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Richter's further film work in Germany is characterized by a more approachable, essayist style--commissioned films define his work--and by inclusion of the documentary mode. Later, after emigration to the United States, (1944-47) was made, a surrealist-influenced collective production with episodes from Fernand Leger, Max Ernst, Man Ray, Marcel Duchamp and Alexander Calder. Renounced as an unbalanced potpourri and late reinfusion of DADA principles, it wins interest and substance if seen in a contextual relation to American and its narrative affinity to oneiric structures. Besides his artistic work, Hans Richter is known as a defender of experimental film through his theoretical writings and published autobiographical statements.
ANDREW ESIEBO is internationally known with his essayist style of reportage which questions issues that seemingly could be seen contrary to society and abhorred, but which form an intrinsic part of society, and cannot be denied nor ignored. Andrew’s work has been included in the 2009 BAMAKO PHOTO BIENNALE, and exhibited nationally and internationally.
Three Essays on Style has 19 ratings and 0 reviews
In the spring of 2004, the publisher “Ilmamaa” issued a new masterpiece written by Ilmar Talve, this time devoted to ethnology – Eesti kultuurilugu. Keskaja algusest Eesti iseseisvuseni (Estonian Cultural History. From the Beginning of the Middle Ages Up To Independent Estonia). This 700-page volume is based on extensive source material; it is written in an easily readable essayist style and gives an overview of the economic, political and cultural development of the Estonian territory over the course of about 700 years. Talve’s notion of culture is wide and, since he is also very familiar with the culture and history of the neighbouring areas, he is able to observe Estonian culture not only as the culture of an oppressed peasant nation, but in the context of the surrounding Baltoscandia in terms of mutual loans and influences. Agriculture and husbandry, clothing, food, administration and governance, warfare, the arrival of European town culture, customs and religion, education and medicine, trade, popular culture and fine arts – all spheres of human activities are systematically discussed in this book, which is a masterful popular scientific summary of earlier cultural historical studies, as well as an impressive textbook. The author has stressed the fact that this is a narrative about the culture of his fatherland and its growth pains, about the life-force and tenacity of the people. One can never stop believing in them, and one can never give up the will to live in freedom. This large narrative, reaching up to the gaining of independence and the creation of the Estonian state at the beginning of the 20th century, is also the story of one nation’s political, economic and cultural maturation.Again I am indebted to McKenny for his observation about my style as a writer. He calls attention to Jeffrey Stout's claim that my use of the essay style is clearly an indication that I am a modern. McKenny acknowledges that is surely true, but reading Hannah's Child gave him a different perspective about my use of aphorisms (he calls attention to his favourite in Hannah's Child: "As theologians, we must say more than we can be in the hope that others will make us more than we are").