anadiplosis

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Related to anadiplosis: Conduplicatio

an·a·di·plo·sis

(ăn′ə-də-plō′sĭs)

n. pl. an·a·di·plo·ses (-sēz)

Rhetorical repetition at the beginning of a phrase of the word or words with which the previous phrase ended; for example, He is a man of loyalty—loyalty always firm.

[Late Latin anadiplōsis, from Greek, from anadiploun, to redouble : ana-, ana- + diploun, to double (from diplous, double; see dwo- in Indo-European roots).]

American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

anadiplosis

(ˌænədɪˈpləʊsɪs)

(Rhetoric) rhetoric repetition of the words or phrase at the end of one sentence, line, or clause at the beginning of the next

[C16: via Latin from Greek: repetition, from anadiploun to double back, from ana- + diploun to double]

Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

an•a•di•plo•sis

(ˌæn ə dɪˈploʊ sɪs)

n., pl. -plo•ses (-ˈploʊ siz)

repetition of the last word or words of one clause at the beginning of the next clause, as in “To die, to sleep; to sleep!”

[1580–90; < Latin < Greek, derivative (with -sis -sis) of anadiploûsthai to be doubled back = ana- ana- + diploûsthai, middle of diploûn to double (see diploma)]

anadiplosis

a device in which an unimportant word or the beginning of a phrase in one sentence is repeated in the following sentence, often with a change or extension of the sense. Cf. epanastrophe.

anadiplosis

Repetition at the beginning of a sentence, line, or phrase of the last words of the preceding one.

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Noun

anadiplosis - repetition of the final words of a sentence or line at the beginning of the next

reduplication

repetition - the repeated use of the same word or word pattern as a rhetorical device

Translations

anadiplose

anadiploza

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References in periodicals archive ?

The linearity of the text is also heightened by the poem's metonymies, which substitute perceptual effect for perceptual cause ("the heavy hemlocks," "the loud fire,"); and the one emphatic, accelerating anadiplosis in the final stanza ("I saw how night came, / Came striding like the color of the heavy hemlocks"), which sets up the speaker's confession of fear in the poem's penultimate line.

A Reading in Temporal Poetics: Wallace Steven's "Domination of Black"

(151) The first of these sentences has a three-step anadiplosis with the final element an antimetabole.

Anthony Boucher's greatest horror story

Then we shall proceed sequentially, pointing out the "carry-over stitches" [TEXT NOT REPRODUCIBLE IN ASCII] or "anadiplosis" that knit each verse to its neighbor.

Yuanhe poetry sequences: a new look

That's probably because it requires learning incomprehensible Greek terms like diasyrmus (rejecting an argument through ridiculous comparison) or anadiplosis (repeating the last word from the previous line at the beginning of the next one).

Fassforward Consulting Group Releases New Dirty Rhetoric Toolkit

All Xhosa praise poets tend to employ in their performance the stylistic tropes of anaphora and anadiplosis. They adopt a strained mode of articulation, with rising intonation at the start of a line and a tendency to drift down to the end of the line with a length of the penultimate syllable.

Improvisational songs from hearts: traditions and structure of Xhosa praise poetry

Las constantes reiteraciones iniciales van a veces intensificadas con otras internas en contraste: "Soy la carne que cruje y la carne silenciosa" (46), "Soy un pez espada enamorado de una golondrina", "Soy un pez espada blanco y rojo", "Soy un pez espada blanco y azul" (45); no es raro el uso de anadiplosis: "Soy la basura que no alimenta gatos sin dueno gatos sin cobijo gatos sin esperanza" (48).

El teatro de Camilo Jose Cela. Lectura de Maria Sabina

He draws from his toolbox a seemingly infinite variety of figurative and aural effects, including such devices as anadiplosis, paranomasia, and asyndeton, sending this reader to the dictionary more than once.

Poetry and Its Others: News, Prayer, Song, and the Dialogue of Genres

The poems capture language in snippets, curated and shaped into formal symmetry: "FEELING FLOODS / FLOODS / FEELING"; " "Standard Gas Stations gestations"; "tromped / oils"; "in lair snare // wares beware"; warm in swarm." These ludic curatorial poems are the weakest in the book, in which Olsen's fondness for chiasmus and anadiplosis can become as tedious as slogans and the puns and phonemic play are too heavy-handed.