By Joshera Rudertsitdestiny 2 xenophage quest
It is time male poets understand and respect the hierarchy and role of their utterances over female utterances. I reserve the right to vary my notion of the ‘perfect’ female poet within the confines of a concrete structure throughout the free associational context of the idea. In the course of interpreting embodiment I said ‘authentication in the realm of the speaker’ is critical to revealing the structure through which the constitution is subjected by the agency that is not aware of its production by the use of speech act theory and its ontological presuppositions. Only within this performance-oriented structure, which can be found in the expression lies the illocutionary temporality of the utterance. Without questioning the structure of poetry as dialogue, there may be very little sense concerning the nature of the utterance, its meaning and its understanding. I have to put an end to it. It may well be that in the poetic act the significant words or factors, I will say propositions, are not the propositional statements self, but then how do we go about describing the structure we wish to refer to as the act? The absence of extensional denotationals puts me in a quandary and I have to answer in illocutionary terms or so forth the recurrence of meaning in special referential uses. This is my dilemma regarding the stage of reflection, the significance of which is which is not mine to deny, the stage of reflection is significant as a delineator or a delineator of what is as well known as the poetic act. The pronouncement of poetry is not in the fact that the statement is not a narrative in a fictitious history, but it is in the fact that it is superseded by the hyperbole.