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(15) Demosthenes, Exordia 27.1, http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0068%3Aexordium%3D27%3Asection%3Dl (accessed 12/12/2013).
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.
While documents of practice concerning religious women at Molesme, Jully, le Tart, and elsewhere provide abundant evidence for twelfth-century Cistercian nuns, the standard monastic histories have tended to leave out or marginalize these women.(31) This is probably because the early Cistercian narrative texts are remarkably silent about religious women associated with early Citeaux.(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.
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.
Lucretius 4.28 ordia prima, 5.677 exordia prima, 6.184 lumina nostra, 6.1225 funera vasta.
His detailed analysis of the exordia of all the works mentioned, which covers the main part of the book (pp.
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. There is a case for questioning the universal classification of cantus durus C-final pieces as transposed tritus (or F-final) pieces, as well as the view that A-final pieces necessarily reflect either a `transposition' of a deuterus mode or one of the Aeolian modes.
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