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Deep structure and surface structure (also D-structure and S-structure although those abbreviated forms are sometimes used with distinct meanings) are concepts used in linguistics, specifically in the study of syntax in the Chomskyan tradition of transformational generative grammar.
In transformational grammar, each sentence in a language has two levels of representation: a deep structure and a surface structure. [3] The deep structure represents a sentence's core semantic relations and is mapped onto the surface structure, which follows the sentence's phonological very closely, via transformations.
The term "distant reading" is generally attributed to Franco Moretti and his 2000 article, Conjectures on World Literature. [1] In the article, Moretti proposed a mode of reading which included works outside of established literary canons, which he variously termed "the great unread" [2] and, elsewhere, "the Slaughterhouse of Literature". [3]
Examples are the satiric mode, the ironic, the comic, the pastoral, and the didactic. [ 2 ] Frederick Crews uses the term to mean a type of essay and categorizes essays as falling into four types, corresponding to four basic functions of prose: narration , or telling; description , or picturing; exposition , or explaining; and argument , or ...
A character arc is the transformation or inner journey [1] of a character over the course of a story. If a story has a character arc, the character begins as one sort of person and gradually transforms into a different sort of person in response to changing developments in the story.
Name Definition Example Setting as a form of symbolism or allegory: The setting is both the time and geographic location within a narrative or within a work of fiction; sometimes, storytellers use the setting as a way to represent deeper ideas, reflect characters' emotions, or encourage the audience to make certain connections that add complexity to how the story may be interpreted.
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Literature has its own history, a history of innovation in formal structures, and is not determined (as some crude versions of Marxism have it) by external, material history. What a work of literature says cannot be separated from how the literary work says it, and therefore the form of a work, far from being merely the decorative wrapping of ...