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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



(1) In stylistics and poetics, a trope expressing one concept by means of several. Periphrases of varying complexity are possible, from the simplest (“he sank into sleep” instead of “he fell asleep”) to the most complex; the latter approach metonymy, personification, and other tropes. An example is N. V. Gogol’s rendering of “a gray moustache” as “a long moustache powdered by that inexorable barber who, uninvited, appears to both the beautiful and the ugly and who for several thousand years now has been forcibly powdering the whole human race.” A particular type of periphrasis is euphemism, descriptive expression of “low” or “forbidden” concepts (“the evil one” instead of “the devil”). Periphrasis should not be confused with paraphrase.

(2) Sometimes periphrasis refers also to perepev, a type of parody in which the object of satire is not the form of the work parodied but its new content. An example is N. A. Nekrasov’s parody of M. Iu. Lermontov’s “Spi, mladenets moi prekrasnyi” (“Sleep, my beautiful child”) as “Spi, postrel, poka bezvrednyi!” (“Sleep, my little imp, and harmless yet!”).


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
These findings allow us to respond to the first research question, namely: What grammatical aspects occur with the gerund periphrases in Puerto Rican-Saint Croix Spanish?
(11) 'A fundamental distinction, so that less entrenched periphrases ('Gelegenheit-speriphrasen') would be somewhat more "verbal", is out of the question.'
While he identifies the first heroine by her proper name, he specifies all the others only by andronymic periphrases, namely: Penelopea fides, Admeti ...
Virgil's periphrases, which in their wordiness I count as another type of pleonasm, can sound quite affected.
See Jacques Derrida, "Circumfession: Fifty-nine Periods and Periphrases" in Geoffrey Bennington and Jacques Derrida, Jacques Derrida (Chicago: University of Chicago Press, 1993).
In the Inferno, for example, where the sinful nature and the flagitious character of the place would make it unfitting to mention the word 'Dio', which will be pronounced more uninhibitedly in the other two reigns, Dante often has to resort to periphrases such as Francesca's 'il re dell'universo' [the King of the Universe], quoted by Eliot (1929: 27), or to the word 'altrui' [another].
That in (5) puts the grammar of perception predicates on a par with so-called "verbal periphrases" like ir a tocar, tener que hacer and so many others typical of the Spanish language.
It is a language made up of images of places and objects, gestures and colours, numbers and letters, isolated words, common or enigmatic phrases, periphrases and metaphors, chants and tunes.
The hacer verb is a morphosyntactic dummy auxiliary in these constructions, yet its repeated presence in different bilingual periphrases appears to be a function of its lexical nature.
"Las Kenningar"--whose first version dates back to 1932--is perhaps the most remarkable (but far from the last) episode of Borges' formalist adventure: The translated and annotated catalogue of Islandic figural periphrases (the kenningar) which appears on its pages is renowned, if not notorious.
To omit a word always, to resort to inept metaphors and obvious periphrases, is perhaps the most emphatic way of stressing it." (43) Borges provides the example of the game of chess, although we could also easily have taken "politics" as this puzzle: "In a riddle whose answer is chess, what is the only prohibited word?