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An illusion of love and death in "Pale horse, pale rider"
An illusion of love and death in "Pale horse, pale rider"openaire
New Literary HistoryAbstract: The word "pale" is attested as a common noun in English from the fourteenth century onward but took on more specific meaning to describe fortified regions of English-held France and Ireland in the later fifteenth century. From the outset, the "Pale" in Ireland was identified as "English," and applied to the community of a geographically ...
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, 2014 “Pale Horse,” known as mass for the dead (Latin: Missa pro defunctis), is a mass celebrated for the repose of the souls of deceased persons. “Pale Horse” was inspired by Wolfgang Amadeus Mozart’s: The Requiem Mass in D minor, composed in Vienna in 1791 ...
Lee, Heajoo
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Global Horror: Pale Horse, Pale Rider
2018Punter begins with an overview of Julia Kristeva’s Powers of Horror, then addresses a number of themes within recent global horror, citing exemplary texts: the body and race (Helen Oyeyemi, White Is for Witching and The Opposite House); migration and the refugee (Andrea Levy, Small Island, and Jamaica Kincaid, A Small Place); totalitarianism and ...
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, 2014 This publication covers the symptoms, disease cycle, and control of Pales Weevil.
Day, Eric R., Salom, Scott M.
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“Pale Whore, Pale Writer”: Is There Punishment for the Crime?
2015What appears to be one of the more essential problems with Dostoyevsky’s poetics in Crime and Punishment deals, simply, with his occasional lapse into often using the wrong word at the wrong time. Beyond the mystery plot and the occasional melodramatic sentimentalism, Dostoyevsky’s insouciant approach to the art of novel-writing could justify Nabokov’s
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Pale Horse, Pale Rider; Pale Car, Pale Driver
Journal of Popular Film and Television, 1979openaire +1 more source
This chapter traces variations on the theme of dawn in Ezra Pound’s poetry. The alba, in various hues, played a significant role in Pound’s early fascination with the philosophy of light. Giuliana Ferreccio contends that the transformations of the dawn motif illustrate Pound swerving between philology and morphology in a “genealogical” manner, in which
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