journey. This ability
to have a degree of apparent control over the visual spectacle is an
example of the integration of all aspects of Half-Life within a consistent visual register. In the opening sequence of Tomb Raider II
the player was presented with a carefully choreographed sequence
showing a journey to the Great Wall of China by helicopter that
was not only presented as a passive experience, but was of a different, and superior, visual quality from that of the body of the gamefiction: in Half-Life there is no similar hierarchy of visual quality.
Once the game
, New Collected Poems, Manchester, Carcanet, 2003, p. 101.
See, for instance, Cynthia Stammy, ‘Quotation, Curio-collecting, and the
Privileging of Detail’, in her Marianne Moore and China: Orientalism and a
Writingof America, Oxford, Oxford University Press, 1999, pp. 164–95.
Marianne Moore, ‘The Art of Poetry: Marianne Moore’, in George Plimpton
(ed.), Poets at Work: The Paris Review Interviews, Harmondsworth, Penguin,
1989, p. 86.
Lewis Hyde, The Gift: Imagination and the Erotic Life of Property, London,
Vintage, 1999, p. 168.
Marianne Moore, Becoming Marianne Moore
multinational capital, Ireland is at once at
the cutting edge of globalism and vulnerable to its instabilities. It can
thus identify with China and India, as well as with the great centres of
corporate power, and its experience of going global involves continuing inequalities as well as buccaneering expansion.
Just as Ireland’s position within the global economy must be questioned, so its status in relation to ‘global’ culture also requires careful
scrutiny. Since the early 1990s, the tourist industry has yoked together
commerce and culture in ways that have variously
Adventurers’ commerce across the
world, from exotic locations such as ‘Musco’, Persia, Turkey, China
and Greece to the more familiar ‘Genoua, Luca Florence, Naples
. . . Norway, Danske, France, Spaine, [and] the Netherlands’ (sig.
B3v).68 Picking up on the note of merchant heroism struck elsewhere, Heywood also stresses the potential dangers inherent in the
Merchant Adventurers’ overseas forays and includes a reference to
the military force that such foreign adventures sometimes necessitated. Freeman’s ship, he writes, ‘though a woodden Fabricke’, is
. . . so well knit
] revenue records of the exchequer; hence any books of accounts, but
with an obvious connotation of evil. The poet is neither a borrower nor a lender, hence enjoys peace of
mind. 11 wash] swim, bathe (OED 6c). 2 faithful fild Content] secure and total content. Bradner
reads fild as ‘field’, i.e., ‘Content with his faithful (trusty, reliable) field’.
6-7 i.e. Honey was not
adulterated with wine.
8 Serike shining flise] silk. Serica, identifiable with China, was conceived
by Europeans as the source of silk.
9 tirius venom die] purple dye vended by the merchants of