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Open Access (free)
Reading Half-Life
Barry Atkins

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

in More than a game
Open Access (free)
Marianne Moore
David Herd

, 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

in Enthusiast!
Open Access (free)
Culture, criticism, theory since 1990
Scott Brewster

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

in Irish literature since 1990
Political and contemporary contexts of the Shows
Tracey Hill

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

in Pageantry and power
Sukanta Chaudhuri

] 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 Tyre. Cf

in Pastoral poetry of the English Renaissance