Although Kristeva is speaking about psycholinguistic structures and subject-formation in general, her discussion of an "Imaginary Father" who serves as a third term between the child's relationship with the mother's body and his/her own subjectivity (between abjection/undifferentiated drives and symbolization) is historically specific, and in many ways anticipates the concerns of Bly, Keen, Moore and Gillette in the early 1990s. [11] According to Kristeva, the loss of faith in a Christian God in the West, the increasingly mass-media saturated society, and the absence of a secular version of the loving father, all contribute to an increase in pathological narcissism and a "crisis of love" (7). Kristeva posits that the "cure" for this situation lies in the analyst's assumption of the position of the third term; in place of a loving father, the analysand will have the loving analyst. Kristeva asserts:
Literary Devices In The Body By Stephen King
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According to Robert Bly, men must develop empathy for other men; he calls this process "learning to shudder" (84). Attuned to the cultural association of empathy with femininity, Bly says: "When a man posseses empathy, it does not mean that he has developed the feminine feelings only . . . he is developing a part of the masculine emotional body as well"(85). For men's movement advocates, the taking on of feminine qualities is, as evidenced by Bly's earlier statement, a potentially unsettling situation. Thus, the literature insists on the maintenance of the gender hierarchy and absolute sexual difference. In part, this insistence is the result of the perception that women have too much control over men's lives in the first place. While the absence of good male role models causes a serious void in men's lives, [22] the presence of an emasculating, overwhelming mother figure who will not allow her sons to mature is a second threat. This weakness is due, in part, to the failure of older men to mentor younger men, in part to the female tendency to engulf and control, and in part, to young men's "lack of boundaries" with women (Moore and Gillette 146). Too much femininity marks the man as too mother-bound or as potentially queer.
Comparative literature explores the relationship between works of fiction of different cultures and times. Its purpose is to establish the connection between specific genres, styles, and literary devices and the historical period. At the same time, it provides an insight into the meaning hidden between the lines of a given text.
The man himself lay in the bed. For a long while we just stood there, looking down at the profound and fleshless grin. The body had apparently once lain in the attitude of an embrace, but now the long sleep that outlasts love, that conquers even the grimace of love, had cuckolded him. What was left of him, rotted beneath what was left of the nightshirt, had become inextricable from the bed in which he lay; and upon him and upon the pillow beside him lay that even coating of the patient and biding dust.
Anecdotes originated as stories told in social situations to entertain each other. In this sense, jokes with involved narratives can be considered anecdotes. Humorous anecdotes can also be used as literary devices to lighten the mood after a dramatic plot point or otherwise give readers and audiences a small break from the main story.
What is the difference between literary and poetic devices? Well, all poetic devices are literary devices but not all literary devices are poetic devices. Poetic devices are used in poetry to convey meaning or rhythm by using words, sounds, meter, rhyme, and even structural or visual elements. They heighten the literal meaning of words, adding layers of form, sound, and function.
Poetic devices are a subcategory of literary devices. This is why all poetic devices are also literary devices. In poetry, a poet will deliberately make use of devices to amplify or change literal meanings, as well as to create rhythm or tone. Poetic devices can be used in many different combinations to create various effects.
Your piece will be a creative response, after all, so you should apply the conventions of this style of writing. Firstly, your creative should follow the structure of a beginning, middle, and end. We can also think of this as rising tension, climax, and resolution. Secondly, you should develop an authentic use of language, voice and style to make your writing more engaging and sophisticated. Thirdly, you can use literary devices to build meaning and depth within your piece. As always, your writing should be consistent with the rules of spelling, punctuation, and syntax (that is, written expression) in Standard Australian English. 2ff7e9595c
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