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In narratology, focalisation is the perspective through which a narrative is presented, as opposed to an omniscient narrator. [1] Coined by French narrative theorist Gérard Genette, his definition distinguishes between internal focalisation (first-person) and external focalisation (third-person, fixed on the actions of and environments around a character), with zero focalisation representing ...
Clairvoyance – The ability to see things and events that are happening far away and locate objects, places, and people using a sixth sense. Dowsing – The ability to locate water, sometimes using a tool called a dowsing rod. [10] Dermo-optical perception – The ability to perceive unusual sensory stimuli through the skin.
Uses of figurative language, or figures of speech, can take multiple forms, such as simile, metaphor, hyperbole, and many others. [12] Merriam-Webster's Encyclopedia of Literature says that figurative language can be classified in five categories: resemblance or relationship, emphasis or understatement, figures of sound, verbal games, and errors.
ɪ z əm /; from Latin ille: “he; that man”) is the act of referring to oneself in the third person instead of first person. It is sometimes used in literature as a stylistic device. In real-life usage, illeism can reflect a number of different stylistic intentions or involuntary circumstances.
A political cartoon by illustrator S.D. Ehrhart in an 1894 Puck magazine shows a farm-woman labeled "Democratic Party" sheltering from a tornado of political change.. A metaphor is a figure of speech that, for rhetorical effect, directly refers to one thing by mentioning another. [1]
The root of the words subjectivity and objectivity are subject and object, philosophical terms that mean, respectively, an observer and a thing being observed.The word subjectivity comes from subject in a philosophical sense, meaning an individual who possesses unique conscious experiences, such as perspectives, feelings, beliefs, and desires, [1] [3] or who (consciously) acts upon or wields ...
German Romanticism, which followed closely after the late development of German classicism, emphasized an understanding and beauty of fragmentation that can appear startlingly modern to the reader of English literature, and valued Witz – that is, "wit" or "humor" of a certain sort – more highly than the serious Anglophone Romanticism.
Free indirect discourse can be described as a "technique of presenting a character's voice partly mediated by the voice of the author". In the words of the French narrative theorist Gérard Genette, "the narrator takes on the speech of the character, or, if one prefers, the character speaks through the voice of the narrator, and the two instances then are merged". [1]