Armed Gunmen, True Facts, and Other Ridiculous Nonsense: A by Richard Kallan

By Richard Kallan

A be aware or workforce of phrases that accidentally repeats its meaning.

When used to be the final time you entered your PIN quantity into the ATM computing device? Or longed for the suitable UTOPIA? utilizing pointless phrases could make written and spoken language a DISORGANIZED MESS, yet it’s not only silly IDIOTS who accomplish that. We’re all to blame, and this irreverent number of tautologies catalogs our most typical redundancies and wittily defines them. A humorous comedian, for example, is “one who’s employed”; a BLACK CROW is “the outcast in these huge albino flocks”; and a SURVIVING WIDOW is “the final one status in an all-widow online game of Russian roulette.”

Beautifully designed and illustrated with comically apt reproductions by way of the nineteenth-century artist George Cruikshank, Armed Gunmen, real evidence, and different Ridiculous Nonsense is a welcome antidote to a growing to be tendency in modern usage—and the fitting ebook for grammarphobes, observe geeks, and language fanatics alike.

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Extra resources for Armed Gunmen, True Facts, and Other Ridiculous Nonsense: A Compiled Compendium of Repetitive Redundancies

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In contrast to the puzzles and exploration that make up the player’s actions, the backstory in this game is conveyed in books that the player literally reads onscreen. Set side by side, these two media elements—writing in Myst and music in Star Wars—share the seemingly incidental quality of being imported more than imitated in the game. If we close our eyes we are actually listening to the music from Star Wars, and when we open a book in the Myst game we are simply reading in much the same way we might read any text—indeed, these books could just as easily have been actual texts scanned into a database like Google Books.

Avatars of Story. Minneapolis: University of Minnesota Press. Selfe, Cynthia L. 2007. Multimodal Composition: Resources for Teachers. Cresskill nj: Hampton Press. Steiner, Wendy. 1982. The Colors of Rhetoric: Problems in the Relation between Modern Literature and Painting. Chicago: University of Chicago Press. Wagner, Richard. 1993. The Art-Work of the Future and Other Works. Trans. William Ashton Ellis. Lincoln: University of Nebraska Press. 34 From Synesthesia to Multimedia 2 The Interactive Onion Layers of User Participation in Digital Narrative Texts marie-laure ryan Of all the properties of new media, interactivity is widely recognized as the one that marks the most significant difference from old media— think of movies versus computer games, drama versus Internet chat, and print novels versus hypertext fiction—but it is also the most difficult to define.

If we regard communication between intelligent agents as the prototypical form of interactivity, then neither ergodism nor agency will express its fundamentally dialogical nature. We can exercise agency by playing with a doll or a toy truck, and we can unfold many different sequences of signs out of an ergodic print text, but this does not make the toys or the print text interactive, because they lack the ability to modify themselves dynamically. Digital texts, by contrast, are operated by a program that reacts to the actions of the user by executing certain modules of code, thereby altering the global state of the computer, just as the behavior of the computer alters the global state of the mind of the user.

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