By Katie Wales
During the last ten years there were remarkable advances in stylistics. those have given upward push to new phrases and to revised taking into consideration thoughts and re-definitions of phrases. A Dictionary of Stylistics, 2d version includes over six hundred alphabeticlly indexed entries: totally revised because the first and moment versions, it includes many new entries.
Drawing fabric from stylistics and quite a number comparable disciplines reminiscent of sociolinguistics, cognitive linguistics and conventional rhetoric, the revised 3rd variation presents a invaluable reference paintings for college students and lecturers of stylistics, in addition to serious discourse research and literary feedback. even as it presents a basic photograph of the character, insights and methodologies of stylistics. in addition to explaining terminology in actual fact and concisely, this version includes a topic index for extra ease of use.
With a variety of quotations; factors for plenty of simple phrases from grammar and rhetoric; and a finished bibliography, it is a distinctive reference paintings and guide for stylistic and textual research. scholars and academics at secondary and tertiary degrees of English language and literature or English as a overseas or moment language, and of linguistics, will locate it a useful resource of data.
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Or, in longer and more complex sentences, from a failure perhaps to keep the whole construction intended in mind. In the dialogue of novels and plays anacolutha (plural) rarely appear unless to suggest some ‘marked’ feeling. g. O | come, all ye faithful. An alternative term is upbeat (see Thomas Carper & Derek Attridge 2003). ■ anadiplosis In rhetoric (from Gk ‘to double back’), the repetition of the last part of one verse line or sentence at the beginning of the next. Anadiplosis was a device much favoured in Elizabethan poetry to link lines, and to reinforce the progression of ideas: 18 ANAPAEST My words I know do well set forth my mind; My mind bemoans his sense of inward smart; Such smart may pity claim of any heart; Her heart, sweet heart, is of no tiger’s kind.
G. Chaucer; John Lyly), and was not merely designed to be ornamental but also to heighten, and to ‘win favour or move affections’ (Thomas Wilson 1553). ’ (IV. ) ■ anachronism; anachrony (1) In literary and film studies anachronism is usually used critically to refer to any event or object which shows some discrepancy in temporal placing with respect to the period described. It is not a term, however, which can be usefully applied to medieval literature, since it reflects a concern for chronology and perspective that developed much later.
The conjunction but is here used as an antithetical conjunct; other explicit markers in ordinary discourse include on the contrary; by comparison; on the other hand, etc. g. The Iron Duke (The Duke of Wellington); The Virgin Queen (Elizabeth I). 25 ANTONYMY It is frequent in poetic diction: cf. Thomas Gray’s Hymn to Adversity: Daughter of Jove, relentless Power, Thou Tamer of the human breast . . g. The Almighty (God); The Prince of Darkness (Satan). g. the Eumenides (= ‘gracious ones’) for the Greek Furies, avenging spirits.
A Dictionary of Stylistics by Katie Wales