Terms : Hide Images
| 7005882089 | Term | 0 | ||
| 7005882090 | Definition | 1 | ||
| 7005882091 | Cacophony | 2 | ||
| 7005882092 | Cacophony is a mixture of harsh and discordant noises. As a literary device, cacophony refers to the usage of several unharmonious or dissonant sounds in a line or passage. These unharmonious and dissonant sounds include the explosive consonants k, t, g, d, p, and b, and the hissing sounds ch, sh, and s. | 3 | ||
| 7005882093 | Carpe Diem | Latin for "Seize the day." Frequently in the 16th and 17th century court poetry, and in Romantic Philosophy | 4 | |
| 7005882094 | Confessional Poetry | An approach to poetry in which the poet employs his or her own life and feelings as subject matter, often using verse as an outlet for powerful emotions. The attitude was a break from the view that poetry should be impersonal, advocated by T. S. Eliot. The style emerged in America with Robert Lowell's volume Life Studies (1959), other practitioners being John Berryman (1914-1972), Anne Sexton (1928-1974), and Sylvia Plath (1932-1963). | 5 | |
| 7005882095 | Dissonance | The juxtaposition of harsh jarring sounds (a synonym for cacophony) or the juxtaposition of closely related but not identical vowel sounds in one or more lines. | 6 | |
| 7005882096 | Euphony | Euphony refers to the quality of being pleasant to listen to. Euphony generally comes about through a harmonious combination of sounds and words. An author can create euphony in many different ways, such as using pleasant vowel and consonants, or by employing other literary devices, such as rhythm, rhyme, consonance, and assonance to create an overall harmonious sound to a work of literature. | 7 | |
| 7005882097 | Harlem Renaissance | A flourishing of African-American literature which took place in the 1920s and was centered around the Harlem district of New York City. The movement took African-American life and culture as its subject matter Some of its major writers being James Weldon Johnson (1871-1938), Zora Neale Hurston (1903-1960), Langston Hughes (1902-1967), and Countee Cullen (1903-1946). | 8 | |
| 7005882098 | Imagism / Imagist | The Imagists were a group of poets who were influenced by Ezra Pound, who in turn had been influenced by the French Symbolist poets, Japanese haiku, and the writings of the poet and critic T. E. Hulme (1883-1917). The Imagist movement, which originated in London and was prominent in England and America from around 1912 to 1917, was crucial to the development of Modernist poetry. These poets aimed to free poetry from the conventions of the time by advocating a free choice of rhythm and subject matter, the diction of speech, and the presentation of meaning through the evocation of clear, precise, visual images. Among the poets associated with Ezra Pound in this movement were Hilda Doolittle, Amy Lowell, and William Carlos Williams. Pound later associated himself with Vorticism, and Amy Lowell took over the leadership of the Imagist movement. Many English and American poets were influenced by Imagism, such as D. H. Lawrence, T. S. Eliot, Conrad Aiken, Marianne Moore, and Wallace Stevens. | 9 | |
| 7005882099 | Inversion | As a literary device, inversion refers to the reversal of the syntactically correct order of subjects, verbs, and objects in a sentence. This type of inversion is also known as anastrophe, from the Greek for "to turn back." In English there is a fairly strict order in which sentences are constructed, generally subject-verb-object (many other languages permit more arrangements of the parts of a sentence). For example, it's syntactically correct to say, "Yesterday I saw a ship." An inversion of this sentence could be "Yesterday saw I a ship," or "Yesterday a ship I saw." | 10 | |
| 7005882100 | Lyric Poetry | Originally a composition meant for musical accompaniment. The term refers to a short poem in which the poet, the poet's persona, or another speaker expresses personal feelings. | 11 | |
| 7005882101 | Negative Capability | John Keats, in a letter of October 27, 1818, suggested that a poet, possessing the power to eliminate his own personality, can take on the qualities of something else and write most effectively about it. | 12 | |
| 7005882102 | Performative / Performativity | indicates the special qualities brought out through a 'performance' of something (for example, a play text or poem) or in some cases, an artistic event which has no originating text (such as in performance art). The 'performance' is a time-and-space bound event, which is ephemeral (it never happens exactly the same way twice). A further, related meaning (derived from the philosophy of J. L. Austin) is that of doing or making something happen, rather than stating or representing it. This leads to the idea that the 'performative' is how symbolic systems (language, art, theatre) both represent things from the world, but are also simultaneously making that world. | 13 | |
| 7005882103 | Speaker | The "voice" which seems to be telling the poem. The speaker is not the same as the poet; the speaker is like a narrator. | 14 | |
| 7005882104 | Sprung Rhythm | A name given by Gerard Manley Hopkins to his technique of breaking up the regular metre of poetry to achieve versatile and surprising rhythms, which retained regularity but more closely resembled speech than did conventional poetry. | 15 | |
| 7005882105 | Stanza | A stanza is a set of lines in a poem grouped together and set apart from other stanzas in the poem either by a double space or by different indentation. Poems may contain any number of stanzas, depending on the author's wishes and the structure in which the poet is writing. However, there are many strict poetic forms that designate the exact number of stanzas. | 16 | |
| 7005882106 | Stress | Where the emphasis is placed during the pronunciation of a word. | 17 | |
| 7005882107 | Verse | As a mass noun, poetry in general; as a regular noun, a line of poetry. Typically used to refer to poetry that possesses more formal qualities. | 18 | |
| 7005882108 | Voice | An author's distinctive literary style, basic vision and general attitude toward the world. This "voice" is revealed through an author's use of SYNTAX (sentence construction); DICTION (distinctive vocabulary); PUNCTUATION; CHARACTERIZATION and DIALOGUE. The voice of an author may cover a wide range of possibilities (e.g. "victim," "judge," "friend," "coach," "spy," "opponent," "cheerleader," "critic," "alien"). | 19 | |
| 7005882109 | Appall | Strike with disgust or revulsion | 20 | |
| 7005882110 | Ardent | Characterized by intense emotion | 21 | |
| 7005882111 | Blight | a state or condition being devastated | 22 | |
| 7005882112 | Contradiction | Opposition between two conflicting forces or idea | 23 | |
| 7005882113 | Coy | Modestly or warily rejecting approaches or overtures | 24 | |
| 7005882114 | Equivocation | Intentionally vague or ambiguous | 25 | |
| 7005882115 | Hapless | Deserving or inciting pity | 26 | |
| 7005882116 | Nostalgic | Unhappy about being away and longing for familiar things | 27 | |
| 7005882117 | Dire | Fraught with extreme danger; nearly hopeless | 28 | |
| 7005882118 | Lugubrious | Excessively mournful | 29 | |
| 7005882119 | Altruists | a person unselfishly concerned for or devoted to the welfare of others(opposed to egoist ) | 30 | |
| 7005882120 | Indictment | An accusation of wrongdoing | 31 | |
| 7005882121 | Munificence | Liberality in bestowing gifts | 32 | |
| 7005882122 | Officious | assertive of authority in an annoyingly domineering way, especially with regard to petty or trivial matters | 33 | |
| 7005882123 | Perfunctory | Hasty and without attention to detail; not thorough | 34 | |
| 7005882124 | Transient | Lasting a very short time | 35 | |
| 7005882125 | Trifling | Not worth considering | 36 | |
| 7005882126 | Vivacious | Vigorous and animated | 37 |
