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Lysaker's first argument is that writing should be regarded as a praxis and not a techne, which opens it to the kind of deliberation Aristotle champions in his ethics. (And Lysaker argues that praxis better suits philosophical writing than style.) He then argues that deliberate writing should concern itself with at least three kinds of questions.
The way a character speaks can be a powerful way of revealing the character's personality. In theory, a reader should be able to identify which character is speaking simply from the way they talk. [11] When a character voice has been created that is rich and distinctive, the writer can get away with omitting many speech attributions (tag lines ...
The characteristics of idealization and self-insertion are usually cited by fans as hallmarks of a Mary Sue character. [7] Gender studies researcher Catherine Driscoll writes that "the Mary Sue is generally associated with girl writers who have trouble distancing themselves from the source text enough to write about it rather than write themselves into it". [19]
Moral character or character (derived from charaktêr) is an analysis of an individual's steady moral qualities. The concept of character can express a variety of attributes, including the presence or lack of virtues such as empathy , courage , fortitude , honesty , and loyalty , or of good behaviors or habits ; these attributes are also a part ...
Shakespeare's writing features extensive wordplay of double entendres and clever rhetorical flourishes. [27] Humour is a key element in all of Shakespeare's plays. His works have been considered controversial through the centuries for his use of bawdy punning, [ 28 ] to the extent that "virtually every play is shot through with sexual puns."
The researchers noted that many of the VIA character strengths cross-loaded onto multiple factors. Rather, the strengths were best represented by a one and four factor model. A one factor model would mean that the strengths are best accounted for by, “one overarching factor,” such as a global trait of character.
The strong female character is a stock character, the opposite of the damsel in distress.In the first half of the 20th century, the rise of mainstream feminism and the increased use of the concept in the later 20th century have reduced the concept to a standard item of pop culture fiction.
The protagonist is the character whose fate is most closely followed by the reader or audience, and who is opposed by the antagonist. The antagonist provides obstacles and complications and creates conflicts that test the protagonist, revealing the strengths and weaknesses of the protagonist's character, and having the protagonist develop as a ...