...own. They have been relying on themselves to survive for centuries. In many books the characters also must rely on themselves, as Huck Finn does in Mark Twain’s book The Adventures of Huckleberry Finn. Huck Finn is a book about a boy growing up , and his flight down the Mississippi River. Through his actions and thoughts Huck is able to survive the dangers of the river and in doing so develops self reliance and independence as well as non-conformity to what is acceptable to society. Huck Finn is definitely a non-conformist in the truest sense of the word. Non-conformity means to go against what all other people think and do. In the book Huck chooses not to go to school,. and therefore it makes him a non-conformist because everyone else goes to school. Another example of non-conformity that Huck shows is running away with Jim. No one ever would think about running away with a black man. It is absurd ,because it is going against the rest of society and what they believed about slavery. Huck’s actions definitely makes him a non-conformist. A third example of non-conformity in Huck is not wanting to be civilized. Huck says,”Aunt Sally she’s going to adopt me and sivilize me, and I can’t stand it. I been there before.” (294) This quote shows that Huck doesn’t like to be civilized like the rest of society making him an outcast and non-conformist. Huck Finn is a very self-reliant person and he shows it in his thoughts and actions throughout the book. Self reliance is to use your mind...
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...Abbie Elliott Compare how Mark Twain and J.D. Salinger present the theme of rejection in extracts from The Adventures of Huckleberry Finn and The Catcher in the Rye. The extracts I have chosen see the central protagonists both rejecting society. In the extract from The Adventures of Huckleberry Finn, Huck is discussing how Widow Douglas is trying to civilize him through educating him and dressing him in smart and respectable clothing. Huck rejects ‘civilized life’ and fears the rules and conformities of society. Likewise, in the extract from The Catcher in the Rye, Holden has been expelled from Pencey and gets the train to New York, where attempts to flirt with one of his classmate’s mothers. Here Holden also rejects the expected social norms. This is because he has been treated like a dissident and a disappointment for most of his life, but he functions under the attitude that the problem lies within the ‘phony’ society and their expectations of him. Rejection is an occurrence in both novels, however, the difference being Huck was brought up with no education, no understanding of social standards and no rules imposed on him. Now he has been forced into a civilized life which he dreads. On the other hand, Holden has been educated and disciplined from a young age and he appears to be well behaved. However, later on in the novel we discover he pretends to be someone he not and very often breaks social norms. Both writers present the theme of rejection by aiming to portray a young...
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...Conformity & Civilization in Huckleberry Finn A main issue in The Adventures of Huckleberry Finn is the conflict of conformity and civilization. From the beginning of the novel, Huck struggles with what he thinks of society while living with Widow Douglas and Miss Watson. As the story elevates, Huck goes to live with Pap and develops further opinions about society. Many of Huck’s values are tested when he escapes to live with Jim on the river on the search for their freedom. Arguably, Huck learns the most about society from his adventures on the river with Jim. Huck’s moral development over the novel advances in many different stages, while different people and events influence Huck. Huck’s first exposure to the idea of trying to civilize someone is while living with Miss Watson and the Widow Douglas. Huck may have utterly despised the idea of living with them at first, but after a while Huck started to rather like the idea of having proper clothes and being clean. Although he started to like some aspects of living with them, it is not to say he completely enjoyed all the aspects of his new life. Huck found a lot of discontent in the moral convictions in his new life. The Widow told Huck “to pray every day, and whatever I asked for I would get it.” Huck knew this wasn’t true, commenting “but it warn’t so. I tried it” (Twain 8). Additionally, Huck didn’t see how it was right for Miss Watson to say that smoking was bad while she snuffed. Huck did not know whether he agreed with...
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...The Webster dictionary defines conformity as, a state of consistency or the action of following a custom, view or law. Conforming with society means that someone doesn’t want to speak out against their peers wrongdoings in fear of being singled out. They find it easier to not express their opinions and just go with the flow. It’s human nature to live amongst a pack and people will do anything, right or wrong, to feel accepted into a group. Society has the tendency to view people as outcasts because of their different opinions, morals and past experiences. Both Twain and Fitzgerald chose to portray the path of nonconformity throughout their novels in the eyes of their narrators. Over time, Huck Finn’s and Nick Carraway’s written paths along...
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...unexpected friendship. Huck and Jim’s escapade down the Mississippi River in search of Jim’s freedom from the fetters of slavery are the core of this book. Initially, because Huck views Jim only as “Miss Watson’s big nigger,” Huck did not respect him (8). This changed, however, as Huck revealed in his passages after making fun of Jim. Early in the novel, “Jim is merely the object of a boyish practical joke,” as Tom takes Jim’s hat and hangs it on a branch above his head (Millicent Bell 65). Huck’s next prank on Jim with the rattlesnake caused Huck to feel like “such a fool,” yet there was still very little sympathy for Jim (Twain 51). Later Huck begins to feel...
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...has compelled him to live.” The economic and social theorist, Ludwig Von Mises, believes that men do as what nature entertains them to. During life, people work with their intuition, known as romanticism, or reasoning in certain personal situations. To describe someone who went through these discrepancies of leaving the past and becoming a romantic, Mark Twain wrote The Adventures of Huckleberry Finn. Twain touches on the relationship between realism and romanticism as young Huckleberry Finn ventures through nature. Young Huckleberry Finn leaves his realistic life setting, to go on an adventure, and prove that romanticism...
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...The main character Huckleberry “Huck” Finn. Huck is rudimentary American. He encapsulates our trademark resistance, our anxiousness with power and tradition, our unwillingness to be “sivilized” without wanting to. Its vigorous casual voice has a particular diction from the onset of the novel, Huck states, “You don't know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain't no matter. That book was made by Mr. Mark Twain, and he told the truth, mainly. There was things which he stretched, but mainly he told the truth” (Twain 1). Twain's native Missouri dialectic and tone, a virtual presentation of freedom from the formal English is presented from the first to the last page of his novel. Huck is an unlikely hero for a book. Huck is inherently kindhearted, but finds himself stifled and corrupted by society’s restraints throughout the novel. Huck acknowledges that he does not consider himself “sivilized,” despite the widow’s many attempts, but does not realize that in his shortcoming lies his greatest strength: he is free from societal conformities and prejudices, free from the popular acceptance of...
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...– Extract 2 The Adventures of Huckleberry Finn “It was kind of lazy...”(p26) to “...till he got that chance.” (27) Collins Classics The Catcher in the Rye “The funny thing is though...”(p13) to “...when you think about it.” (p16) Penguin Analyse the extract in detail. Make sure you cover: * The ways in which the writer presents and develops Huck’s character. * The ways in which the writer creates a distinctive narrative voice. * The ways in which the theme of escape is presented. The ways in which any other themes are explored by the writer. * The ways in which the extract is a product of the novel’s social and historical context. In both extracts the theme of escape is explored. In extract 1, Huck is planning to escape from his abusive father and in extract 2 Holden does his best to escape from Mr Spencer’s room. Both extracts are in the first person so that the reader feels the narrator’s discomfort. Both characters feel the need to escape from oppression of some type; Huck from physical abuse at the hands of his alcoholic father and Holden from what he feels is the oppressive, “depressing” atmosphere of Spencer’s room and Pencey in general. In both extracts the reader feels the anxiety of the main character. However, the two characters are quite different. Huck is practical, resourceful and admirably cheerful whereas Holden is portrayed as neurotic and judgemental. We seem to be presented with a hero in Huck and an anti-hero in Holden. Both characters...
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...6 Build Your Vocabulary ■ ■ ■ ■ The SAT High-Frequency Word List The SAT Hot Prospects Word List The 3,500 Basic Word List Basic Word Parts be facing on the test. First, look over the words on our SAT High-Frequency Word List, which you’ll find on the following pages. Each of these words has appeared (as answer choices or as question words) from eight to forty times on SATs published in the past two decades. Next, look over the words on our Hot Prospects List, which appears immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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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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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...Contents Preface Acknowledgments Introduction 1 BRAIN POWER Myth #1 Most People Use Only 10% of Their Brain Power Myth #2 Some People Are Left-Brained, Others Are Right-Brained Myth #3 Extrasensory Perception (ESP) Is a Well-Established Scientific Phenomenon Myth #4 Visual Perceptions Are Accompanied by Tiny Emissions from the Eyes Myth #5 Subliminal Messages Can Persuade People to Purchase Products 2 FROM WOMB TO TOMB Myth #6 Playing Mozart’s Music to Infants Boosts Their Intelligence Myth #7 Adolescence Is Inevitably a Time of Psychological Turmoil Myth #8 Most People Experience a Midlife Crisis in | 8 Their 40s or Early 50s Myth #9 Old Age Is Typically Associated with Increased Dissatisfaction and Senility Myth #10 When Dying, People Pass through a Universal Series of Psychological Stages 3 A REMEMBRANCE OF THINGS PAST Myth #11 Human Memory Works like a Tape Recorder or Video Camera, and Accurate Events We’ve Experienced Myth #12 Hypnosis Is Useful for Retrieving Memories of Forgotten Events Myth #13 Individuals Commonly Repress the Memories of Traumatic Experiences Myth #14 Most People with Amnesia Forget All Details of Their Earlier Lives 4 TEACHING OLD DOGS NEW TRICKS Myth #15 Intelligence (IQ) Tests Are Biased against Certain Groups of People My th #16 If You’re Unsure of Your Answer When Taking a Test, It’s Best to Stick with Your Initial Hunch Myth #17 The Defining Feature of Dyslexia Is Reversing Letters Myth #18 Students Learn Best When Teaching Styles Are Matched to...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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