It is called anagnorisis
, the moment of self-discovery for the protagonist of the story, a discovery in which the truth of a situation becomes known to the character.
the turning moment in a piece of drama defined as Anagnorisis
The study, spanning the course of 18 months, identified two principal consequences of significant incidents: one referred to as anagnorisis
, an immediate revelatory change in beliefs about language learning; the other labeled narrative incorporation, a process through which the incident becomes a constituent of self-narratives.
Both rely on plot twists of the sort identified by Aristotle as peripeteia (reversal) and anagnorisis
Aldana's eventual reaction to this process of interior anagnorisis
is a calming of soul ("sosiego al alma" ); San Juan de la Cruz, faced with divine anagnorisis
and understanding, will be enthralled to the point of speechlessness ("balbuciendo," "embebido" and "ajenado" ).
Among the topics are Gothic evidence for Greek historical phonology, on the oblique optative in Herodotus' completive sentences: an evidentiality mark in Ancient Greek, focus on performance: some focusing expressions in anagnorisis
scenes from Attic tragedy, verbal alternations in Ancient Greek as an interface between lexicon and syntax, and Homeric and Hittite phraseology compared: introducing the soliloquy in the Homeric and Near Eastern epic.
Sun-Cua ('Kissing Through a Handkerchief and Other Travel Tales,' USTPH); Em Mendez ('Anagnorisis
,' USTPH); Vijae Alquisola ('Sa Mga Pansamantala: Mga Tula,' USTPH); Genaro Gojo Cruz ('Kural na Bahay,' Bookmark); Mesandel Virtusio Arguelles ('Talik,' Balangay); and Rolando B.
, will be published in 2018 by Northwestern University Press.
The plot is unified in that each of the actions proceeds in a necessary and probable order, leading--in a complex plot--to a reversal (peripeteia, where the hero expects one thing but circumstances prove otherwise) and a recognition (anagnorisis
, a change from ignorance to knowledge) that, at the end, "effect through pity and fear the purification [katharsis] of such emotions" (Aristotle 10).
In these works, external traumas are less pronounced, but Martin convincingly shows how both characters cover over the primal wounds they have suffered through repetitive violence (drawing analogies to Freud's fort-da game), and how these denials subvert the possibility of anagnorisis
. In chapters 5 and 6, Martin shifts gears somewhat, leaving character-centric analysis to take up the relationship between trauma and historiography in Edward II and The Massacre at Paris.