It is more discursive than affective, more dogmatic than enigmatic.
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The early style was more discursive, the dialogue was less refined, there was more physical background.
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We want to contribute in the comments section; we want to engage with it in a more discursive way.
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"Television is ever more ambitious, more akin to the Victorian novel with multiple narratives and more discursive material," Mr. Watkins said.
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Serenade In Red marked a step back to the more discursive musical tendencies of the first two albums, albeit with much greater control, and marked a conscious step toward overt theatricality.
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Doing so will allow Harry and Meghan to pursue "more discursive and creative" projects such as the Invictus Games and the campaign for girls' empowerment in Africa, according to Robert Lacey, a royal historian and consultant for Netflix's The Crown.
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While the exhibition is participatory, I believe it could've profited from a more discursive approach, one that poses the question of what the 'lesbian' means today — keeping in mind that for some it is a shifting concept — and what is at stake if it gets lost.
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The third section consists of longer and more discursive narrative poems.
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For Goodman, a picture denotes. Denotation is divided between description, covering writing and extending to more discursive notation including music and dance scores, to depiction at greatest remove. However, a word does not grow to resemble its object, no matter how familiar or preferred. To explain how a pictorial notation does, Goodman proposes an analogue system, consisting of undifferentiated characters, a density of syntax and semantics and relative repleteness of syntax.
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In 1964 Leavis resigned his fellowship at Downing and took up visiting professorships at the University of Bristol, the University of Wales and the University of York. His final volumes of criticism were Nor Shall My Sword (1972), The Living Principle (1975) and Thought, Words and Creativity (1976). These later works are notable for their more discursive treatment of the issues he had debated with René Wellek in the 1930s. Leavis died in 1978, at the age of 82,Ezard, John (18 April 1978).
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Saint-Saëns was the first major French composer to write piano concertos. His First, in D (1858), in conventional three-movement form, is not well known, but the Second, in G minor (1868) is one of his most popular works. The composer experimented with form in this piece, replacing the customary sonata form first movement with a more discursive structure, opening with a solemn cadenza. The scherzo second movement and presto finale are in such contrast with the opening that the pianist Zygmunt Stojowski commented that the work "begins like Bach and ends like Offenbach".
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They may still allow the presentation of the writer's own views, but this is done in a logical and factual manner, with the use of the first person often discouraged. Longer academic essays (often with a word limit of between 2,000 and 5,000 words) are often more discursive. They sometimes begin with a short summary analysis of what has previously been written on a topic, which is often called a literature review. Longer essays may also contain an introductory page that defines words and phrases of the essay's topic.
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He joined the Arena production office in late 1978, when Alan Yentob was in charge of its Theatre and Art & Design strands. This was soon consolidated into a series of single films, moving away from the magazine format. Wall was instrumental in this shift, forming the core team with directors Nigel Finch and Nigel Williams, together developing a more discursive and playful approach to art documentary. With Finch as director, Wall co-devised the landmark films My Way, Chelsea Hotel and The Private Life of the Ford Cortina.
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David Gates of Newsweek contrasted Eugenides' debut novel The Virgin Suicides with Middlesex, writing that the first novel was "ingenious", "entertaining", and "oddly moving", but that Middlesex is "ingenious", "entertaining", and "ultimately not-so-moving". Despite this criticism, Gates considered Middlesex to be the novel where Eugenides "finally plays his metafictional ace". Commenting that Middlesex is "more discursive and funnier" than The Virgin Suicides, Laura Miller of Salon wrote that the two novels deal with disunity. Max Watman of The New Criterion concurred, noting that Middlesex is "funny, big, embracing, and wonderful", unlike Eugenides' first novel.
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More discursive were the responsa of the later geonim after the first half of the ninth century, when questions began to be sent from more distant regions, where the inhabitants were less familiar with the Talmud, even if they possessed it, and were less able to visit the Babylonian academies, the only seats of Talmudic learning. Talmudic difficulties were often the subject of these inquiries. The later geonim did not restrict themselves to the Mishnah and Talmud, but used the decisions and responsa of their predecessors, whose sayings and traditions were generally regarded as authoritative. These responsa of the later geonim were often essays on Talmudic themes, and since a single letter often answered many questions, it frequently became book-length in size.
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The construction resumed in 1764 and then continued to 1770 when the Secret Committee (Sekreta utskottet) considered that "the so-called fortress" Karlsvärd, which construction begun during Charles X's reign, could be completed only this year, but not the shore batteries and as well as the bomb free barracks and storehouses, to which Virgin had prepared drawings, which had been upheld by 1766 Secret Committee and should now be carried out. In 1773, von Arbin was commanded to submit a "shortened" design for Karlsvärd's placing into capable defense operations for the least cost possible, and in 1779 he had prepared a design for the shore batteries with bastioned towers besides another more discursive proposal with a large dungeon, which was simultaneously submitted. Further constructions were not made, and on 22 April 1788, the King in Council considered Karlsvärd, which was still unfinished, had an inappropriate plan and could not protect the country, why the fortress now was condemned as being useless, pointless and costly. Major General Johan Christopher Toll was instructed to blow-up the fortifications and redirecting the defense funds to other locations.
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