style
See this word as a collocate cloud
greek trenched high style continental | style | baroque style that is very |
eh this highly elegant baroque | style | being associated with a tendency |
even latin tags the prose | style | can be termed baroque after |
latin drenched greek trenched high | style | continental style baroque style that |
the incredibly baroque complex periodic | style | it went out of favour |
high style continental style baroque | style | that is very very much |
ornamentation to an already ornate | style | the baroque decoration in urquhart |
contrasted that with the continental | style | based on latin of long |
great exponent of the continental | style | in scottish prose [inhale] but |
leslie following a continental classical | style | influenced by french and ultimately |
moment is it the continental | style | is it the native style |
a parody of the continental | style | of prose writing the long |
a parody of the continental | style | of prose writing you have |
sentence [click] [inhale] so the | style | shifts into the ornate continental |
the latin based the continental | style | [sniff] [inhale] urquhart is often |
basically took the the continental | style | to its mad absurd extreme |
move towards the elaborate continental | style | which became kind of associated |
self parody to an extreme | style | i think urquhart is not |
we will see urquhart s | style | is itself a parody so |
with a plain straightforward prose | style | and they also became identified |
latin phrases [inhale] the prose | style | can be termed and has |
not a very sophisticated prose | style | [click] [inhale] if you ve |
erm [click] and the prose | style | is at the very least |
a feminine complement the prose | style | is very unlike the plain |
[click] [inhale] and the prose | style | makes use of complicated sentences |
reformers won significantly shaped the | style | of prose in the centuries |
swept away by the plain | style | prose of the victorious reformers |
[inhale] this is a prose | style | that seems to grow naturally |
can go the older scots | style | the slightly archaic exalted prose |
pastiche of urquhart s prose | style | urquhart was born in 1611 |
with a plain straightforward prose | style | with some exceptions like george |
feature of the poet s | style | and not merely the results |
is a significant feature of | style | and one which would repay |
is a feature of oral | style | helpful to both the poet |
be a feature of oral | style | in general the starting point |
feature of the poet s | style | results large scale clustering this |
a constant feature of oral | style | the existence of this phenomenon |
feature of the poet s | style | the next step was to |
eh he parodies urquhart s | style | but as we will see |
story logopandocy and compare the | style | his pastiche of urquhart of |
it s written in the | style | of thomas urquhart of cromarty |
seems to be parodying the | style | of trigonometry books with urquhart |
s affecting the pretentious latinised | style | urquhart seems to be parodying |
the proposals in the scots | style | sheet amounted to about a |
developed version of the 1947 | style | sheet based on traditional spelling |
makkars club 1947 the scots | style | sheet in lallans 2 edinburgh |
followed the recommendations in the | style | sheet to some extent these |
d mackie where the scots | style | sheet was approved makkar s |
the inheritors of a plain | style | as the vehicle for unadorned |
being associated with the plain | style | or protestant writing one of |
is very unlike the plain | style | that we have inherited from |
very least unlike the plain | style | that we ve inherited from |
using high plain or low | style | vocabulary the language should be |
a notion of the high | style | and low style of verse |
individuals style individual manipulation of | style | eh the reality is always |
very differently by different individuals | style | individual manipulation of style eh |
ideology is different and his | style | is different and the style |
the high style and low | style | of verse will be familiar |
style is different and the | style | that pitscottie uses becomes very |
style is it the native | style | what s the effect that |
the kind of loose colloquial | style | based on speech the native |
based on speech the native | style | [inhale] some writers and i |
and pitscottie following a native | style | linking him to the old |
he often affected an obscure | style | deliberately drenched in latin and |
study clustering in known oral | style | of different genres and periods |
the oral tradition influenced its | style | the weight of the evidence |
have their appropriate vocabulary and | style | and it would be indecorous |
uses a highly latinised high | style | vocabulary to begin to talk |
as a formal public high | style | language cotgrade s cotgrave s |
as a formal public high | style | language cotgrave s after all |
inaccuracy and an impersonal formal | style | reports also share some language |
be a more formal technical | style | than the one he is |
use of an indirect free | style | more often associated with the |
of descent from the high | style | latinate poetry of the mediaeval |
two routes to a high | style | one less obviously scottish note |
chapter one dunbar s high | style | poetry i ve got a |
island younger schoolchildren wear french | style | smocks with white collars older |
which is perhaps the french | style | which is to write everything |
lace curtains over the french | style | windows which are closed on |
brought the reader s speech | style | closer to standard english in |
my speech in the heigh | style | o disraeli an linda thain |
speech the sense of appropriate | style | which can emerge from cloze |
in a kind of spoken | style | [inhale] and we contrasted that |
of cromarty [inhale] gray s | style | is parodic or a pastiche |
words to suit a particular | style | and using grammatical awareness to |
have in actuality happened this | style | i m using doesn t |
is more aureate in the | style | say of dunbar using more |
60 26 mcseveney s writing | style | is harsh like much of |
writing in scots but their | style | is very different and leslie |
of smith s mature writing | style | sigmund freud and william robertson |
however there was an older | style | of handling the straw this |
a chancy job an older | style | said to be for wilder |
very often a simply beastly | style | he wrote indirect and roundabout |
enjoyed this aspect of rabelais | style | it has often been said |
would be my very own | style | and i could read it |
which is almost in period | style | and is becoming very popular |
re scouting 21 wednesday country | style | c d very good but |
very little researcher involvement gp | style | in the playground setting each |
who kept on making military | style | jokes on entering the very |
very drunk much in the | style | of the absinthe drinker by |
graphs here the phenomenon of | style | shifting is very apparent in |
altered or wants a different | style | kenny macaskill s suggestion of |
like teaching in your own | style | m605: it s also different |
ye soud lead a different | style | o lyfe ah m thinkin |
we would use a different | style | of doing it f606: mmhm |
thankfully the uncompromising economical box | style | apartments of our own times |
with their own distinctively complex | style | but letters of complaint or |
your own sort of teaching | style | you ve gotta find it |
used to be the old | style | a bench m1008: that would |
saw a lot of old | style | fireplaces there were hingin lums |
was to pull the old | style | had big wooden teeth but |
down restrictive practices and old | style | professional boundaries they are prepared |
eel was christmas day old | style | that is 6 january and |
in a kind of colloquial | style | a little bit like the |
of the queue kind of | style | m608: aye m194: cause of |
of fifties kind of classic | style | yeah f965: yes yes well |
f1009: in that sort of | style | ehm a a ned would |
up in sort of fifties | style | f641: mmhm f643: and i |
switching from one sort of | style | to another and it it |
is more a matter of | style | and lack of experience of |
assessments written in a simpler | style | and more guided experience of |
more interesting in terms of | style | and more pleasurable to read |
have trouble keeping the same | style | for more than a page |
days ago was wrong the | style | is more mannerism than naivety |
a music hall song this | style | is more obvious if the |
that is more colloquial in | style | m1174: i think that s |
to follow the more consensual | style | of the european parliament and |
greater literacy and awareness of | style | students who know more about |
language scottish modifying the word | style | and the past participle scotched |
in future moreover the language | style | that the child habitually uses |
language o their ain sorta | style | you kent whaur they come |
an hae a mair hummil | style | a dinna sei whitwey we |
fearless haunsome that s my | style | an blessd wi mair n |
mair intersetin in terms o | style | and mair pleasurable t read |
this book in the subtle | style | blending scots and english the |
storeton etc jessie sticks on | style | 2 wednesday to liverpool with |
play i ll show ye | style | agnes enters with a plate |
the focus for discussion of | style | and accuracy with the students |
with handsome door in glasgow | style | and brasses polished bright with |
long woolly jumper with great | style | apart from the entertainment value |
table with six black mackintosh | style | chairs dominates the reception dining |
railway age with a moorish | style | entrance constructed on the site |
the ancient terraces with moorish | style | houses all along the route |
to identify with the hagiographic | style | in any case was not |
that just the executive s | style | in dealing with an oft |
moore son morroig s architectural | style | is neoclassical with a white |
with the sparkle of grace | style | kindness and humour and extends |
the man who originated the | style | of portraying people with elongated |
of key linguistic variables rp | style | one to one interview with |
the parliament with grace and | style | soon after she was able |
scotland s forth bridge egyptian | style | with its inventive and elegant |
her house to follow traditional | style | with some late twentieth century |
[censored: forename] bought a new inca | style | bumbag after he excesses of |
hae a richt auld farrant | style | aboot hir an she wad |
ay ye hae the same | style | aboot ye ai ah bet |
maudlin it s not our | style | beaumont you hae to listen |
correspondents and this personalised conversational | style | is found also in her |
of the father s teaching | style | 8 memoirs of himself p |
adopted several characteristics of his | style | and outlook and have been |
the factors of age gender | style | and phonetic environment her findings |
couple of points about poetic | style | first all verse should be |
tense and the most muscular | style | i m capable of i |
to prune it in the | style | of a drysdale a perry |
would have really appreciated the | style | of accommodation of unb the |
his mannerisms and copied his | style | of dress but he was |
others share concerns about that | style | of fundraising the teams of |
in the news and the | style | of reporting lot of mistakes |
a little bit like the | style | of the history the anglo |
meet the needs aspirations and | style | of the new parliament 4 |
re trying to imitate the | style | of the people in friends |
getting closest to a literary | style | of the wri- of the |
so he s parodying the | style | of trigonometry books [someone in audience sneezes] or |
southerly parts of scotland another | style | of wooden contraption was actually |
particularly the white bleached mediterranean | style | streets above the church of |
in terms of content or | style | such discussion though it necessarily |
out to be a suggestopedic | style | text full of painful propaganda |
guarantee of a poem s | style | the lofty poem has a |
hallmarks of lochhead s individual | style | the presence of a narrative |
have none of these satsuma | style | worries 02 08 07 ned |
input is important on what | style | and height they should be |
act knox deliberately raises the | style | and obviously this is part |
looks at broadsheet vs tabloid | style | and so on this is |
is diverse in theme and | style | as lochhead advised her colleagues |
[laugh] f122: [exhale] f010: same | style | f122: aye so is f010: |
bit na it wisna my | style | i jist saa is lad |
unb soccer team soccer british | style | is getting increasingly popular here |
all for one thing his | style | is so consistent while i |
reader a crisp and forthright | style | is the first essential and |
it is diverse in organisation | style | size and function there is |
especially developed the highly analytical | style | that is so evident in |
good at my muscular narrative | style | has gone i m describing |
go to the [censored: surname] in | style | i m flying down to |
oh where s his mohican | style | i m so pretty you |
m not knocking leslie s | style | it s ornate it s |
this kintra chiel seen the | style | o profunditas lu wi his |
hooses his niver bin ma | style | raither minnie moose an bambi |
and arm his jeans had | style | stretched tight over aggressively jutting |
it must change his life | style | though yes i remember gordon |
him without excess that his | style | was his slave 34 that |
writers either leaned towards one | style | or like john knox at |
f639: so it was buffet | style | f640: so the adults always |
life story and make the | style | so muscular it ll compensate |
a crazy mad scientist hair | style | drive safely now he said |
has said that this bare | style | was developed during her university |
story that wisna mabel s | style | bit i got it fae |
support or bureaucracy but her | style | and personality goes right across |
the throne or the royal | style | and titles shall hereafter require |
no f1040: a nap sorta | style | aye f1041: or a [inaudible] |
the poem s composition or | style | beowulf criticism has undergone something |
in either traditional or reformed | style | people would be able to |
a lap dug s life | style | weel i ken ye ve |
rachel ascheri my rachel had | style | and a wonderful smile and |
mistress maybe i should forget | style | and just write what comes |
two fold it lightens the | style | and serves as a mnemonic |
where latticed windows and moorish | style | arches and courtyards hint at |
f606: mmhm m954: agatha christie | style | ehm spinsters and titled gentlemen |
in practice for example a | style | in both formulary e and |
pirates and the extraordinary sardinian | style | mansion directly above the sea |
already given [censored: forename] a babushka | style | scarf and an illustrated book |
crime to ensure that family | style | services including mentoring and befriending |
wear broad brimmed sunhats paisley | style | shoulder scarves and rough working |
a lucid and remorselessly analytic | style | stevenson as we know found |
the aalest and maist widespread | style | syne bob spak aboot skirlie |
as trolleybuses and heavy military | style | trucks roar past black exhaust |
among their msps 19 westminster | style | terminology such as front bencher |
their personality but wi a | style | wir ain bands were tae |
a refrigerator bourbon balls georgia | style | 1 lb castor sugar small |
cooks do a fowl backwoods | style | 24 monday cub gets hurt |
sittin stride legs ower a | style | an there atap the kitchie |
a person i am le | style | c est l homme même |
north windae alangside an aal | style | dresser wi a mirror in |
a job on the side | style | editing a book on stalinism |
until coming on a western | style | fast food portakabin outside the |
a hairdresser could do topiary | style | haircuts i ll have a |
rubber contraptions ir an aal | style | lame pig vrappit in a |
a time an a scrievin | style | lang gaun by thou dealin |
cairry the kilt wi ony | style | faith the faimly either ran |
heiven institutin him wi the | style | o huizong an the halie |
ower plooin o e aal | style | wi e corrugations o rig |
fashioned the first modern vernacular | style | in british poetry scott s |
it s blazin away guid | style | the meat on the bird |
scottish prison service s management | style | unnecessarily unsettling for the staff |
similar considerations applied in the | style | adopted by the present queen |
great literary qualities in my | style | but simply because i am |
an cairriet on in braw | style | east throwe kildare tae dublin |
covered walk in classical pillared | style | for wet days as if |
times in englishing our scottish | style | have yet but scotched it |
hell raising wild west canadian | style | in bulldog carney by w |
insurance buildings built in the | style | now known as stalin gothic |
the researcher formally structured iv | style | chatting to two fellow pupils |
sittin on the auld stane | style | foiranent the aibercorn graifyaird thai |
quay beside the art deco | style | naval base late nineteenth century |
not p 27 i the | style | o late 20th century novels |
pu an wha tuik the | style | o yingzong efter fower year |
recorded within the school pg | style | reid observed the variation on |
the waverley an the mcginty | style | treble an leid danglt frae |
na na at wisnae e | style | ere wis ae open fireplace |
tickets were given out scandinavian | style | without any division into sexes |