Also found in: Dictionary, Thesaurus.
See: favorable
Mentioned in ?
References in periodicals archive ?
Whatever the precise category under which this treatise is to be classified, ultimately its patent encomiastic character warns us against taking Lycinus's rhetorical position at face value.
Encomiastic light ratifies the gods' decision in the competition, while darkness preserves the boundary instituted by the divine order.
11-37), an analysis of that early Latin elegy to Bartolommeo della Fonte which already seems to be 'un repertorio di luoghi comuni diVusi nell'opera del Poliziano', and which contains 'un'estetica della varieta': the thin autobiographical content is a pretext for a whole series of 'microgeneri' within the poem, including an encomiastic portrait of Marsilio Ficino.
The final capitolo, dedicated to a canon, is saturated with encomiastic references to mythological figures which have been inserted to praise the Olympian beauty of his villa.
But the fact remains that the whole passage is, in its ideas and its language alike, thoroughly dependent on the standard techniques and modes of expression that were the common currency of encomiastic writing in the imperial era.
Though this encomiastic gesture celebrates Luna, its vehicle of comparison evokes Ferdinand the Catholic's expulsion of the Moors from Granada in 1492 and it extols Spanish sovereignty in Iberia.
According to Kemberg, narcissism is mostly a pathological condition on the borderline between neurosis and psychosis; on this view the encomiastic tendencies of the Dionysiaca would simply illustrate the narcissistic mutual dependency between leaders and followers.
The majority of those writings, of course, consists of lyric poetry--a genre which usually insists on the illusion of a more private relationship between the narrating subject and his or her audience than does the encomiastic historicity of epic, and is thus a more acceptable form of writing for those whose culturally prescribed locus is the domestic, private sphere.
In her most suggestive formulation of this principle, Mickel argues "that the emphatic idealism of masque compels the invocation of its binary opposite" (93): thus, the unsettling juxtaposition in the Epigrammes of satiric and encomiastic poems, in the court entertainments of the contradictory modes of antimasque and masque, or, in the specific reading Mickel is advancing here, the exploration in Jonson's Roman plays of the dark side of the Jacobean masque's celebration of autocratic power.
In formal terms, the Furioso is significantly more complex than the Innamorato, largely because, in addition to the interweaving of narrative strands and free standing episodes, Ariosto's interlace extends to include, as integrally constitutive elements, a number of non-narrative structures, most notably: 1) the authorial proems that invariably precede each canto and comment on what has gone before and what comes after; [16] 2) the numerous other aurhorial digressions and interventions so well discussed by Durling; 3) the major encomiastic and ekphrasric interludes in cantos 3, 26, 33, 42, 46; [17] 4) the principal allegorical episodes (of Alcina's island -- cantos 6-8, 10 -- and the lunar surface -- cantos 34-35), which participate in but also gloss the surrounding narrative lines.
Douglas Lanier traces an interesting modulation of Ben Jonson's monumental tropes in Milton's encomiastic verses for the Second Folio, showing how it expresses a distinct shift towards the installation of the printed text as a self-sufficient sign of Shakespeare's 'almost scriptural authority' (p.