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'Resource', 'Plenty') in Greek classical literature. In Plato's Symposium, Porus was the personification of resourcefulness or expediency. [1] Porus was the son of the goddess Metis [2] [3], but his father is unknown. He was seduced by Penia (poverty) while drunk on more than his fill of nectar at Aphrodite's birthday.
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 ...
In it, Pound sets out an approach by which one may come to appreciate and understand literature (focusing primarily on poetry). Despite its title the text can be considered as a guide to writing poetry. The work begins with the "Parable of the sunfish", features a collection of English poetry that Pound called Exhibits and several notable ...
The resulting list of "100 novels that shaped our world", [1] called the "100 Most Inspiring Novels" by BBC News, [2] was published by the BBC to kick off a year of celebrating literature. [2] [3] The list triggered comments from critics and other news agencies.
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 frustule is composed almost purely of silica, made from silicic acid, and is coated with a layer of organic substance, which was referred to in the early literature on diatoms as pectin, a fiber most commonly found in cell walls of plants. [1] [2] This layer is actually composed of several types of polysaccharides. [3]
An elegy is a poem of serious reflection, and in English literature usually a lament for the dead. However, according to The Oxford Handbook of the Elegy, "for all of its pervasiveness ... the 'elegy' remains remarkably ill defined: sometimes used as a catch-all to denominate texts of a somber or pessimistic tone, sometimes as a marker for textual monumentalizing, and sometimes strictly as a ...
Their book, and its companion volume, Understanding Fiction (1943), revolutionized the teaching of literature in the universities and spawned a host of imitators who dominated English departments well into the 1960s." [2] Even those who are highly critical of the textbook's approach to poetry have acknowledged the reach and influence of the volume.