...Comparative Writing What is a comparative writing? Comparative writing asks that you compare at least two (possibly more) items. These items will differ depending on the assignment. You might be asked to compare • positions on an issue (e.g., responses to healthcare in Canada and the United States) • theories (e.g., capitalism and communism) • figures (e.g., Auto production in the United States and Britain) • texts (e.g., Shakespeare’s Hamlet and Macbeth) • events (e.g., the Great Depression and the global financial crisis of 2008–9) Although the assignment may say “compare,” the assumption is that you will consider both the similarities and differences; in other words, you will compare and contrast. Make sure you know the basis for comparison The assignment sheet may say exactly what you need to compare, or it may ask you to come up with a basis for comparison yourself. • Provided by the question: The question may ask that you consider the gradual loss of morals by major characters in Yann Martel’s Life of Pi and George Orwell’s Animal Farm. The basis for comparison will be the loss of morals by central figures in each text. • Developed by you: The question may simply ask that you compare the two novels. If so, you will need to develop a basis for comparison, that is, a theme, concern, or device common to both works from which you can draw similarities and differences. Develop a list of similarities and differences Once you know your basis for comparison...
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...Lee, Harper—To Kill a Mockingbird 1960 TO KILL A MOCKINGBIRD by Harper Lee DEDICATION for Mr. Lee and Alice in consideration of Love & Affection Lawyers, I suppose, were children once. Charles Lamb PART ONE 1 When he was nearly thirteen, my brother Jem got his arm badly broken at the elbow. When it healed, and Jem’s fears of never being able to play football were assuaged, he was seldom self-conscious about his injury. His left arm was somewhat shorter than his right; when he stood or walked, the back of his hand was at right angles to his body, his thumb parallel to his thigh. He couldn’t have cared less, so long as he could pass and punt. When enough years had gone by to enable us to look back on them, we sometimes discussed the events leading to his accident. I maintain that the Ewells started it all, but Jem, who was four years my senior, said it started long before that. He said it began the summer Dill came to us, when Dill first gave us the idea of making Boo Radley come out. I said if he wanted to take a broad view of the thing, it really began with Andrew Jackson. If General Jackson hadn’t run the Creeks up the creek, Simon Finch would never have paddled up the Alabama, and where would we be if he hadn’t? We were far too old to settle an argument with a fist-fight, so we consulted Atticus. Our father said we were both right. Being Southerners, it was a source of shame to some members of the family that we had no recorded ancestors on either side of the Battle of Hastings...
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...GCSE English Literature Specimen Assessment Materials 1 For assessment from 2013 GCSE ENGLISH LITERATURE SPECIMEN ASSESSMENT MATERIALS GCSE English Literature Specimen Assessment Materials 3 Contents Page Question Papers English Literature Unit 1 (H.T.) English Literature Unit 2 a and b (H.T.) English Literature Unit 1 (F.T.) English Literature Unit 2 a and b (F.T.) 5 Mark Schemes English Literature Unit 1 (H.T.) English Literature Unit 2 a and b (H.T.) English Literature Unit 1 (F.T.) English Literature Unit 2 a and b (F.T.) 93 GCSE ENGLISH LITERATURE Higher Tier UNIT 1 Specimen Assessment Materials 2 hours SECTION A Question 1. 2. 3. 4. 5. Of Mice and Men Anita and Me To Kill a Mockingbird I Know Why the Caged Bird Sings Chanda’s Secrets SECTION B 6. Poetry 12 Pages 2-3 4-5 6-7 8-9 10 - 11 ADDITIONAL MATERIALS Twelve page answer booklet. INSTRUCTIONS TO CANDIDATES Answer both Section A and Section B. Answer one question in Section A and the question in Section B. INFORMATION FOR CANDIDATES The number of marks is given in brackets after each question or part-question. You are reminded that assessment will take into account the quality of written communication used in your answers. JD*(S-2011 Higher) Turn over. 2 SECTION A 1. Of Mice and Men Answer part (a) and either part (b) or part (c). You are advised to spend about 20 minutes on part (a), and about 40 minutes on part (b) or part (c). (a) Read the extract on the opposite...
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...Кухаренко В.А. Практикум з стилістики англійської мови: Підручник. – Вінниця. «Нова книга», 2000 - 160 с. CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Craphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement...
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...Кухаренко В. А. Практикум з стилістики англійської мови: Підручник. — Вінниця: Нова книга, 2000. — 160 с. Кухаренко Валерия Андреевна, д.ф.н., проф., кафедра лексикологии и стилистики английского языка факультетеа РГФ ОНУ им. И. И. Мечникова CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Graphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics...
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