A Quote by Umberto Eco

Hypotyposis is the rhetorical effect by which words succeed in rendering a visual scene. — © Umberto Eco
Hypotyposis is the rhetorical effect by which words succeed in rendering a visual scene.
Words, isolated in the velvet of radio, took on a jeweled particularity. Television has quite the opposite effect: words are drowned in the visual soup in which they are obliged to be served.
There are occasions when the simplest and fewest words surpass in effect all the wealth of rhetorical amplification.
In any piece of rhetorical discourse, one rhetorical term overcomes another rhetorical term only by being nearer to the term which stands ultimate. There is some ground for calling a rhetorical education necessarily aristocratic education in that the rhetorician has to deal with an aristocracy of notions.
Our words, actions, and diplomatic efforts should be aimed at trying to achieve pragmatic goals rather than creating rhetorical effect.
I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.
Be able to describe anything visual, such as a street scene, in words that convey your meaning.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
If things are not going well with you, begin your effort at correcting the situation by carefully examining the service you are rendering, and especially the spirit in which you are rendering it.
I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.
Much of the magical effect that poetry gives of rendering everything it touches pellucid comes from the necessity of compression that it imposes. The impossibility of pausing in poetry as long as may be needed to make sense clear causes many a set of words actually deficient in linguistic workmanship to pass for an eloquent brevity.
Real persuasion comes from putting more of you into everything you say. Words have an effect. Words loaded with emotion have a powerful effect.
One of the tricks is to have the exposition conveyed in a scene of conflict, so that a character is forced to say things you want the audience to know - as, for example, if he is defending himself against somebody's attack, his words of defense seem Justified even though his words are actually expository words. Something appears to be happening, so the audience believes it is witnessing a scene (which it is), not listening to expository speeches. Humor is another way of getting exposition across.
I expected the unexpected and went [on the Moon] with an open mind. I think the visual scene was described by my words on first landing - "magnificent desolation." Magnificent for the achievement of being there, and desolate for the eons of lifelessness.
Sometimes I use words to throw you from once scene to the other, and sometimes I use words to pull you from one scene to the other. You might not be aware of it, but I may have overlapping words one way or the other. So, I'm actually using words.
Our emotions are ever-changing and infinitely varied, but the words with which we describe them are fixed and rigid. Our life is like quicksilver, our vocabulary like steel. Sometimes a consummate poet succeeds in rendering the quality of life in words. For the rest of us, this is not possible.
I don't want to give any lines to anybody because otherwise they come out like bricks from their mouths. The important thing is the meaning of the scene, not the words you use, and I prefer that you find your own words to express the scene.
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