By J. A. Cuddon
With new entries and delicate edits, this 5th version areas J.A. Cuddon’s critical dictionary firmly within the twenty first Century.
- Written in a transparent and hugely readable variety
- Comprehensive historic assurance extending from precedent days to the current day
- Broad highbrow and cultural variety
- Expands at the past version to include the newest literary terminology
- New fabric is very targeted in components comparable to gender reviews and queer concept, post-colonial concept, post-structuralism, post-modernism, narrative idea, and cultural reviews.
- Existing entries were edited to make sure that issues obtain balanced remedy
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Additional resources for A Dictionary of Literary Terms and Literary Theory, Fifth Edition
Anagnorisis (Gk ‘recognition’) A term used by Aristotle in Poetics to describe the moment of recognition (of truth) when ignorance gives way to knowledge. ), or reversal of fortune. The classic example is in Oedipus Rex when Oedipus discovers he has himself killed Laius. See tragedy. 32 analects anagogical (Gk ‘mystical sense’) The anagogical meaning of a text – especially, for example, in the Bible – is its spiritual, hidden, allegorical or mystical meaning. Thus, anagogy or anagoge is a special form of allegorical interpretation.
Other examples are Baconiana (1679); Blackguardiana (c. 1785); Addisoniana (1803); Boxiana (1818–29); Feminiana (1835). See anecdote; biography; table-talk. ). In drama, for instance, the approach to the climax in Othello when the Moor murders Desdemona in Act V. anachorism (Gk ‘something misplaced’) Action, scene or character placed where it does not belong. See anachronism. anachronism (Gk ‘back-timing’) In literature anachronisms may be used deliberately to distance events and to underline a universal verisimilitude and timelessness – to prevent something being ‘dated’.
Named after the Greek poet Alkaios (Alcaeus, a native of Lesbos, late 7th to early 6th c. bc). The arrangement, predominantly dactylic, is: The mark indicating an unstressed syllable placed above a stress mark denotes a possible variation. The scheme was often used between the 16th and 18th c. by Italian poets, but has seldom been popular in England. However, Swinburne, Clough, Tennyson and R. L. Stevenson experimented with Alcaics. A well-known example is Tennyson’s sixteen-line poem on Milton which begins: Ó míghty˘- | moúthěd ˇın | véntoˇr oˇf | hármoˇniěs, Ó skílled to síng oˇf | Tíme oˇr Ě | térnıˇty˘, Gód-gíftěd | órgaˇn- | vóice oˇf | Énglaˇnd, Míltoˇn, aˇ | náme toˇ rě | sóund foˇr | ágěs.
A Dictionary of Literary Terms and Literary Theory, Fifth Edition by J. A. Cuddon