aposiopesis


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  • noun

Words related to aposiopesis

breaking off in the middle of a sentence (as by writers of realistic conversations)

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3) Dante's use of aposiopesis both affirms this poetics of compression and offers the poet a means of suggesting the pilgrim's complex experience lying outside the bounds of the allegory without sacrificing the forward momentum of the journey.
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.
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.
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.
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.
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.
The Poetics of Compression: The Role of Aposiopesis in the Representation of Conversion in Dante's Commedia.
rhetorical devices--metonymy, ellipse, simile, aposiopesis and other,
In its 'novelization' of travel writing, responses to personal experiences and political events of the 1760s, playful use of chapter-headings and aposiopesis, and final, enforced interruption, which leaves it forever unclosed, Sterne's second novel can be said to have extended and modulated many of the trends and techniques that Keymer specifies in relation to Tristram Shandy.
He writes after his aposiopesis, "--A page is an area on which I may place any signs I consider to communicate most nearly what I have to convey: therefore I employ, within the pocket of my publisher and the patience of my printer, typographical techniques beyond the arbitrary and constricting limits of the conventional novel.
The figures in the sculpture and paintings cited by Quintilian embody the affective function that the related rhetorical figures have in language: with their covered faces, Agamemnon and Antigonus stand for the rhetorical figure of aposiopesis or omission; (16) and the Discobolus, or Discus-Thrower, with its twisted torso, stands for the rhetorical figure of antithesis, the juxtaposition of contraries.