A Pragmatic Analysis On Commisive Utterances Used In “Rage Of Angels” Novel By Sidney Sheldon

This study focuses on analyzing the type of commisive utterance and describing the violation of Grice Maxim’s Cooperative Principle in commisive utterance in Rage of Angels novel. This study aim at 1) clarifying pragma linguistic form found in the utterance of commisive utterances in Rage of Angels, 2) describing the implicature of commisive utterance found in Rage of Angels, 3) describing the violation of Grice Maxim’s Cooperative Principle in commisive utterances in Rage of Angels novel. It is conducted in order to know what maxims which are violated by the characters of Rage of Angels novel and the implicature of speaker’s utterance when violating the maxims. The type of this research is descriptive qualitative, the several steps are done to analyze the data. In analyzing the type of commisive utterance the steps are: describing the data in the form of dialogue, describing the dialogue what is belongs into commisive utterance. In analyzing the implicature the steps are: describing the data in the form of dialogue and describing the intended meaning of speaker utterance and combines by describing pragma linguistic form: downgraders and upgraders. The study shows that 1) there are found 3 pragma linguistic forms, namely downgraders, upgraders, and the other has no pragma linguistic form 2) the implicature of speaker’s utterances are to threats someone, convincing someone, to offering something, to promise, and to intends other to be careful. 3) the maxim which often violated by the characters is maxim of Quality, as many as 21 data, Maxim Quantity is violated as many as 14 data, Maxim of Relation is violated as many as 8 data and Maxim of Manner is violated as many as 8 data

“A Fit of Absence of Mind?” Learning about British Imperialism in the 21st Century

The British Empire was instrumental in shaping the modern world as we know it. Despite its significance for today, controversies rage over how we should teach it to younger generations. Writing for Frontier, Dr Adam D. Burns discusses his recent investigations into the different educational factors influencing students’ perceptions of the British Empire

R.M. Rilke : "Music as Metaphor" ; the mystery of sound

Do you know what I think? asks Adrian Leverkuehn. "Musik ist die Zweideutigkeit als System." Music is Janus-faced by its very nature. It can move and paralyze. "What passion cannot music raise and quell," exclaims John Dryden in his Song for St. Cecilia's Day, 1687. Music is an expert in the use of opiates, asserts Settembrini in The Magic Mountain, and Nietzsche speaks of her dual, intoxicating and befogging, nature. Shakespeare's Desdemona "will sing the savageness out of a bear" (IV, i) and the merchants in Novalis' Heinrich von Ofterdingen tell the story of another Orpheus whose song so charms a sea "monster" that it saves the singer's life and returns his treasure to him. John Dryden's Thimotheus "to his breathing flute and sounding lyre, could swell the soul to rage, or kindle soft desire" (Alexander's Feast, 1697). "Musica Consolatrix" and "Musica Tremenda". She is the "Mysterium tremendum et fascinosum" in Kleist's novella about the power of music. While English late 17th and early 18th century literature offers a particularly rich harvest of poetry celebrating the contradictory qualities, or effects, of music, there is in fact testimony to this at all stages of our tradition

The Things We Know

The Things We Know is a collection of six short stories that revolve around the basic reality of white, male, suburban rage: what it means to feel culpable, responsible, and, ultimately, ineffective. The collection's protagonists, all but one of which is revealed through the first-person, range from the pre-adolescent to the middle-aged and offer up, rather than answers to the questions that plague this state of being, glimpses into the mind of the storyteller himself, examining what is revealed, what is known, and, perhaps most importantly, what is utterly unknowable

How Peter Became Pope

Clement VI, 1342-52, said, My predecessors did not know how to be Pope.\u27\u27 Villari says the Countess of Jurenne was the Pope\u27s mistress. The Pope absolved Queen Johanna of Naples for murdering her husband; the queen sold the vast Avignon to the Pope for a beggarly 80,000 florins. The Pope\u27s table, horses, pageants, and ladies made his court look like that of a king. Of the twenty-five cardinals created by Clement twelve were relatives, who led the most scandalous Iives. Clement said, The monks behave like a herd of bulls that rage against the cows of the people

Harken Not to Wild Beasts: Between Rage and Eloquence in Saruman and Thrasymachus

One of the giant gaps in Tolkien scholarship has been to miss how deeply Saruman answers the age-old antagonism between rhetoric and philosophy. Like John Milton, Tolkien cannot bring himself to trust rhetoric. It threatens the unitary truth of a divinely-revealed moral order and, ironically, Tolkien applies great rhetorical skill to convince his reader of rhetoric’s illusionary nature. In this matter Tolkien has been largely successful, since few readers (if any) question the de-privileging of Saruman’s perspective. In the process, though, I suggest that Tolkien has developed in his master rhetorician a new relationship between rhetoric (eloquence) and rage (thymos). The “wild beast” (LOTR III.10 563) in Saruman’s nature eventually overwhelms the Art of his Voice. Yet by examining Saruman in light of another “wild beast,” Plato’s Thrasymachus (Republic 336b), we begin to see how Tolkien has subverted the hierarchy first established by Plato between art and anger. Thrasymachus subordinates his rage to his rhetorical skills, but Saruman allows his skills to wane as his anger waxes. The example of Sauron, who needs no rhetoric, drives home to Saruman the (mistaken) lesson that rhetoric is superfluous. It belongs to the weak. Saruman thereby allows his anger freer rein. Following his defeat at the Battle of Isengard, Saruman’s rage overwhelms him completely, and that rage quickly turns to resentment (ressentiment). After Saruman escapes Treebeard’s watchful eye, a “new” Saruman emerges. Following Peter Sloterdijk’s Rage and Time, I then expand my argument to suggest that Sharkey’s Shire exemplifies the forces of rage and resentment in modern politics. Defeating Sharkey, though, comes at a high price for the hobbits of the Shire. Since the meek do not inherit the earth, rage and eloquence must be marshalled together to defeat their oppressor—a situation tragic to Tolkien because it finds no easy reconciliation with his Christian beliefs

Meditation Matters: Replies to the Anti-McMindfulness Bandwagon!

A critical reply to the anti-mindfulness critics in the collection, who oppose the popular secularized adoption of mindfulness on various grounds (it is not Buddhism, it is Buddhism, it is a tool of neo-capitalist exploitation, etc.), I argue that mindfulness is a quality of consciousness, opposite mindlessness, that may be cultivated through practice, and is almost always beneficial to those who cultivate it

The Future of Cryptocurrency and Real Estate Transactions

Bitcoin and other cryptocurrencies are all the rage right now and are beginning to make their ways into everyday transactions— including real estate transactions. This article discusses whether using cryptocurrencies to complete real estate transactions will become the norm in the near future. Cryptocurrency laws in general are few and far between, but laws surrounding cryptocurrency and real property are even more sparse. Recent case law involving cryptocurrency is a major focus of this article, along with background knowledge about cryptocurrency and the meaning of “money” as we know it today. The article concludes with a discussion about the unlikelihood of real estate transactions being conducted through the use of cryptocurrencies when few are willing to put full trust in their long-term acceptance