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This system is more abstract one than the previous one. It does not refer to how an individual work shapes space but how it is conventionally done by a given epoch, genre, etc. So, for instance, one of the main features of Gothic novels are elements of the supernatural and the sublime, [8] therefore, texts are full of ghosts, vampires and so on ...
Proxemics is the study of human use of space and the effects that population density has on behavior, communication, and social interaction. [1] Proxemics is one among several subcategories in the study of nonverbal communication, including haptics (touch), kinesics (body movement), vocalics (paralanguage), and chronemics (structure of time).
Oral literature is especially rich in chiastic structure, possibly as an aid to memorization and oral performance. In Homer's Iliad and Odyssey, for instance, Cedric Whitman finds chiastic patterns "of the most amazing virtuosity" that simultaneously perform both aesthetic and mnemonic functions, permitting the oral poet easily to recall the basic structure of the composition during ...
The term itself comes from the Russian xронотоп, which in turn is derived from the Greek χρόνος ('time') and τόπος ('space'); it thus can be literally translated as "time-space." Bakhtin developed the term in his 1937 essay "Forms of Time and of the Chronotope in the Novel" (« Формы времени и хронотопа ...
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.
In 1959 M. L. Rosenthal first used the term "confessional" in a review of Robert Lowell's Life Studies entitled "Poetry as Confession". [6] Rosenthal differentiated the confessional approach from other modes of lyric poetry by way of its use of confidences that (Rosenthal said) went "beyond customary bounds of reticence or personal embarrassment". [7]
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The title of the essay comes from Woolf's conception that "a woman must have money and a room of her own if she is to write fiction". [2] The narrator of the work is referred to early on: "Here then was I (call me Mary Beton, Mary Seton, Mary Carmichael or by any name you please—it is not a matter of any importance)". [8]