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The rhetorical modes (also known as modes of discourse) are a broad traditional classification of the major kinds of formal and academic writing (including speech-writing) by their rhetorical (persuasive) purpose: narration, description, exposition, and argumentation.
In literature, writing style is the manner of expressing thought in language characteristic of an individual, period, school, or nation. [1] As Bryan Ray notes, however, style is a broader concern, one that can describe "readers' relationships with, texts, the grammatical choices writers make, the importance of adhering to norms in certain contexts and deviating from them in others, the ...
In the first place, a text is either a novel, a drama, a poem, or some other "form" of literature. However, this term can also refer to the length of lines, stanzas , or cantos in poems, as well as sentences, paragraphs, or chapters in prose.
Ben Jonson's Execration Upon Vulcan, one of the first recorded forms of the plain style in English literature. The plain style in literature, otherwise referred to as the 'low style', is the most common form of communication in the English language. It is a form of rhetoric which expresses a message very clearly to convey a direct meaning. The ...
An English writing style is a combination of features in an English language composition that has become characteristic of a particular writer, a genre, a particular organization, or a profession more broadly (e.g., legal writing).
Stylistics, a branch of applied linguistics, is the study and interpretation of texts of all types, but particularly literary texts, and spoken language with regard to their linguistic and tonal style, where style is the particular variety of language used by different individuals in different situations and settings.
As noted by Eckert and Rickford, [11] in sociolinguistic literature terms style and register sometimes have been used interchangeably. Also, various connotations of style are a subject of study in stylistics. Style-shifting is a manifestation of intraspeaker (within-speaker) variation, in contrast with interspeaker (between-speakers) variation.
As Shakespeare's mastery grew, he gave his characters clearer and more varied motivations and distinctive patterns of speech. He preserved aspects of his earlier style in the later plays, however. In his late romances, he deliberately returned to a more artificial style, which emphasised the illusion of theatre. [20] [21]