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When you think of Paris you immediately think of the Eiffel Tower, one of France’s most iconic constructions. Every year, more than seven million people visit the Eiffel Tower, making it the most visited monument in the world.
Some people see the Eiffel Tower as an unofficial wonder of the world.
Illustrating his point with an example from Herodotus, Longinus suggests that apostrophe turns hearing about something into seeing and experiencing it (200, 201).
On the basis of its effectiveness, both Quintilian and Longinus advocate use of apostrophe, offering numerous examples to prove that apostrophe can move the judges and audience in a speaker's favor (cf.
It is therefore also a monument that everyone wants to have visited in their lives.
The Eiffel Tower is open every day of the year: Opening hours during the summer period (15 June – 1 September) from am to and the rest of the year opened from to .
Quintilian, for example, comments cryptically that the apostrophic gesture "mire movet" ("is wonderfully stirring") (6, 397); he hints obscurely that to apostrophize a person (or thing) is more compelling than to state a fact about that person (or thing) (, 43).
The Eiffel Tower is often sold out months in advance, but you can still buy tickets at short notice so you don’t have to wait in the queue.
I suggest that we can now explain the structure of apostrophe - and its efficacy - in terms unavailable to ancient rhetoricians by describing that communicative circuit on which the figure tropes.
Communication theory has long accustomed us to think of any interchange as consisting of three main components: addresser, message, addressee, where addresser and addressee normally and regularly switch roles.
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In this article I will focus on one specific type of departure, which I call "narrative apostrophe," adapting from ancient rhetoricians the figure of "apostrophe." After briefly explaining my concept, I will use it to account for historical reader responses to Michel Butor's La modification and to suggest an allegorical reading of Julio Cortazar's neglected short story "Graffiti."(1) I propose the phrase "narrative apostrophe" to describe anomalous communicative circuits in second-person narrative fiction(2) at the levels of the story and of the reception of the story.