exordium

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Of course the questions asked above cannot be fully answered by reference to the prologues and exordia of the Trojan stories alone.
37) These findings about the exordia manuscripts are confirmed by the fact that the earliest references to a Cistercian Order even in the documents of practice come only from the last years before mid-twelfth century.
The revised dating of the Cistercian primitive documents, including the exordia, however, suggests that such evidence need no longer be discounted in these ways.
Book 1 of the Vita prima in its full text, as well as the charter evidence showing Bernard's interest in Jully and its nuns, must be seen to counter any silence of the "official" exordia sources.
The earlier exordia are anonymous, as are some of the editorial revisions of the Vita prima of Bernard of Clairvaux; on the latter see Adriaan H.
The establishment of an accurate series of manuscripts for these exordia is based on making a series out of all the surviving twelfth-century manuscripts of the liturgical ordines known as the Ecclesiastica Officia, which are found in the same manuscripts along with all the exordia texts with the exception of that from Sainte-Genevieve.
Exordia is headquartered in New York, New York and can be reached at 646-366-1990.
In this analysis, I examine three of Cooper's core techniques for using epic poetry to explain his political moment: dialogic and open-ended structures, the epic convention of introductory exordia followed by philosophical dream visions, and recurring images of hunger.
The second significant technique Cooper employs to advance his political ideas is to experiment with the epic structure of a lyrical exordium followed by a philosophical meditation, using the exordia to detail everyday social and political events and the philosophical dialogues to build multi-layered frames in which they can be interpreted.
The exordia establish the themes of the books and ground the philosophical dream visions in the "mind's waking throes.
By representing the material consequences of abstract concepts such as oppression and injustice, Cooper's images of hunger, like his use of dialogue and the structure of exordia and dream visions, connect concrete reality to philosophy and political theory, and thereby further the radical political project of Chartism.
The exordia draw on the work of Chartist and political poets from the post-war years to the mid-1840s, particularly Ebenezer Elliott, but also the many writers who contributed poems to the radical press, with which Cooper had been familiar ever since a group of radical brush makers "thoroughly impregnated [him] with the spirit of radicalism" in 1819, as he put it in the The Life, p.