parataxis

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Related to paratactical: parataxis

par·a·tax·is

 (păr′ə-tăk′sĭs)
n.
The juxtaposition of clauses or phrases without the use of coordinating or subordinating conjunctions, as It was cold; the snows came.

[Greek, a placing side by side, from paratassein, to arrange side by side : para-, beside; see para-1 + tassein, tag-, to arrange.]

par′a·tac′tic (-tăk′tĭk), par′a·tac′ti·cal (-tĭ-kəl) adj.
par′a·tac′ti·cal·ly adv.

parataxis

(ˌpærəˈtæksɪs)
n
(Grammar) the juxtaposition of clauses in a sentence without the use of a conjunction, as for example None of my friends stayed — they all left early
[C19: New Latin from Greek, from paratassein, literally: to arrange side by side, from para-1 + tassein to arrange]
paratactic, paratactical adj
ˌparaˈtactically adv

par•a•tax•is

(ˌpær əˈtæk sɪs)

n.
the placing together of sentences, clauses, or phrases without using conjunctive words, as Hurry up, it's getting late. Compare hypotaxis.
[1835–45; < New Latin < Greek parátaxis an arranging in order for battle. See para-1, -taxis]
par`a•tac′tic (-ˈtæk tɪk) par`a•tac′ti•cal, adj.
par`a•tac′ti•cal•ly, adv.

parataxis

arrangement of thoughts as coordinate units in grammatical construction. Cf. hypotaxis.paratactic, adj.
See also: Grammar
Translations

parataxis

[ˌpærəˈtæksɪs] Nparataxis f
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References in periodicals archive ?
The gaps in the poem, graphically represented by the text layout, and the paratactical conglomerations of language are not a falling silent, a Verstummen, but an abrupt transition between voices.
Some of the romances that I have quoted, such as "Daros las Pascuas, senora," "Estos versos, lector mio," and "Ilustre mecenas mio," establish a paratactical link between the lyric utterance through which the subject is configured as a self who speaks and elaborates an interiority, on one side, and on the other the address to someone whom the speaker deems superior and to whom she is subjected.
The typical recipe features include "a set form of a title, imperative forms of verbs, short paratactical sentences following temporal sequence of instructions to be carried out, object deletion, measurement specifications, and formulaic endings" (Taavitsainen 2001b: 142).
However, to tease out the crux of an antagonism in the concept, Adorno introduces an antinomous other: the concept 'is at the same time more than the characteristics that are subsumed under it.' (58) In this paratactical parallax, the thing is now less because the concept expresses a superabundance and purity.
Like Pink Noise, Salsa draws on both international poetic innovations and the paratactical and elliptical nature of Chinese poetic tradition to create intriguingly abstract, subtle poems.
As in the ecstatic Whitmaniansentence-lists that served as Ginsberg's model, each of"Howl" 's anecdotes is self-contained, bothsyntactically and in terms of content; we don't have to relateone to another, or synthesize them, thank God, into a larger sentence.This paratactical structure frees and forces us to focus on the sense ofthe individual anecdotes, and because each anecdote is syntacticallycomplete (even when, as in the first anecdote quoted above, parts ofspeech are omitted), to register the way Ginsberg tap-dances along thecrowded border between sense ("who cooked rottenanimals"), the sound of sense (who dreams of "purevegetable kingdom," the cooks or their ingredients?), andout-and-out silliness ("alarm clocks fell on their heads everyday for the next decade").
The allusion to her teeth of crystal leads to a paratactical, serial listing of her body, "e.1 cors grade, delgat e frese e lis" (her body, slim, delicate, and fresh and smooth); this line metrically parallels the supposed restraint from a carnal appetite in line 3, revealing its erotic subtext, "e fos dedinz la earns e.1 pans e.1 vis" inside there are meat, bread, and wine.
As Backsheider observes, "[t]he chronotope of the spy carries over as the appropriate organizing principle of a fiction of global relevance with various paratactical elements" (63).
In a letter about Aesthetic Theory, Adorno wrote: "The book must, so to speak, be written in equally weighted, paratactical parts that are arranged around a midpoint that they express through their constellation" (1997, 364).
The "narrative arc" of the sexual act, and thus that of a traditional narrative fiction, is subverted through the paratactical stringing-together of the multiple acts described in the section.
[Includes stylistic analysis of SAR and "The Undefeated," contending EH was greatly influenced by paratactical constructions found in the King James Bible.