Иллюстрированный словарь литературоведческих терминов - файл n1.doc

Иллюстрированный словарь литературоведческих терминов
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Isn't it amazing how we have this group of letters -- 26 in all -- called the alphabet and we can take those letters, arrange them in a multitude of ways and come up with all sorts of different words.





Table of contents:

Allegory is a form of extended metaphor, in which objects, persons, and actions in a narrative, are equated with the meanings that lie outside the narrative itself. The underlying meaning has moral, social, religious, or political significance, and characters are often personifications of abstract ideas as charity, greed, or envy. Thus an allegory is a story with two meanings, a literal meaning and a symbolic meaning.



Allusion

Ambiguity
Literary ambiguity refers to any wording, action, or symbol that can be read in divergent ways. Intentional ambiguity in literature can be a powerful device, leaving something undetermined in order to open up multiple possible meanings.

Antithesis (from Greek antitheton, "opposition"), a figure of speech in which irreconcilable opposites or strongly contrasting ideas are placed in sharp juxtaposition and sustained tension, as in the saying "Art is long, and Time is fleeting". The opposing clauses, phrases, or sentences are roughly equal in length and balanced in contiguous grammatical structures. In poetry, the effect of antithesis is often one of tragic irony or reversal.

Antonomasia is a figure of speech in which some defining word or phrase is substituted for a person's proper name (for example, "the Bard of Avon" for William Shakespeare). In fiction, the practice of giving to a character a proper name that defines or suggests a leading quality of that character (such as Squire Allworthy, Doctor Sawbones) is also called antonomasia. The word is from the Greek antonomasia "to call by a new name."

Aposiopesis (Greek: "becoming silent"), a speaker's deliberate failure to complete a sentence. Aposiopesis usually indicates speechless rage or exasperation, as in "Why, you . . .," and sometimes implies vague threats as in, "Why, I'll . . . ." The listener is expected to complete the sentence in his mind. In ancient Greek rhetoric, the aposiopesis occasionally takes the form of a pause before a change of subject or a digression.

Asyndeton the omission of the conjunctions that ordinarily join coordinate words or clauses, as in the phrase "I came, I saw, I conquered" or in Matthew Arnold's poem The Scholar Gipsy: “Thou hast not lived, why should'st thou perish, so? Thou hadst one aim, one business, one desire; Else wert thou long since numbered with the dead!”

Atmosphere/mood
The predominant emotion a reader perceives in a literary work. (i.e. Shakespeare start's his play "Othello" on a dark street of Venice at night with a heated argument between two characters. The reader feels a sense of foreboding and it establishes a sinister mood) (i.e. Shakespeare's play "Othello" takes place on a dark street in Venice, creating a sinister mood)





The Bildungsroman
Учебный текст
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