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A busybody, meddler, nosey parker, or marplot is someone who meddles in the affairs of others. An early study of the type was made by the ancient Greek philosopher Theophrastus in his typology, Characters , "In the proffered services of the busybody there is much of the affectation of kind-heartedness, and little efficient aid."
The Penguin Dictionary of Literary Terms and Literary Theory. Penguin Books, 2000. ISBN 0-14-051363-9. Dana Gioia. The Longman Dictionary of Literary Terms: Vocabulary for the Informed Reader. Longman, 2005. ISBN 0-321-33194-X. Sharon Hamilton. Essential Literary Terms: A Brief Norton Guide with Exercises. W. W. Norton, 2006. ISBN 0-393-92837-3.
A busybody is someone who meddles in the affairs of others. The term may also refer to: Busybody (horse), thoroughbred; Busy Body, by Luther Vandross; The Busy-Body (pen name), column in American Weekly Mercury; The Busy Body (film) (1967) The Busy Body, 1966 novel by Donald E. Westlake; Busy Bodies, 1933 short film starring Laurel and Hardy
There are two ways an author can convey information about a character: . Direct or explicit characterization The author literally tells the audience what a character is like. This may be done via the narrator, another character or by the character themselve
Simile: comparison between two things using like or as. Snowclone: alteration of cliché or phrasal template. Syllepsis: the use of a word in its figurative and literal sense at the same time or a single word used in relation to two other parts of a sentence although the word grammatically or logically applies to only one.
Busybody Nora is a children's book written by Johanna Hurwitz and illustrated by Susan Jeschke. It was first published in 1976. It was Hurwitz's first book and was an early chapter book. Her daughter Naomi was the inspiration for Nora, and her son Ben was the inspiration for Teddy. [1]
In spoken language analysis, an utterance is a continuous piece of speech, by one person, before or after which there is silence on the part of the person. [1] In the case of spoken languages, it is generally, but not always, bounded by silence. Utterances do not exist in written language; only their representations do. They can be represented ...
Shakespeare combined the two throughout his career, with Romeo and Juliet perhaps the best example of the mixing of the styles. [6] By the time of Romeo and Juliet, Richard II, and A Midsummer Night's Dream in the mid-1590s, Shakespeare had begun to write a more natural poetry. He increasingly tuned his metaphors and images to the needs of the ...