Understanding the Elements of Literature: Its Forms, Techniques and Cultural Conventions |
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Page 166
... vehicle alone presented . Their path lay upward , over the bald skull , half grass , half stubble . [ hill ] ( tenor ) [ shape or texture ] ( ground ) skull ( vehicle ) The context of the statement makes it impossible to give the word ...
... vehicle alone presented . Their path lay upward , over the bald skull , half grass , half stubble . [ hill ] ( tenor ) [ shape or texture ] ( ground ) skull ( vehicle ) The context of the statement makes it impossible to give the word ...
Page 167
... vehicle in order to deduce the ground which is , after all , the point of emphasis . There are a large number of accepted and recognised figures of speech as well as of different ways of categorising them . The following scheme is based ...
... vehicle in order to deduce the ground which is , after all , the point of emphasis . There are a large number of accepted and recognised figures of speech as well as of different ways of categorising them . The following scheme is based ...
Page 173
... ( vehicle ) have exact equivalents on the secondary level ( tenor ) . 2. Representation by substitution . A second category of figurative language also depends on the substitution of vehicle for tenor but not so much emphasis is placed on ...
... ( vehicle ) have exact equivalents on the secondary level ( tenor ) . 2. Representation by substitution . A second category of figurative language also depends on the substitution of vehicle for tenor but not so much emphasis is placed on ...
Contents
The Nature of Literature and its Historical Tradition | 1 |
Narrative Fiction and the Printed Word | 39 |
Drama and the Theatre | 101 |
Copyright | |
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Understanding the Elements of Literature: Its Forms, Techniques and Cultural ... Richard Taylor No preview available - 1981 |
Common terms and phrases
actors actual aesthetic Alexander Pope allegory apron stage associations attitudes audience basic characteristics Chinua Achebe classical comedy complete composition construction context contrast conventions created culture Dalloway dance developed devices drama E. M. Forster effect elements emotional emphasise English epic example expression Ezra Pound fictional world figures of speech genre hand hero heroic historical idea images imagination individual irony Joseph Conrad judgement language literary literature lyric matter and theme meaning method moral musical narrative fiction narrator nature normal novel particular Percy Bysshe Shelley period person phrases playing area plot poem poetic poetry point of view possible present re-creation reader realistic recognise relationship Renaissance rhyme rhythm rhythmic romantic satire scene sentence sequence setting situation social sound patterning stage stanza story stress structure style stylisation subject matter syllables T. S. Eliot techniques tenor texture theatre tradition tragedy triple metre values vehicle verse W. B. Yeats