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Poetic Diction is a style of writing in poetry which encompasses vocabulary, phrasing, and grammatical usage. Along with syntax, poetic diction functions in the setting the tone, mood, and atmosphere of a poem to convey the poet's intention. Poetic devices shape a poem and its meanings.
As Peter Barry writes, "the female writer is seen as suffering the handicap of having to use a medium (prose writing) which is essentially a male instrument fashioned for male purposes". [16] Ecriture féminine thus exists as an antithesis of masculine writing or as a means of escape for women. [17]
Generative literature is poetry or fiction that is automatically generated, often using computers. It is a genre of electronic literature , and also related to generative art . John Clark 's Latin Verse Machine (1830–1843) is probably the first example of mechanised generative literature, [ 1 ] [ 2 ] while Christopher Strachey 's love letter ...
While now used to discuss literature, the term tone was originally applied solely to music. This appropriated word has come to represent attitudes and feelings a speaker (in poetry), a narrator (in fiction), or an author (in non-literary prose) has towards the subject, situation, and/or the intended audience.
The use of specific words in the poem serve to create a tone—an attitude taken towards the subject. For example, consider the words "slither" and "sneak." When used in a poem, the words conjure up images of a snake. The sibilant s sound reinforces the image. The connotations of the words suggest something surreptitious and undercover.
Tone is the use of pitch in language to distinguish lexical or grammatical meaning—that is, to distinguish or to inflect words. [1] All oral languages use pitch to express emotional and other para-linguistic information and to convey emphasis, contrast and other such features in what is called intonation, but not all languages use tones to distinguish words or their inflections, analogously ...
The academic discipline of women's writing is a discrete area of literary studies which is based on the notion that the experience of women, historically, has been shaped by their sex, and so women writers by definition are a group worthy of separate study: "Their texts emerge from and intervene in conditions usually very different from those which produced most writing by men."
One change in the writing of women poets after the 1960s and 1970s was the possibility of writing about women's lives and experiences. [45] To give authority to women's voices, writers like Honor Moore and Judy Graun held workshops specifically for women in order to overcome women's inner critics exacerbated by sexism. [ 45 ]