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The mood of a piece of literature is the feeling or atmosphere created by the work, or, said slightly differently, how the work makes the reader feel. Mood is produced most effectively through the use of setting, theme, voice and tone, while tone is how the author feels about something.
Metalocutionary deixis is the denotation (in the strict semantic sense) of utterance constituents at points and over intervals in the temporal structure of utterances by means of prosodic deictic indices such as pitch accents, intonation contours and boundary tones.
Self-help: a work written with information intended to instruct or guide readers on solving personal problems. Obituary; Travel: literature containing elements of the outdoors, nature, adventure, and traveling. Guide book: book of information about a place, designed for the use of visitors or tourists; Travel blog; True crime
Literary diction analysis reveals how a passage establishes tone and characterization, e.g. a preponderance of verbs relating physical movement suggests an active character, while a preponderance of verbs relating states of mind portrays an introspective character. Diction also has an impact upon word choice and syntax.
Reflective writing is an analytical practice in which the writer describes a real or imaginary scene, event, interaction, passing thought, or memory and adds a personal reflection on its meaning.
Irony is one of Austen's most characteristic and most discussed literary techniques. [10] She contrasts the plain meaning of a statement with the comic, undermining the meaning of the original to create ironic disjunctions. In her juvenile works, she relies upon satire, parody and irony based on incongruity.
Poetic devices are a form of literary device used in poetry. Poems are created out of poetic devices via a composite of: structural, grammatical, rhythmic, metrical, verbal, and visual elements. [1] They are essential tools that a poet uses to create rhythm, enhance a poem's meaning, or intensify a mood or feeling. [2]
This definition of the fallacy, if strictly followed, touches on or wholly includes nearly all of the major modes of literary criticism, from Ovid's docere delictendo (to teach by delighting), Aristotle's catharsis, and Longinus's concept of "transport" to late-nineteenth century belles-lettres and the contemporary Chicago Critics. For Wimsatt ...