meiosis meaning in english literature

meiosis meaning in english literature

Exploring the Concept of Meiosis in English Literature

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1. Introduction to Meiosis in English Literature

Meiosis, in literature, is the understatement or belittlement technique that is used to enhance the effect concerning dialogues. Through this literary technique, the significance of a specific person or thing is dismissed. Meiosis-based assertions are more impressive than those that are made literally. The belittlement effect of meiosis has sold the name of this literary technique, which is derived from the Greek word concerning ‘talking less in somebody’s presence’. Chaucer and Shakespeare both used meiosis as an effective tool to heighten the importance of certain points within their compositions. People tend to communicate in a method that is quite different, and certainly obvious in the exchange, from any other type of communications. It is used to deceive the speaker without exposing their manipulation of the sentence. The technique works for the good and effective communication of human beings in which they are willing to engage, openly and sincerely. From this perspective, meiosis could play an important role in students’ lives by helping them enrich emotional conjugation of arguments. The reader’s cognitive aspects in the persuasive essays represented by meiosis is the most part of the physique of this work.

Meiosis is an exclusive literary technique that is used to belittle or deride, by way of a ludicrous representation, a subject of the highest importance, primarily in a tragedy or a dignified discourse. Through a reference to something that is infinitely below the dignity of the subject, meiosis can unreal the elegancy of the speaker. It is a kind of understatement that dismisses the person or thing it describes. In the term meiosis, apostrophe and meiosis are synonyms which are both derived from the Greek word. The grammatical meaning of meiosis is to talk less in another’s presence. Chaucer and Shakespeare both were fond of using meiosis in their works. In his sonnet dedicated to his mistress, Shakespeare uses this device: “My glass shall not persuade me I am old…” whereas, in his play, Henry V, Act 4, Scene 3, he uses it thus: “To gild refined gold, to paint the lily, To throw a perfume on the violet… Is wasteful and ridiculous excess”. In the field of English literature, meiosis is a very interesting sort of figure.

2. Symbolism and Metaphor in Meiosis

Just as metonymy and meiosis are significant structural models for poetic expression, there are also entailments and phonic symbolisms respectively. Of these, phonic symbolism, in which the sounds of words affect their meanings, is considered to be more complex and more highly symbolic. Whereas phonic symbolism is a poetic practice that applies to the metaphorical level of sound in the word, encompassing all the sound qualities of the word, sound, tone, rhythm, and harmony, entailment is a brief summary of things. The development of sound in poetry brings about the conveyance of literal meaning.

Meiosis is a mode of symbolic expression that can be seen generally in metonymy and metaphor. Meiosis is at the heart of the diminishing and dwindling effects. The association between meiosis and metonymy is made on the basis of the elements of the description which are used together with the microscopic/horizontal elements. In a sense, the role of meiosis is more obvious in the dwindling and diminishing effects because, unlike both the fading and the transposition, it is the vertical aspect that definitely plays a more important role in the generation of these effects. This vertical aspect is very much associated with meiosis. The blame aimed at metonymy is actually directed at meiosis, and as a matter of fact, it is not the speaker’s misfortune to misuse or abuse figures of speech or misuse memory.

3. Interpreting Meiosis in Literary Works

‘Fecundation’, ‘procreation’, ‘pregnancy’, ‘child’ (often called by means of metaphor ‘heart fruit’), ‘birth’, ‘baby’, ‘boyman’, ‘girlbeloved’, ‘goodparents’, figures of speech. Two of these terms used during the seminar were seen in another light in Gabriel Garcia Marquez’s novel, One Hundred Years of Solitude, the text for what concerned us in preparing and conducting the seminar: botany can explain Melania’s ‘tubers’; at the same time, the implementation of a figure of speech – in Lady Eudoxia’s view – would reduce them to the level known as meiosis, a term we had to explain to our pupils at the time.

Literature has permanently needed and will need the relation with life and its reality, which turns and has to turn it into the creator of epilogues and daily routines. For the purposes of the literature class, we have ‘picked’, analyzed, and presented in this paper certain concepts taken from the world of childbirth, starting with procreation and finishing with the baby. We also started with the world of textiles, i.e. the notion of garments in itself.

Humans have always used figurative terms and concepts in order to describe their world. The world of their senses, which abounds with a very rich range of phenomena, offers them plenty of opportunities to ‘extract’ various symbols, signs, figures of speech, and phrases. At times, at least a shred of what they feel leaves them no peace. It ‘impregnates’ their soul, their heart, and by means of a metaphor, they hyponymize it explicitly, moving it to the microcosm of their feelings.

4. The Evolution of Meiosis in Literary Criticism

However, did literary criticism evolve such a peculiar model of extension, persistence or development, and when is it used and what is its heraldry? Meiosis was originally claimed to be an exclusively biological event. The careful modern definition “can be understood in terms of a non-random reduction in genic content dependent on a homologous chromosome.” In meiosis, a reproductive cell is reduced in amount of genetic material (divide reduction) compared to the rest of the body tissue by one last stage of cell division; and minimized in exchange of genetic from two to one and errors in genetic during cell division. Subsequent literature recognizes the word meiosis as having originated in an ambiguous translation of chromosomal events, but in spite of this, one century after it entered the English language, a literary concept has emerged. This original article begins with a short history of how this has happened. The concept of meiosis has appeared at several points along the way, but it is the modern concept which sheds most light on the development of meiosis in literary criticism, in attendant modifications of the early concept, and on why these modifications must be made.

I want to use Steiner’s recent emphasis on meiosis in order to remember a line of thought in which both literature and literary criticism are approached by means of a carefully defined concept of meiosis. Meiosis, states Daniel Peck in a recent summary of some current developments in literary theory, can serve as a model for certain kinds of literary form because, through it, “extension is characterized as a process reducible to successive minimal alterations of quality.” He illustrates with verbal wit the process whereby “meiotic compression of human experience into poetry rests on the double insult of categorizing the experiences one minimally alters in the creation of a poem.” Metaphor presents through its reductions, as do the other tropes. Peck is not alone when he confines his examples of literary works in which meiosis is present to selected instances of these kinds of such poetic expression. We can, however, allow it to be reasonably emergent that there might be consideration only which may require a concept of meiosis as its model, and which wouldn’t do well with its opponents.

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