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Allusion differs from the similar term intertextuality in that it is an intentional effort on the author's part. [8] The success of an allusion depends in part on at least some of its audience "getting" it. Allusions may be made increasingly obscure, until at last they are understood by the author alone, who thereby retreats into a private ...
Simile: comparison between two things using like or as. Snowclone: alteration of cliché or phrasal template. Syllepsis: the use of a word in its figurative and literal sense at the same time or a single word used in relation to two other parts of a sentence although the word grammatically or logically applies to only one.
The Devil Wears Prada used a track of a man reading a part of "The Raven" as a part of an introduction to concerts during a 2008 tour with Underoath. The piece led into the ending breakdown in the song "Goats on a Boat". The Dutch based hardstyle artist DJ Pavo released a track entitled "Raven", which quotes various lines from the poem.
The Crossing of the Red Sea, by Nicolas Poussin (1633–34). The Crossing of the Red Sea or Parting of the Red Sea (Hebrew: קריעת ים סוף, romanized: Kriat Yam Suph, lit. "parting of the sea of reeds") [1] is an episode in The Exodus, a foundational story in the Hebrew Bible.
The poems are meant to be "the concrete examples on which generalizations are to be based". [4]: 26 Thus the first chapter tells us in its title that poetic language is "The Language of Paradox". It is a language in which the connotations play as great a part as the denotations.
James Joyce's 1922 novel Ulysses bears an intertextual relationship to Homer's Odyssey.. Julia Kristeva coined the term "intertextuality" (intertextualité) [13] in an attempt to synthesize Ferdinand de Saussure's semiotics: his study of how signs derive their meaning from the structure of a text (Bakhtin's dialogism); his theory suggests a continual dialogue with other works of literature and ...
An idiom and a part of a verse from Sambavaparvam are used to describe the character of Ramanamadathil Pilla in the twelfth chapter (paragraph 2, line 2) of the novel. A two-line verse from the Udyogaparvam of Sree Mahabharatham is used as epigraph of the twenty sixth chapter of the novel.
In this sentence, Wiesel uses two parallel independent clauses written in the passive voice. The first clause establishes suspense about who rules the ghetto, and then the first few words of the second clause set up the reader with the expectation of an answer, which is metaphorically revealed only in the final word of the sentence.