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In Austen's works, the issue of health is in the foreground—Emma's good health, Mr. Woodhouse's hypochondria, Fanny Price's "physical insecurity." Health (good or bad) is an important part of the characterization of many of Austen's principal characters, and beginning with Mansfield Park becomes a crucial element in the unfolding of her plots ...
Free indirect discourse can be described as a "technique of presenting a character's voice partly mediated by the voice of the author". In the words of the French narrative theorist Gérard Genette, "the narrator takes on the speech of the character, or, if one prefers, the character speaks through the voice of the narrator, and the two instances then are merged". [1]
Characterization or characterisation is the representation of characters (persons, creatures, or other beings) in narrative and dramatic works. The term character development is sometimes used as a synonym .
To be a 'school' a group of poets must share a common style or a common ethos. A commonality of form is not in itself sufficient to define a school; for example, Edward Lear, George du Maurier and Ogden Nash do not form a school simply because they all wrote limericks. There are many different 'schools' of poetry.
An example of this is The Ring and the Book by Robert Browning. In terms of narrative poetry, romance is a narrative poem that tells a story of chivalry. Examples include the Romance of the Rose or Tennyson's Idylls of the King. Although those examples use medieval and Arthurian materials, romances may also tell stories from classical mythology.
An indirect statement or question can replace the direct object of a verb that is related to thought or communication. An indirect statement is expressed by changing the case of the subject noun phrase from nominative to accusative and by replacing the main verb with an infinitive (as in the English phrase "You believe me to be a traitor" above).
Intertextuality is a hermeneutic means of discovering the meaning of the poem, which strictly regulates the ways of the reader's perception of poetic signs. As in the case of the semiotic phase of his understanding of poetry, Riffaterre's intertextual phase is more like a theory of the interpretation of poetry than a theory of poetry itself". [4]
Poetry analysis is the process of investigating the form of a poem, content, structural semiotics, and history in an informed way, with the aim of heightening one's own and others' understanding and appreciation of the work.