Evocation

Evocation

Definition: Getting inspiration or guidance or courage from the goddess of Muse before doing any hard task especially in the beginning of an epic.

abash

Abash.
SYN. Confound, confuse, dis- compose, bewilder, daunt, cow, humble, disconcert, dishearten, moitlty, shame, humiliate.
ANT. Countenance, cheer, uphold, encourage, rally, inspirit, animate, incite, embolden, abet, buoy.

VOCABULARY NOUNS TO DESCRIBE DIMENSIONS

VOCABULARY NOUNS TO DESCRIBE DIMENSIONS:
• ANGLE (ANGLES) An angle is the difference in direction between two lines or surfaces. Angles are measured in degrees. ■ The boat is now teaning at a 30 degree angle.

• CIRCUMFERENCE (UNCOUNTABLE NOUN) The circumference of a circle, place, or round object is the distance around its edge. ■ a scientist calculating the Earth's circumference. ■ The island is 3.5 km in circumference.

• DIAMETER (DIAMETERS) The diameter of a round object is the length of a straight line that can be drawn across it, passing through the middle of it. ■ [+ of] a tube less than a fifth of the diameter of a human hair ■ a length of 22-mm diameter steel pipe

• HEIGHT (HEIGHTS) The height of a person or thing is their size or length from the bottom to the top. ■ I am 5’6" in height. ■ [+ of] The tree can grow to a height of 20ft. ■ He was a man of medium height.

• LENGTH (LENGTHS) The length of something is the amount that it measures from one end to the other along the longest side. ■ It is about a metre in length. ■ [+ of] the length of the field ■ [+ of] The plane had a wing span of 34ft and a length of 22ft.

• RADIUS (RADII) The radius around a particular point is the distance from it in any direction ■ [+ around] Nigel has searched for work in a ten-mile radius around his home. ■ [+ of] within a fifty-mile radius of the town ■ Fragments of twisted metal were scattered across a wide radius.

• VOLUME (VOLUMES) The volume of something is the amount of it that there is. ■ [+ of] Senior officials will be discussing how the volume of sales might be reduced. ■ [+ of] the sheer volume of traffic and accidents

• WIDTH (WIDTHS) The width of something is the distance it measures from one side or edge to the other. ■ [+ of] Measure the full width of the window. ■ The road was reduced to 18ft in width by adding parking bays. ■ Saddles are made in a wide range of different widths. ACTIONS: • ADJUST (ADJUSTS, ADJUSTING, ADJUSTED) (VERB) When you adjust to a new situation, you get used to it by changing your behaviour or your ideas. ■ [+ to] We are preparing our fighters to adjust themselves to civil society.

• CONVEY (CONVEYS, CONVEYING, CONVEYED) (VERB) To convey information or feelings means to cause them to be known or understood by someone. ■ Semiological analysis sees a sign as any cultural symbol which conveys a meaning. ■ In every one of her pictures she conveys a sense of immediacy. ■ He also conveyed his views and the views of the bureaucracy.

• LAUNCH (LAUNCHES, LAUNCHING, LAUNCHED) (VERB) If a company launches a new product, it makes it available to the public. ■ Crabtree & Evelyn has just launched a new jam, Worcesterberry Preserve. ■ Marks & Spencer recently hired model Linda Evangelista to launch its new range.

• REINFORCE (REINFORCES, REINFORCING, REINFORCED) (VERB) If something reinforces a feeling, situation, or process, it makes it stronger or more intense. ■ A stronger European Parliament would, they fear, only reinforce the power of the larger countries. ■ This sense of privilege tends to be reinforced by the outside world.

• SECURE (SECURES, SECURING, SECURED) (VERB) If you secure something that you want or need, you obtain it, often after a lot of effort. [ FORMAL] ■ Federal leaders continued their efforts to secure a ceasefire. ■ Graham’s achievements helped secure him the job.

• SUSPEND (SUSPENDS, SUSPENDING, SUSPENDED) (VERB) If you suspend something, you delay it or stop it from happening for a while or until a decision is made about it. ■ The union suspended strike action this week. ■ [+ until] A U.N. official said aid programs will be suspended until there's adequate protection for relief convoys.

Epic

Epic
Definition: Epic is a long narrative poem, on a great and serious subject related in an elevated style and centered on a heroic or quasidivine figure on whose actions defend on the fate of tribe or nation or the human race.

Epilogue

Epilogue
Definition: Epilogues are an inherent part of any story or poem and are essential to the structure of any written form. The epilogue is an important literary tool that acts as the afterword once the last chapter is over. The purpose of an epilogue is to add a little insight to some interesting developments that happen once the major plot is over. Epilogues often act as a teaser trailer to any possible sequels that might be created later. Sometimes the epilogue is used to add a little bit about the life/future of the main characters after the story itself has unfolded and wrapped up. Epilogues are an interesting faction because they can be written in a number of ways: sometimes the same narrative style as adopted in the story is continued while at other times one of the characters might take up the narrative or speak one-to-one with the audience. Example: In a remarkably contemporary moment at the end of The Tempest, Shakespeare's wizard Prospero addresses the audience directly, breaking down the boundaries of the play. He informs them that the play is over, his powers are gone, and thus his escape from the play's island setting depends on their applause--that they, in effect, get to decide his fate. This serves as a Epilogue for Shakespeare's tragi-comedy The Tempest.

Elegy

Elegy

Definition: In Greek and Roman literature, "elegy" denoted any poem written in elegiac meter (alternating hexameter and pentameter lines). The term was also used, however, to refer to the subject matter of change and loss frequently ex- pressed in the elegiac verse form, especially in complaints about love. In accordance with this latter usage, "The Wanderer," "The Seafarer," and other poems in Old English on the transience of all worldly things are even now called elegies. In Europe and England the word continued to have a variable application through the Renaissance. John Donne's elegies, written in the late sixteenth and early seventeenth centuries, are love poems, although they re- late to the sense of elegy as lament, in that many of them emphasize mutability and loss. In the seventeenth century the term elegy began to be limited to its most common present usage: a formal and sustained lament in verse for the death of a particular person, usually ending in a consolation. Examples are the medieval poem The Pearl and Chaucer's Book of the Duchess (elegies in the mode of dream allegory); Alfred, Lord Tennyson's In Memoriam (1850), on the death of Arthur Hallam; and W. H. Auden's "In Memory of W. B. Yeats" (1940). Occasionally the term is used in its older and broader sense, for somber meditations on mortality such as Thomas Gray's "Elegy Written in a Country Churchyard" (1757), and the Duino Elegies (1912-22) of the German poet Rainer Maria Rilke on the transience both of poets and of the earthly objects they write poems about.

Diction

Diction
Definition:
Diction is the distinctive tone or tenor of an author’s writings. Diction is not just a writer's choice of words it can include the mood, attitude, dialect and style of writing. Diction is usually judged with reference to the prevailing standards of proper writing and speech and is seen as the mark of quality of the writing. It is also understood as the selection of certain words or phrases that become peculiar to a writer.

Example: Certain writers in the modern day and age use archaic terms such as ‘thy’, ‘thee’ and ‘wherefore’ to imbue a Shakespearean mood to their work.

Denotation

Denotation
Definition: Denotation refers to the use of the dictionary definition or literal meaning of a word.
Example: They made a house. In the above sentence, house is meant literally as in a building where a family lives. If the word "home" was used instead in the above sentence in place of "house", the meaning would not be so literal as there are many emotions associated with the word "home" beyond simply the structure where people live.

Abasement.

Abasement.
SYN. Degradation, depression, disgrace, humiliation, abjection, dishonor, shame.
ANT. Promotion, elevation, honor, exaltation, dignity, aggrandizement.

Discourse Analysis

Discourse Analysis
Traditional linguists and philosophers of language, as well as literary students of style and stylistics, have typically focused their analyses on isolated units of language the sentence, or even single words, phrases, and figures in abstraction from the specific circumstances of an utterance. Discourse analysis, on the other hand, as inaugurated in the 1970s, concerns itself with the use of language in a running discourse, continued over a sequence of sentences, and involving the interaction of speaker (or writer) and auditor (or reader) in a specific situational context, and within a framework of social and cultural conventions. Emphasis on discourse as occurring within specific cultural conditions and under particular circumstances derives from a number of investigators and areas of research, including the work of Hans-Georg Gadamer in hermeneutics, the concern of Michel Foucault with the institutional conditions and power- structures that serve to make given statements accepted as authoritative or true, and the work of Clifford Geertz and other cultural anthropologists on the rootedness of linguistic and other meanings in the social forms and practices specific to a cultural community. (See the above writers, under interpretation and hermeneutics and new historicism.) The current use of discourse analysis in literary studies was given special impetus by the speech-act philosopher H. P. Grice, who in 1975 coined the term implicature to account for indirection in discourse; for example, to explain how we are able to identify the illocutionary force of an utterance that lacks an explicit indicator of its illocutionary intention. Thus, how can we account for the fact that the utterance, "Can you pass the salt?" although it is in the syntactical form of a question, can be used by the speaker, and correctly understood by the hearer, as a polite form of request? (H. P. Grice, "Logic and Conversation," 1975, reprinted in his Studies in the Way of Words, 1989.) Grice proposed that users of a language share a set of implicit expectations which he calls the "communicative presumption"—for example, that an utterance is intended by a speaker to be true, clear, and above all relevant. If an utterance seems purposely to violate these expectations, we seek to make sense of it by transferring it to a context in which it is clearly appropriate. Other language theorists have continued Grice's analysis of the collective assumptions that help to make utterances meaningful and intelligible, and serve also to make a sustained dis- course a coherent development of signification instead of a mere collocation of independent sentences. One such assumption is that the hearer shares with the speaker (or the reader shares with the writer) a large body of nonlinguistic knowledge and experience; another is that the speaker is using language in a way that is intentional, purposive, and in accordance with linguistic and cultural conventions; a third is that there is a shared knowledge of the complex ways in which the meaning of a locution varies with the particular situation, as well as with the type of discourse, in which it is uttered.