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Apophasis (/ ə ˈ p ɒ f ə s ɪ s /; from Ancient Greek ἀπόφασις (apóphasis), from ἀπόφημι (apóphemi) ' to say no ') [1] [2] is a rhetorical device wherein the speaker or writer brings up a subject by either denying it, or denying that it should be brought up. [3]
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 ...
Eye dialect is a writer's use of deliberately nonstandard spelling either because they do not consider the standard spelling a good reflection of the pronunciation or because they are intending to portray informal or low-status language usage.
Pronunciation of Ancient Greek in French secondary schools is based on Erasmian pronunciation, but it is modified to match the phonetics and even, in the case of αυ and ευ, the orthography of French. Vowel length distinction, geminate consonants and pitch accent are discarded completely, which matches the current phonology of Standard French.
An incorrect pronunciation of Launceston (the name of a city in Tasmania), which follows the word's spelling literally. Spelling pronunciation: Pronouncing a word according to its infelicitous or ambiguous spelling. Aphesis: The loss of the sound at the start of a word. [citation needed] Aspiration: An "h" sound at the beginning of a word. For ...
In words of two syllables, stress falls on the first syllable of the word (the penult, or second from the end): e.g., bó.nus, cír.cus. In words of three or more syllables, stress falls either on the penult or the antepenult (third from the end), according to these criteria:
Phonaesthetics (also spelled phonesthetics in North America) is the study of the beauty and pleasantness associated with the sounds of certain words or parts of words.The term was first used in this sense, perhaps by J. R. R. Tolkien, [1] during the mid-20th century and derives from Ancient Greek φωνή (phōnḗ) ' voice, sound ' and αἰσθητική (aisthētikḗ) ' aesthetics '.
Literary diction analysis reveals how a passage establishes tone and characterization, e.g. a preponderance of verbs relating physical movement suggests an active character, while a preponderance of verbs relating states of mind portrays an introspective character. Diction also has an impact upon word choice and syntax.