E11 Vocabulary & Terminology
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Genesis and Development of Stylistic Devices Classifications
Philology Matters Volume 2020 Issue 3 Article 6 9-20-2020 GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES CLASSIFICATIONS Feruza Khajieva Associate professor (PhD), Department of English Literature Bukhara State University, Bukhara, Uzbekistan Follow this and additional works at: https://uzjournals.edu.uz/philolm Part of the English Language and Literature Commons, Language Interpretation and Translation Commons, Linguistics Commons, Other Languages, Societies, and Cultures Commons, and the Reading and Language Commons Recommended Citation Khajieva, Feruza Associate professor (PhD), Department of English Literature (2020) "GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES CLASSIFICATIONS," Philology Matters: Vol. 2020 : Iss. 3 , Article 6. DOI: 10. 36078/987654447 Available at: https://uzjournals.edu.uz/philolm/vol2020/iss3/6 This Article is brought to you for free and open access by 2030 Uzbekistan Research Online. It has been accepted for inclusion in Philology Matters by an authorized editor of 2030 Uzbekistan Research Online. For more information, please contact [email protected]. Khajieva: GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES CLASSIFICATIONS Philology Matters / ISSN: 1994-4233 2020 Vol. 33 No. 3 LINGUISTICS ФМ Uzbek State World Languages University DOI: 10. 36078/987654447 Feruza Khajieva Феруза Ҳожиева Associate professor (PhD), Department of English Бухоро давлат университети, Инглиз адабиёти Literature, Bukhara State University кафедраси доценти, филология фанлари бўйича фалсафа доктори GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES СТИЛИСТИК ВОСИТАЛАР ТАСНИФ- CLASSIFICATIONS ЛАРИ ГЕНЕЗИСИ ВА ТАДРИЖИ ANNOTATION АННОТАЦИЯ Тhe article discusses the problem of a stylistic Мақолада стилистик воситалар муаммо- device, its innate features and the literary, си, жумладан, уларнинг табиати ҳамда ва ба- aesthetic, imagery functions, the example to диий-эстетик, образлилик вазифалари таҳлил stylistic convergence is also given. -
Stream of Consciousness: a Study of Selected Novels by James Joyce and Virginia Woolf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Italian translations of English stream of consciousness: a study of selected novels by James Joyce and Virginia Woolf Giulia Totò PhD The University of Edinburgh 2014 Declaration I hereby declare that this thesis was composed by myself, that the work contained herein is my own except where explicitly stated otherwise in the text, and that this work has not been submitted for any other degree or professional qualification except as specified. Giulia Totò iii To little Emma and Lucio, for the immense joy they spread and the love they allow me to return. iv Acknowledgments I am pleased to take this opportunity to thank my supervisors Federica G. Pedriali and Yves Gambier for their guidance and, most of all, for their support and patience during these years. -
Short Stories
Elements and Characteristics of Short Stories Short stories tend to be less complex than novels. Usually, a short story will focus on only one incident, has a single plot, a single setting, a limited number of characters, and covers a short period of time. In longer forms of fiction, stories tend to contain certain core elements of dramatic structure: exposition (the introduction of setting, situation and main characters); complication (the event of the story that introduces the conflict); rising action, crisis (the decisive moment for the protagonist and their commitment to a course of action); climax (the point of highest interest in terms of the conflict and the point of the story with the most action); resolution (the point of the story when the conflict is resolved); and moral. Because of their short length, short stories may or may not follow this pattern. Some do not follow patterns at all. For example, modern short stories only occasionally have an exposition. More typical, though, is an abrupt beginning, with the story starting in the middle of the action. As with longer stories, plots of short stories also have a climax, crisis, or turning-point. However, the endings of many short stories are abrupt and open and may or may not have a moral or practical lesson. Of course, as with any art form, the exact characteristics of a short story will vary by author. Length Determining what exactly separates a short story from longer fictional formats is problematic. A classic definition of a short story is that one should be able to be read it in one sitting, a point most notably made in Edgar Allan Poe's essay "The Philosophy of Composition" (1846). -
The Power of Short Stories, Novellas and Novels in Today's World
International Journal of Language and Literature June 2016, Vol. 4, No. 1, pp. 21-35 ISSN: 2334-234X (Print), 2334-2358 (Online) Copyright © The Author(s). 2015. All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijll.v4n1a3 URL: https://doi.org/10.15640/ijll.v4n1a3 The Power of Short Stories, Novellas and Novels in Today’s World Suhair Al Alami1 Abstract The current paper highlights the significant role literature can play within EFL contexts. Focusing mainly on short stories, novellas and novels, the paper seeks to discuss five points. These are: main elements of a short story/novella/novel, specifications of a short story/novella/novel-based course, points for instructors to consider whilst dealing with a short story/novella/novel within EFL contexts, recommended approaches which instructors may employ in the EFL classroom whilst discussing a short story/novella/novel, and language assessment of EFL learners using a short story/novella/novel-based course. Having discussed the aforementioned points, the current paper proceeds to present a number of recommendations for EFL teaching practitioners to consider. Keywords: Short Stories; Novellas; Novels Abbreviation: EFL (English as a Foreign Language) 1. Introduction In an increasingly demanding and competitive world, students need to embrace the four Cs: communication, collaboration, critical thinking, and creativity. Best practices in the twenty-first century education, therefore, require practical tools that facilitate student engagement, develop life skills, and build upon a solid foundation of research whilst supporting higher-level thinking. With the four Cs in mind, the current paper highlights the significant role literature can play within EFL contexts. -
Vicki Lewis Thompson Friend Or Foe?...P8 Congratulations on Receiving the Nora Roberts Lifetime Achievement the New RWA Award! the Ceremony Was Heaps of Fun
Edition #191 April 2009 The official journal of Romance Writers of Australia Brisbane, Qld Craft: Creating Inner Hearts Talk chats to 8-time RITA nominee, RWAmerica’s 2008 Nora Rob- Conflict..............p4 erts Lifetime Achievement Award recipient, and author of more than 90 books... Vicki Lewis Thomp- son Interview (cont) ..................p6 Adverbs: Vicki Lewis Thompson Friend or Foe?...p8 Congratulations on receiving the Nora Roberts Lifetime Achievement The New RWA Award! The ceremony was heaps of fun. Can Website.............p9 you tell us about the night, your theory about authors with three names, and what Agent Profile: Kristen the award means to you? Nelson Agency .p10 It was truly a Cinderella experience, so much so that I have a little gold pumpkin carriage sitting Insights Gained After on the shelf beside my RITA. I knew there was Publication........p11 the potential for being nervous, so I just told myself that nervousness would spoil an amaz- Member ing experience, so I needed to get over myself! Spotlight ..........p12 Voilà , I wasn’t nervous! As for three names, after I got The Call that I was the award recipi- Member News & ent, I naturally went on the website to see the list of previous recipients, and that three-name Releases ...........p13 thing leaped out at me. You truly couldn’t miss it! It made me laugh, so I used it. The award Focus on: Erotic itself is priceless, a tangible representation of Romance ..........p14 25 successful years in the business. I will cher- ish it always, and bequeath it to my children, Events ...............p16 whether they want it or not. -
THE SHORT STORY and NOVEL “Outsiders” English 132, 002 | Spring, 2014 Instructor: Dr
THE SHORT STORY AND NOVEL “Outsiders” English 132, 002 | Spring, 2014 Instructor: Dr. Elizabeth Juckett Email: [email protected] Office: 339 Colson Web: elizabethjuckett.english.wvu.edu Office hours: MTWR: 1:30 – 2:30 PM; by appointmt. Phone #: 304-293-9723(office); 304-296-8437 (home) Meeting at: MWF from 11:30 – 12:20 PM Meeting in: 104 Clark Hall REQUIRED TEXTS Alexie, Sherman. The Lone Ranger and Tonto Fistfight in Heaven (Grove) Cather, Willa, My Antonia. (Broadview) Oates, Joyce Carol. American Short Stories, 2nd edition. (Oxford). Woodrell, Daniel. Winter’s Bone (Back Bay Books) Wright, Richard. Native Son (Harper Perennial) COURSE DESCRIPTION This course is designed to introduce you to fiction as a broad literary genre distinct from poetry and drama. In it, we will read short stories and novels that exemplify the historical development of these forms, as well as the important differences in voice, style, structure, and effect between stories and novels that treat similar themes. Part of our work will be to define distinctive qualities of the short story and novel within the broad category of prose fiction. But our focus will also be thematic: the three novels and many of the short stories we will read this semester imagine the lives of marginalized people, people who find themselves on the fringes of American life because of their race, gender, ethnicity, age, socio-economic status, or other divergence from the accepted norm. Consequently, as we explore the characteristics and evolution of the forms of American fiction, we will also be exploring, conceptually and practically, how “outsider fiction” influences us, broadly, how literature is powerfully linked to our experience and may help us engage with it. -
Lexical Stylistic Devices and Literary Terms of Figurative Language
International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-8, Issue-3S, October 2019 Lexical Stylistic Devices and Literary Terms of Figurative Language Saidova Mukhayyo Umedilloevna Abstract: The degree of study and significance of lexical II. MATERIALS AND METHODS literary devices are carried out in the given article. The essential aspects of lexical devices and information about numerous The scientific and practical studies about linguistic terms methods of investigating and studying them are discussed. are based on ideas of Akhmanova (1966, 1990), Vasileva Terms belonged to the lexical level of the language and the (1998), Gwishiani (1986, 1990), Golovin (1976), Kulikova analyses of lexical devices given by several dictionaries of (2002), Petrosyants (2004), Podolskaya (1988), Slyusarova literary terms and sources are explained in the article. In this (1983, 2000), Shelov (1998) and others. In recent years, article we would like to refer to different approaches on study of studies on linguistic terms have been published and we can literary terms of figurative language, more preciously on lexical see these studies on Roman language terminology in works of stylistic devices. There are many types of figurative language, including literary devices such Nikulina (1990), Utkina (2001), Emelyanova (2000), as simile, metaphor, personification and many others. The Vermeer (1971), Zakharenkova (1999), German (1990), definition of figurative language is opposite to that of literal Golovkina (1996) [6, 11-41]. language, which involves only the “proper” or dictionary If we pay close attention to the aforesaid studies, we can definitions of words. Figurative language usually requires the see that literary terms which is the object of our research reader or listener to understand some extra nuances, context and project has been studied relatively rarely in Slovenian, allusions in order to understand the second meaning. -
Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). -
THE TRENDS of STREAM of CONSCIOUSNESS TECHNIQUE in WILLIAM FAULKNER S NOVEL the SOUND and the FURY'' Chitra Yashwant Ga
AMIERJ Volume–VII, Issues– VII ISSN–2278-5655 Oct - Nov 2018 THE TRENDS OF STREAM OF CONSCIOUSNESS TECHNIQUE IN WILLIAM FAULKNER S NOVEL THE SOUND AND THE FURY’’ Chitra Yashwant Gaidhani Assistant Professor in English, G. E. Society RNC Arts, JDB Commerce and NSC Science College, Nashik Road, Tal. & Dist. Nashik, Maharashtra, India. Abstract: The term "Stream-of-Consciousness" signifies to a technique of narration. Prior to the twentieth century. In this technique an author would simply tell the reader what one of the characters was thinking? Stream-of-consciousness is a technique whereby the author writes as though inside the minds of the characters. Since the ordinary person's mind jumps from one event to another, stream-of- consciousness tries to capture this phenomenon in William Faulkner’s novel The Sound and Fury. This style of narration is also associate with the Modern novelist and story writers of the 20th century. The Sound and the Fury is a broadly significant work of literature. William Faulkner use of this technique Sound and Fury is probably the most successful and outstanding use that we have had. Faulkner has been admired for his ability to recreate the thought process of the human mind. In addition, it is viewed as crucial development in the stream-of-consciousness literary technique. According encyclopedia, in 1998, the Modern Library ranked The Sound and the Fury sixth on its list of the 100 best English-language novels of the 20th century. The present research focuses on stream of consciousness technique used by William Faulkner’s novel “The Sound and Fury”. -
Jane Austen's Powers of Consciousness Diane M
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2003 Jane Austen's Powers of Consciousness Diane M. Counts Follow this and additional works at: http://mds.marshall.edu/etd Part of the Classics Commons, Literature in English, Anglophone outside British Isles and North America Commons, and the Women's Studies Commons Recommended Citation Counts, Diane M., "Jane Austen's Powers of Consciousness" (2003). Theses, Dissertations and Capstones. Paper 550. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Jane Austen’s Powers of Consciousness Thesis Submitted to The Graduate College of Marshall University In Partial Fulfillment of the Requirements for the Degree of Master of Arts Humanities by Diane M. Counts Dr. Joyce E. East, Committee Chairperson Dr. Arline R. Thorn Dr. Reidun Ovrebo Dr. Barbara E. Ladner Marshall University April 2003 Abstract “Jane Austen’s Powers of Consciousness” By: Diane M. Counts This thesis incorporates information from recent biographies, feminist studies, and scholarly interpretations focusing on Jane Austen’s narrative strategies. Such incorporation of material provides a context for understanding the significance of Austen’s contributions to the novel form and illuminating the development of the female narrative voice. It focuses on Emma, Austen’s last novel published during her lifetime, as an exemplification of Austen’s enunciation of a feminine perspective of life and vocalization of a growing female self-awareness—her powers of consciousness—through Emma. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
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Advances in Social Science, Education and Humanities Research, volume 447 Proceedings of the International Scientific Conference on Philosophy of Education, Law and Science in the Era of Globalization (PELSEG 2020) Stylistic Devices of Creating a Portrait of the Character Artistic Image (Based on the Work of Thomas Mayne Reid) V. Vishnevetskaya 1Novorossiysk Polytechnic Institute (branch) of Kuban State Technological University 20, ul. Karl Marx, Novorossiysk, 353900, Russia. E-mail: [email protected] Abstract —The article considers the stylistic devices used for II. MATERIALS AND METHODS the portrait description of the character of the artwork. It is necessary to emphasize that stylistic devices play quite an In our work, we use the methods of comparing and important role in creating the artistic image of the character. At contrasting which help the author to create special portrait of a the same time, stylistic devices mainly emphasize not only the character. Stylistic devices are important line elements of the specific features of the exterior, but also various aspects of the portrait description. The process of creating a character visual impression, while bringing to the forefront the features of portrait image uses all the existing stylistic devices that are the drawing image that seem important to the author for one used in the English language system. The most used stylistic reason or another. And, here, the emotional characteristic of the devices are metaphor, epithet, comparison, metonymy and portrait described is becoming significant, and the impression others. that the image formed by the author can make. Stylistic devices are an important line element of the portrait description.