Search results
Results from the WOW.Com Content Network
"Maxims I" (sometimes treated as three separate poems, "Maxims I, A, B and C") and "Maxims II" are pieces of Old English gnomic poetry. The poem "Maxims I" can be found in the Exeter Book and "Maxims II" is located in a lesser known manuscript, London, British Library, Cotton Tiberius B i.
Perhaps the most common example of metalepsis in narrative occurs when a narrator intrudes upon another world being narrated. In general, narratorial metalepsis arises most often when an omniscient or external narrator begins to interact directly with the events being narrated, especially if the narrator is separated in space and time from ...
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 ...
Modernism experimented with literary form and expression, as exemplified by Ezra Pound's maxim to "Make it new". [1] This literary movement was driven by a conscious desire to overturn traditional modes of representation and express the new sensibilities of the time. [ 2 ]
Gnomes, in their literary sense, belong to the dawn of literature, in their naiveté and their simplicity and moralizing. Many of the ethical reflections of the great dramatists, and in particular of Sophocles and Euripides, are gnomic distiches expanded. The ancient Greek gnomes are not all solemn; some are voluptuous and some chivalrous.
Template: English literature. 10 languages. ... Download as PDF; Printable version; In other projects Wikidata item; Appearance. move to sidebar hide
The term is used for works of fiction which combine the literary devices of metafiction with historical fiction.Works regarded as historiographic metafiction are also distinguished by frequent allusions to other artistic, historical and literary texts (i.e., intertextuality) in order to show the extent to which works of both literature and historiography are dependent on the history of discourse.
Critics have aptly borrowed those terms to characterize the difference between Mr. Beckett, for example, and his erstwhile master James Joyce, himself a maximalist except in his early works. [3] Takayoshi Ishiwari elaborates on Barth's definition by including a postmodern approach to the notion of authenticity. Thus: