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Moreover, generic allusions, signals and implications are often communicated directly in authorial exordia, invocations or prologues.
In their prologues and exordia they show that they are clearly aware of the transmission task they are about to perform.
On both surfaces, a petitioner resorts to the Aristotelian modes of ethos, pathos, and logos, as well as numerous rhetorical strategies, such as moral sententiae and exordia, in order to persuade his audie nce to take some corrective action.
32) The silence of the Cistercian exordia has allowed historians to apply juridical arguments about Cistercian status suitable to the thirteenth century, but not to the twelfth-century situation, and hence to argue that twelfth-century houses of religious women were not really Cistercian.
If we look at the origins of the Cistercian Order not according to the self-glorifying texts called exordia, which Cistercian men wrote and from which they excluded women, but from the viewpoint of local administrative records, we must argue for a slowly developing order that included nuns.
Clearly, exordia for Mozart's sonatas are to be found in his fantasias, some of which are apparently lost, and in the improvisations that the players of these works, including Mozart himself, might have executed before performing them.
Victoria's preference for more concise solutions is apparent in all the works from the Toledo source, expecially in exordia to individual verses of the magnificats.
His detailed analysis of the exordia of all the works mentioned, which covers the main part of the book (pp.
Whether the fact that the exordia of all works against the 'nations' or 'Greeks' are very short is a result and function of their rhetorical strategy (pp.
Our PIVOT transport technology combined with On2's streaming will enable all new levels of video quality across the Internet," said John Bloomer, Exordia Chairman and Chief Executive Officer.
This introductory passage sets the pattern for the exordia of each of the poem's ten books, which detail Cooper's experiences as a "captive leveller" (II:2), the traumas of his fellow prisoners, and the larger political realities of the day.
Aldrich's reworked imitative exordia normally preserve much of the contrapuntal framework of the models; thus, in altering the model, he works with several parts simultaneously.
exordia, et quo amplius fame extendebatur rostra, aliena in me
A modal allocation is made for each motet, but they seem not always to take into account internal cadences or indeed exordia.
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