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The second stanza of William Blake's London represents an example of anaphora. This image is a digital reproduction of his hand-painted 1826 print from Copy AA of Songs of Innocence and Experience.
In linguistics, anaphora (/ ə ˈ n æ f ər ə /) is the use of an expression whose interpretation depends upon another expression in context (its antecedent).In a narrower sense, anaphora is the use of an expression that depends specifically upon an antecedent expression and thus is contrasted with cataphora, which is the use of an expression that depends upon a postcedent expression.
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The easiest stylistic device to identify is a simile, signaled by the use of the words "like" or "as".A simile is a comparison used to attract the reader's attention and describe something in descriptive terms.
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.
Henri Michaux (French: [ɑ̃ʁi miʃo]; 24 May 1899, Namur – 19 October 1984, Paris) was a Belgian-born French poet, writer and painter.Michaux is renowned [1] for his strange, highly original poetry and prose, and also for his art: the Paris Museum of Modern Art and the Guggenheim Museum in New York had major shows of his work in 1978 (see below, Visual Arts).
The Anaphora, [a] Eucharistic Prayer, [b] or Great Thanksgiving, [1] [c] is a portion of the Christian liturgy of the Eucharist in which, through a prayer of thanksgiving, the elements of bread and wine are consecrated.
Copia: Foundations of the Abundant Style (Latin: De Utraque Verborum ac Rerum Copia) is a rhetoric textbook [1] written by Dutch humanist Desiderius Erasmus, and first published in 1512. It was a best-seller widely used for teaching how to rewrite pre-existing texts, and how to incorporate them in a new composition. [ 1 ]