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Hyperbole (/ h aɪ ˈ p ɜːr b əl i / ⓘ; adj. hyperbolic / ˌ h aɪ p ər ˈ b ɒ l ɪ k / ⓘ) is the use of exaggeration as a rhetorical device or figure of speech.In rhetoric, it is also sometimes known as auxesis (literally 'growth').
Edward S. Herman and Noam Chomsky comment in their book Manufacturing Consent: the Political Economy of the Mass Media that Orwellian doublespeak is an important component of the manipulation of the English language in American media, through a process called dichotomization, a component of media propaganda involving "deeply embedded double standards in the reporting of news."
Backside of a clay tablet from Pylos bearing the motif of the Labyrinth, an allusion to the mythological fight of Theseus and the Minotaur. In the most traditional sense, allusion is a literary term, though the word has also come to encompass indirect references to any source, including allusions in film or the visual arts. [8]
Example: This statement is a lie. Hyperbole is a figure of speech which uses an extravagant or exaggerated statement to express strong feelings. [27] Example: They had been walking so long that John thought he might drink the entire lake when they came upon it. Allusion is a reference to a famous character or event.
Persuasive definition – purporting to use the "true" or "commonly accepted" meaning of a term while, in reality, using an uncommon or altered definition. (cf. the if-by-whiskey fallacy) Ecological fallacy – inferring about the nature of an entity based solely upon aggregate statistics collected for the group to which that entity belongs.
For this reason it is pointless to try to define the context of a speech act. [5]: 3 Besides the consequential effects, the dissolution of the text-context divide is also caused by iterability. Due to the possibility of repetition, the intentions of an individual actor can never be fully present in a speech act.
The phrase pathetic fallacy is a literary term for the attribution of human emotion and conduct to things found in nature that are not human. It is a kind of personification that occurs in poetic descriptions, when, for example, clouds seem sullen, when leaves dance, or when rocks seem indifferent.
For example, it is not a malapropism to use obtuse [wide or dull] instead of acute [narrow or sharp]; it is a malapropism to use obtuse [stupid or slow-witted] when one means abstruse [esoteric or difficult to understand]. Malapropisms tend to maintain the part of speech of the originally intended word.