The transformation of physical into spiritual nourishment is effectively suggested by the paronomastic
game "fast[ed]"-"feast" (1.
If I have one real reservation about this book, however, it is that in an effort to make Heidegger ever more accessible to English-speaking readers, it has almost wholly obscured the fundamentally German dimension of Heidegger's work, for example, his ties to Heimat, Holderlin, and the poetic movement of language that comes alive in Heidegger's own writing with its undeniable preference for paronomastic
constructions and philosophical etymologies.
At the root of this statement is a conflicting view of poetic inspiration: despite Laura's paronomastic
presence throughout the landscape, and her portrait which Petrarch carries in his heart (RVF 90), the poet figures himself as able to seek out and refute poetic inspiration.
"fatal vision" of the dagger guides the murderer toward future action (36), while syntactical density implies that both the usurper and blade are the tools of fate: "such an instrument I was to use" (43).
The poem throughout maintains a complex, wrought prosody, perhaps best described with Roman Jakobson's term paronomasia: literally, 'near-naming.' In his book, Language in Literature (1987), Jakobson identifies the hallmark of prosody as the correspondence of same sounds for a musical purpose: "Paronomasia, a semantic confrontation of phonemically similar words irrespective of any etymological connection." (31) Jakobson's prime example of this phenomenon is a phrase from Edgar Allan Poe's "The Raven"--"the pallid bust of Pallas" (32) --in which the phonemic closeness of "pallid" and "Pallas" has an effect akin to what de la Selva does with "Devil" and "revel." The paronomastic
qualities of "The Haunted House of Leon" are ornate, almost Baroque.
Callaham makes two main arguments in these chapters, one relating to what he terms the "paronomastic
infinitive construction," i.e., q[a.bar]tol yiqt[o.bar]l, and one relating to the independent infinitive absolute.
image of a feeling which totally envelops its object.
The project of identifying a process-inflected ontology embodied in the text is also carried forward particularly energetically in Roger Ames' essay on the anti-Aristotelian, 'paronomastic
' logic of the Analects.
Giovan Battista Pellegrini has suggested that merchants and other Western travelers brought the paronomastic
joke back to Venice and other Italian ports (250-51).
This is not the case with Aleko who cannot come to terms with the gypsies' conception of will/freedom (volia) and is consequently ruined in the paronomastic
structure of the text.
Nabokov's dazzling style and elusive, often paronomastic
allusions balance the creaky, sometimes heavy-handed conventions of the novel: the "edited" papers, gallows confession and addresses to the reader, as well as the ironic plot devices: the discovered diary, accidental death of Charlotte, transparent impersonations by Quilty (brilliantly portrayed by Peter Sellers in the film), sudden kidnapping of Lolita, unexpected letter from the married ex-nymphet, and the melodramatic murder of Humbert's hated rival and demonic oppressor.