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 (păr′ə-lĭp′sĭs) or par·a·leip·sis (-līp′-) or par·a·lep·sis (-lĕp′-)
n. pl. par·a·lip·ses (-sēz) or par·a·leip·ses or par·a·lep·ses

[Late Latin paralīpsis, from Greek paraleipsis, omission, apophasis, from paraleipein, to leave to the side, omit : para-, para- + leipein, to leave; see leikw in Indo-European roots.]


(ˌpærəˈlɪpsɪs) or


n, pl -ses (-siːz)
(Rhetoric) a rhetorical device in which an idea is emphasized by the pretence that it is too obvious to discuss, as in there are many drawbacks to your plan, not to mention the cost
[C16: via Late Latin from Greek: neglect, from paraleipein to leave aside, from para-1 + leipein to leave]


The emphasizing of something by pretending that it does not have to be mentioned.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.paralipsis - suggesting by deliberately concise treatment that much of significance is omitted
rhetorical device - a use of language that creates a literary effect (but often without regard for literal significance)
References in periodicals archive ?
At the same time, in common with other Conradian narratives ostensibly delivered by character-narrators, the teacher of languages' account contains many paralepses, and these may encourage readers to read as if the narrator were a non-character narrator with the power to witness events (including mental events) that could not be witnessed by a character narrator.
The intention is not so much to obviate or supplant existing distinctions as it is to use their analytic strength in order to construct a typology of various types of paralepses that the borrowed concepts call attention to but cannot sufficiently explain, specifically what I will call "global" and "local" paralepsis.
Other careful readers have found examples of paralepses in the extant text, although they do not analyze them in this way (e.
It is quite easy to understand these as only apparent paralepses, where the narrator simply makes a deduction from an explicitly stated story event--Tryphaena's tears demonstrate that she believed the marks were real.
The main category, of temporal indefiniteness in "magical narration" is ontological transgression, involving historical paralepses.
The syntactic equivalent for this suspension is the famous inconclusive Conradian sentence, hanging as if into midair, gliding into eccentric paralepses created by the repeated as if and as though: the result is a "tentacular" text (26) that wavers into endless iridescences.