...Eternity is an inexplicable subject that lies beyond the human’s knowledge and power, which gradually diminish as faith and belief are the only remnant forces that guide human to the afterlife. Jonathan Edwards, the author of Sinners in the Hands of an Angry God, and Anne Bradstreet, the author of Verses upon Burning of our House, both exemplify Puritan literature that reflects contemporary ideals and beliefs in the extraterrestrial life, embracing God as the ultimate deity who is responsible for salvation. Even though Edwards and Bradstreet share a veneration of God, their perceptions of God are contrasting, resulting in varying religious perspectives and literature voices that can be easily distinguished. The sermon Sinners in the Hands of an Angry God was written by Jonathan Edwards, a minister at a church in Northampton, to enlighten the congregation on its members’ behaviors. As he employs a logical...
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...Often in the sermons ministers pastors persuade their audience in a spiritual or more fashion such as Jonathan Edwards wanted to affect his audience by appeal , to their fears , pity, and vanity . Edwards had an huge impact on his Puritan audience because of his encouraging tone , visual imagery and symbolic figurative language. For Edwards use of authoritative tone where he says "We find it easy to tread on and crush a worm that we see crawling on the earth " that was one of his saying that had an strong impact to his Puritan audience because of the meaning it has to it , how easy it is for God to just cut their life just like that it also appeals to the audience because it give them an actual clear understanding of what he means by that and which will also...
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...revivalist speaker, Jonathan Edwards, in his sermon, “Sinners in the Hands of an Angry God” (July 8, 2014) persuades that his audience is doomed to hellfire if they fail to head his message of repentance. He supports his claim by first using angry and fear inducing diction that is full of imagery, then he uses figurative language to emphasis the images and experiences of hell, and finally he shifts the tone at the end to provide hope for salvation. Edwards’ purpose is to convert individuals in order to bring more people to his view of salvation. He creates an aggressive and fearful tone for an audience of Christians that he believes is sinful and must repent. In order to create strong diction, Edwards uses long, powerful sounding words to put authority, fear, and describe images in his sermon. Since this passage is meant to be heard, and not read, these words sound strong when spoken aloud, especially with a harsh voice, like Edwards most likely did to evoke fear. Examples of this include: “lake of burning brimstone” (14), “the floods of God’s vengeance” (46), and “punishment will indeed be infinite” (101), each of these phrases, along with many others in the sermon, uses words that one should fear, like vengeance, which means inflicted punishment. Some of these phrases threaten the reader with punishment and eternal suffering; this is where he uses diction to describe the images of where the sinners will end up, in order to persuade the audience. Edwards uses several types...
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...and south…” (Edwards 44). In 1741, Jonathan Edwards was an abrupt pastor to the Puritans. The mission of the sermon “Sinners in the Hands of an Angry God” was to make the unconverted men into believers of Christ. In the sermon, Edwards tried to reach his congregation through the words he spoke, the way he presented his sermon, and through the emotions the Puritans felt during the sermon. Throughout Edwards’ sermon, he establishes the use of the rhetorical devices ethos, pathos, and logos to enlighten his congregation on his mission to convert the “unborn”. The first rhetorical device found and analyzed is pathos. Edwards used pathos to reach down into the hearts of his audience and make them feel some sort of emotion. According to the National Math and Science Initiative (NMSI) handout, pathos is the “appeal to the audience’s emotions,” and can be represented through “humor”, “imagery”, and “figurative language” (“Using” 13). An example from “Sinners in the Hands of an Angry God” is when Edwards stated “ten thousand more abominable in his eyes, than the most hateful venomous serpent is in ours” (42). This example gave the audience the emotion of fear. He did not...
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...In 1741 a Puritan preacher, Jonathan Edwards, delivered a sermon, “Sinners in the Hands of an Angry God,” to a congregation in Enfield, Connecticut. He moved many people and helped them turn to Jesus Christ as their savior and helped them learn that they could trust Jesus Christ. In “Sinners in the Hands of an Angry God”, Edwards applies each rhetorical appeal in his sermon to connect with his congregation. The whole purpose of Edwards’ sermon was to try and get all the unsaved men in his congregation to trust in Jesus Christ as their Savior and to be converted. He was a very persuasive man who successfully reached out to his congregation. He did so by coming in contact with many people’s personal lives and making them think hard about why...
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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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...of Moldova State Pedagogical University “Ion Creangă” Foreign Languages and Literature Faculty English Philology Department DIPLOMA PAPER Figurative Language, Language Shaped by Imagination in Katherine Mansfield’s Short Stories Submitted by: the 4th year student Paşcaneanu Mariana Group 404 Scientific adviser: Tataru Nina Senior Lecturer Chişinău 2012 Contents INTRODUCTION 2 CHAPTER I: SHORT STORY AS A FORM OF FICTION 5 I.1.Common Characteristics of a Short Story as a Form of Fiction. Its Plot and Structure. 5 I.2. Figurative Language. Definition. Function. 9 I.3. Imagery – Language that Appeals to the Senses 11 I.3.1. Simile, Metaphor and Personification. 13 1.3.2. Symbol and Symbolism. 26 I.3.3 Allegory. 30 CHAPTER II: LANGUAGE SHAPED BY IMAGINATION IN K. MANSFIELD’S SHORT STORIES 36 II.1. Figurative Language, Symbolism and Theme in "Her First Ball": 37 II.2. Katherine Mansfield – Techniques and Effects in A Cup of Tea. 41 II.3. Literary Colloquial Style in “Miss Brill” by K. Mansfield. 49 II.3.1. Lexical features—Vague Words and Expressions 49 II.3.2 Syntactical and Morphological Features 52 II.3.3 Phonological Schemes of the Figures of Speech 55 II.4. Simplifying Figurative Language in K.Mansfield’s Short Stories 60 CONCLUSION 64 BIBLIOGRAPHY 66 APPENDIX 70 INTRODUCTION Figurative Language is the use of words that go beyond their ordinary meaning. It requires...
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...Class ARH - 4662 “Velazquez and the Golden Age” Title: “Bukery Venus” (Venus at Her mirror) Dimensions: 4’0” x 5’ 10” (1.22m x 1.77 mm), Year: 1645-1651, Media: Oil paint The Golden Age in Spain has been characterized as an artistic and literary period that extended from the Renaissance to the Baroque. History has recorded it as the period that reached the greatest literary flourishing in Spain thus earning it the title of "The Golden Age." The invaluable developments that followed this esthetic movement triggered a relevant prestige in many Spanish people's lives that felt absorbed and totally part the new movement that was leading the 16th and the 17th centuries in Europe, by combining cultural and economic advances. On the other hand and from a historic and social point of view, it should be mentioned that this period was also marked by the Counter-Reformation of the Catholic Church, along with many religious movements aimed at reaffirming Christian beliefs. From the point of view of culture, art and literature were leading the years of the Golden Age; as a result, the Hispanic letters, along with other writings published during this period have to endure contributions to the Universal Literature. The blooming of the Golden Age brought the glory to Spain in terms of artistic developments, where beautiful and unique writings, such as prose, poetry, and drama plays were taking the leadership up front. Especially the plays became characterized as a concentric and constant diffusion...
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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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...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 of the author...
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...LICENCE LANGUES, LITTÉRATURES ET CULTURES ÉTRANGÈRES ET RÉGIONALES SPÉCIALITÉ ANGLAIS DESCRIPTIF DES ENSEIGNEMENTS Année universitaire 2014-2015 Page 1 SOMMAIRE L1—PREMIERE ANNÉE SEMESTRE 1 CULTURE DES PAYS ANGLOPHONES 1 E11 AN5 (6 ECTS) LANGUE 1 E12 AN5 (4 ECTS) CIVILISATION 1 E13 AN5 (4 ECTS) VERSION 1 ET LITTÉRATURE AMÉRICAINE 1 E14 AN5 (4 ECTS) PROJET PROFESSIONNEL PERSONNALISÉ (P.P.P.) E1P AN5 (1 ECTS) 5 5 6 8 10 13 SEMESTRE 2 CULTURE DES PAYS ANGLOPHONES 2 E21 AN5 (5 ECTS) LANGUE 2 E22 AN5 (4 ECTS) LITTÉRATURE BRITANNIQUE 2 E 23 AN5 (4 ECTS) CIVILISATION BRITANNIQUE 2 ET TRADUCTION (VERSION) 2 E24 AN5 (5 ECTS) PROJET PROFESSIONNEL PERSONNALISÉ (P.P.P.) E2P AN5 (1 ECTS) 14 15 17 18 20 2 L2—DEUXIEME ANNÉE SEMESTRE 3 LANGUE 3 E31 AN5 (6 ECTS) CIVILISATION AMÉRICAINE 3 E32 AN5 (5 ETCS) LITTÉRATURE BRITANNIQUE 3 E33 AN5 (5 ECTS) TRADUCTION (VERSION) 3 ET PRISE DE PAROLE EN CONTINU 3 E34 AN5 (6 ECTS) PREPROFESSIONNALISATION : MÉTIERS DE L’ENSEIGNEMENT DES LANGUES VIVANTES ÉTRANGÈRES ET RÉGIONALES 3 21 21 23 24 26 29 E3PF12L5 (6 ECTS) SEMESTRE 4 LANGUE 4 E41 AN5 (5 ECTS) CIVILISATION BRITANNIQUE 4 E42 AN5 (6 ECTS) LITTÉRATURE AMÉRICAINE 4 E43 AN5 (5 ECTS) TRADUCTION (VERSION) 4 ET PRISE DE PAROLE EN CONTINU 4 E44 AN5 (6 ECTS) PREPROFESSIONNALISATION : MÉTIERS DE L’ENSEIGNEMENT DES LANGUES VIVANTES ÉTRANGÈRES ET RÉGIONALES 4 30 32 34 36 39 E4PF12L5 (6 ECTS) 3 L3—TROISIEME...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...heories about how young children acquire and develop language Young children become amazingly proficient communicators during the first three years of life. As the Birth to Three Matters framework points out, they use 'the hundred languages of children' - body language (including facial expressions and dance); sign language (their own and family inventions as well as an officially recognised sign language); painting, drawing and mark-making; and oral expression. They have been acutely active listeners since their days in the womb, where they learned to recognise the speech patterns, tunes and tones of the languages used in their home contexts. Language theory research informs us that young children's language development is influenced by many factors, including having sensitive adults and older children around them who will listen and attend to their expressions and who will use and model appropriate language themselves. This has been called 'Motherese' by researchers led by Cathy Snow. Children's babbling during their first year includes the sounds of every world language and 'crib talk' demonstrates their intense interest in the sounds they hear around them. Although children with a hearing loss will stop babbling, if they grow up in a home with parents who can sign, they will follow the same patterns of development using their first language - signing - and will sign their first word at around the same age that hearing children speak theirs. Between two and three years...
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...Signs appear in everyday contemporary societies. Signs are saturated with a lot of meanings and they relate to any language and are there to make us understand things through relating words with concepts like the word ‘silence’ which is a sign of communication that is indicative of meaning and it is ideological, it is also power to talk. Sign theory is an eccentric war of communication. It focuses on the discourse analysis where it focuses on language, power and ideology. Intelligence services are a key component of every state and their mandate is to ensure the security of states and they make use of the sign theory to supply the policy makers with information or intelligence which is fundamental in the policy making process. Evaluation and analysis’ role is to cast information into its proper intelligence framework and in the process minimising being biased. If evaluation and analysis is quality the intelligence given to policy makers will help policy makers to come up with quality policies and if the evaluation and analysis is poor obviously the policy makers will come up with ineffective policies. There are repercussions if intelligence services fail to analyse. Sign theory help in deductive, inductive and abductive types of reasoning. In this discourse I will define the sign theory, evaluation, analysis, four tools of analysis and the implications of sign theory to evaluation and analysis as a process which is scientific, logical, methodological and verifiable. Theory is...
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...external embellishments must submit to the fate of just sentiments meanly expressed, and be ridiculed and forgotten before he is understood. --Samuel Johnson Men must be taught as if you taught them not; And things unknown propos'd as things forgot. --Alexander Pope Style in painting is the same as in writing, a power over materials, whether words or colors, by which conceptions or sentiments are conveyed. --Sir Joshua Reynolds Whereas, if after some preparatory grounds of speech by their certain forms got into memory, they were led to the praxis thereof in some chosen short book lessoned thoroughly to them, they might then forthwith proceed to learn the substance of good things, and arts in due order, which would bring the whole language quickly into their power. --John Milton Introduction Good writing depends upon more than making a collection of statements worthy of belief, because writing is intended to be read by others, with minds different from your own. Your reader does not make the same mental connections you make; he does not see the world exactly as you see it; he is already flooded daily with thousands of statements demanding assent, yet which he knows or believes to be false, confused, or deceptive. If your writing is to get through to him--or even to be read and considered at all--it...
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