The Rhetorical Principles of NarrationHoughton Mifflin, 1911 - 279 lappuses |
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1.–5. rezultāts no 35.
5. lappuse
... distinct climax . The indefiniteness resulting from failure to observe the first essential is illustrated in George Eliot's Middle- march , in which the simultaneous existence of at least three sets of characters leaves the reader in ...
... distinct climax . The indefiniteness resulting from failure to observe the first essential is illustrated in George Eliot's Middle- march , in which the simultaneous existence of at least three sets of characters leaves the reader in ...
36. lappuse
... distinct impression of horror . The paragraphs are well massed . Another consideration that belongs to this same rhe- torical element of emphasis is the proportionate amount of space that each detail should receive . In the item there ...
... distinct impression of horror . The paragraphs are well massed . Another consideration that belongs to this same rhe- torical element of emphasis is the proportionate amount of space that each detail should receive . In the item there ...
42. lappuse
... distinct gap , but no conjunctive or adverb- ial bridge spans the chasm . The result is far greater animation and force . If continued too far , this device , like that of a fully articulated style , loses through sheer monotony , but ...
... distinct gap , but no conjunctive or adverb- ial bridge spans the chasm . The result is far greater animation and force . If continued too far , this device , like that of a fully articulated style , loses through sheer monotony , but ...
52. lappuse
... distinct consistency of tone to The Fall of the House of Usher ; and the idealism of Hawthorne is equally apparent in The Great Stone Face . A story of Kipling's , like The Man Who Would 52 RHETORICAL PRINCIPLES OF NARRATION The Short- ...
... distinct consistency of tone to The Fall of the House of Usher ; and the idealism of Hawthorne is equally apparent in The Great Stone Face . A story of Kipling's , like The Man Who Would 52 RHETORICAL PRINCIPLES OF NARRATION The Short- ...
63. lappuse
... distinct and separate episodes of the second order ( p . 28 ) as follows : ( a ) early in the day , at the church ; ( b ) at dinner with the Leubas and their merry company ; ( c ) in the afternoon , at the Museum ; and ( d ) later , at ...
... distinct and separate episodes of the second order ( p . 28 ) as follows : ( a ) early in the day , at the church ; ( b ) at dinner with the Leubas and their merry company ; ( c ) in the afternoon , at the Museum ; and ( d ) later , at ...
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acter action actors Adam Bede already appear artistic attitude background biography chapter char character characteristics characterization chronicle clear climax coherence color complete complication composition consideration constitute culmination Cynegils Daniel Deronda definite dénouement device distinct dramatic setting effect elaboration elements emotional emphasis episode Esmond essential example exposition expository eyes fact fiction Flute and Violin George Eliot George Meredith Haman hand hero historian illustration imagination individual interest James Lane Allen James Moore literature Macaulay Marjorie Daw Martin Chuzzlewit matter method Naaman narration narrative writing nature novel Oakhurst occurrence paragraph passage personage personality picture plot structure point of view Poker Flat portrayal present principle Puddletown purpose rative reader Reverend James Moore rhetorical scene secure sense sentence serve short-story Silas Marner Stone Face story successive Tess theme Thomas Hardy thought threads tion tive ultimate unity Vanity Fair various Violin words writer
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