...In the book, The Great Gatsby, F. Scott Fitzgerald writes in Chapter 3 about Gatsby’s party. Using imagery, and alliteration to give the reader a better view point or image of how Gatsby’s parties usually are. Throughout the excerpt, imagery is used a quite a bit and helps the reader identify exactly how different Gatsby uses his new money compared to a no money and old money view point.. “In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars.” Although this has a simile embedded it, the real figurative language being supported is imagery. It shows how the people at the party are never in one spot and in constant movement. Although not a rowdy party, there’s still lots a murmuring...
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...vivid picture of life during the roaring 20s in his novel, The Great Gatsby. From Fitzgerald's novel readers gain an understanding of the setting and life during the 1920s. Along with the history of that time period, Fitzgerald also develops a magnificent story with great literary devices. The Great Gatsby by Scott Fitzgerald is an excellent novel developed with superb characterization, beautiful imagery, vivid figurative language, and great themes. First, Fitzgerald´s characterization is fascinating. Characterization is the author´s...
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...Writers use different types of styles to portray a purpose in their literature. In their styles, figurative language is used because it presents the author's purpose to why the piece of writing was written. The Great Gatsby is a novel full of imagery, similes, and aesthetic language. In chapter three of the novel, vivid descriptions of Gatsby's party is illustrated because Fitzgerald specifically chooses what and how the words should be said. His decision creates a glamorous party scene. Despite the lavish glamour of the novel's party scene, Fitzgerald effectively uses figurative language, choice of diction, and sensory language to depict his purpose. At the beginning of the party scene, Fitzgerald uses a variety of stylistic devices to...
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...The Great Gatsby chapter 7 is all about changes. For changes in books to be entertaining to the audience it must include rhetorical devices; and that is what chapter seven is all about. The speaker and narrator of the book is Nick Carraway a bank broker who lives in West Egg, Long island. Nick uses Rhetorical devices throughout the story. He uses imagery to help us imagine what he sees. He also uses figurative language to make comparisons between two different things and it makes the book more exciting. Last but not least he uses tone to emphasize how he feels at that exact moment. The author, S.Scott Fitzgerald, and narrator, Nick Carraway, uses rhetoric devices like imagery, figurative language, and tone in chapter 7 to create an aesthetic impact on the audience. Imagery was used in chapter 7 from the very first page....
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...Hawthorne, the author of the prominent novel The Scarlett Letter. Time is universally established as an eternal measure, however an individual can typically break his or her lifespan into the past, present, and future. The Great Gatsby, by F. Scott Fitzgerald, explores the burdens and manipulations of these time segments. Through the utilization of symbolism, characterization, and figurative language, Fitzgerald cultivates the theme that life is a limbo bounded between one’s imminent past and the forever fantasy for an idealistic future. Fitzgerald demonstrates the characters longing to renovate or withdrawal from their vanished yet haunting past, through the use of symbolism. For instance, Gatsby's clumsiness during the reunion with his lost love, Daisy, demonstrates his desire yet, failure to impede time. Fitzgerald writes, "Luckily the clock took this moment to tilt dangerously at the pressure of [Gatsby's] head, whereupon he turned and caught it with trembling fingers, and set it back in place"(86). The clock symbolizes Gatsby's eagerness to regain the past, as he is living in the present. Gatsby is devoted to rekindle the fictitious charisma he left on Daisy, but also desires to camouflage his truthful destitution. Through his vigorous attempt to restore time, Gatsby breaks the clock and demonstrates not only the intractable, but also the inevitable characteristics of the past. Fitzgerald further demonstrates how the characters in the narrative evade the immoralities of their past...
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...In the third chapter of The Great Gatsby, it goes into the details of what goes into and what happens at one of Jay’s parties. F. Scott Fitzgerald utilizes imagery and polysyndeton to illustrate importance and emphasize what is being talked about. At the very start of the excerpt Fitzgerald uses a polysyndeton to describe the start of his parties. “In his blue gardens men and girls came and went like moths among the whispering and the champagne and the stars”. Instead of just putting this sentence in a list format he uses the polysyndeton to bridge the gap between the things that are being mention.”In the main hall a bar with real brass rail was set up, and stocked with gins and liquors and with cordials”. This second quote is putting emphasis...
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...In a well- organized essay, analyze Fitzgerald’s use of figurative language in his passage and explain how the final metaphor contributes to the overall meaning of the novel. The Great Gatsby explores the arduous endeavor man must invariably go through to acquire a new identity in order to satisfy others, which reveals why the overbearing Gatsby undergoes a substantial transformation as F. Scott Fitzgerald illuminates through the incorporation of abstract nouns and juxtaposition. Fitzgerald’s elucidative language presents Gatsby as a man without an identity, however as he reinvents himself, his journey highlights the vice of society. The inclusion of abstract nouns promulgates Gatsby’s idealistic characteristics that lead him to live in a fictitious world that is of no real value. This suggests that his ideals are unrealistic and are just a “purposeless splendor” (Fitzgerald 76). The “purposelessness” lexically means that his life is of no significant value, however the connotative meaning implies that he has the potential to thrive and be reborn. The juxtaposition of “purposelessness” and “splendor” help convey the corruption of the American Dream since there are those who live lavishly and the disregarded others who cannot. Gatsby’s temperament rather than appearance calls attention to his personal issues and not the more pressing societal conflicts that take place. Fitzgerald reinforces the idea that Gatsby is a “nobody” (Fitzgerald 72) through Gatsby’s own broach...
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...Rhetorical Analysis- The Great Gatsby Although Gatsby would be considered the main character, the story is told through Nick's eyes. Plain, boring, analytical, safe Nick. I think the purpose of that is to show the characters and the story through the least judgmental eyes in the book. Nothing every really happened to Nick. He never lost someone he loved and valued so deeply, he never felt oppressed or glorified or even noticed. Nick was the most sensible of them all, besides maybe Jordan. He wasn't vain or cruel or haughty. He was an honest man, who happened to be in the middle of a whirlwind story. Despite Nick being the fly on the wall, we usually can't tell what's happening or what's going to happen based on his own judgments, primarily because he almost never has one. However, the way the other characters treat and interact with Nick can give you more clues than anything else. If something horrible has happened, the way they treat Nick will give you a hint of what happened before its explained in the book. For the most part, Nick isn't very prevalent, other than the fact that every other character seems to trust him enough to fill him in on the latest detail of their lives, thus giving us multiple POV's and the ability to completely piece together the story with...
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...Senior English Curriculum Map: 2010-2011 School Year English IV * Note: “Sacred Book List” Addendum is at the end of this document Quarter #1 August 23 to October 22 Essential Questions: 1. How do writers and artists organize or construct text to convey meaning? 2. What does it mean to be a stranger in the village? Unit Goals 1. To understand the relationship between perspective and critical theory. 2. To apply critical theories to various texts studied and created. 3. To control and manipulate textual elements in writing to clearly and effectively convey a controlling idea or thesis. Student Published Portfolios: For each of the first three quarters, students are required to complete three to four published writing portfolio products. Quarter 4 is devoted to completion of the Laureate Research Project. . Pacing: This map is one suggestion for pacing. Springboard pacing guides precede each unit in the “About the Unit” sections and offers pacing on a 45-minute class period length. Prentice Hall Literature – Use selections from Prentice Hall throughout the quarter to reinforce the standards being taught as well as the embedded assessments within the SpringBoard curriculum. QUARTER #1 SpringBoard Curriculum Pacing Guide August 23 – October 22 Standards and Benchmarks | Unit Pacing Guide | SpringBoard Unit/Activities | Assessments | SpringBoard Unit 1Literature * The students will analyze and compare significant works of...
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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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...Rhetorical Terms/Devices Figurative language is the generic term for any artful deviation from the ordinary mode of speaking or writing. It is what makes up a writer’s style – how he or she uses language. The general thinking is that we are more likely to be persuaded by rhetoric that is interesting, even artful, rather than mundane. When John F. Kennedy said, “Ask not what your country can do for you, ask what you can do for your country” (an example of anastrophe), it was more interesting – and more persuasive – than the simpler, “Don’t be selfish.” Indeed, politicians and pundits use these devices to achieve their desired effect on the reader or listener nearly every time they speak. The stylistic elements in a piece of writing work to produce a desired effect related to the text’s (and author’s) purpose, and thus reveals the rhetorical situation. In classical rhetoric, figures of speech are divided into two main groups: Schemes — Deviation from the ordinary pattern or arrangement of words (transference of order). Tropes — Deviation from the ordinary and principal meaning of a word (transference of meaning). *Important Note: Words marked with an asterisk* are words for which it would be impossible for you to write 3 examples for your weekly vocabulary assignment. In those cases, please write only the definition, in your own words, and the rhetorical uses/effect of that device, or do what you are instructed to do under those words. Please mark these words that deviate...
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...attention to and remember their description.) 3. What are the porch-sitters compared to? How are they characterized? What can you infer from that description? 4. The first two pages are loaded with figurative language, as though Hurston was writing poetry in book form. What is the effect of this? Is it hard to understand? What is the effect of having to work a little harder to understand all the layers of her opening pages? 5. Pay attention to porches. What is the function of the porch in this chapter? 6. The author makes a big deal about Janie’s black rope of hair. This metaphor is a central image in the book. What might Janie’s hair symbolize? Follow it through the book. 7. Hurston is careful to give us many of the particulars of Janie’s life since she left this town. What do we know about her? 8. In the last line of the first chapter, Hurston uses a metaphor. What is it and what is its effect on the mood of the story? 9. Briefly discuss the voice in this book. Hurston switches from dialect to narrative prose. It is difficult to read at first, but it also has some benefits. Discuss both, as well as techniques which can be used to make it easier to read. Chapter 2 Questions: Select quotations from the text that support your answers. 1. Janie’s life is a “great tree in leaf.” What does this image convey? 2....
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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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...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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...Preamble Chapter 1 1.1 1.2 1.3 1.4 1.5 Background Rationale Aims Interface with the Junior Secondary Curriculum Principles of Curriculum Design Chapter 2 2.1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 Curriculum Planning 3.1 Planning a Balanced and Flexible Curriculum 3.2 Central Curriculum and School-based Curriculum Development 3.2.1 Integrating Classroom Learning and Independent Learning 3.2.2 Maximizing Learning Opportunities 3.2.3 Cross-curricular Planning 3.2.4 Building a Learning Community through Flexible Class Organization 3.3 Collaboration within the English Language Education KLA and Cross KLA Links 3.4 Time Allocation 3.5 Progression of Studies 3.6 Managing the Curriculum – Role of Curriculum Leaders Chapter 4 1 2 2 3 3 13 14 14 15 15 16 16 17 17 18 21 Learning and Teaching 4.1 Approaches to Learning and Teaching 4.1.1 Introductory Comments 4.1.2 Prose Fiction 4.1.3 Poetry i 21 21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced Assessment 5.3.2 Modes of Public...
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