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Also apophthegm. A terse, pithy saying, akin to a proverb, maxim, or aphorism. aposiopesis A rhetorical device in which speech is broken off abruptly and the sentence is left unfinished. apostrophe A figure of speech in which a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes ...
Statue holding a sword in its proper right hand. Proper right and proper left are conceptual terms used to unambiguously convey relative direction when describing an image or other object. The "proper right" hand of a figure is the hand that would be regarded by that figure as its right hand. [1]
Sophists – considered the first professional teachers of oratory and rhetoric (ancient Greece 4th century BC). Spin – the act of competing to infuse meaning into agenda items for chosen audiences. Spoonerism – the deliberate or involuntary switching of sounds or morphemes between two words of a phrase, rendering a new meaning.
Digression (parékbasis in Greek, egressio, digressio and excursion in Latin) is a section of a composition or speech that marks a temporary shift of subject; the digression ends when the writer or speaker returns to the main topic.
A plot twist is a literary technique that introduces a radical change in the direction or expected outcome of the plot in a work of fiction. [1] When it happens near the end of a story, it is known as a twist ending or surprise ending. [2]
In philology, a commentary is a line-by-line or even word-by-word explication usually attached to an edition of a text in the same or an accompanying volume. It may draw on methodologies of close reading and literary criticism, but its primary purpose is to elucidate the language of the text and the specific culture that produced it, both of which may be foreign to the reader.
Author and historian Paul Fussell in a book in which he never uses the word 'volta' talks generally of the poetic turn as "indispensable". [6] He states further that "the turn is the dramatic and climactic center of the poem, the place where the intellectual or emotional method of release first becomes clear and possible.
The first direction is the Russian Formalist's approach which assumes that there is a difference between literary and ordinary texts with features specific to literary language. The second approach rejects this assumption, as those linguistic features can be found in any other instance of language use.