...In Lord of the Flies, author William Golding uses figurative language at the end of chapter nine to illustrate that the goodness and peacefulness Simon once brought to the island full of chaos and savage boys, has now vanished and washed into the sea along with his dead body. No matter Simon’s beauty, he can’t turn the boys to good. Simon, after passing out from dehydration and experiencing vivid hallucinations, stirs awake, only to realize he’s been out in his serene hideout for quite awhile. He then decides to snap back to reality and begin looking for the beast on top of the mountain. When he finally arrives to the mountaintop, he discovers a dead, decaying parachuters body with its strings tangled in the various trees, moving about the wind. Simon...
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...In "Lord Of The Flies", William Golding shows how the boys transforms there perspective about things without having the rules from adults. The Conch symbolizes the last hope to maintain civilization, building shelters. It is tragic when the boys are stranded on an island without any grown ups. The boys tend to struggle with what they need to do, how they're supposed to get rescued, and how to themselves safe from the wilderness. I wish that Golding would have told more of the story earlier then starting it out to be a plane crash. Where was the plane headed? What reason did the plane crash? What happened to the other British boys? He did an excellent job in chapter one describing Piggy's and Ralph's body figures and the landscape surrounding them....
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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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...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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...elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory: Where every aspect of a story is representative, usually symbolic, of something else, usually a larger abstract concept or important historical/geopolitical event. Lord of the Flies provides a compelling allegory of human nature, illustrating the three sides of the psyche through its sharply-defined main characters. Antagonist: Counterpart to the main character...
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...The society shaped Belinda and Baron in The Rape of the Lock It all began in the 1712 when the infamous Lord Robert Petre cut a lock of hair mistakenly from the head of his beloved Arabella Fermor, and set off a chain of events that led Alexander Pope to write one of his most famous poems, The Rape of the Lock. Pope’s main purpose was to make fun of two lovers and solve the social crisis that had resulted; however Pope accomplished something else as well. Hidden inside his poem is a cunning criticism of the society that helped create the catastrophe over the stolen lock in the first place. Pope’s classical beliefs in God as the source of identity were profoundly challenged by the society in which he lived, where appearances were more important that a person’s sense of identity. On the surface, The Rape of the Lock appears to be simply a humorous poem making light of a real event. Pope uses the depiction of Belinda and the Baron, through the stereotyping of gender roles and the frequent use of irony, to show the inability to gain “true” identity in the existing social world of his day. By simultaneously criticizing Belinda and portraying her as the “hero”, a double meaning is achieved. Pope successfully uses Belinda as a commentary through his use of irony about the superficiality of her world and by pointing out the gender stereotypes inherent in it. To prove his point, Pope must first illustrate Belinda as the goddess she believes to be. Throughout the poem, Belinda...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S MACBETH LINDA NEAL UNDERWOOD S E R I E S E D I T O R S : W. GEIGER ELLIS, ED.D., ARTHEA J. S. REED, PH.D., UNIVERSITY OF GEORGIA, EMERITUS and UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s Macbeth 2 INTRODUCTION William Shakespeare developed many stories into excellent dramatizations for the Elizabethan stage. Shakespeare knew how to entertain and involve an audience with fast-paced plots, creative imagery, and multi-faceted characters. Macbeth is an action-packed, psychological thriller that has not lost its impact in nearly four hundred years. The politically ambitious character of Macbeth is as timely today as he was to Shakespeare's audience. Mary McCarthy says in her essay about Macbeth, "It is a troubling thought that Macbeth, of all Shakespeare's characters, should seem the most 'modern,' the only one you could transpose into contemporary battle dress or a sport shirt and slacks." (Signet Classic Macbeth) Audiences today quickly become interested in the plot of a blindly ambitious general with a strong-willed wife who must try to cope with the guilt engendered by their murder of an innocent king in order to further their power. The elements of superstition, ghosts, and witchcraft, though more readily a part of everyday life for the Renaissance audience, remain intriguing to modern teenagers. The action-packed...
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...lexis ‘word’ and|The term “etymology” comes from |Types of word meaning |the course of the historical |word does not present an indivisible|Homonyms are words that sound alike | |logos ‘learning’) is the part of |Greek and it means the study of the |(classifications): |development of language. Causes of |unity, nor does it necessarily stand|but have different semantic | |linguistics dealing with the |earlist forms of the word. Now |According to the aspect relation of |Semantic Change |for one concept. It is generally |structure. The problem of homonymy | |vocabulary of the language and the |etymology studies both: the form and|a word to the components of the |extra-linguistic — various changes |known that most words possess a |is mainly the problem of | |properties of words as the main |the meaning of borrowed and native |situation where it is used: |in the life of the speech community,|number of meanings. Polysemy – |differentiation between two | |units of language. |words. As for English language many |Referential meaning — determined by |changes in economic and social |coexistence within one word several |different semantic structures of | |Lexicology has an object of its |scientist consider the foreign |the relation of...
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...ISLAM - THE WORLD POWER OF THE FUTURE? Table of Contents In the 19th century Islam had virtually disappeared from view in Europe and America. Only a few Westerners in distant colonies had been exposed to Muslims. Some romantic tales about the Turkish wars survived. However, the rapid technological developments in the West had by-passed the Islamic peoples, making them appear insignificant. But not much time has passed since Europe was last in danger of being overrun by Islam. In the year 1453 Constantinople, the Eastern bulwark of Christianity, was captured by the Ottomans. Later in 1529 and again in 1683 the Turks stood at the gates of Vienna. The struggle to free Belgrade lasted almost 200 years; and it was only a short time before the First World War when the last Balkan countries were able to shake off the Islamic Turkish yoke. For 600 years Islam and Christianity have wrestled with each other in that area. Many Christians have forgotten that Syria and North Africa were once the heartland of the Christian world! But during the first Islamic invasions in the years AD 632 to 732 they were overrun and fell under Arab control. Muslim armies swept into Western Europe and stood no more than 200 kilometres south of Paris, and near Geneva, too. If Charles Martel had not stood firm we would likely all be Muslims today! Nietzsche, the atheist, ventured to say sarcastically, "The greatest mistake in world history was the defeat of the Arabs at Tours and Poitiers." The third great...
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...persuasiveness of assertive language (as in Nike’s slogan “Just do it”) as compared to nonassertive language (as in Microsoft’s slogan “Where do you want to go today?”). Previous research implies that assertive language should reduce consumer compliance. Two experiments show that assertiveness is more effective in communications involving hedonic products, as well as hedonically advertised utilitarian products. This prediction builds on sociolinguistic research addressing relationships between mood, communication expectations, and compliance to requests. A third experiment reaffirms the role of linguistic expectations by showing that an unknown product advertised using assertive language is more likely to be perceived as hedonic. C onsumers are often exposed to forceful messages and imperative slogans such as Nike’s “Just do it,” Sprite’s “Obey your thirst,” or U.S. Airways’ “Fly with US.” The frequent use of assertively phrased messages is puzzling, given the mounting research in consumer behavior (e.g., Dillard and Shen 2005; Fitzsimons and Lehman 2004; Lord 1994), communications (e.g., Kellerman and Shea 1996; Quick and Considine 2008; Quick and Stephenson 2007; Wilson and Kunkel 2000), and sociolinguistics (e.g., Levine and Boster 2001; Sanders and Fitch 2001), which suggests that these messages should lower consumer readiness to comply. To understand the unexpected prevalence of assertive language, we turn to sociolinguistic literature on the language used in compliance-seeking...
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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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...IMPORTANT This electronic version of The Century Vocabulary Builder (1922) has been prepared by Serenson Pty Ltd for www.write-better-english.com. This PDF follows the pagination of the original (hard copy) book and includes hypertext links that we have inserted, which look like this. Please do not remove links. Reformatting the original text into this PDF has been no easy task; it is possible that the process has introduced errors or caused omissions. As a result, we make no guarantee about the accuracy or completeness of this version of the Vocabulary Builder. If you find an error or omission in this PDF, please check the original book and contact us so that we can fix the error or omission. Please check your local copyright laws before accessing this PDF. If you are serious about building your vocabulary, we highly recommend you try the popular vocabularybuilding program called Ultimate Vocabulary Want the ultimate vocabulary builder? Click www.write-better-english com/ultimate-vocabulary.aspx THE CENTURY VOCABULARY BUILDER BY GARLAND GREEVER AND JOSEPH M. BACHELOR NEW YORK THE CENTURY CO. Want the ultimate vocabulary builder? Click www.write-better-english com/ultimate-vocabulary.aspx PREFACE You should know at the outset what this book does not attempt to do. It does not, save to the extent that its own special purpose requires, concern itself with the many and intricate problems of grammar, rhetoric, spelling, punctuation, and the like; or clarify...
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...-Mr. Braiman Brooklyn High School of the Arts www.mrbraiman.com http://handbook.mrbraiman.com “EVIL” Welcome to my evil classroom lair. In order to become full-fledged evil “minions,” you need to read this handbook carefully. It explains everything you need to know. “English,” as you may know, is shorthand for “English Language Arts.” Being that we are in an Arts school, but one where academics must and always do come first, it is important that we approach the subject as what it is: an art form. How does one study the arts? What exactly do we do when we study drawing, sculpture, music, or dance? Well, anyone who has studied the arts will tell you that studying the arts essentially involves two things: • Learning about, and developing an awareness of and appreciation for, existing works of art in that particular form; • Developing the skills and techniques associated with the art form, in order to create our own works. In the case of language arts, much like any other art form, we will be studying existing works of art (i.e., reading books, stories and poems), and developing the skills to produce our own (i.e., writing). That’s what English Language Arts is. We will also be preparing ourselves for New York State’s Regents Comprehensive Examination in English, which we’ll all be taking in June. This two-day, six-hour, four-part exam requires no specific knowledge or content, but it does require the skills to listen, read, understand, respond, interpret, analyze, and of course...
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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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