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The reader or hearer does not have to be told that loud music has a sound, and in a newspaper headline or other abbreviated prose can even be counted upon to infer that " burglary " is a proxy for " sound of the burglary " and that the music necessarily must have been loud to drown it out, unless the burglary was relatively quiet ( this is not a trivial issue, as it may affect the legal culpability of the person who played the music ); the word " loud " may imply that the music should have been played quietly if at all.
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reader and hearer
Polyphemus is shown doing all of the things that a proper Roman suitor would do — trims his beard, composes a poem etc .— which encourage the reader / hearer to cheer for him, even though his courtship is doomed to fail.
God's Word is freely accessible to every reader or hearer of ordinary intelligence, without requiring any special education.
The moral may be left to the hearer, reader or viewer to determine for themselves, or may be explicitly encapsulated in a maxim.
The moral application of the text to the individual reader or hearer is the third sense, the sensus tropologicus or sensus moralis, while a fourth level of meaning, the sensus anagogicus, draws out of the text the implicit allusions it contains to secret metaphysical and eschatological knowledge, or gnosis.
The history of literature is the historical development of writings in prose or poetry which attempts to provide entertainment, enlightenment, or instruction to the reader / hearer / observer, as well as the development of the literary techniques used in the communication of these pieces.
It is left to the reader or hearer to make the connection ( Fowler ); where the connection is detailed in depth by the author, it is preferable to call it " a reference ".
# Single Reference, in which the hearer or reader is intended to " recall the context of the model and apply that context to the new situation "; such a specific single reference in Virgil, according to Thomas, is a means of " making connections or conveying ideas on a level of intense subtlety ";
The strongest implicature is what is emphatically implied by the speaker or writer, while weaker implicatures are the wider possibilities of meaning that the hearer or reader may conclude.
Pilkington ’ s ‘ poetic effects ’, as he terms the concept, are those that achieve most relevance through a wide array of weak implicatures and not those meanings that are simply ‘ read in ’ by the hearer or reader.
Yet the distinguishing instant at which weak implicatures and the hearer or reader ’ s conjecture of meaning diverge remains highly subjective.
Thus syllabic technique does not — in English — convey a metrical rhythm ; rather it is a compositional device: primarily of importance to the author, perhaps noticed by the alert reader, and imperceptible to the hearer.
* NEW information: things that the speaker / writer expects their hearer / reader might not already know
* GIVEN information: information that the speaker / writer expects the hearer / reader may be familiar with
* INFERRABLE information: information that the speaker / writer may expect the hearer / reader to be able to infer either from world knowledge, or from previous discourse
" To understand the poetry, the reader or hearer must be on the same " wavelength.
Most of them endeavoured to be readable, arming themselves, as Roger of Wendover does, against both " the listless hearer and the fastidious reader " by " presenting something which each may relish ", and so providing for the joint " profit and entertainment of all.
Therefore, when examining perlocutionary acts, the effect on the hearer or reader is emphasized.
The meaning of words is not subject to passive understanding, but includes the active participation of both the speaker ( or writer ) and hearer ( or reader ).
Also, according to Sells, “… Junaid seems to presuppose that his hearer or reader has had the experience about which he is speaking – or, even more radically, that the hearer or reader is able to enter that experience, or some re-creation of it – at the moment of encounter with Junaid ’ s words ”.
But within this textual world the arguments also have to be connected logically so that the reader / hearer can produce coherence.
reader and does
How does the rocking exert its uncanny effect upon the reader??
True to his empirical thesis, Hume tells the reader that, though testimony does have some force, it is never quite as powerful as the direct evidence of the senses.
If the page's creator and reader are both assuming some platform-specific character encoding, and the server does not send any identifying information, then the reader will nonetheless see the page as the creator intended, but other readers on different platforms or with different native languages will not see the page as intended.
At times he strikes the modern reader as thoroughly credulous, but at others he specifically states that he is merely reporting what is told by others, and even that he does not believe them.
" On second reading, the reader should realize that " breast " does not carry the general androgynous connotation of " chest " but instead the specific idea of a woman's breasts, which are so attractive that a man of any religion would kiss the Christian cross to be near.
If deactivation occurs during the first reading, the reader does not need to undergo deactivation in the second reading.
This flashcard creation process is semi-automated – the reader chooses which material to learn and edits the precise wording of the questions, while the software assists in making the flashcards and does the scheduling.
' Agin asks the reader to step back from the rhetoric, ' But how things are labeled does not make a science junk science.
If the reader evaluates an expression but does not follow the correct order of operation, the reader will come forth with a different value.
Through such thought experiments, Wittgenstein attempts to get the reader to come to certain difficult philosophical conclusions independently ; he does not simply argue in favor of his own theories.
The reader expects this event to come, but it never does.
The poem does this by making the kisses between Lady Bertilak and Gawain sexual in nature, but rendering the kisses between Gawain and Lord Bertilak " unintelligible " to the medieval reader.
Unlike more common systems for transliterating Arabic, SATTS does not provide the reader with any more phonetic information than standard Arabic orthography does ; that is, it provides the bare Arabic alphabetic spelling with no notation of short vowels, doubled consonants, etc.
However, the reader must keep in mind that just because a character in a novella existed does not mean that the story is true.
* Failure of one IP reader does not affect any other readers in the system.
The book's < tt > info </ tt > element is that because it is a direct child of the book ; it does not need to be named specially for a human reader.
sDatabase does not tell the reader what it is.
He does not divulge to the reader any specific reason for his crime or emotions he experiences at the time, if any, aside from the fact that he was bothered by the heat and bright sunlight.
* What does the work tell the reader about the author's sexual identity?
* The first text a browsing reader is liable to see purports to be a salacious sample from the book, but the episode never happens in the main text, nor does anything else of that tone: the book has no explicit sexual content.
The writing style is unusual in that the reader is told what each character does and says, but no-one's inner thoughts are ever revealed.
However he does state many facts which help the reader recreate pieces of the puzzle.
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