Neither the Apple nor the Gabriel plays are exhortative in any polemical way.
|
|
His ephemeral work — anti-normality, anti-materialist, anti-classist — had assumed an exhortative, prophetical tone.
|
|
And even after her death, the show stays on message, thanks to an exhortative turn by the production's only other female character, Joan's mother (Mare Winningham, in an 11 o'clock appearance).
|
|
It's the silencing of Roth's unmistakable voice—hectic, quibbling, exhortative—that, even more than his relentlessly autobiographical tendencies, makes one feel as though a garrulous, ever-surprising old friend has been lost.
|
|
If literature, as William Giraldi writes in "American Audacity," is "the one religion worth having," then Giraldi is our most tenacious revivalist preacher, his sermons galvanized by a righteous exhortative energy, a mastery of the sacred texts and — unique in contemporary literary criticism — an enthusiasm for moralizing in defense of high standards.
|
|
Verb morphology in Kwaza can express numerous moods. These moods include exhortative, interrogative, declarative, imperative, and negative. The imperative only happens with second person subjects. The second person singular usually has no expression.
|
|
Clitophon starts off by reminding Socrates that he is amazed by what Socrates says and admires his exhortative speeches (407a6-a8). Clitophon continues by giving examples of speeches, which Socrates has given (407a8-b2).
|
|
The affixes include prefixes and suffixes. The first are indicators of person, causes, reflexives and reciprocals. The suffixes indicate the mode, negation, and the causes of transitive. The clitics indicates person, negation, and the exhortative mode.
|
|
The dialogue depicts Clitophon complaining to Socrates that Socrates' speeches are merely exhortative; they create a desire for justice and virtue, but do not instruct how one becomes just or what justice is. Throughout the dialogue Clitophon seems to narrate his changes towards justice and the protreptic from seeing Socrates as a god upon a stage with hopes and beliefs in attaining justice and virtue to thoughts of doubt and disappointment and eventual defiance of Socrates. Clitophon addresses Clitophon's contempt for protreptic, or exhortative, speeches. It showcases the ignorance of Socrates and depicts, as Mark Kremer puts it, the conflict of philosophy of Socrates and Clitophon's irrationality.
|
|
If one does not know how to use their soul, then they should die or submit themselves to a life of slavery and those who are experts should rule (408a5-b3). Clitophon concludes the speeches and agrees with the content of Socrates' exhortative works, for they wake people as if they were sleeping, and Clitophon has never spoken against them and never will (408c1-c4).
|
|
HickmanBill Hickman, Journal of the American Oriental Society Vol. 137, No. 3 (July-September 2017), pp. 567-584. Translation of poem edited by Bill Hickman (2020) provides a succinct summary of the characteristics of Eşrefoğlu's poetry and the reasons for its enduring popularity : > Eşrefoğlu's poetry is alternately confessional and exhortative, exuberant > and sober. One minute the poet struggles with his disobedient self; the next > he complains about the pain of separation from God.
|
|
In linguistics, hortative modalities (; abbreviated ) are verbal expressions used by the speaker to encourage or discourage an action. Different hortatives can be used to express greater or lesser intensity, or the speaker's attitude, for or against it. Hortative modalities signal the speaker's encouragement or discouragement toward the addressee's bringing about the action of an utterance. They can therefore be used only in the first-person plural (cohortative) and second-person singular and plural (adhortative, exhortative, dehortative, and inhortative).
|
|
According to Slings, the use of the protreptic in Clitophon is a parody of protreptic literature, which is designed to cause a change in behavior of the listener. Whether or not Clitophon was paraphrasing, Socrates' speeches lack congruence in content with three unrelated exhortations, taking the pattern of the Platonic trichotomy of values. Clitophon employs this pattern with exhortative motifs seen in other dialogues. The beginning of the dialogue is the accusing protreptic seen in Plato's Apology at 29d9-e3.
|
|
His vita was intended as an improvement upon that of Berengario di Donadio. Michele's most mature writings are probably the fifteen hexametric Sermones objurgatorii, exhortative sermons. Contra hypocrisin malam deals with hypocrisy in the church, most notably the corrupt papal institutions nursed by Sixtus IV. Contra milities segnes is a mocking attack on Roberto Sanseverino d'Aragona and his milities segnes (lazy soldiers), who failed to guard the city of Cividale from the invasion of Matthias Corvinus. De instituenda Filiola was written for the education of his niece Giulia, and De sene alendo on caring for his friend's elderly father.
|
|
Roberto Unger has suggested that this action leads to a kind of > utopian pragmatism—improvisation of new institutions, new social processes, > new ways of being. Unger argues for a sense of prophetic identity, which > runs counter to contemporary politics of identity and does resonate with the > sense of ’68: we should define ourselves in terms of what we might become, > not where we came from. Martin Stone offered sharply qualified praise for The Self Awakened in Notre Dame Philosophical Reviews. Stone described the book as > vintage Unger: exhortative, deeply romantic, full of moral intensity, > relentlessly hopeful, marginal to professional philosophy.
|
|
Recordings sampled for Fear of a Black Planet include those from funk, soul, rock, and hip hop genres. Elements such as choruses, guitar sounds, or vocals from sampled recordings are reappropriated as riffs in songs on the album, while sampled dialogue from speeches is incorporated to support Chuck D's arguments and commentary on certain songs. The Bomb Squad's Hank Shocklee compared their produced sounds, surrounding Chuck D's rhythmic, exhortative baritone voice, to putting "the voice of God in a storm". According to The Greenwood Encyclopedia of African American Folklore (2006), Fear of a Black Planet introduced a production style that "borrowed elements from jazz, especially that of John Coltrane, to craft a soundscape that was more challenging than that of their previous two albums, but still complemented the complex social commentary".
|
|
In Tzeltal they are often onomatopoeic. Affect verbs have the following characteristics: 1) they have their own derivational morphology (the suffixes -et, lajan, and C1on being the most frequent); 2) they take the imperfective prefix x- but never its auxiliary imperfective marker ya, which is usually present with x- for intransitive verbs; 3) they take the same person markers as intransitive verbs (the absolutive suffixes), but aspect–tense markers appear only in the imperfective; and 4) they may function as primary or secondary predicates. For example, the onomatopoeic affect verb tum can function as a primary predicate in describing the beating of one's heart: X-tum-ton nax te jk-otʼan e (essentially, "to me goes tum my heart"). As a secondary predicate, an effect verb is typically exhortative, or indicative/descriptive as in the sentence X-kox-lajan y-akan ya x-been ("his injured leg he walks," "he limped").
|
|