...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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...SAY IT AIN’T SO, HUCK: A SECOND LOOK AT MARK TWAIN’S “MASTERPIECE” Jane Smiley’s analysis gives a very controversial view on The Adventures of Huckleberry Finn due to its subdued thoughts upon what is known to many as classical American literature. Her essay concerns other author’s inspections about the issues upon slavery, and how differently they are represented in other works of literature. Smiley makes her point known that although Huck Finn is what most view as a great novel; she disagrees and states that Harriet Beecher Stowe’s novel Uncle Tom’s Cabin is more useful as a tool to learn about the problems dealing with slavery. From the beginning to the end of the essay, Smiley’s initial intention to bringing Mark Twain’s novel into to spot light changes. Her essay that was supposed to support Mark Twain moves more interest upon Uncle Tom’s Cabin, and seems to have replaced the luster of Huck Finn completely. She also is under the impression that the character Jim, the runaway slave also Huck’s companion in all of their misadventures was treated so poorly that the the novel as a whole doesn’t stand as an attack on racism at all. Perhaps, she must of read a different book than I, or she maybe had a few too many glasses of wine whilst reading and became over sensitive to the situation. I wish she would have given examples on how Huck’s actions should have played out towards Jim that would make her feel like the novel did suffice. The fact that Huck had several opportunities...
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...Adventures of Huckleberry Finn’ to show what is revealed about characters and themes Huckleberry Finn is an American Novel written by Mark Twain which was published in 1885. It is one of the first books ever to be written in dialect. In this essay, I will be specifically focussing on the final chapter of the novel and will be showing how the language reveals key points about the characters and themes. Throughout the novel, Jim is constantly referred to as a ‘nigger’. However Huckleberry calls him by his real name, Jim. This shows how Huckleberry values Jim more as a person compared to other people. It shows how spending all this time together has made a special connection and bond between them. Jim has been a father figure to Huckleberry as well as a friend for the whole journey and it plays a powerful role in the novel. In the final chapter, it is very clear to see that Tom Sawyer is an imaginative individual who is adventurous, and is obsessed with wild plans taken from the plots of adventure novels. This is shown when Huck says “And then Tom he talked along and talked along, and says le’s all three slide out of here one of these nights and get an outfit, and go for howling adventures amongst the Injuns…” The use of the adjective ‘howling’ when describing the adventures shows how wild Tom is as a person and a character in the novel. He wants to experience the extreme and nothing less. It is obvious to us that Tom serves as a foil to Huckleberry. He shows Huck to be better than him...
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...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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...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 is carefully selected and each sentence is meticulously crafted. Twain writes, “The difference between the almost right word and the right word is really a large matter--it's the difference between the lightning bug and the lightning” (Twain, Wit 71)....
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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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... the crowd cannot prove that the real Wilkses are indeed who they say they are. To put an end to the situation, the real Harvey declares he knows of a tattoo on his brother’s chest, asking the undertaker who dressed the body to back him up. But after the dauphin and Harvey each offer a different version of the tattoo’s appearance, the undertaker surprises everyone by telling the crowd he saw no tattoo. The mob cries out for the blood of all four men, but the lawyer instead sends them out to exhume the body and check for the tattoo themselves. The mob carries the four Wilks claimants and Huck with them. The mob is in an uproar when the $6,000 in gold is discovered in the coffin. In the excitement, Huck escapes. Passing the Wilks house, he notices a light in the upstairs window and thinks of Mary Jane. Huck steals a canoe and makes his way to the raft, and he and Jim shove off once again. Huck dances for joy on the raft. His heart...
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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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...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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...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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...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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...GLENCOE LANGUAGE ARTS Grammar and Language Workbook G RADE 9 Glencoe/McGraw-Hill Copyright © by The McGraw-Hill Companies, Inc. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or means, or stored in a database or retrieval system, without the prior written permission of the publisher. Send all inquiries to: Glencoe/McGraw-Hill 936 Eastwind Drive Westerville, Ohio 43081 ISBN 0-02-818294-4 Printed in the United States of America 1 2 3 4 5 6 7 8 9 10 024 03 02 01 00 99 Contents Handbook of Definitions and Rules .........................1 Troubleshooter ........................................................21 Part 1 Grammar ......................................................45 Unit 1 Parts of Speech 1.1 Nouns: Singular, Plural, and Collective ....47 1.2 Nouns: Proper and Common; Concrete and Abstract.................................49 1.3 Pronouns: Personal and Possessive; Reflexive and Intensive...............................51 1.4 Pronouns: Interrogative and Relative; Demonstrative and Indefinite .....................53 1.5 Verbs: Action (Transitive/Intransitive) ......55 1.6 Verbs: Linking .............................................57 1.7 Verb Phrases ................................................59 1.8 Adjectives ....................................................61 1.9 Adverbs........................................................63 1.10 Prepositions...
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