1. What is foregrounding? Give an example.

Foregrounding is a literary device that emphasizes ideas and

symbols through the use of attention-seeking linguistic techniques
which either repeat content or break established patterns.
Foregrounding is commonly seen when linguistic features or parts of
the text stand out. This happens when something in the text is placed
in the foreground. Foregrounding is a synonym for center, focal
point, and focus.
The stylistic effects of foregrounding include:
• Grammatical level
o Inversion
o Ellipsis
• Phonetic level
o Alliteration
o Rhyme
• Semantic level
o Metaphor
o Irony
 o Example
A grief ago, She who was who I hold, the fats and flower, Or,
water-lammed, from the scythe-sided thorn, Hell wind and sea,
A stem cementing, wrestled up the tower, Rose maid and male,
Or, masted venus, through the paddler's bowl Sailed up the sun.

The title of 'A grief ago' is doubly foregrounded. Grief is an

emotional word rather than a marker of time (such as week or
day), and so appears grammatically incorrect. The grammatical
inconsistency makes the word stand out. Dylan Thomas asks us
to think about measuring time through emotions. Foregrounding,
however, is not as simple as contrasting a figure with its
background. Specific words in literature are also used to show
contrast and estrangement.

2. What are Roman Jakobson’s 6-Key Poetic Functions?

Give examples or discuss extensively.

Jakobson’s theory of communication includes six functions of

language. If the grammar tells us what the message means, the
functions tell us the purpose of the addresser who is using the
language.
2. What are Roman Jakobson’s 6-Key Poetic Functions?
Give examples or discuss extensively.

Jakobson’s theory of communication includes six functions of language. If the

grammar tells us what the message means, the functions tell us the purpose of the
addresser who is using the language.

Following are the six functions of language that Jakobson described:

• Referential: One of the main functions of language is sharing information
with an audience. This is the language you use to convey information in an
objective way.
For example: Sales are up 3% this quarter.
• Emotive: Also called expressive, this function helps us to interpret
emotions, feelings, desires, and moods of the subject. The emotive
function gives us direct information about the sender’s tone.
For example: I’m excited about the new car I bought!
• Conative: This function focuses on the receiver of the message. The
language used with this function is meant to get the attention of or a
reaction from the addressee.
For example: Can you show John where to find the paper clips?
• Phatic: The phatic function is used to establish a social connection without
really communicating any meaningful information. This type of language is
used to start or stop a conversation or to check the connection between
the sender and receiver.
For example: “How are you?” “I’m fine.” “See you later.”
•
 • Poetic: This one is also known as the aesthetic function of language. This
function focuses on the message as well as the way the message is
communicated. This means that the message might be embellished with
rhetorical figures of speech or “flowery” language. You will find the
poetic function in quotations and colloquial sayings.
For example: “It is a far, far better thing that I do, than I have ever done;
it is a far, far better rest that I go to than I have ever known.”
• Metalingual: Meta is basically defined as self-awareness. So metalingual
refers to talking about the language itself—its features, word definitions,
clarifying ambiguity, and describing deliberate word play are metalingual
functions. The metalingual function is also relevant in translation if
foreign words are used to give special meaning or emphasis.
For example: I couldn’t help but feel a touch of Schadenfreude (a sense
of pleasure or joy from the failure of others) when the other team lost by
50 points.

3. What are the narrative functions in Propp’s Morphology of the Folktale?

Vladimir Propp’s model of the structure of fairy tales has since its
introduction to western scholarship during the 1950s, been regarded as
one of the milestones in semiotic analysis and narratology, both for its
inspiring function and taken for face value. It comes as no surprise that it
also is suggested as a work of significance for game studies.
1st Sphere: Introduction
(Steps 1 to 7 introduces the situation and most of the main characters, setting
the scene for subsequent adventure)
1. Absentation: Someone goes missing
2. Interdiction: Hero is warned
3. Violation of interdiction
4. Reconnaissance: Villain seeks something
5. Delivery: The villain gains information
6. Trickery: Villain attempts to deceive victim
7. Complicity: Unwitting helping of the enemy

2nd Sphere: The Body of the story

(The main story starts here and extends to the departure of the hero on the
main quest)
8. Villainy and lack: The need is identified
9. Mediation: Hero discovers the lack
10. Counteraction: Hero chooses positive action
11. Departure: Hero leave on mission

3rd Sphere: The Donor Sequence

(The hero goes in search of a method by which the solution may be reached,
gaining the magical agent from the Donor. Note that this in itself may be a
complete story.
12. Testing: Hero is challenged to prove heroic qualities
13. Reaction: Hero responds to test
14. Acquisition: Hero gains magical item
15. Guidance: Hero reaches destination
16. Struggle: Hero and villain do battle
17. Branding: Hero is branded
18. Victory: Villain is defeated
19. Resolution: Initial misfortune or lack is resolved

4th Sphere: The Hero’s return

{In the final (and often optional) phase of the storyline, the hero returns home,
hopefully uneventfully}
and to a hero's welcome, although this may not always be the case.
20. Return: Hero sets out for home
21. Pursuit: Hero is chased
22. Rescue: pursuit ends
23. Arrival: Hero arrives unrecognized
24. Claim: False hero makes unfounded claims
25. Task: Difficult task proposed to the hero
26. Solution: Task is resolved
27. Recognition: Hero is recognized
28. Exposure: False hero is exposed
29. Transfiguration: Hero is given a new appearance
30. Punishment: Villain is punished
31. Wedding: Hero marries and ascends the throne