...the short story “the Story of an Hour” by Kate Chopin and the short story “blue + yellow” by Chris Killen compare in many ways. These two stories use the same literary device strongly such as imagery. Imagery is a literary device in which the author uses words and phrases to paint a picture in the readers head throughout the story. These two short stories are written with very descriptive language to help paint a picture of the occurrences in the story and describe a scene. These two stories also contrast in many ways such as the way they use symbolism as well as the relationships between the characters in both stories. The two short stories compare in the use of the literary devices imagery and in the themes. The imagery used in “the Story of an Hour” is when the author is painting a picture of the main characters reaction to the news of her husband’s apparent death. When Mrs. Mallard learns of her husband’s death she is very upset, and locks herself in her room, and sits down in her chair starring out the window. The author uses descriptive language here such as “There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul,” (Kate Chopin Par 4) to paint a picture of how the character is acting. Using such detail helps the reader clearly understand and mentally visualize how the character is acting in this scene. This is a pure example of imagery and it continues...
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...American author, Kate Chopin, in her narrative short story, "The Story of an Hour," recounts the story of an hour in the life of Mrs. Louise Mallard, a young woman "with a fair, calm face, whose lines bespoke repression and even a certain strength" (Chopin, 605). Chopin's purpose for writing this short story is to address the lack of independence and social status that was an everyday part of life for married women living in the Victorian era. She adopts a sympathetic tone in order to appeal to similar feelings and experiences in her female readers. In 1870, Kate married Oscar Chopin, a Louisiana businessman of French-Creole descent. In New Orleans, where Chopin and her husband lived until 1879, she was among Southern high society. Proper Southern women of this time were expected to be submissive, compliant and stoic. Coming from a long line of Southern females, I know this to be true. The society of this era viewed the altruistic wife, reliant on her husband and devoted to her children, as the feminine ideal. Chopin's forward-thinking literary works of the late nineteenth century were not considered socially acceptable, so it wasn't until the 1960s or 1970s that she became "an integral part of the evolution of feminism" (katechopin.org). Chopin begins "The Story of an Hour" with an instant, essential revelation of the story's pinnacle. Readers learn in the first sentence that the story's main character, Mrs. Mallard, is "afflicted with a heart trouble" (Chopin 605) and she...
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...love is at stake or can react weirdly when he acquires it. It’s exactly what Kate Chopin, a female American author during the 19th century, did when she treated about women’s conditions in the short-story Story of an Hour in 1894, where a woman falsely learns about his husband’s death. Almost 60 years later, Roald Dahl wrote Lamb To The Slaughter, set in Great Britain, where a woman kills her husband and hide the evidences cleverly. These two short stories are not only comparative on the two female protagonists and the imagery used, but also on the main themes which are freedom and betrayal. Freedom is one of the major theme in The Story of An Hour. Indeed, once she learned her husband’s death, and after she was crying alone in her room, she feels slowly happier: yes she is sad that her husband died but still, she starts to feel something that was never felt before, a feeling that embraces her which is the emotion of being free: “ ‘Free, free, free!’ and “Free! Body and soul free!” she kept whispering’ “. Married, she was the innocent, loving and inferior to her husband, but now that was a widow, well that I what she thought, she felt that the era of her freedom was beginning :“There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers […]“. Ultimately, freedom is actually what killed her because she tasted it for an hour and thought she was going to live as a free widow for the rest of her life,...
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...Naturalism - Short Stories Seminarleiter: Georg Schiller Datum der Abgabe: 16.04.2011 Female Empowerment in Kate Chopin’s “The Awakening” Anjana Dhir BA Englisch KF, Geschichte NF 3. Semester Table of Contents 1. Introduction 3 2. The French – Creole society of Louisiana 4 2.1 Cultural background 4 2.2 French-Creole women 5 3. The Role of Women 6 4.1 Edna vs. Madame Ratignolle 7 3.1.1 “A Valuable Piece of Property” 7 3.1.2 Edna – The Unusual Woman 9 3.1.3 Adèle Ratignolle – The Archetype Woman 14 3.2 “Mother Woman” – The Patriarchal Ideology 16 4. Chopin’s Imagery 18 5. Conclusion - Edna’s Suicide 19 6. Bibliography 21 1. Introduction A certain ungovernable dread hung about her when in the water, unless there was a hand nearby that might reach out and reassure her. But that night she was like a little tottering, stumbling, clutching child, who of a sudden realizes its powers, and walks for the first time alone, boldly and with over confidence. […] A feeling of exultation overtook her, as if some power of significant import had been given her to control the working of her body and her soul. She grew daring and reckless, overestimating her strength. She wanted to swim far out, where no woman had swum before. This scene in Kate Chopin’s novel describes...
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...Placement English Language and Composition Advanced Placement English III First Six Weeks – Introductory Activities: ▪ Class rules, expectations, procedures ▪ Students review patterns of writing, which they will imitate throughout the course: reflection, narration and description, critical analysis, comparison and contrast, problem and solution, and persuasion and argument. ▪ Students review annotation acronyms, how to do a close reading, literary elements and rhetorical devices. Students also review the SOAPSTONE (subject, occasion, audience, purpose, speaker, tone, organization, narrative style and evidence) strategy for use in analyzing prose and visual texts along with three of the five cannons of rhetoric: invention, arrangement and style. ▪ Students learn the format of the AP test, essay rubric and essay structure. ▪ Students take a full-length AP test for comparison purposes in the spring. Reading: The Scarlet Letter – Nathaniel Hawthorne Writing: Answer the following question in one paragraph. Use quotes from the novel as evidence. Some readers believe that the elaborate decoration that Hester embroiders on the scarlet letter indicates her rejection of the community’s view of her act. Do you agree or disagree? Explain your position using evidence from the text. (test grade) Writing: Write a well-developed essay addressing the following prompt. Document all sources using MLA citation. Compare Hester to a modern day person who has...
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...GRADE 9 Learning Module MUSIC (Qtr 1 to 4) Compilation by Ben: r_borres@yahoo.com MUSIC LEARNER’S MATERIAL GRADE 9 Unit 1 To the illustrator: Using the blank map of Europe, place pictures of ALL the composers featured in EACH UNIT around the map and put arrows pointing to the country where they come from. Maybe you can use better looking arrows and format the composer’s pictures in an oval shape. The writers would like to show where the composers come from. I am attaching a file of the blank map and please edit it with the corresponding name and fill it the needed area with different colors. Please follow the example below. (Check the pictures of the composers and their hometowns in all the units.) Medieval, Renaissance and Baroque Music Page 1 MUSIC LEARNER’S MATERIAL GRADE 9 Unit 1 Time allotment: 8 hours LEARNING AREA STANDARD The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision. key - stage STANDARD The learner demonstrates understanding of salient features of music and art of the Philippines and the world, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision...
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...Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. ISBN: 978-0-07-180360-1 MHID: 0-07-180360-2 The material in this eBook also appears in the print version of this title: ISBN: 978-0-07-180359-5, MHID: 0-07180359-9. E-book conversion by Codemantra Version 1.0 All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill Education eBooks are available at special quantity discounts to use as premiums and sales promotions or for use in corporate training programs. To contact a representative please visit the Contact Us page at www.mhprofessional.com. Trademarks: McGraw-Hill Education, the McGraw-Hill Education logo, 5 Steps to a 5 and related trade dress are trademarks or registered trademarks of McGraw-Hill Education and/or its affiliates in the United States and other countries and may not be used without written permission. All other trademarks are the property of their respective owners. McGraw-Hill Education is not associated with any product or vendor mentioned in this book...
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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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...this situation sounds familiar, you may find it reassuring to know that many professionals undergo these same strange compulsions before they begin writing. Jean Kerr, author of Please Don’t Eat the Daisies, admits that she often finds herself in the kitchen reading soup-can labels—or anything—in order to prolong the moments before taking pen in hand. John C. Calhoun, vice president under Andrew Jackson, insisted he had to plow his fields before he could write, and Joseph Conrad, author of Lord Jim and other novels, is said to have cried on occasion from the sheer dread of sitting down to compose his stories. To spare you as much hand-wringing as possible, this chapter presents some practical suggestions on how to begin writing your short essay. Although all writers must find the methods that work best for them, you may find some of the following ideas helpful. But no matter how you actually begin putting words on paper, it is absolutely essential to maintain two basic ideas concerning your writing task. Before you write a single sentence, you should always remind yourself that 1. You have some valuable ideas to tell your reader, and 2. More than anything, you want to communicate those ideas to your reader. These reminders may seem obvious to you, but without a solid commitment to your own opinions as well as to your reader, your prose will be lifeless and boring. If you don’t care about your subject, you can’t very well expect anyone else to. Have confidence that your ideas are...
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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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