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Beyond the horror stories he is most famous for, Poe also wrote a number of satires, humor tales, and hoaxes. He was a master of sarcasm. He was a master of sarcasm. For comic effect, he often used irony and ludicrous extravagance in a deliberate attempt to liberate the reader from cultural and literary conformity. [ 90 ] "
Kho Ping Hoo (1926 – 22 July 1994), also known by his pen name Asmaraman Sukowati, was a Chinese Indonesian author of fiction. He mostly wrote martial arts stories inspired by the wuxia genre and set in historical China and Indonesia, but also produced romances and disaster stories.
Ping, the duck, lives on a boat on the Yangtze River in China. Every day he and his duck family are taken by their owner to feed on the riverbank. Later, when it is evening, Ping is the last duck to return to the boat, so he hides to avoid being spanked. The following day Ping, feeling lost, begins to swim in search of his family.
Unlike much of Poe's work, the story has no supernatural elements. [6] The "realism" of the story is enhanced through Poe's focus on reporting sensations: the dungeon is airless and unlit, the narrator is subject to thirst and starvation, he is swarmed by rats, the razor-sharp pendulum threatens to slice into him and the closing walls are red ...
Literary movements are a way to divide literature into categories of similar philosophical, topical, or aesthetic features, as opposed to divisions by genre or period. Like other categorizations, literary movements provide language for comparing and discussing literary works.
The art of storytelling, with its broad mass appeal, has resulted in the growth of other art forms, nurturing talented artists. Many great writers, in consequence, continued from there to tread the path of literature. In order to attract the new generation of listeners, some non-traditional content was also adopted as Pingshu, like Harry Potter ...
Title page of The Twenty-four Filial Exemplars from an early Ming dynasty printed edition Pages from a Chinese-English translated version of the book. Some of the stories in The Twenty-four Filial Exemplars were taken from other texts such as the Xiaozi Zhuan (孝子傳), Yiwen Leiju, Imperial Readings of the Taiping Era and In Search of the Supernatural.
Development (shō): follows leads towards the twist in the story. No major changes so far. Twist (ten): the story turns toward an unexpected development. This is the crux of the story, the yama (ヤマ) or climax. If the narrative takes several turns, this is the biggest one. Conclusion (ketsu), also called ochi (落ち) or ending, wraps up the ...