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Woolf usually makes use of aposiopesis in the concluding sections of her essays, often bringing her words to an end in a sudden way so that readers may think of and remember the content that she has left unsaid.
4) Compare, for example, the similar aposiopesis directed by Iphigenia toward Artemis at line 37 of Euripides's Iphigenia among the Taurians: "But concerning the rest I remain silent, since I fear the goddess.
The poet's own guilt undermines all attempts at consolation and closure as the final aposiopesis reveals ("Let us sleep now .
Austen's draft version of the conclusion, a kind of expanded aposiopesis, dispenses with mediation as it were by fiat: the scales fall from the lovers' eyes, they see face to face, and powerful feeling overflows on cue.
In that traversal, from the sere, sunbaked plains of his first feature to the aqueous tourist sites of Mont-Saint-Michel and Versailles in his latest, the voice-over--perhaps the defining feature of Ma lick's cinema--has swollen from the thrilling folk ironies of Sissy Spacek's and Linda Manz's vernaculars in Badlands and Days of Heaven (1978), respectively, into sotto voce bombast, cloyingly reliant on such rhetorical forms as anaphora and aposiopesis.
This effect is often achieved through forms of aposiopesis, where the subject feigns being overwhelmed by what he sees.
The many other devices discussed in this section include aposiopesis, or breaking off midstream, as employed here by G.
In addition, they present a frequent recourse to ellipsis or reticence, aposiopesis (unfinished sentences, suspension dots) and praeteritio (false silence).
Por el contrario, en el poema XIV, con que concluye el poemario, se impone la certeza, el alegato, la savia del amor como ejercicio ontologico y veraz que auna el pasado y el presente, que completa, al tiempo que re-vela, la aposiopesis implicita en el adverbio "quizas .
A relevant term from classical rhetoric is aposiopesis, used when a sentence is deliberately broken off and left unfinished, the ending to be supplied by the imagination and thus giving an impression of unwillingness or inability to continue.
This aposiopesis silences the novel and with it, we are made aware, by the protagonist's refusal to continue transcribing the "other's" questions concerning truth, love, fame, and "todas las otras cosas," that these have been retroactively answered.
Un raro caso de reticencia o aposiopesis, que por lo demas es muy corriente en la publicidad de productos del area de la sexualidad, asi como en la seccion de obituarios ('descanse en paz') se presenta en el titular "Viejo templo parroquial de Puriscal cerro sus puertas.
While the meanings have emerged in the spaces between the words in Tennyson, however, the result is less successful in Hopkins: "Language falters, halts, then stops altogether, reduced to fragments by questions and dashes and by a daring use of aposiopesis.
Alexander's first chapter on "Dialogue and Incompletion" treats aposiopesis in the Sidney canon generally, and identifies it as an especially vital figure within the revised Arcadia, whose status as "incompletion .
Because those who respond to his works have a particular interest in his death and also in the "incomplete nature of his works" (36), Alexander finds the figure of aposiopesis, of not finishing, central not only for Sidney's life and works, but also for responses to them.