reader
See this word as a collocate cloud
| correct training in the foucault | reader | an introduction to foucault s |
| correct training in the foucault | reader | an introduction to foucault s |
| faced with this metaphor the | reader | or listener has to decide |
| anticipation or ambivalence drawing the | reader | or listener in as participant |
| and richly onomatopoeic pulling the | reader | or listener into stories of |
| an attempt at convincing the | reader | if not himself that the |
| purpose in convincing you the | reader | that this is a justified |
| my thesis back my 2nd | reader | prof [censored: surname] has now also |
| to prof [censored: surname] my 2nd | reader | yesterday he s a scotsman |
| of rabelais tale once the | reader | is familiar with urquhart s |
| of rabelais tale once the | reader | is familiar with urquhart s |
| to save both author and | reader | time and avoid holding up |
| author a robb leaves the | reader | to work out that the |
| had by then become a | reader | and a writer and she |
| is the code that the | reader | and the writer share we |
| writer tries to persuade the | reader | of the correctness of his |
| is consistent and once the | reader | is familiar with it should |
| create specific effects for the | reader | in this paper the intention |
| which have effects on the | reader | rather than as set structures |
| create particular effects on the | reader | this approach is outlined in |
| helps to create for the | reader | the sense of immediacy which |
| a particular effect upon the | reader | e g their headstones march |
| effect or impression for the | reader | e g words chosen may |
| the effect of jolting the | reader | into an awareness that this |
| and its effect on the | reader | she also included in her |
| as a mnemonic to the | reader | a crisp and forthright style |
| reading passage generally brought the | reader | s speech style closer to |
| wireless telegraphy wt and every | reader | of spy stories knows that |
| that davidson directly addresses his | reader | although not new having been |
| very clever at manipulating the | reader | davidson in a full and |
| frustrated davidson makes sure the | reader | realises that he is playing |
| the following will help the | reader | recognise who is being referred |
| the following will help the | reader | recognise who is being referred |
| throughout his poem making the | reader | stop and think when moving |
| poem more acceptable to the | reader | who has to make more |
| touer inaccessible tae the general | reader | monie o the poems are |
| nummer o poems leavin the | reader | wi snatches o life amang |
| these are brought to the | reader | quietly and decoratively and the |
| focusing the attention of the | reader | on to the particular part |
| stylistically attractive to a modern | reader | words may well have stuck |
| these words evoke in the | reader | words never occur in isolation |
| makit a guid bit mair | reader | freendly if the r tae |
| weel i m a guid | reader | sandy sae i ll mak |
| is a guid thing dear | reader | that this device ends efter |
| my supervisor and my first | reader | profs [censored: surname] and [censored: surname] they |
| tv screen sae the news | reader | s face is green paper |
| helen ye re an avid | reader | sae fore ye gang tae |
| few hunner pages as the | reader | tires o bein sae overtlie |
| for example that although the | reader | feels totally exposed to life |
| too at least as a | reader | for the main character judy |
| too passing an interest the | reader | of this fine collection o |
| that it may inspire the | reader | to dig further i too |
| lot 1 interactive poetry the | reader | is left to supply his |
| she s a whore the | reader | is left with the feeling |
| m762: he and also the | reader | doesn t f963: mm m762: |
| whit is t we spy | reader | ye needna be feart whit |
| foretell what lies behind the | reader | s blink who in the |
| foregrounding is tolerated by the | reader | who enjoys inferencing and in |
| order to do this the | reader | thinks of granite in its |
| in order to lead the | reader | to that conclusion explorations of |
| with the novel enables the | reader | to enter into burns s |
| he s only a middle | reader | and what s worse miss |
| he isn t a good | reader | any more he s only |
| s imagism yet encourages the | reader | to make the leap beyond |
| this which stays with the | reader | overtaking the ironic modesty and |
| years she was a great | reader | when the work on her |
| i parteeticular the wey the | reader | keeks at janet thro his |
| wi radio scotland s news | reader | yellin in his lug an |
| then not referring to the | reader | by name but in a |
| sort of questions that a | reader | would want answered and then |
| no objection to an english | reader | i have sprinkled it with |
| fuller treatment of progression the | reader | is directed to the key |
| which all add to the | reader | s impression of the attractive |
| you or not mentioning the | reader | at all written in simple |
| paying a compliment to the | reader | as well [click] [inhale] so |
| cambridge as lord almoner s | reader | in arabic in 1885 he |
| that you love as a | reader | instead of thinking about that |
| feet endlessly exploring as the | reader | turns them 3 in the |
| instruction if we give the | reader | directions to reach our house |
| and literary history the feminist | reader | ed by catherine belsey and |
| the year 1812 an the | reader | embarks oan a lang journey |
| that it suggests to the | reader | how the notice looked it |
| essay contributed to the feminist | reader | in 1989 dale spender described |
| serve tae firmlie pit the | reader | intae the close proximitie o |
| that for the non female | reader | the contents of the alligator |
| the same time directing her | reader | through ironic register and image |
| kan be accessed wi adobe | reader | 7 0 fur nochts frae |
| are doin a a a | reader | of scots grammar there s |
| i m a affa poor | reader | m865: mmhm m952: i mean |
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