...structure of narrative writing. 2. Recognize how to write a narrative essay. Rhetorical modes simply mean the ways in which we can effectively communicate through language. This chapter covers nine common rhetorical modes. As you read about these nine modes, keep in mind that the rhetorical mode a writer chooses depends on his or her purpose for writing. Sometimes writers incorporate a variety of modes in one essay. In covering the nine rhetorical modes, this chapter also emphasizes these as a set of tools that will allow you greater flexibility and effectiveness in communicating with your audience and expressing your ideas. rhetorical modes The ways in which we effectively communicate through language. 1.1 The Purpose of Narrative Writing Narration means the art of storytelling, and the purpose of narrative writing is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration. In addition, a narrative can be factual or fictional. A factual story is one that is based on, and tries to be faithful to, actual events as they unfolded in real life. A fictional story is a made-up, or imagined, story; the writer of a fictional story can create characters and events as he or she sees fit. However, the big distinction between factual and fictional narratives is based on a writer’s purpose. The writers of factual stories try to recount events as they actually happened, but writers of fictional stories depart...
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...From century to century there have been many instances of people standing up against wrongdoing in the face of great danger. One good example of this was slavery in the United States and the movement to abolish it. Frederick Douglass, a famous author and former slave from the time period, wrote numerous pieces arguing for the freedom of his people. In his autobiography entitled Narrative of the Life of Frederick Douglass, he describes his experiences as a slave and how he attained education, despite overwhelming adversity. His story draws similarities to the fictional character Guy Montag created by Ray Bradbury, author of the book Fahrenheit 451’s protagonist. Both of these authors utilize characterization and conflict to develop their main...
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...economy. Germany had spent six years preparing for war, and a large portion of the economy was already devoted to military production. During the war, as Germany acquired new territories (either by direct annexation or by installing puppet governments in defeated countries), these new territories were forced to sell raw materials and agricultural products to German buyers at extremely low prices. Fiction as Reconstruction of History: Narratives of the Civil War in American Literature by Reinhard Isensee Even after more than 140 years the American Civil War continues to serve as a major source of inspiration for a plethora of literature in various genres. While only amounting to a brief period in American history in terms of years, this war has proved to be one of the central moments for defining the American nation since the second half of the nineteenth century. The facets of the Civil War, its protagonists, places, events, and political, social and cultural underpinnings seem to hold an ongoing fascination for both academic studies and fictional representations. Thus, it has been considered by many the most written-about war in the United States. The War That Never Goes Away: The Significance of the Civil War for the Cultural Imagination in the United States Despite the overwhelming body of academic work on the Civil War produced in the United States (and beyond) most of the American public (as well as the international audience) has been exposed to it through cultural...
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...Hanan Rakine Melissa Renko AP Biology 25 May 2015 Spillover Summary Spillover has woven a story of incredible complexity; a detective story with a difference, with a host of murderers – all of them real. They are viruses, bacteria and single-celled organisms which infect other animals, but every now and then make the jump – spill over – to our own species. Each chapter follows the quest to track down a new villain. An international team of detectives works on the cases, and Quammen follows them as they uncover the traces which will lead them to the killers. The book opens with a horrific virus which lays low horses and humans, the Ebola virus emerges through a dark tale, with piles of dead gorillas in the forest, consumption of rotting bushmeat, sorcery and Rosicrucianism. The story is grim enough without the usually exaggerated descriptions of Ebola: sufferers crying blood and melting from the inside out. Quammen doesn't sensationalise his material (you could argue he doesn't need to – it's quite dreadful enough). He's much more interested in demystifying these outbreaks, finding out what we know about them and how this might help us to anticipate future emergent diseases and limit their impact. He promises to tell us the "complicated story", not the dramatic one. But this is such a consummate piece of science writing that you're likely to imbibe some extremely complex concepts without realising it. There's no "here's the science bit"; lessons in virology...
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...Critical Thinking: Independent Book Reflection *Use this space to review and consider the choices your author made. Nearly every choice is for a purpose; so reflect on and muse over his/her choices! Write your OWN, brief, yet descriptive plot summary (overall or structure summary for certain nonfiction pieces). The main character Beatrice lives in a future Chicago in where people are divided into factions based upon their personalities. Abnegation, for the selfless, Amity, for the peaceful, Candor, for the honest, Dauntless, for the brave, and Erudite, for the intellectual. When it comes time for the choosing day, Beatrice discovers that she is Divergent, a very special case in where a person is no set faction. After surprising her family with the choice of dauntless, Beatrice is sent into the initiation protocol for the faction. Starting with jumping onto a moving train. From that moving train she then must jump off of that train onto a roof, then down into a pitch black hole. After that part they must go through three initiation trials which she goes through and is injected with this serum thing that the eurdites activate to take control of the dauntless, all except the divergents who are surprisingly revealed to us that four and tris’ (Beatrice’s dauntless name) mother are. Then all of the action starts to kick in. We have death all around us. To get to the final control room to stop this brainwashing experience tris loses her mother and father. But after all that is...
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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...enthusiastic reviews from critics and readers all over the world, nominating him the unofficial title of ―American Tolkien‖ [9]. In 2007 Martin agreed to collaborate with cable network HBO‘s writer-producers David Banioff and Daniel B. Weiss on the adaptation of his epic novel series to TV under the name Game of Thrones (GoT) [14]. Its narrative features the medieval fantasy world of Westeros, in which five noble families struggle to seize the all governing Iron Throne, and, with a complete broadcast of three seasons, the result has led TV critics to hail the show as one of the pinnacles of quality television narrative [21]. The show has also obtained an exceptionally broad and international fandom. The series has won numerous awards and nominations. It is the most recent big-budget media franchise to have contributed to the popularity of epic fantasy genre in mainstream TV. This essay will analyze the transmedia storytelling strategies applied to promote the TV series Game of Thrones. Transmedia storytelling is understood as a story told throughout numerous media platforms, with special content pointing back to the main narrative, working as a potential new audience entry-point. ―In which way transmedia storytelling is involved in Game of Thrones commercial success?‖ is the research question proposed. To answer this question, I intend to refer to the concepts of paratexts in relation to core text, as it is essential for transmedia storytelling. It is worth mentioning...
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...Hyperbole c) Writing a Tall Tale d) Selections of Oral Tradition Literature III. Novel Studies a) Previewing the novel b) Defining and Understanding Elements of c) Character Analysis d) Problems and Solutions of the story IV. Historical Fiction a) Activating background/prior knowledge b) Setting a purpose for reading c) Writing about historical fiction V. Realistic Fiction a) Evaluating Realistic Fiction b) Responding to the selection c) Distinguishing between Fact and Opinion d) Summarizing the Story Chapter 1 – Short Stories: A short story is, like the name says, a short literary composition. The action is compact and every single event is crucial to the development of the plot. The time span covered within the action of a short story could vary from a few hours to days or years. A short story could have elements of present events, flashbacks to account for what happens and futuristic insights. The essential parts of a short story are: the...
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...arguments usually question or celebrate the transgressive potentials of the book (Giroux; Mendieta), or address issues of masculinity brought into the fore by their literary and cinematic representations emergent in the same decade (Tuss; Friday). However, few, if any, have addressed the literary aspirations of the text and its author. Although none of the approaches to the thematic concerns of Fight Club are unjustified, in the argument that follows I will suggest that conclusions drawn and critical judgments passed have been hasty, and not only failed to take into account the formal aspects of story-telling, but that the narrative features of Palahniuk’s text have largely went unexplored, and constitute a blind spot of the reception. Critics condemning or acclaiming the novel, and, indeed, many a cultic reader of Palahniuk ignored Fight Club as a literary narrative, and have inadvertently been repeating the catchphrases of the text, either reinforcing or trying to undermine what they have understood as their meaning. I see the significance of Palahniuk’s fiction and the literary event of Fight Club’s publication in somewhat different terms. Palahniuk’s emphasis and continued insistence on minimalism suggest that his fiction is properly understood as belonging to a literary tradition whose evaluation remains troubled and, for a large part, unsettled. Nevertheless,...
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...pass this test, you must have acquired a copy of this textbook. You can acquire a copy of the text by contacting the USQ cooperative bookshop where both your texts (i.e. Milmore and Davilla et al) have been packaged together to reduce the cost. Please see the study desk in week 1 under the heading ‘ON-LINE TEST’. A ‘Guidelines for the On-line Test’ will also be posted in this section. These guidelines will set out which chapters you should study to be able to answer the multiple choice questions. Further details will be posted for completing this test. Case study 1 Description Marks out of Wtg(%) Due date Case study 1 (2000 words) 100 40% Friday, 15 January 2016 (approximately 5 typed pages single spaced) You should write the case study in such a way that you start your answers from line 1. That is, there is no need for large introductions that we see in essays. You should apply the principles you have learned from lecture material/tutorials/readings that are specific to the case study. Case study 1 answers should be written in narrative form (i.e. sentences not bullet points), and should be 2000 words long, single spaced. Each case study should be referenced and show evidence of recommended...
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...[Indiana University Libraries] Date: 24 February 2016, At: 16:43 Journal of Postcolonial Writing Vol. 46, No. 1, February 2010, 65–75 “He does not understand our customs”: Narrating orality and empire in Chinua Achebe’s Things Fall Apart Jarica Linn Watts* University of Utah, Salt Lake City, USA Downloaded by [Indiana University Libraries] at 16:43 24 February 2016 jarica.watts@utah.edu Jarica 0 100000February 46 2010 &Article OriginalofFrancis 1744-9855 (print)/1744-9863 JournalandPostcolonial 10.1080/17449850903478189(online) RJPW_A_448194.sgm TaylorLinnWatts 2010 Writing Francis This article delineates different strains of Achebe’s narrative technique in Things Fall Apart, arguing that earlier critics have failed to account fully for two fundamental principles in Achebe’s narrative: the myriad phrases that are repeated throughout the first part of the work; and the formative shift, the poetic volta, that takes place between parts one and two of the novel. Drawing on Achebe’s assertion that “anyone seeking an...
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...of this textbook. You can acquire a copy of the text by contacting the USQ cooperative bookshop where both your texts (i.e. Milmore and Davilla et al) have been packaged together to reduce the cost. Please see the study desk in week 1 under the heading ‘ON-LINE TEST’. A ‘Guidelines for the On-line Test’ will also be posted in this section. These guidelines will set out which chapters you should study to be able to answer the multiple choice questions. Further details will be posted for completing this test. © University of Southern Queensland MGT8034 Assessment page 2 Case study 1 Description Case study 1 (2000 words) (approximately 5 typed pages single spaced) Marks out of Wtg(%) Due date 100 40% Friday, 15 January 2016 You should write the case study in such a way that you start your answers from line 1. That is, there is no need for large introductions that we see in essays. You should apply the principles you have learned from lecture material/tutorials/readings that are specific to the case study. Case study 1 answers should be written in narrative form (i.e....
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...of the façade that the blacks and the whites get along perfectly and treat each other equally and with equal respect. Although this idea was still just a façade, it was entertaining especially to the American audience. This buddy trope was shown in “The Pioneers” through the use of Natty Bumpo and John Mohegan (Chingachgook), Natty being the white man and Indian John being the man of color in this case. Natty is a woodsman who lives in a cabin with John who used to be a powerful Indian Chief and they both happen to know Fire-Eater, the man who used to own all the land in their area. In general, throughout the story of “The Pioneers” the characters that are not both white and male are treated with disrespect and unfairly. For example, in Chapter 12 while Oliver...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...
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...Sigrid Hazel Jimenez Literacy narrative For the past month I’m now convinced that I’m in a new world thus shouldn’t retreat for this is a big opportunity that I must grabbed beforehand, a cold breeze that tickles my body, the season turned to be winter and the night was clear and cold, cars progressed for about forty to fifty miles per hour had notified me that there’s no turning backs before while I stood at the third arrival gate of Phoenix Sky Harbor Int’l Airport awaited for my brother to fetched us everything I’ve seen that night marked my entrée to the United States. I’ve been very blessed, because this is a lifetime opportunity that anyone searched for. No matter what might happened to me after years passed I would always be a proud Filipino. I have to embrace this country’s culture and lifestyle for me to handle things on my own. Thanks to my family who never left me empty-headed about different matters herein this land, it is like you’re like a newborn baby that needed to be looked after. The language has never been a problem to me for I’ve been in that curriculum since I entered preschool. I spoke the language, but never been an outstanding speaker or writer. I used to have an average scores in my writing skills and fair scores in my speaking skills. I’m more of a listener than a speaker, thoughts because the best way I could have expressed my feelings is through writing and I lived by the thought that writing could express deeper feelings than speaking and wouldn’t...
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