Key words: stylistics, grammatical, polysemy, classic, figurative Stylistics in Nissim Ezekiel’s Corpus The stylistics is a meeting ground of language and literature. It is the study of the use of language in literature; the study of language as a complement and aid to the study of literature; a characteristic manner of expression; how a particular writer or speaker says things. It is such a part of linguistics as concentrates on variation or innovation in the use of language, often, but not exclusively, with special attention to the most conscious and contemplated use of language in literature. Stylistics is not a stylish word, but it is well connected. The true nature of it is elusive and needs subtler net to catch the variations.
Literature is an intricate art form. In order to attempt to understand the meanings and ideas within literary work, there are many forms of criticism that propose different approaches to its interpretation. Each criticism is crucial to the understanding of how individuals interpret literary works. Since each criticism has a different approach to enrich the understanding literary works, the question is raised whether one criticism should be used over others, whether a certain combination of criticisms should be used, or whether all criticisms should be taken into account. This may all be dependent on the reader’s individual preference or opinion, but each criticism presented builds on the others to create a well-rounded and unique understanding
The uneasiness about the critic is so complex that it forces the readers to rely on other critics’ profound knowledge of the material. Literary scholars Matthew Arnold and Alexander Pope both have differing views concerning the necessity of the critic, his role, and his power that he wields over the work/text. While Pope and Arnold are excellent critics, they each bring something different to the playing field. Arnold brings the idea of disinterestedness and Pope outlines the true characteristics of a “good” critic. Although, both crit... ... middle of paper ... ... by nature, but Arnold and Pope present their readers with knowledge that make the concept of the critic more understandable.
Ironies and Paradoxes ABSTRACT: In contemporary literary culture there is a widespread belief that ironies and paradoxes are closely akin. This is due to the importance that is given to the use of language in contemporary estimations of literature. Ironies and paradoxes seem to embody the sorts of a linguistic rebellion, innovation, deviation, and play, that have throughout this century become the dominant criteria of literary value. The association of irony with paradox, and of both with literature, is often ascribed to the New Criticism, and more specifically to Cleanth Brooks. Brooks, however, used the two terms in a manner that was unconventional, even eccentric, and that differed significantly from their use in figurative theory.
An Analysis of Wilfred Owen’s Strange Meeting Analysis of a working manuscript for Wilfred Owen's "Strange Meeting" provides the student with insight into the creative process. Owen's original wording coupled with his subsequent revisions illuminate how he may have intended the poem to be understood by the reader. Owen's revisions show a determination to accomplish three apparent objectives. First, Owen paid close attention to the connotative meanings inherent in his diction. Equally as important, Owen attempted to refine his language mechanics to enhance the esthetic quality of his work.
Graff writes, “look for the conflict or debate in the literary work itself and then ask what the text is leading us to think about that conflict” (191). Then he suggest asking some questions to help the reader take a position on the meaning of the work. He emphasizes that the meaning of a literary work is always arguable and one should argue for what they thinks it means. He also included some templates to help starts to respond to others
In ‘Many red devils…’ Stephen Crane exposes the truth about one’s personal integration into their work through a use of vivid imagery. It is simply inevitable that pieces of passion, motivation, hope, and drive will seep through into the work that one does, due to the inherent, expressive nature of human beings. As can especially be observed in literary works, throughout which the writer’s word choice and tone are directly affected by their own personal experiences and knowledge. Because of the inescapable personal integration into writing, there can be great difficulty in putting pen to paper in order to convey such private thoughts. Crane highlights this difficulty in transcribing personal thoughts by comparing words to ‘red devils’ which,
It is really important to have at least one literary device to make a story have a sense. Conflict, imagery, setting, mood, and personification are all used in these stories; this is one of the reasons why they are that successful. Sir Arthur Conan Doyle, Antoine de Saint-Exupery, and Gabriel Garcia Marquez all use at least one literary device; this is what makes them good writers.
Notions of power and class can be presented in different ways in literary texts. Some texts seem to pride themselves on the use of such ideas and ideologies, while others somehow subtly absorb the impressions and build them into the work. Nevertheless, conceptions of power and class can still play a huge part in the detailed understanding of a piece of work. Not only this, but they can also portray an author's own feelings and thoughts on things such as the class system and stratification of society. Two highly acclaimed literary texts which address the class and power ideologies are Geoffrey Chaucer's The Miller's Tale from The Canterbury Tales collection, and Maria Edgeworth's Castle Rackrent.
Similar methods can also be used to accomplish different objectives. It is, however, important to distinguish both the short story and the poem from all other literary genres. These two genres are very similar in their ability to contain a complex, emotional, intelligent, deep, and sometimes shocking work of literature within the boundaries of length. The authors of both the short story and the poem use similar devices to manipulate the language into presenting a comprehensive work of art. Bibliography: Barnet, Sylvan, et al., ed.