1 Rhetoric Figures Literature 2
2 Literary Figures = Rhetoric Figures Phonetic – Phonological level: modify the sound. Morphosyntactic level: affects the structure. Lexical – semantic level: refers to the meaning.
3 Rhetorical figures that affect the sound of the poem: Alliteration: Repetition of consonants or group of sounds to emphasize the rhythm and create emotions. Sue nan grand es, so lemnes, l as ol as a d is tan cia. En la or illa tiritan, gr itan sus cristalillos. Allá tumban a tumbos tantas no tas que tratan Y aquí tritu ran cuentas de cristal y de vidrio. Carlos Pellicer. «Poemas»
4 Anaphora: repetition of the same word at the beginning of every verse. Es la rosa del tacto en las tinieblas, es la rosa que avanza enardecida, la rosa de rosadas uñas, la rosa yema de los dedos ávidos, la rosa digital la rosa ciega. Xavier Villaurrutia. “Nocturna rosa”
5 Paronomasia: Use of words only differentiated by a letter or one syllable. It highlights the similarity of sounds, but their meaning its different. Y en el grito angustioso de un espejo frente a otro cae mi voz y mi voz que madura y mi bosque madura y mi voz quema dura como el hielo de vidrio como el grito de hielo Xavier Villaurrutia. “Nocturno en que nada se oye”
6 The construction figures that affect the structure of the poem Hyperbaton : consist of the alteration of the grammatical order that often makes the expression apparently inconsistent. Cuando era niño, con pavor te oía en las puertas gemir de mi aposento; doloroso tristísimo lamento de misteriosos seres te creía. Vicente Riva Palacio (1832-1896). “Al viento, en la prisión de Tlatelolco”
7 Ellipsis: the omission of term that are understood. This allows to highlight the main idea and give greater emotion to the verse. Más que aire Más que agua Más que labios Ligera ligera Tu cuerpo es la huella de tu cuerpo Octavio Paz. “Pasaje” (Se omitió el verbo eres al inicio de cada verso).
8 Pun (retruécano): it’s the repeating of words or phrases, but reversing the original order. ¿En qué te ofendo, cuando sólo intento poner bellezas en mi entendimiento y no mi entendimiento en las bellezas? Sor Juana Inés de la Cruz. “Soneto”
9 Lexical-Semantic Level. Figures of thought: Paradox, antithesis, definition, description, hyperbole, prosopopeia, euphemism, irony, etc. Significance Figures or Tropes: metaphor, metonymy and comparison.
10 Drama and theater What happens in a scenario has a lot to do with everyday life. The drama is part of a communicative situation that involves elements such as sender, recipient, message and context, among others. Drama has two modes: the dramatic text and theatrical representation.
11 Communication process Sender: Playwright Message: Dramatic Text Receiver: Reader Receiver: actors Message: rehearsal of the play Sender: Director Sender: actors Message: The play Receiver: audience
12 Production Context The production context has to do with the issues and situations faced by the author, and who influence him directly or indirectly: socio-cultural influences Artistic theme of the time and, above all, his own biography.
13 Receiver Context The context of the receiver has to do with the conditions in which the reader is connected with the work, from his language level, to his cultural and ideological position. In short, the critical reader needs: o A vast activated language proficiency in reading o The ability to identify the ideas of different content levels of the work. o A high sociocultural level achieved through research. o The willingness to investigate the contextual elements required by job. o The full knowledge of the context of production. o Ability to compare their own world view with the author's worldview reflected in the work.
14 Theater The word theater -from “theatrum” in Latin, and “Theatron” in Greek, means "place to see" - used as a synonym for drama, and to name the buildings where performances take place. The first theater built in Greece was dedicated to Dionysus, the god who was worshiped with rituals that led to the tragedy.
15 Theater Started with primitive peoples. through festive rituals, cosmological, religious and funerals. Shown by dancing, singing and body movements. In some cultures the priests wore masks, special costumes were implemented after.
16 Activity Think about a tragic or funny moment in your life. Gather in teams of 5. Share your story and listen to theirs. Pick the best story to be represented in front of the class. Create a mask to show the emotion of the story. The team has to represent the story using only body movements. No dialogs. If desired, one person can be a narrator describing the events.