as a reference tool for sermon composition, as argued by the Rouses, but rather as a learning aid for university students, especially those intending on a clerical career involving pastoral care.Chris L. Nighman, "Commonplaces on preaching among commonplaces for preaching? The topic Predicatio in Thomas of Ireland's Manipulus florum", Medieval Sermon Studies 49 (2005), 37-57. See also, Marc Cels, "Anger in Thomas of Ireland’s Manipulus florum and in Five Texts for Preachers," Florilegium 29 (2012), 147-70; and Chris L. Nighman, "The Manipulus florum, Johannes Nider's Formicarius, and late medieval misogyny in the construction of witches prior to the Malleus maleficarum," Journal of Medieval Latin 24 (2014), 171-84.
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Modern scholarship has taken another look at the Baopuzi. Sivin demeans the text's significance. > The Inner Chapters are anything but the writings of a Taoist man of wisdom > or organizer for his disciples or for other initiates. This book is a vast > trove of commonplaces and hearsay about popular beliefs in which Ko's few > incontestably Taoist texts play an essential but small part.
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Scholar Irina Livezeanu describes Buzdugan's speech as one "studded with anti-Semitic buzzwords" and "racist commonplaces". He accused the Jews of provoking vague acts of violence to "harm Romania"; however, taking sides with the National-Christian Defense League students, he warned that the Jews could expect pogroms to occur.Irina Livezeanu, Cultural Politics in Greater Romania, pp. 126–127. Ithaca: Cornell University Press, 2000.
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Hazlitt 1930, vol. 11, pp. 150–52. Canning's oratory, Hazlitt maintains, is entirely artificial, his "reasoning a tissue of glittering sophistry ... his language a cento of florid commonplaces", elegantly constructed but trite and contrived.Hazlitt 1930, vol. 11, pp. 150–51. His speeches are "not the growth of truth, of nature, and feeling, but of state policy, of art, and practice."Hazlitt 1930, vol. 11, p. 151.
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The main points of Sanderson's commonplaces delivered in Trinity College Chapel are extant in manuscript (Parker MS. 106, p. 537). An account of his expulsion from Trinity College, including his Latin verses to Archbishop Parker (Parker MS. in Corpus Christi College Library, No. 106, p. 543), was published in Ralph Churton's Life of Alexander Nowell. Other writings included Tabulae Vel Schema Catechisticum De Tota Theologica Morali, Lib.
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The rhetorical situation is the circumstance of an event that consists of an issue, an audience, and a set of constraints. Three leading views of the rhetorical situation exist today. One argues that a situation determines and brings about rhetoric, another proposes that rhetoric creates "situations" by making issues salient, and yet another explores the rhetor as an artist of rhetoric, creating salience through a knowledge of commonplaces.
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Topos is translated variously as "topic", "line of argument", or "commonplace". Ernst Robert Curtius studied topoi as "commonplaces", themes common to orators and writers who re-worked them according to occasion, e.g., in classical antiquity the observation that "all must die" was a topos in consolatory oratory, for in facing death the knowledge that death comes even to great men brings comfort.Ernst Robert Curtius, European Literature and the Latin Middle Ages, trans.
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Book II is devoted to an explication of topics relating to arguments where an "accident" (i.e. non-essential attribute, or an attribute that may or may not belong) is predicated of a subject. Book III concerns commonplaces from which things can be discussed with respect to whether they are "better" or "worse". Book IV deals with "genus"—how it is discovered and what are the sources of argument for and against attribution of a genus.
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The journal publishes feature articles, Science Series articles, Practical Matters articles, coverage of meeting sessions/chapter events, letters to the editor, media reviews, and a freelance forum. Sections include Around the Career Block, Commonplaces, Media Reviews, Practical Matters, Regulatory Insights, Social Media, Statistically Speaking, and Everyday Ethics. Access to the most recent AMWA Journal issues is currently provided as a benefit exclusive to AMWA members. Issues published prior to 2017 can be accessed on the AMWA website.
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His verse is extraordinarily forcible and virgorous, but his chief distinction as a satirist is the way in which he avoids the commonplaces of satire. His keen and accurate knowledge of human nature and even his purely literary qualities extorted the admiration of Boileau. Régnier displayed remarkable independence and acuteness in literary criticism, and the famous passage (Satire ix., A Monsieur Rapin) in which he satirizes Malherbe contains the best denunciation of the merely correct theory of poetry that has ever been written.
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Some believe that Aristotle defines rhetoric in On Rhetoric as the art of persuasion, while others think he defines it as the art of judgment. Rhetoric as the art of judgment would mean the rhetor discerns the available means of persuasion with a choice. Aristotle also says rhetoric is concerned with judgment because the audience judges the rhetor's ethos. One of the most famous of Aristotelian doctrines was the idea of topics (also referred to as common topics or commonplaces).
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Yates, pp. 50–51. The Spenserian scholar Edwin Greenlaw states "The descent of the Britons from the Trojans, the linking of Arthur, Henry VIII, and Elizabeth as Britain's greatest monarchs, and the return under Elizabeth of the Golden Age are all commonplaces of Elizabethan thought."E[dwin] Greenlaw, Studies in Spenser's Historical Allegory, Baltimore, Johns Hopkins Press, 1932, quoted in Yates, p. 50. This understanding of history and Elizabeth's place in it forms the background to the symbolic portraits of the latter half of her reign.
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Title page of the 1576 Loci Communes Vermigli is best known for the Loci Communes (Latin for "commonplaces"), a collection of the topical discussions scattered throughout his biblical commentaries. The Loci Communes was compiled by Huguenot minister Robert Masson and first published in 1576, fourteen years after Vermigli's death. Vermigli had apparently expressed a desire to have such a book published, and it was urged along by the suggestion of Theodore Beza. Masson followed the pattern of John Calvin's Institutes of the Christian Religion to organise it.
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German eighteenth-century rationalism held that the Biblical writers made great use of conscious accommodation, intending moral commonplaces when they seemed to be enunciating Christian dogmas. Another expression for this, used, for example, by Johann Salomo Semler, is "economy," which also occurs in the kindred sense of "reserve" (or of Disciplina Arcani, a modern term for the supposed early Catholic habit of reserving esoteric truths). Isaac Williams on Reserve in Religious Teaching, No. 80 of Tracts for the Times, made a great sensation, and was commented on by Richard William Church in The Oxford Movement.
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Gransden describes Abbo's Passio as "little more that a hotch- potch of hagiographical commonplaces" and argues that Abbo's ignorance of what actually happened to Edmund would have led him to use aspects of the Lives of well known saints such as Sebastian and Denis as models for his version of Edmund's martydom. Gransden acknowledges that there are some aspects of the story—such as the appearance of the wolf that guards Edmund's head—that do not have exact parallels elsewhere.Gransden, Legends, Traditions and History in Medieval England, pp. 86–87.
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159 and betraying "a curious lack of original thought" that shows Hitler offered no innovative or original ideas but was merely "a virtuoso of commonplaces which he may or may not repeat in the guise of a 'new discovery.'"Kuehnelt-Leddihn, p. 201 Hitler's stated aim, Kuehnelt- Leddihn writes, is to quash individualism in furtherance of political goals: In his The Second World War, published in several volumes in the late 1940s and early 1950s, Winston Churchill wrote that he felt that after Hitler's ascension to power, no other book than Mein Kampf deserved more intensive scrutiny.Winston Churchill: The Second World War.
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These loci or commonplaces are derived from the third book of Aristotle's Topics, and allow agreement according to the determination of which, between two loci, is more preferred. Thus, an argument may begin from the determination that an intrinsic quality, such as health, is preferred over a contingent quality, such as beauty. The final aspect of argument starting points discussed in the New rhetoric is the creation of "presence. " From the body of ideas that are agreed upon by a given audience, the orator may choose to emphasize or lend presence to certain elements while deemphasizing others.
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6-7) in which Fronto accuses the Christians of incestuous orgies. Marcus Aurelius, in his Meditations, says nothing of Fronto's rhetorical teaching; nor, although writing in Greek, does he so much as mention his teacher of Greek rhetoric and longtime friend Herodes Atticus. He does, however, credit Fronto with teaching him about the vices of tyranny and the lack of affection in the Roman upper class (1.11); since the former were commonplaces, there may be a concealed reference to life under Hadrian, whom Fronto retrospectively claims to have feared rather than loved,Ad M. Caesarem 2.4.
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Consigny argues that the rhetor cannot create problems at will, but becomes engaged with particular situations. Consigny finds that rhetoric which meets the two conditions should be interpreted as an art of topics or commonplaces. Taking after classical rhetoricians, he explains the topic as an instrument and a situation for the rhetor, allowing the rhetor to engage creatively with the situation. As a challenge to both Bitzer and Vatz, Consigny claims that Bitzer has a one- dimensional theory by dismissing the notion of topic as instrument, and that Vatz wrongly allows the rhetor to create problems willfully while ignoring the topic as situation.
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The early Didascalicon was an elementary, encyclopedic approach to God and Christ, in which Hugh avoided controversial subjects and focused on what he took to be commonplaces of Catholic Christianity. In it he outlined three types of philosophy or "science" [scientia] that can help mortals improve themselves and advance toward God: theoretical philosophy (theology, mathematics, physics) provides them with truth, practical philosophy (ethics, economics, politics) aids them in becoming virtuous and prudent, and "mechanical" or "illiberal" philosophy (e.g., carpentry, agriculture, medicine) yields physical benefits. A fourth philosophy, logic, is preparatory to the others and exists to ensure clear and proper conclusions in them.
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In Book X, Quintilian surveys the past contributions of Latin and Greek authors to rhetoric(10.1). Following this discussion, Quintilian argues that the orator should imitate the best authors if he wishes to be successful (10.1.5), "For there can be no doubt that in art no small portion of our task lies in imitation, since, although invention came first and is all-important, it is expedient to imitate whatever has been invented with success" (10.2.1). Writing is then discussed (10.3), followed by correction (10.4), varied forms of composition: translation, paraphrase, theses, commonplaces, and declamations (10.5), premeditation (10.6), and improvisation (10.7).
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A number of phrases from Tennyson's work have become commonplaces of the English language, including "Nature, red in tooth and claw" (In Memoriam A.H.H.), "'Tis better to have loved and lost / Than never to have loved at all", "Theirs not to reason why, / Theirs but to do and die", "My strength is as the strength of ten, / Because my heart is pure", "To strive, to seek, to find, and not to yield", "Knowledge comes, but Wisdom lingers", and "The old order changeth, yielding place to new". He is the ninth most frequently quoted writer in The Oxford Dictionary of Quotations.
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Middle-spaces, according to David Coogan, are spaces in which rhetors from different publics can come and have an engaging discourse. As Coogan discusses, these are both physical and ideological places in which agents from two given publics c[an] come together to engage in discourse about "the 'codes' to evaluate conduct, entertain political possibilities, and in other ways arrange their affairs." These spaces are especially conducive as places for counterpublics and publics to meet to question the commonplaces or ideological statements. In enacting discourse in middle spaces, counterpublic discourse can be heard and have influence on public discourse.
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The use of sententiae has been explained by AristotleRhetoric 2.21 [1394a19ff] (when he discusses the γνώμη gnomê, or sententious maxim, as a form of enthymeme), Quintilian,Institutes of Oratory, 8.5 and other classical authorities. Early modern English writers, heavily influenced by various humanist educational practices, such as harvesting commonplaces, were especially attracted to sententiae. The technique of sententious speech is exemplified by Polonius' famous speech to Laertes in Hamlet.Act 1, scene 3 Sometimes in Elizabethan and Jacobean drama the sententious lines appear at the end of scenes in rhymed couplets (for instance, John Webster's Duchess of Malfi).
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Clang's work explores the commonplaces, mundane subject matters and common nuances that closely relate to our daily life. His work betrays his fascination with time, space and how one negotiate the human existences with these dimensions. The Land of My Heart (2014) is a series of work which re-appropriates the icon of the Singapore Girl, Singapore Airlines’ air stewardess, to contemplate on vestiges of identity and personal memories encapsulated in nostalgic spaces of a rapidly evolving motherland.AsiaOne Being Together (2010–2012) is a series of family portraits using Skype VoIP (voice over Internet Protocol) technology to do live recording of family members and project them across continents.
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Bust of the painter (1827) by Jean-Baptiste Roman, Louvre Girodet produced a vast quantity of illustrations, amongst which may be cited those for the Didot editions of the works of Virgil (1798) and Racine (1801–1805). Fifty-four of his designs for the works of the ancient Greek poet Anacreon were engraved by M. Châtillon. Girodet used much of his time on literary composition. His poem Le Peintre (rather a string of commonplaces), together with poor imitations of classical poets, and essays on Le Génie and La Grâce, were published posthumously in 1829, with a biographical notice by his friend Coupin de la Couperie.
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His best is contained in the admirable anecdotes of his Old Notebook, an inexhaustible mine of sparkling information on the great and small men of the early nineteenth century. A major prose work of his declining years was the biography of Denis Fonvizin. Though Vyazemsky was the journalistic leader of Russian Romanticism, there can be nothing less romantic than his early poetry: it consists either of very elegant, polished, and cold exercises on the set commonplaces of poetry, or of brilliant essays in word play, where pun begets pun, and conceit begets conceit, heaping up mountains of verbal wit. His later poetry became more universal and essentially classical.
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He wrote that Kołakowski's negative portrayal of the historical consequences of Marxism was "at odds with the factual richness and complexity" of Main Currents of Marxism. He accused Kołakowski of inconsistency by presenting himself as being beyond disputes between Marxists, while still adhering to Lukács's interpretation of Marx, and of unfairly blaming Marx for totalitarianism. He found much of Main Currents of Marxism dull, and considered Kołakowski's account of Marx's place in the history of philosophy tendentious. He criticized him for ignoring the problems Marx posed to social science and giving Marx credit only for commonplaces such as considering the social context of beliefs, and for dealing only with Marxist writers who were connected with Marxist movements or regimes.
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Viewed from Third Avenue looking southwest; the Chanin Building is in the background to the right The first tenants started moving into the building in April 1956, and the structure was declared finished on October 3, 1956. The opening ceremony occurred two weeks later, on October 17, with a cornerstone-laying ceremony attended by the leaders of several large tenants. These leaders made predictions of "scientific commonplaces" within the next hundred years, and placed their predictions within the cornerstone. At the time of its completion, the Socony–Mobil Building was the first skyscraper to have its exterior wall entirely clad with stainless steel, as well as being the largest air-conditioned building in the world.
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Ever since Edward Capell first made the suggestion in 1780, scholars have suggested Montaigne to be an influence on Shakespeare. The latter would have had access to John Florio's translation of Montaigne's Essais, published in English in 1603, and a scene in The Tempest "follows the wording of Florio [translating Of Cannibals] so closely that his indebtedness is unmistakable". Most parallels between the two may be explained, however, as commonplaces: as similarities with writers in other nations to the works of Cervantes and Shakespeare could be due simply to their own study of Latin moral and philosophical writers such as Seneca the Younger, Horace, Ovid, and Virgil. Much of Blaise Pascal's skepticism in his Pensées has been attributed traditionally to his reading Montaigne.
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Predecessor culture is a sociological phrase originating in Alasdair MacIntyre's book, After Virtue, in which he considers society before the Enlightenment's project of rationalizing all things as having an internal consistency and meaning which has been lost to us. It can be considered as having to do with the set of heroes and stories that were re-iterated in former cultures; these are called commonplaces in English literature. Another use of the phrase is to refer to society before the 1960s. Not only is this considered in opposition to the sexual revolution, and various political movements and the manner in which power is expressed, such as the ways in which society is intended to accommodate feminism, but with the philosophical changes such as structuralism and post-structuralism.
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Keith Harris of The Village Voice found most of the songs too vague and unworldly, and lacking in real-life characters "responding in their idiosyncratic ways." In his consumer guide for The Village Voice, Robert Christgau cited "Paradise", "Nothing Man", "The Rising", and "My City of Ruins" as "choice cuts", indicating good songs on "an album that isn't worth your time or money". He felt that The Rising is unmistakably patriotic to the point where it is "dragged down, with a few magnificent exceptions, by the overburdened emotions and conceptual commonplaces of the great audience that inspired it." The Rising was voted the sixth-best album of 2002 in the Pazz & Jop, an annual critics poll run by The Village Voice.
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The Topics (; ) is the name given to one of Aristotle's six works on logic collectively known as the Organon. The treatise presents the art of dialectic — the invention and discovery of arguments in which the propositions rest upon commonly held opinions or endoxa ( in Greek).These "commonly held opinions" are not merely popular notions held by the man-on-the-street about any and all subjects; rather, the dialectical ενδοξα are commonplaces of reason upon which those who conscientiously dispute (all men, most men, the wise, most of the wise, or the best known among the wise) agree in principle -- i.e. that which is "enshrined" (to borrow a cognate religious term) in opinion or belief among those who engage in disputation.
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347–349 Although claiming to represent, above all, the local interest of the Romanians, the new party also functioned as a Bukovinian simile of Austria's Christian Social Party (CS), fully adopting its antisemitic theses.Cocuz, pp. 350–359; Corbea-Hoișie, passim As noted by Corbea-Hoișie, Onciul initially denied the connection, stating that he and the CS had no common ideological ground; however, Onciul ended up with a "decisive role" in the "brutal enforcement of antisemitic commonplaces and slogans in public discourse."Corbea-Hoișie, pp. 15, 24 In particular, Onciul expanded his polemic with Straucher and other local Jews to an imperial scale, arguing that "vampire" Jews had taken hold of the Austro-Hungarian press, and would eventually subjugate the economy.
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11, p. 72. Though he begins with "commonplaces", he "takes care to adorn his subject matter "with 'thoughts that breathe and words that burn' ... we always find the spirit of the man of genius breathing from his verse". In Childe Harold's Pilgrimage, for example, though the subject matter is no more than "what is familiar to the mind of every school boy", Byron makes of it a "lofty and impassioned view of the great events of history", "he shows us the crumbling monuments of time, he invokes the great names, the mighty spirit of antiquity." Hazlitt continues, "Lord Byron has strength and elevation enough to fill up the moulds of our classical and time-hallowed recollections, and to rekindle the earliest aspirations of the mind after greatness and true glory with a pen of fire.
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He travelled to Pennsylvania, swam the Delaware, adopted the guise of a Quaker, and made his way to Philadelphia and New York City. Having embarked for England, he escaped being pressed to serve in the Navy by pricking his hands and face, and rubbing in bay salt and gunpowder, so as to simulate smallpox (such tricks were commonplaces in rogue literature). On returning to England, he claims, he found his wife and daughter and then travelled to Scotland by 1745 in time to accompany Charles Edward Stuart to Carlisle and Derby. An interesting aside is that when he was sentenced to be transported to Maryland it was in the ships of a company run by a family of Bideford Port, Devon, which later married into the Moore, Bampfylde, and Carew families.
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Lyman Frank Baum (; May 15, 1856 – May 6, 1919) was an American author chiefly famous for his children's books, particularly The Wonderful Wizard of Oz and its sequels. He wrote 14 novels in the Oz series, plus 41 other novels (not counting four lost, unpublished novels), 83 short stories, over 200 poems, and at least 42 scripts. He made numerous attempts to bring his works to the stage and the nascent medium of film; the 1939 adaptation of the first Oz book became a landmark of 20th-century cinema. His works anticipated such century- later commonplaces as television, augmented reality, laptop computers (The Master Key), wireless telephones (Tik-Tok of Oz), women in high-risk and action-heavy occupations (Mary Louise in the Country), and the ubiquity of advertising on clothing (Aunt Jane's Nieces at Work).
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Many post-punk artists were initially inspired by punk's DIY ethic and energy, but ultimately became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead of seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyond punk's focus on the concerns of a largely white, male, working- class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. The use of bass is also prominent on many post-punk records either as a lead instrument by artists like Gang of Four or PiL or in a more funkier aspect as done by Talking Heads, Pylon etc.
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Marat describes the start and evolution of his journal (alongside his political views) in his journal of March 19, 1793: > At the outbreak of the Revolution, wearied by the persecutions that I had > experienced for so long a time at the hands of the Academy of Sciences, I > eagerly embraced the occasion that presented itself of defeating my > oppressors and attaining my proper position. I came to the Revolution with > my ideas already formed, and I was so familiar with the principles of high > politics that they had become commonplaces for me. Having had greater > confidence in the mock patriots of the Constituent Assembly than they > deserved, I was surprised at their pettiness, their lack of virtue. > Believing that they needed light, I entered into correspondence with the > most famous deputies, notably with Chapelier, Mirabeau, and Barnave.
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But circumstances which hampered him in politics favoured his career in literature. He was not a great natural force; his early plays and poems are influenced by Leandro Moratín or by Juan Meléndez Valdés; his Espíritu del siglo (1835) is a summary of all the commonplaces concerning the philosophy of history; his Doña Isabel de Solís (1837–1846) is an imitation of Walter Scott's historical novels. Through the accident of his exile at Paris he was thrown into relations with the leaders of the French Romantic Movement, and was so far impressed with the innovations of the new school as to write in French a romantic piece entitled Abén Humeya (1830), which was played at the Porte Saint-Martin. On his return to Madrid Martinez de la Rosa produced La Conjuracíon de Venecia (April 23, 1834), which entitles him to be called the pioneer of the romantic drama in Spain.
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A native of Lancashire, he matriculated as a sizar of Trinity College, Cambridge, in May 1554, became a scholar there, and in 1558 proceeded to the degree of B.A. He was subsequently elected a fellow, and in 1561 he graduated M.A. It is probable that he was related, perhaps as an older brother, to Lawrence Sanderson from Furness Abbey, Lancashire, who matriculated as a sizar of the same college in 1560 and was ordained deacon at London in May 1567 at the age of 24. In 1562 John Sanderson was logic reader of the university. His commonplaces in Trinity College Chapel on 2 and 4 September of that year gave offence to the master, Robert Beaumont, and the seniors. He was charged with superstitious doctrine as respects fasting and the observance of particular days; and with having used allegory and cited Plato and other profane authors when discoursing on the scriptures.
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In 1789 he published, in a very small quarto volume, Fourteen Sonnets, which were received with extraordinary favour, not only by the general public, but by such men as Samuel Taylor Coleridge and Wordsworth. Coleridge credited him, alongside Charlotte Turner Smith, with bringing about a general revival of the sonnet form in their generation. The Sonnets even in form were a revival, a return to an older and purer poetic style, and by their grace of expression, melodious versification, tender tone of feeling and vivid appreciation of the life and beauty of nature, stood out in strong contrast to the elaborated commonplaces which at that time formed the bulk of English poetry. Bowles said thereof "Poetic trifles from solitary rambles whilst chewing the cud of sweet and bitter fancy, written from memory, confined to fourteen lines, this seemed best adapted to the unity of sentiment, the verse flowed in unpremeditated harmony as my ear directed but are far from being mere elegiac couplets".
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The passage in Virgil: > ...cithara crinitus Iopas personat aurata, docuit quem maximus Atlas. hic > canit errantem lunam solisque labores, unde hominum genus et pecudes, unde > imber et ignes, Arcturum pluuiasque Hyadas geminosque Triones, quid tantum > Oceano properent se tingere soles hiberni, uel quae tardis mora noctibus > obstet > A student of Atlas, the maestro, Livens the air with his gilded harp. For > the long-haired Iopas Sings of the unpredictable moon, of the sun and its > labours, Origins human and animal, causes of fire and of moisture, Stars > (Lesser, Greater Bear, rainy Hyades, also Arcturus), Why in the winter the > sun so hurries to dive in the Ocean, What slows winter's lingering nights, > what blocks and delays them. (Tr. Frederick Ahl) As Christine G. Perkell points out, Iopas's song consists of "commonplaces of the didactic genre" rather than heroic song, which is the kind of song one could have expected from a court poet like Phemius or Demodocus from the Odyssey.
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The Oxford Companion to the American Musical wrote that the song includes passages of "cantor-like chanting", and is "the most revealing of the many character numbers". The Broadway Musical: A Critical and Musical Survey explained that the song contains a greater number of Jewish "commonplaces" than any other number in the score, and added the song does twofold: it "offers such a strong dose of idiom early in the show [which] is good for the overall unity", and the "important dramatic function" of introducing the central character of Tevye through song. History of the Literary Cultures of East-Central Europe explains that the song is based on a monologue from the stories of Sholem Aleichem entitled "If I were Rothschild", in reference to the wealthy Jewish banking family. The Grammar Devotional likens the phrase "if I were a rich man" to the Cowardly Lion's "if I were king of the forest" in The Wizard of Oz; both songs involve a tongue-in-cheek comparison between the character's actual condition and the one they imagine.
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It is ironic that among the > hundreds of thousands of young radio engineers whose commonplaces of theory > rest on what Professor Fessenden fought for bitterly and alone only a > handful realize that the battle ever happened... It was he who insisted, > against the stormy protests of every recognized authority, that what we now > call radio was worked by "continuous waves" of the kind discovered by Hertz, > sent through the ether by the transmitting station as light waves are sent > out by a flame. Marconi and others insisted, instead, that what was > happening was the so-called "whiplash effect"... It is probably not too much > to say that the progress of radio was retarded a decade by this error... The > whiplash theory faded gradually out of men's minds and was replaced by the > continuous wave one with all too little credit to the man who had been > right...Fessenden, Helen (1940), pages 316-317. The editorial being quoted, > "Fessenden Against the World", appeared on page 14 of the July 29, 1932 New > York Herald-Tribune. Beginning in 1961, the Society of Exploration Geophysicists has annually awarded its Reginald Fessenden Award to "a person who has made a specific technical contribution to exploration geophysics".
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