Now that you have reached the end of Insidious Intent, I believe you'll understand the favour I'm about to ask you. I hope that the ending of Tony Hill and Carol Jordan's tenth outing will have taken you by surprise.
Author: Val McDermid
Publisher: Hachette UK
'One of the most surprising twists you'll read this year. Outstanding' Irish Independent 'Engrossing . . . a colossal reminder of just why McDermid has been the queen of crime for three decades' Heat 'Murdered people don't kill themselves . . .' A quiet night on a country road. The stillness shattered by a car engulfed in flames, and a burned body discovered in the driver's seat. As the investigation unfolds, DCI Carol Jordan and psychological profiler Tony Hill quickly realise that this is more than just a tragic accident. And so begins the hunt for a truly terrifying killer, someone who believes he is invisible, untraceable and untouchable. As other victims are found to have met the same terrible fate, and with more women at risk, Tony and Carol are drawn into a dark and twisted web of fear and revenge that will force them to question their own ideas of justice . . . A pulse-pounding mystery from the number one bestseller. If you enjoyed Insidious Intent, don't miss the first in a new series from the Queen of Crime. 1979 is out now, introducing the unforgettable Allie Burns. ___________________ Praise for Queen of Crime Val McDermid: 'It grabs the reader by the throat and never lets go' Daily Mail 'So gripping it puts your life on hold' The Times 'As good a psychological thriller as it is possible to get' Sunday Express 'One of today's most accomplished crime writers' Literary Review 'McDermid remains unrivalled' Observer 'No one can tell a story like she can' Daily Express
An Interpretation of Fedor Sologub's The Petty Demon Diana Greene. GL 414-4302 aclit 4. 14-87 Streets that follow like an argument Of insidious intent . .. T. S. Eliot | | | | 1 1 For Joel Acknowledgments 10.
The streets that follow like a tedious argument of insidious intent are literal and mental streets of insidious intent that lead to the kind of love that takes place in one-night cheap hotels, in simple terms, the satisfaction of sexual ...
Author: Harry Eiss
Publisher: Cambridge Scholars Publishing
Do I dare disturb the universe? It is a question recognized by people around the world. If typed into the internet, hundreds of examples appear. Many know that it comes from one of the best known poems of the twentieth century, T. S. Eliot’s The Love Song of J. Alfred Prufrock. What many do not know is that Eliot dramatically shifted his views at the height of his fame for writing such dark poetry as this and his also famous The Wasteland, becoming a sincere, devoted Christian. While his poetry is famous because it expresses the loss of a spiritual center in European civilization, a careful reading of it reveals that he was struggling with his Christianity from the beginning, not rejecting it, but trying to make it fit into the contemporary world. If a reader works through his love song for all of the esoteric meanings, as he demands, it quickly becomes evident that he intended it as a struggle between agape, amour and eros. Beginning it with a quote from Dante forces that into place. Though the protestant forms of Christianity have changed their views on these, the Roman Catholic holds fast. Eliot references Michelangelo in the poem, bringing in the great painter of the ceiling of the Sistine Chapel. Most immediately recognize his name and work. Many do not realize how he expressed a similar personal struggle between the desires of the flesh and the spirit. Both of them admired Dante’s Divine Comedy, and its inclusion of amour as a means to salvation. His work is generally seen as the greatest literature ever to come out of Italy, sometimes referred to as the epic representation of St. Thomas Aquinas’ Summa Theologica, one of the central documents establishing Catholic doctrine. This book explores how these brilliant men struggle with the highest meanings of life in their artistic expressions and perhaps manage to express what Rudolph Otto designates the mysterium tremendum, the experience of a mystical awe, what he calls the numinous or, in more common terms, the experience of God.
Neither Milton nor Johnson used the phrase “insidious intent” as I did in the paragraph above, but it was easily recognized, I hope, as a borrowing from Prufrock; “Streets that follow like a tedious argument / Of insidious intent / To ...
Author: Anthony W. Lee
Publisher: Liverpool University Press
Category: Literary Criticism
The traditional view of Samuel Johnson has been that of a reactionary conservative. Although many have worked to undermine this stereotype, perhaps enough remains to claim Johnson as a representative of modernity. This book aims to demonstrate that Johnson is a figure of modernity, one with an appeal many modernist writers found irresistible.
... that accompanies it on its journey of "insidious intent" (CP 13) is virtually a pronominal sign of an empty or absent subjectivity. Readers of the poem, including T. S. Eliot, have posited a variety of identities — Prufrock s ...
Author: Paul Morrison
Publisher: Oxford University Press
Category: Literary Criticism
Morrison examines the legacy of the modernist poetics of Ezra Pound and T.S. Eliot, as it relates to current theoretical orthodoxies, and traces its influence on the current crisis in post-structural literary theory. Morrison reads the politics of post-structural theory in relation to the socio-cultural arguments espoused in the poetry and prose by Pound and Eliot, and reveals a continuity between that theory and high modernism's tendency towards fascism. Without reducing the political implications of poetry to mere caricature and without slighting the force and fact of literary mediation, Morrison has produced a book that will reshape the discussion of the social dimension of modernism. He concludes with a provocative analysis of deconstruction and the work of Paul de Man, and makes a case for a new post-structural theory that can accommodate history.
Tedious arguments do not normally establish fears of insidious intent – quite the contrary. So we have to ask why he interprets one figure in terms of this other one. Perhaps he finds “insidious intent” in tedious arguments because ...
Author: Charles Altieri
Publisher: John Wiley & Sons
Category: Literary Criticism
Written by a leading critic, this invigorating introduction to modernist American poetry conveys the excitement that can be generated by a careful reading of modernist poems. Encourages readers to identify with the modernists’ sense of the revolutionary possibilities of their art. Embraces four generations of modernist American poets up through to the 1980s. Gives readers a sense of the ambitions, the disillusionments and the continuities of modernist poetry. Includes close readings of particular poems which show how readers can use these works to connect with what concerns them.
... not allow Prufrock any real contact with female sexuality : " I do not think they will sing to me , " he laments . With the poem's second simile - " Streets that follow like a tedious ar- gument / Of insidious intent " - Eliot seems ...
Author: Christopher Beach
Publisher: Cambridge University Press
Category: Literary Criticism
The Cambridge Introduction to Twentieth-Century American Poetry is designed to give readers a brief but thorough introduction to the various movements, schools, and groups of American poets in the twentieth century. It will help readers to understand and analyze modern and contemporary poems. The first part of the book deals with the transition from the nineteenth-century lyric to the modernist poem, focussing on the work of major modernists such as Robert Frost, T. S. Eliot, Ezra Pound, Wallace Stevens, Marianne Moore, and W. C. Williams. In the second half of the book, the focus is on groups such as the poets of the Harlem Renaissance, the New Critics, the Confessionals, and the Beats. In each chapter, discussions of the most important poems are placed in the larger context of literary, cultural, and social history.
... Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question ... ( 11. 4-10 ) Philosophical scepticism is very often characterized as at once tedious , insidious , and overwhelming ( in ...
Author: Stephen Mulhall
Publisher: Oxford University Press
In The Ascetic Ideal, Stephen Mulhall shows how areas of cultural life that seem to be either essentially unconnected to evaluative commitments (science and philosophy) or to involve non-moral values (aesthetics) are in fact deeply informed by ethico-religious commitments, for better and for worse. The book develops a reading of Nietzsche's concept of 'the ascetic ideal', which he used to track the evolution, mutation, and expansion of the system of slave moral values, associated primarily with Judaeo-Christian religious belief through diverse fields of Western European culture—not just religion and morality, but aesthetics, science, and philosophy. Mulhall also offers an interpretation of Nietzsche's genealogical method that aims to rebut standard criticisms of its nature, and to emphasize its potential for enhancing philosophical understanding more generally. The focus throughout is on developments in those fields which occurred after the end of Nietzsche's intellectual career, and in particular on influential modes of thought and practice that have a contemporary significance. The goal is not simply to argue that Nietzsche's diagnosis and critique retains considerable merit, but also to show that Nietzsche is himself significantly indebted to the ideals he criticizes, and that this opens up a possibility of synthesizing elements of his approach with those drawn from its target. Hence, the book also tracks various ways in which the object of Nietzsche's criticism has undergone further mutations (just as his genealogical method would suggest), and in doing so has generated ways of pursuing the values central to asceticism that avoid Nietzsche's criticisms, and might even further his own goals.
Consider T. S. Eliot's invitation to visit "Streets that follow like a tedious argument/Of insidious intent/To lead you to an overwhelming question. . . ." What sort of analytic comparison might be suggested by this metaphor?
Author: Carol A. Kates
Publisher: Cornell University Press
Category: Language Arts & Disciplines
What is the nature of communicative competence? Carol Kates addresses this crucial linguistic question, examining and finally rejecting the rationalistic theory proposed by Noam Chomsky and elaborated by Jerrold J. Katz, among others. She sets forth three reasons why the rationalistic model shoudl be rejected: (1) it has not been supported by empirical tests; (2) it cannot accommodate the pragmatic relation between speaker and sign; and (3) the theory of universal grammar carries with it unacceptable metaphysical implications unless it is interpreted in light of empiricism. Kates proposes an empiricist model in place of the rationalistic theory—a model that, in her view, is more consistent with recent findings in linguistics and psycholinguistics. In attempting to clarify the nature of utterance meaning, Kates develops theoretical perspectives on phenomenological empiricism and produces an account of reference and intentionality directly relevant to empiricaly based theories of speaking and understanding. Among the major topics addressed in the book are transformational-generative and universal grammer, cognitive theories of language acquisition, pragmatic structure, predication and topic-comment structure, and empiricism and the philosophical problem of universals. An innovative and probing work, Pragmatics and Semantics will be welcomed by philosophers, linguists, and psycholinguists.
We like to think that " enlightened " men have moved far and away from the insidious mentality that burned Galileo in the ... deceit , fraud , misrepresentation , omission of material fact and the insidious intent of thankless 126.