Metaphor is for most people device of the poetic imagination and the rhetorical flourish--a matter of extraordinary rather than ordinary language. Moreover, metaphor is typically viewed as characteristic of language alone, a matter of words rather than thought or action. For this reason, most people think they can get along perfectly well without metaphor. We have found,on the contrary, that metaphor is pervasive in everyday life, not just in language but in thought and action. Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature.…
AT PRESENT, THERE ARE A NUMBER OF APPROACHES TO THE STUDY OF LINGUISTIC CREATIVITY. THEY DIFFER IN THE WAY THE WAY THAT THEY CONCEPTUALIZE WHAT COUNTS AS CREATIVENESS OR ‘LITERARINESS’ IN LANGUAGE AS WELL AS IN THE METHODS THEY USE TO IDENTIFY AND ANALYZE CREATIVITY IN EVERYDAY LANGUAGE.…
As a literary device also, Lawley and Tompkins observe that metaphor is “an active process which is at the very heart of understanding ourselves, others and the world around us” (1); the very essence of literature. To Lawley and Tompkins also metaphor need not be limited to verbal expressions. It can include:…
In literature there are many devices that writers can use to convey messages. These literary devices however, are not only used in literature, they are also used in everyday life. Many people are aware of which literary device they are using. For example, if someone were to say “opportunity came knocking” then one would know that is an example of personification. One particular literary device that many people obliviously use would be the metaphor. Some metaphors have become so common in our everyday language that many people don’t realize there is any type of comparison.…
Metaphor is a rhetorical figures that the reader or listener tries to understand through choosing the terms. Thus, the selection of the words helps to appreciate a good figure that needs a colorful consideration. Also, metaphor is a comparison that is implicit between two different phenomena by using the vocabularies figurative. I. A. Richards says that a metaphor has two parts, namely, tenor and vehicle. Tenor is the complete sense while the vehicle is the tool when he give us his view as : “…..the vehicle is not normally a mere embellishment of a tenor which is otherwise unchanged by it, but ….vehicle and tenor in the cooperation give a meaning of a more varied power than can be ascribed to either.”…
The metaphor is a literary figure that consists on saying something that is not literally true, but communicates something that is true. There are different varieties of metaphor and ways to convey meanings. A metaphor can be considered as carrying over or as transference, also metaphors…
Metaphors can unite reason and imagination into our everyday language. These metaphors structure our daily thoughts, speech, and actions. They have even become a way of conceiving information in the thought process of understanding experiences. In Metaphors we live by (1980) by George Lakoff and Mark Johnson the authors describes how often metaphors are kinda of an analogy or symbol, that can also be used as a way to relate to other people. Metaphorical concepts help with understanding of communication, and arguments that are, thus making thoughts more interesting and comprehensible. Showing that not only are metaphors part of our culture basis but that we use them subconsciously.…
The perfection of beauty in the Renaissance Period is on its height. Yet, some people had the passion to go for more. Through the power of imaginative minds, people try explore something new, things that are out of the ideal concept that the society tries to live in for so many years --- something unbalanced, artificial and not ideal but then intellectual, expressive, strong and elegant.…
example shows the use of to club in the sense of “to visit many clubs in…
Oscar Wilde’s The Nightingale and the Rose, similar to other Oscar Wilde’s short stories, is written in an aesthetic voice. Throughout the story, Oscar Wilde employs various stylistic devices for the expression of aesthetic concept. In order to show how Oscar Wilde engross readers in this incredible story through stylistics analysis, this paper firstly presents an overview of stylistics based on the textbook English Stylistics by Xu Youzhi and gives a brief introduction of Oscar Wilde and some knowledge on The Nightingale and the Rose. Then, with the basis of stylistic theory, a comprehensive stylistic analysis of the story in phonetic, lexical, syntactic, semantic and contextual aspects will be carried out. Finally, this thesis will try to summarize the stylistic features, which help Oscar Wilde create a story that successfully absorbs and shocks whoever reads it.…
In this classification, word painting represents only an option of one of the eight primary surface effects (rhythmic, phonetic, formal, rhetorical, dramatic, lyrical, symbolic, pictorial). These effects rarely occur in isolation, but interact in complex and often changing relationships necessarily suppressed in the diagram. Although that regularly branching array may seem peculiarly persuasive, it does not map some inevitable fact of nature but merely one way of looking at a set of flexible compositional practices. The systematic character of the…
Modernism is marked by experimentation, particularly manipulation of form, and a strong and intentional break with tradition. Modernist literature has a tendency to lack traditional chronological narrative, break narrative frames or move from one level of narrative to another without any warning through the words of a number of different characters. It was also self-reflexive about the act of writing and the nature of literature (meta-narrative). The prevailing “stream of consciousness” writing technique, which focuses on a character’s consciousness and subconscious, became notably recurring in novels. Furthermore, unlike the literature of 19th century, there is a breaking down of the traditional beginning-middle-end linear narrative in the Modernist novel, leaving an impression of enigma and open-endedness to the work. In poetry, rhyme and traditional form were frequently overthrown, and fragmentation, deliberate obscurity and the juxtaposition of images from seemingly unrelated ages and cultures were often featured.…
4 Stylistic Features of Language Speech communication employs a host of expressive means ranging from linguistic to paralinguistic and extralinguistic features. It is the natural language, however, whose systematic variation on all levels of its structure (phonology, morphology, lexicology and syntax) offers the widest possibilities of suiting its use to fit communicative functions of discourses in various contexts. Thus linguistic expressive means, which are systematically identified and cetegorized by linguistic stylistics (stylolinguistics), lie at the core of stylistic variation. However, it should be noted that as stylistically relevant are considered those linguistic variations which perform similar or alternative communicative functions and which are, in fact, competitors within a particular paradigm or category. From this perspective, there are language units which occur in all types of texts due to their neutral stylistic value (hence stylistically neutral units, e.g., notional words, -s plural marker). On the other hand, other language units bear a stylistic marker already before they are actually used, and so they tend to occur only in some types of texts (hence stylistically marked units, e.g., terms, some foreign plural nouns, vulgarisms, participial constructions; these ´bearers´ of stylistic information which may come from any linguistic plane are also called stylemes, štylémy, cf. Mistrík 1993). Further, not all levels of language system offer equal possibilities of choice: the most differentiated level is the wordstock (synonymy and polysemy), and the fewest possibilities of selection are on the phonological plane (phonemic variations). The possibilities of stylistic variations are not unlimited and some authors maintain that the importance of style is often overestimated (cf. Čermák 2001). 4.1 Phonetics/Phonology The analysis of connected speech identifies the constructional units on the phonetic/phonological plane which are either segmental -…
Lototska K. English Stylistics/ K. Lototska. ̶ Lviv: Ivan Franko National University of Lviv, Publishing Centre, 2008. ̶ 253p.…
Decoding stylistics makes an attempt to regard the esthetic value of a text based on the interaction of specific textual elements, stylistic devices and compositional structure in delivering the author’s message. This method does not consider the stylistic function of any stylistically important feature separately but only as a part of the whole text. So expressive means and stylistic devices are treated in their interaction and distribution within the text as carriers of the author’s purport and creative idiom.…