Maximalism is basically a response to minimalism, in simple terms it states that “more is more” as compared to minimalism, in which the motto is “less is more”. Maximalism in terms of literature refers to the excess of deviation, reference, and elaboration of detail occupy a large section of the story. Basically it can be anything from providing excessive material to adding it for an ostentatious effect. David Foster Wallace has used this post modernism device several times, including in his short story Death is not the end. In this story the excess of detail is quite evident as this 4 page story only consists of 3 sentences, with all the details connected through a series of comma.
The viewers are not aware where these flashes are coming from or if they are in the past, the future, or just made up entirely. This means the viewers experience the same feelings of frustration and confusion as Louise may be feeling, without having Louise tell them how to feel. By using visual images to depict these scenes, there is no need for any character to narrate them to tell the reader what is happening. This allows the readers to get a less biased perspective of each scene. In contrast, the written word of Heart of Darkness creates clearly subjective viewpoints of what is happening to Marlow.
A piece of language can be acknowledged as a text â€œbecause of its location in a particular contextâ€ (Verdonk 2002: 17). It means it does not rely on the length of the text, even single sentence units or single word units, such as e.g. â€˜dangerâ€™, â€˜keep leftâ€™ etc. are considered to be a text. These short texts are â€œmeaningful in themselvesâ€, it means â€œthey are complete in terms of communicative meaningâ€ (Verdonk 2002: 17).
The use of iambic pentameter in poetry is usually to signify grand emotions. The poet’s use of iambic pentameter when questioning the meaning of love in the first line suggests that love is a grand, positive emotion. However, as the poem progresses, the metrical feet used also changes to iambic tetrameter. For example, the line ‘it is a fire, it is a coal’ is written in iambic tetrameter. By downsizing the metrical feet in the poem, the poet suggests that love often falls short of expectations, especially when unrequited.
Reflective commentary: “TSN” is a poem composed of four different sections of verse; three ballad stanzas, a section of blank verse followed by a rhyming couplet and finally four stanzas of free verse. The first three sections of prose are written in predominately consistent meter, alternating iambic tetra- and trimeter in the three ballad stanzas, and iambic pentameter in the section of blank verse and the rhyming couplet. “Predominately” as there are some substitutions within two of the ballad stanzas (despite the poet’s best efforts). More specifically two trochaic substitutions, “Monarch”, and “Dire”, and an anapestic substitution “absolute”. The rhyme scheme varies throughout the poem, corresponding with the traditional schemes of the respective verse froms.
(lang files) The contrastive distribution or complementary distribution of two sounds in a language is dependent upon the environments in which they belong. Sounds can either be special (phonemes) or supplementary (allophones) (Course Manual). The concepts, allophones and phonemes are the nucleus of phonological
The Red Wheelbarrow The Red Wheelbarrow is a poem written by an American poet called William Carlos Williams. Initially, the poem was published without a title, and the poem is in form of verse form. Williams in his writing constructs an image within the readers mind. The author uses simple words to construct a poem that is basically based on imagery philosophy. Williams’s poem is all about a red wheelbarrow that is painted in the readers mind in order to create a flamboyant picture.
Similar view is adapted by Conquest in his Introduction to the Newlines. Conquest calls for a renewed attention to the ‘necessary intellectual component’ in poetry, viewed from commonsense standpoint. With this conviction in mind “On the Death of a child” is consciously meant to be a revision of Thomas’s “A Refusal to Mourn the Death, by Fire of a child in London”. Structurally “On the Death of a child” counteracts “A Refusal to Mourn the Death, by Fire of a child in London”. The latter is a more elaborate experiment in syntax and imagery than the former.
It almost makes it difficult for the reader to flow from stanza to stanza without pausing to obtain the full message in each one. His language structure is not something that the reader would see or even understand the meaning of in an everyday poem. The rhyme scheme, meter, and stanza lengths all vary, though on an iambic base. "The rot remains with us, the men are gone" is a perfectly regular line of iambic pentameter, while "Ablaze with rage I thought" is iambic trimeter and "Nook-shotten, rook o 'reblown, deranged" is iambic tetrameter. Therefore the poem does not have a particular rhyme scheme.
From reading Section V What the Thunder Said of T.S. Eliot’s riveting poem The Waste Land it is clear that it a complex yet the detail and material of the section adds to the mystery and depth of poem as a whole. Based on the form of the poem Eliot has chosen his techniques wisely, the use of alliteration and onomatopoeia give emphasise the feelings in useful manner. The structure seems to be quite consistent and although some of the stanzas and lines may vary in length, over all there does appear to be a constant flow in rhythm and flow. This poem contains very powerful imagery; the subject of religion is very prominent throughout the text, especially in Section V. The first part of the section immediately incorporates religion