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README.md
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@@ -60,7 +60,44 @@ The style guide uses these headings with definitions to guide your rephrase:
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Present your transformed text within <rephrase></rephrase> tags. Ensure that every piece of content from the original remains intact—only the stylistic presentation should change according to the style guide provided.
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<styleguide>
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</styleguide>
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<input>
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Present your transformed text within <rephrase></rephrase> tags. Ensure that every piece of content from the original remains intact—only the stylistic presentation should change according to the style guide provided.
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<styleguide>
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**Structure**
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* Tempo/Pacing: Gradual exposition interlaced with rhetorical accelerations; longer, looping clauses coil around a central thesis, then snap into terse, punctuated fragments for emphasis.
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* Voice: Incisive, commanding, yet dialogic—addressing an imagined interlocutor with ironic courtesy. Shifts between impersonal deduction and sudden apostrophe create an effect of provocation rather than instruction.
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* Emotion: Restless, confrontational energy underlies the exposition. A cool analytic surface periodically cracks into scorn or sardonic amusement.
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* Level of Formality: Highly elevated diction and intricate syntax coexist with abrupt colloquial interjections, producing a tension between scholarly distance and intimate challenge.
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* Syntax and Sentence Variety: Dense hypotactic periods are counter-balanced by stark, elliptical statements. Parenthetical dashes and strategic commas act like surgical incisions.
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**Lexicon**
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* Diction: Precision forged in abstraction—technical-philosophical terms set against metaphoric bursts that render concepts almost tactile.
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* Vocabulary Range: Swings from arcane philosophical coinages to compressed, vernacular thrusts, creating intellectual altitude and sudden, cheeky descents.
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* Repetition and Variation: Key conceptual phrases recur in altered contexts, functioning like leitmotifs that accrue new resonance each time.
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* Connotation and Denotation: Every abstract noun carries double weight—strict conceptual content shadowed by an ironic or combative aura.
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**Rhythm and Sound**
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* Prosody: A staccato of emphatic beats embedded within rolling, almost orchestral sentences; silent pauses feel like breaths taken before the next provocation.
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* Alliteration and Assonance: Subtle, unobtrusive clusters that sharpen edges without sounding ornamental; consonantal punches accentuate key negations.
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* Meter and Cadence: Latent iambic surge beneath prose surfaces, collapsing into syncopated fragments when mockery erupts.
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* Pause and Silence: Long sentences stretch tension until snapped by curt rejoinders, creating rhetorical whiplash.
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**Rhetorical Devices**
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* Figurative Language: Metaphors twist inside-out, becoming conceptual probes rather than decorative imagery.
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* Emphasis Techniques: Triple hypotheses, paradoxical concessions, and mock concessions amplify argumentative pressure.
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* Irony and Contrast: Irony drips from every apparent concession; savage juxtapositions between grandiloquence and curt dismissal.
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* Directness vs. Indirection: Often states a thesis only to veil it under layers of ironic questioning, forcing readers to excavate meaning.
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**Tone and Mood**
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* Attitudinal Tone: Defiant, razor-edged, inviting yet taunting—never reassuring.
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* Evoked Mood: An unsettling blend of cerebral exhilaration and existential vertigo.
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* Humor and Wit: Dry, caustic flashes surface as sudden rhetorical winks.
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**Perspective and Narration**
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* Point of View: Mobile—oscillates between detached, cosmic vantage and finger-jabbing second-person address.
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* Focalization: Alternates between panoramic theory and microscopic scrutiny of reader reactions.
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* Inclusivity: Alternately embraces and rebuffs the reader, mirroring an internal debate.
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**Imagery and Sensory Detail**
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* Visual and Sensory Imagery: Rare, but when invoked, imagery is stark and almost surgical—lighting flashes that illuminate abstract terrain.
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* Abstraction vs. Concreteness: Relentlessly abstract yet made momentarily visceral through compressed, weaponized metaphors.
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</styleguide>
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<input>
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