Semantic vs. Poetic Meaning in Human
Language
Rhetorically speaking, semantic (i.e., useful) and poetic (i.e., artistic) uses of human language may seem different from one another, in form as well as function. Semantic meaning is the literal, utilitarian meaning of a word, that is, the way or ways a word is typically used in everyday speech and/or writing. Poetic meaning, on the other hand, generally has to do with way(s) in which a word is used artistically, that is, metaphorically, as synecdoche, or in various other symbolically inflected ways. For example, in comparing the two sentences "Earth has five oceans" and "She cried oceans of tears," comparative semantic and poetic meanings of the word "oceans" become clear. However, the argument exists that semantic and poetic meanings are inherently the same, due to the imbedded "Symbolic Action" ("Burke, Kenneth") of words themselves, i.e., the theory that words themselves are so deeply symbolic in automatic meaning as to transcend separate or unique situations, contexts, occasions, or circumstances.
Because words serve such versatile functions in a variety of human situations and circumstances, language theorist Kenneth Burke suggests that essentially no difference exists between semantic and poetic human uses of them. In examining the Symbolic Action theory of Burke, one encounters an especially interesting challenge to the assumption...
Integration of music and reading may help parents prepare their children for school. On the surface, music and literacy seem opposite of each other both in meaning and delivery. However, the two forms of learning go hand in hand. For example, lyrics and literacy are similar because lyrics are the words sung in a song. Often, they are poetic and can be understood as poetry that sometimes tells a story. Many
Proust, Narratology f. Specifications Narratology and Proust: An Essay on the Narrative Form Narratology refers to the narrative form in literature, and all that it entails. It is concerned with the order and method by which the narrative is crafted. By design, a narrative must contain at minimum characters and a narrator, a voice apart from the characters that plays the role of storyteller, observer, and commentator. It is important because narration
While writing to demonstrate learning is the most common goal of any writing assignment, instructors may also wish to encourage assignments that involve writing to learn. These low-stakes assignments will allow students to explore ideas and issues that will help guide them in their learning. As indicated by Farris & Smith (1992), a WAC program can help establish criteria for writing-intensive courses, consult in the design of the courses,
Plato, Marx, And Critical Thought David Richter's book is absolutely indispensable, as it is one of the few anthologies willing to acknowledge the existence of and include well-chosen examples from the long history of critical thought and how it helps us understand what we read, why we read, and what we value. The greatest strength of Richter's work is that it simply starts at the beginning of classical literature and moves forward
Dickinson "I Felt a Funeral in My Brain" Filled with words and phrases laden with imagery of death, drowning, and droning drums, Emily Dickinson's haunting poem "I Felt a Funeral in My Brain" provides insight into a fractured mind. The poet employs a plethora of poetic techniques such as alliteration, repetition, rhyme and rhythm to create mood and convey the central themes of emptiness and mental chaos. Alliteration and repetition reflect
The Middle English period offers a quaint and riveting look regarding how language functioned, namely spelling an grammar. This paper will examine and compare chapter 20 from the Apocalips of the Wycliffe Bible (WB) with the same chapter in the King James Version (KJV) and the New International Version (NIV). Examining simply the first line of this chapter in each version tells us a tremendous amount of about early English spelling
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