...My literary critique on The Adventures of Huckleberry Finn is focused on the confusion of the message being given to the reader do to the conscious struggle between right and wrong, an example of that would be the decision of stealing from Ms. Watson and freeing Jim, or not stealing from Ms. Watson and leaving Jim as a slave. Huck did decided that even though stealing from Ms. Watson would surely send him to “Hell” he still went with his gut and freed Jim, But with that later in the story shortly after Ms. Watsons death Huck and Jim found out that in her will she had freed Jim anyways. The ending of that situation in this story is what I choose to critique because of the cloudy message that is being given to the reader. It does not support...
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...Analysis of Huckleberry Finn Samuel L. Clemens, also known as Mark Twain, was one of the first American writers to truly express realism in his writing. (A&E) The Adventures of Huckleberry Finn was published in 1884 and quickly became a novel of controversy for its intense language. (A&E) The novel is about a young white boy and runaway slave who take on the Mississippi River and experience a wide variety of adventures. Along the way Huck finds himself fighting an internal battle of his morals vs. his conscience. According to Gemma Marshall not only was it a controversially themed book based on race, but a story of a young boy’s battle within himself to join society or follow his heart in the matters of black people. After reading the novel, I found myself drawn to Huck and his internal struggle. I found it to be a novel that can overwhelm you with different emotions that sneak up on you. Huckleberry Finn is about a young white boy named Huck and a runaway slave named Jim who travel on the Mississippi River seeking freedom. You can quickly see Huck’s contempt for a civil life style and his irritations with the “do as I say not as I do” environment he is in. At this point Mark Twains establishes that internal battle between Huck’s morals and his conscience. The book introduces a variety of characters, which throughout the story will affect Huck’s life and this internal struggle. As you are introduced to Jim, the runaway slave, you will quickly see how regardless of...
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...through one’s head” states Mark Twain in his autobiography (Twain, Wit 78). Twain certainly had a “storm of thoughts,” but he was able to eloquently and succinctly put those thoughts onto paper. Because he wrote a combination of fiction and nonfiction, it is difficult to categorize Mark Twain as an author. According to Neil Schmitz, Mark Twain was, “a southern humorist gone over, not just a deserter, a dissenter, but a literary scalawag, a southern writer in unionist discourse and narrative” (91). Most people recognize Twain’s brief, witty, straightforward proverbs that are often quoted today. He also wrote many novels, a few nonfiction books, a plethora of short stories, and essays. Mark Twain uses a variety of rhetorical devices including carefully chosen, colorful language, satirical tone, and unique symbolism to entertain and to enlighten his readers about the moral dilemmas and the beauty of the America he knew. According to Ernest Hemingway, all of American literature comes from one great book, Twain’s The Adventures of Huckleberry Finn (Twain, Huck Finn vii). Although this statement may seem hyperbolic, it does indicate the important place Mark Twain holds in American literature. Early Nineteenth century American writers tended to try to write like English writers with flowery, ostentatious language (Schmitz 100). Twain’s writing style was innovative when it was written and is still absolutely unique. He writes with simple prose and careful word choice. Each word...
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...Disliking Books, which is written by Gerald Graff, is about his struggle to comprehend literary novels. Literature and history were Graff’s least preferred subject because there didn’t seem to be any obvious logic behind the subject matter. Graff shares his experiences with his students in his discussion topics in his role as a college English professor. Graff grew up inside of an educated Jewish family, with a fear of being assaulted by local schoolboys due to his geological location and academic abilities. Graff’s father, who was educationally accomplished, was discouraged by Graff’s willingness to read the texts his father thought were beneficial to Graff’s future. The books Graff’s father forced him to read were clearly irrelevant to...
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...Proving Hemingway Wrong Ernest Hemingway made a quote stating that all American writing came from “one book by Mark Twain, Huckleberry Finn” and that there was no American Literature before the book. Hemingway was wrong because, American Literature is written works that are created by utilizing the English language and based off of the culture and history of America. It is true that in the period before Huckleberry Finn, British and European writers influenced the majority of the literature produced. But, as America found its identity while settling in the new found land, so where the early American writers. Moreover, some of the literature produced before Huckleberry Finn is American Literature because it does contain the essential elements...
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...stories, folk tales, poetry, and plays. • Nonfiction excerpts include readings from reviews, essays, articles, speeches, biographies, business documents, and articles about the visual arts. The test consists of 40 multiple-choice questions. • 30 of the questions come from fiction readings. • 10 of the questions come from nonfiction readings. There are seven passages. • Three of the passages are from prose fiction (novels, short stories, and folk tales). • Poetry and plays have one passage each. • Nonfiction has two passages. There are three literary time periods. One passage comes from each of these periods: • Before 1920 • 1920-1960 • After 1960 The following reading skills are tested: • Comprehension—identifying the main idea, the purpose of a selection, supporting details, and using context clues to discover the meaning of unknown words 2 • • • Application—applying ideas to a new context Analysis—recognizing the way material is organized, including identifying inferences, figurative language, and knowing an author’s style or tone Synthesis—combining understanding of passage with extra information you bring to the passage, looking at an author’s style, tone, point of view, and purpose The number of questions you answer in each reading skill area is as follows: • Comprehension 8 questions • Application 6 questions...
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...Robert Sternberg’s Triarchic Theory of Intelligence Sternberg described three different kinds of intelligence in his model: * Analytical Intelligence (Componential) * Creative Intelligence (Experiential) * Practical Intelligence (Contextual) Applications of the Concept of Successful Intelligence: Triarchic Teaching For Analytical Thinkers… * Analyze (a literary plot, a theory in the sciences, a mathematical problem) * Compare and Contrast (two characters in a novel, two systems of government, the styles of two artists) * Evaluate (a poem, a cultural custom, a strategy in tennis) * Explain (the use of grammar in a sentence, your interpretation of an historical event, the solution to a scientific problem) Analytical Thinkers: “I like…” * Analyzing characters when I’m reading or listening to a story * Comparing and contrasting points of view * Criticizing my own and others’ work * Thinking clearly and analytically * Evaluating my and others’ points of view * Appealing to logic * Judging my and others’ behavior * Explaining difficult problems to others * Solving Logical problems * Making inferences and deriving conclusions * Sorting and classifying * Thinking about things Outcomes of Teaching for Analytical Intelligence Analytical instruction and assessment should enable students to: * Identify the existence of problems * Define the problems * Allocate resources...
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...4141- 4141--- Cherished and Cursed:Towarda Social History of The Catcher in the Rye STEPHEN J. WHITFIELD THE plot is brief:in 1949 or perhaps 1950, over the course of three days during the Christmas season, a sixteen-yearold takes a picaresque journey to his New YorkCity home from the third private school to expel him. The narratorrecounts his experiences and opinions from a sanitarium in California. A heavy smoker, Holden Caulfield claims to be already six feet, two inches tall and to have wisps of grey hair; and he wonders what happens to the ducks when the ponds freeze in winter. The novel was published on 16 July 1951, sold for $3.00, and was a Book-of-the-Month Club selection. Within two weeks, it had been reprinted five times, the next month three more times-though by the third edition the jacket photographof the author had quietly disappeared. His book stayed on the bestseller list for thirty weeks, though never above fourth place.' Costing 75?, the Bantam paperback edition appeared in 1964. By 1981, when the same edition went for $2.50, sales still held steady, between twenty and thirty thousand copies per month, about a quarter of a million copies annually. In paperback the novel sold over three million copies between 1953 and 1964, climbed even higher by the 1980s, and continues to attract about as many buyers as it did in 1951. The durabilityof The author appreciates the invitationof Professors Marc Lee Raphaeland Robert A. Gross to present an early version...
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...Specimen Papers and Mark Schemes for English Literature For first AS Examination in 2009 For first A2 Examination in 2010 Subject Code: 5110 Contents Specimen Papers Assessment Unit AS 2 Assessment Unit A2 1 Resource Booklet Assessment Unit A2 2 1 3 9 15 25 Mark Schemes Assessment Unit AS 2 Assessment Unit A2 1 Assessment Unit A2 2 29 31 61 95 Subject Code QAN QAN 5110 500/2493/0 500/2421/8 A CCEA Publication © 2007 Further copies of this publication may be downloaded from www.ccea.org.uk Specimen Papers 1 2 ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 English Literature Assessment Unit AS 2 assessing The Study of Poetry Written after 1800 and the Study of Prose 1800-1945 SPECIMEN PAPER TIME 2 hours INSTRUCTIONS TO CANDIDATES Write your Centre number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer one question from Section A and one question from Section B. Section A is open book. INFORMATION FOR CANDIDATES The total mark for this paper is 120. All questions carry equal marks, ie 60 marks for each question. Quality of written communication will be assessed in all questions. 3 Section A: The Study of Poetry Written after 1800 Answer one question on your chosen pairing of poets. Heaney: Opened Ground Montague: New Selected Poems 1 John Montague and Seamus Heaney both write about the Irish past. Compare and contrast the two poets’...
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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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...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 Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights...
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...motives are clear, and many of the themes are as current today as they were in Shakespeare’s time. Therefore, it can be read on a variety of levels, allowing all students to enjoy it. Less able readers can experience the swash-buckling action and investigate the themes of parent-child conflict, sexuality, friendship, and suicide. Because of the play’s accessibility to teenagers, able readers can view the play from a more literary perspective, examining the themes of hostility ad its effect on the innocent, the use of deception and its consequences, and the effects of faulty decision making. They can study how the characters function within the drama and how Shakespeare uses language to develop plot, characters, and themes. The most able students can develop skills involved in literary criticism by delving into the play’s comic and tragic elements and its classically tragic themes: the role of fate and fortune, the inevitable nature of tragedy, and the isolation of the tragic hero. This teacher’s guide will be divided into several parts: (1) a brief literary overview, including a synopsis and commentary on the play; (2) suggestions for teaching the play, including activities, discussion questions, and essay topics to be used before, during, and...
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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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...…………………………………………... 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 of Sentence Members. Rhetorical Question. Types of Repetition. Parallel Constructions. Chiasmus. Inversion. Suspense, Detachment. Completeness of Sentence Structure. Ellipsis. One-Member Sentences. Apokoinu Constructions...
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...…………………………………………... 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 of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement of Sentence Members. Rhetorical Question. Types of Repetition. Parallel Constructions. Chiasmus. Inversion. Suspense, Detachment. Completeness of Sentence Structure. Ellipsis. One-Member Sentences. Apokoinu Constructions...
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