hackwork

Unveiled in Milan on December 26, 1772, and marking an artistic advance over its Mozartean operatic predecessors, Mitridate, Re di Panto and Ascanio in Alba, Lucio Silla nevertheless comes from a time when the young composer accepted hackwork dramatic texts he would likely have rejected during his later Da Ponte years.

"Egan is particularly good at fleshing out lesser-known aspects of Curtis's life: his dogged efforts to uncover the real story of the Little Bighorn, his re-creation of Pacific Indian life in his 1914 film In the Land of the Head-Hunters, his Hollywood hackwork for Cecil B.

He conscientiously remained a good provider, however, binding himself to the millwheel of hackwork that was killing him--artistically, at the very least.

He went to Northwestern University, where he studied journalism, with the idea that hackwork was a good way to write for a living.

Schappi is the director of Little Bird Company that sells electronics such as the devices needed to make the hackwork. (ANI)

Rather than seeking either genius or hackwork, critics should recognize the cultural, artistic, and temporal parameters imposed by the form and the sponsors, on whom, consequently, as chapter I reasons, critics should concentrate:

In other words, the craftsman's identification with an art which is itself the loftiest of ends, leaves him adrift on a sea of derivative hackwork he cannot control.

Clarice's oeuvre has some less illustrious sectors, including outright hackwork. Moser reveals, for example, that her beauty-advice column was underwritten by Pond's.

Despite his good points, the critiques are also too-often repeated to the point where they struck this reader as ongoing complaints, and by the time Bratman comes around to actually talking about the score itself, his disdain for Shore's "uninspired hackwork" (146) become exceedingly grating.

The critics and essayists of the eigtheenth century distinguish (as Pope often does) between wit and pedantry, between sophisticated judgment and hackwork, between mere mechanical scholarship and a living engagement with the poet's words, but they do not distinguish between academic and nonacademic criticism of poetry, since the former had not yet come into being: the formal study of literature in English is somewhere between 150 and 225 years old, depending on which country you examine and what you mean by "literature" and "study" (the earliest dates, adduced by Robert Crawford, come from the rhetoric courses of Scottish universities; the latest, from the 1883 founding of the MLA).

Whether he was writing for Goltancz in the late thirties, for New Directions in the forties, for Penguin and Edward Arnold and Thames and Hudson in the sixties, the writing was not hackwork. As this book makes clear, behind the teaching and lecturing and journalism is a background and spine of serious scholarly and intellectual engagement with central and significant literary works and issues from a remarkably wide range of literary periods and genres.

The braided "vine work" of his tattoos, "garlanded with rosebuds and hackwork of the devil," finds its formal equivalent in Barnes's contorted, looping sentences filled with allusions to classical literature and folk customs and with sudden detours into history, science, geography, and mythology, sentences that might leave one as wonderfully lost as a visitor to Paris before Haussmann plotted it so clearly (16).