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  • noun

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mentioning something by saying it will not be mentioned

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But praeteritio is a much more openly manipulative strategy, one not reliant upon a reader to supply the unsaid.
Both dirimens copulatio and correctio (and also praeteritio, but for more complicated reasons) can be seen as examples of metalinguistic negation, defined by Laurence Horn as "a device for objecting to a previous utterance on any grounds whatever, including the conventional or conversational implicata it potentially induces, its morphology, its style or register, or its phonetic realization" (363).
33) These documents are at first used to establish the notoriously fabulous yet indispensable omina imperii: for this purpose the fictitious biographer refers in a distancing praeteritio to the authority of the--also very probably fictitious--historian Callicrates of Tyre.
Dio conveniently avoids, through the device of praeteritio, giving details of Homer's pronouncements on virtue and vice (polu an ergon eih, 11), but turns to focus on the poet's attitude to kingship.
On the other hand, however, her work as writer is to create through such rhetorical forms as the praeteritio a narrative, even if that narrative is a romance (sometimes taking the form of a family romance) that does not exclude the Wicked Stepmother, however strong the need to exalt a lost and beloved mother or, more troublingly, the risk of conflating 'mother' and 'Stepmother'.
Is this poem, 'Fireman's Lift', absent in the essay, in effect the praeteritio that sustains it?
Here we get a glimpse of Ficino's view of Pythagoras through a praeteritio, a "passing-over":
Perhaps the section after the immediate praeteritio ("Moreover, [the argument goes] that rational souls are a certain sort of spiritual sphere, etc.
In this sense it is an act of praeteritio, a trope that Ni Chuilleanain returns to time and again in her writings and interviews, and which she has defined as 'a figure of rhetoric, the one that "passes by, passes over in silence" the essential statement that is not made directly but gathered by the reader from context'.
The technique of praeteritio marks Ni Chuilleanain's poetry in a manner which is precisely translational, as this trope captures the contradictory, fluctuating dynamic of possession and non-possession--including the impossibility of full self-possession and authority--that characterize the act of translation.
31) This process, which in these three movements embodies precisely the motions of praeteritio albeit in reverse order, is characterized by Derrida as 'a travail of mourning'.
Yet, Ni Chuilleanain seems a little hesitant before the Molly Bloom-like affirmative quality that is being ascribed to this act, and she registers her translational equivocation through what amounts to an act of praeteritio.