I meet a fine Lady, too late in my life Can play an ugly part To entice and excite my loins Dr. Beh is going away bbbb Ne'er to lie another day was just a bore and a whore music is healing nothing but a big fat snore purple adult spots dance across the ceiling The tip of my tounge is not sharp, But it is split into to two. Or is this world much too sublime?
It's nice to see so many sites returning to the pre-David-Siegal pre-one-screen-per-page pre-Acrobat days of content-and-reader-focused UI design. It's not because research has finally won out over buzzwords, any more than reasoned discourse passes laws and wins wars.
No, the only way to beat buzzwords is with newer shinier buzzwords, like "liquid HTML. But the human eye and brain are designed to work together to find elements of interest in larger contexts: Predictably, "accessibility" is one of the shiny buzzwords joining the fray, even though the only possible defense for bite-sized-Easter-egg hierarchies is that they might speed up browsing for the vision-impaired, who can't so easily scan through a long page.
Decades of evidence proves that general hypertext discussions can generate even more smoke than markup-specific discussions. Again, it's nice to see the occasional puncture. But again, the pertinent research is underreported: What readers-for-pleasure value is not passivity before a static presentation but instead their control over the reading experience.
Readers' eyes dart to and fro over the pages rather than moving sequentially; readers pause, backtrack, flip forward, and remember.
Hypertext evangelists attack linearity, but a work of literature is not a one-dimensional line: One of those dimensions is time, which we assume to be unidirectional, but, if anything, the classic literary text overturns that assumption by emphasizing the nonlinerarity of experience.
Hypertext might be able to provide more thematically appropriate surface structures than traditionally printed text. Or it might not. The hypertext I'm proudest of has gotten more enthusiastic responses from readers who've read the flattened-out printed version than from those who've encountered it only as hypertext.
Even so, the virtues of a particular hypertext can never be called virtues of hypertext in general, and making a piece hypertext doesn't confer on it any special positive quality.
It's like saying that the wah-wah pedal created a musical revolution. The recent news that Christopher Walken will star in a musical version of James Joyce's "The Dead" made me thankful once again that Dubliners hasn't gotten the Andrew Lloyd Webber treatment. Picture the second act curtain: On the other hand, Joyce's much-expressed love of cornball music would give Randy Newman a shot at his best Disney score yet, albeit at the cost of turning all the characters into mice: Conley ran his tongue swiftly along his twitching pink nose.
Thus, as a discipline, it asserts the primacy of primary sources. Labels like Modernism and Postmodernism obscure or obliterate primary sources. I've seen "Gertrude Stein as Postmodernist," "James Joyce as Postmodernist," and "Laurence Sterne as Postmodernist"; in fact, the "Postmodern" label seems to be applicable to any writer with a sense of humor.
These absurdities can only be kept unmanifest through ignorance. And these labels are primarily used in defense of an ignorance clung to through laziness, careerism, or the desire to maintain a restricted and reactionary canon.
If you see that the head of a university English department writes only about T. Lawrence, you might guess that he hasn't read very widely or very carefully. You might also guess that you wouldn't want any of your friends to become sexually involved with him. But by switching his avowed topic to Modernism with, of course, Eliot and Lawrence as his sole citationsour prof now pronounces on hundreds of writers.
A few flourishes of the shells labeled "Modernism" and "Postmodernism" keep us from noticing the writers who have not been shoved into them and from noticing the essential differences between the writers who have.hamlet lol In act 3 Name one example of dramatic irony during Macbeth's banquet?
Macbeth puts Banquo's empty chair in the place of honor, only tohave it filled by Banquo's ghost, whom only Macbeth.
Poem of the Masses. my smile melts with confusion artisticly enhanced she titty-danced her clients glanced at her mammarily-expansed bust, de-pantsed. The Project Gutenberg EBook of The Wit and Humor of America, Volume III.
(of X.), by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. A writer is a person who uses written words in various styles and Satire for example, may be written as a poem, an essay, a film, a comic play, or a piece of journalism.
The writer of a letter may include elements of criticism, biography, or journalism. If Peter Piper picked a peck of pickled peppers, wheres the peck of pickled peppers.
This category is for questions and answers about forms of books and literature. The categories subtopics include authors, poetry, plays, classics, and many other literary elements.
The Publication Manual of the American Psychological Association" is the style manual of choice for writers, editors, students, and educators in the social and behavioral sciences.
It provides invaluable guidance on all aspects of the writing process, from the ethics of authorship to the word choice that best reduces bias in language.