...the truth is limited by our own knowledge. • Alliteration “m” sounds: mumbling,confused, remembering. • Peach || biblical apple. ( symbolic of loss of innocence. • 1 stanza – stream of consciousness • The haziness of the memory gives the impression that hughes is being truthful, although gives the impression of incomplete or disjointed truths. Also allows hughes to utilise creative license. • Juxtaposition of initial haziness with final, clear, peach image. Precise image, if hughe’s can remember the peach he is being truthful about not recalling the photograph. • Appearance vs reality, as when hughe’s described plath’s appearance – “your veronica lake bang – not what it hid.” The picture presents one image but hughes “knows” the “truth.” • Photograph – photographs only show their subjects from the outside: appearance vs. Reality, public appearance ,’. It’s effect on truth. • Appearances aren’t all-telling, neither is the truth – omissions can be made/unseen. • What we find important we remember best. • His construction of the event is inevitably affected by his knowledge of the future. • Plath’s “mask” to the world presented in the photograph – perpetuated a ‘lie.’ • Final lines...
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...English 2328 Spring 2011 Unit Two: Early Twentieth Century Review Sheets |Survey Highlights |Modernism in American Literature |Imagism, Imagery, Image | |Major Authors |Some distinguishing characteristics— |From Pound's "A Retrospect": | |Historical Context |Rejection of traditional values and assumptions, in society and art. |—Three principles of Imagism: | |Intellectual Movements |Strong break with traditional literary forms and techniques of |1. Direct treatment of 'thing' whether subjective or objective. | |Genres, Elements of Literature |expression. |2. To use absolutely no word that does not contribute to the | |Authors |—Avant-garde, innovative |presentation. | |Robert Frost, Ezra Pound, and T. S. Eliot |—Frost's "old-fashioned way to be new" |3. As regarding...
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...Vietnam National University -HCMC International University School of Business Qualitative vs. Quantitative methods – Lê Hoàng Dũng, PhD DIFFERENT TYPES OF RESEARCH Exploratory Descriptive - Undertaken when few or no previous studies exist - Aim: to look for patterns, hypotheses or ideas that can be tested and will form the basis for further research - Typical techniques: observation case studies & reviews of previous related studies & data. - Used to identify and classify the elements or characteristics of the subject, - E.g. number of days lost because of industrial action. - Typical techniques: quantitative (used to collect, analyze & summarize data) Analytical Predictive - Often extends the descriptive approach to suggest or explain why or how sth. is happening - Aim: to speculate intelligently on future possibilities, based on close analysis of available evidence of cause & effect - E.g. predicting when and where future industrial action might take place - E.g. underlying causes of industrial action. - Important Feature: locate and identify the different factors (or variables) involved 10/8/2014 LHD-BRM-S6 2 QUALITATIVE RESEARCH Nature: exploratory used when we don’t know what to expect, to define the problem or develop an approach to the problem. used to go deeper into issues of interest and explore nuances related to the problem at hand seeks to determine the causes of human behaviors E.g. • life choices which result in shortened...
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...This paper aims at analyzing D.H. Lawrence’s ‘Sons and Lover’ using a stylistic approach. Stylistics is a study of the amalgamation of form with content. The stylistic analysis of a novel goes beyond the traditional, intuitive interpretation, because it combines intuition and detailed linguistic analysis of the text. The defining elements of modern language are within the text itself, not prescribed from outside. With modernist texts, usually understanding comes from close study of the language system defined within the text itself. Form, technique and style are considered not as a mere vehicle of the content of the story, but an integral part of the work’s meaning and value. In our analysis of ‘Sons and Lovers’ the resources of language: lexis, syntax, phonology, figurative language, cohesion and coherence, are discussed in relation to the style of discourse in order to explore hidden meanings in the text. The resources of language are shown to be an essential part of the meaning of the novel. Key words: stylistics, D.H. Lawrence, Sons and Lovers 1. Preliminaries Literary stylistics refers to the study of style used in literary language. It can be regarded as a study of the fusion of form with content. Brumfit and Carter (1986:3) see a certain overlap between Stylistics and Literary Criticism, the essential difference between the...
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...He walked in to the deliberation unprejudiced and open-minded about the evidence given during the trial Pathos: Appeal based on emotion. Emotional or motivational appeals to make your audience feel the way you want them to. Juror 8: • asked for an anonymous vote • couldn’t persuade the other jurors so asked to just take a vote Contrast: Make what you want someone to do more attractive by comparing it to another choice that is less attractive. Juror 8: • asks the jurors to imagine the accused was their child Know the audience and its predispositions: Know where your audience is coming from in order for you to know which angle you can best appeal to. Simplicity/Clarity: The message is boiled down to its essence and uses language and syntax that everyone can understand. (Keep It Simple Stupid) Juror 8: • demonstrated that the elderly man who was a witness, that limped because a recent stroke, couldn't possibly have gotten to the front door quick enough to positively ID the defendant Specificity/Detail: Be as specific...
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...THINKING ARABIC TRANSLATION _______________________________ A Course in Translation Method: Arabic to English Supplement James Dickins Contents: Supplement Introduction 1 1 Preliminaries to translation as a process 3 1.3.1 3 Annotation: gist, exegesis and rephrasing Practical 1.3 Gist translation: ﳑﺎ ﻫﻮ ﺟﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ 8 2 Preliminaries to translation as a product 9 2.1.1 2.1.5 2.2.2.1 2.2.2.2 Interlinear translation From interlinear to free translation Translation by omission Translation by addition 9 10 11 11 Practical 2.3 Literal vs. free translation: ﻣﻌﻠﻘﺔ ﻟﺒﻴﺪ 11 3 Cultural transposition 14 3.1 3.3 14 14 Basic principles Calque Practical 3.2 (extension) Cultural transposition: وﻟﻴﺲ ﻫﻨﺎك إﺧﺼﺎﺋﻲ Practical 3.3 Cultural transposition: وﻗﺎدﺗﻪ ﺧﻄﻮاﺗﻪ 15 15 4 Compensation 17 4.1 4.2 17 17 Basic principles Categories of compensation Practical 4.1 Compensation: ﻗﺪ ﳝﺮ وﻗﺖ ﻃﻮﻳﻞ 18 ii Contents: Supplement 5 Denotative meaning and translation issues 19 5.1 5.1.2 5.1.3 5.1.4 5.2 5.2.2 19 20 20 22 23 23 Denotative meaning Hyperonymy-hyponymy Particularizing translation and generalizing translation Partially overlapping translation Semantic repetition in Arabic List restructuring Practical 5.3 Semantic repetition, parallelism and list restructuring: إن اﻟﺮﺳﻮل اﻟﻜﺮﱘ 26 6 Connotative meaning and translation issues ...
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...coursebook introduces all the basics of semantics in a simple, step-bystep fashion. Each unit includes short sections of explanation with examples, followed by stimulating practice exercises to complete the book. Feedback and comment sections follow each exercise to enable students to monitor their progress. No previous background in semantics is assumed, as students begin by discovering the value and fascination of the subject and then move through all key topics in the field, including sense and reference, simple logic, word meaning, and interpersonal meaning. New study guides and exercises have been added to the end of each unit (with online answer key) to help reinforce and test learning. A completely new unit on non-literal language and metaphor, plus updates throughout the text, significantly expand the scope of the original edition to bring it up-to-date with the modern teaching of semantics for introductory courses in linguistics as well as intermediate students. JAMES R. HURFORD is Professor of General Linguistics, University of Edinburgh. BRENDAN HEASLEY is Consultant (Postgraduate Training), Sharjah Women’s College, United Arab Emirates. MICHAEL B. SMITH is Associate Professor of Linguistics, Oakland University. Semantics A Coursebook SECOND EDITION JAMES R. HURFORD Professor of General Linguistics, University of Edinburgh BRENDAN HEASLEY Consultant (Postgraduate Training), Sharjah Women’s College, United Arab Emirates MICHAEL B. SMITH Associate...
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...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. Break. Types of Connection. Polysyndeton. Asyndeton. Attachment Lexico-Syntactical Stylistic Devices. Antithesis. Climax. Anticlimax...
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... 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. Break. Types of...
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...REVISED Допущено Министерством высшего и среднего специального образования СССР в качестве учебника для студентов институтов и факультетов иностранных языков |[pic] |MOSCOW | | |"HIGHER SCHOOL" | | |1977 | TABLE OF CONTENTS Page Предисловие к первому изданию……………………………………………………..6 Предисловие к второму изданию……………………………………………………..7 Part I. Introduction 1. General Notes on Style and Stylistics…………………………………………9 2. Expressive Means (EM) and Stylistic Devices (SD)………………………...25 3. General Notes on Functional Styles of Language……………………………32 4. Varieties of Language………………………………………………………..35 5. A Brief Outline of the Development of the English Literary Standard Language……………………………………………………………………..41 6. Meaning from a Stylistic Point of View…………………………..…………57 Part II. Stylistic Classification of the English Vocabulary 1. General Considerations………………………………………………………70 2. Neutral, Common Literary and Common Colloquial Vocabulary…………..72 3. Special Literary...
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...Economist, Dec 13th, 2007). When he voices an idea, he does not just expose it as if it came from himself, but gets another person (fictitious or, plausibly, real) to voice it. Since in an electoral speech, he cannot reasonably get people on stage to voice his ideas, he personifies ideas by narrating what people told him. His stories are his way of personifying his ideas. The discourse strategy he uses serves to reverse the direction of influence from the people in control to the people controlled (see van Dijk 2003). Duranti (2006b) writes that The language of politics has been presented and studied in terms of its ability to persuade an audience (of peers, subjects, and superiors) to go along with the speaker's view of the world and his or her proposal (Perrot 2000). In much of this literature, the successful political leader is seen as a skillful manipulator who controls a variety of linguistic resources – from elaborate metaphors to paralinguistic features like volume, intonation, and rhythm – through which listeners can be convinced to accept a course of 87 ALESSANDRO CAPONE action (including the action of voting for the speaker). (Duranti 2006b:467) In this paper, I consider the case of an...
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...SECRET LANGUAGE of • HOW LEADERS INSPIRE ACTION THROUGH NARRATIVE The LEADERSHIP STEPHEN DENNING John Wiley & Sons, Inc. More Praise for The Secret Language of Leadership “Out of the morass of strategies leaders are given to transform organizations, Denning plucks a powerful one—storytelling— and shows how and why it works.” —Dorothy Leonard, William J. Abernathy Professor of Business, Emerita, Harvard Business School, and author, Deep Smarts: How to Cultivate and Transfer Enduring Business Wisdom “The Secret Language of Leadership shows why narrative intelligence is central to transformational leadership and how to harness its power.” —Carol Pearson, director, James MacGregor Burns Academy of Leadership, University of Maryland, and coauthor, The Hero and the Outlaw “The Secret Language of Leadership is not only the best analysis I have seen of how and why leaders succeed or fail, it’s highly readable, as well as downright practical. It should be mandatory reading for anyone interested in engaging a company with big ideas who understands that leaders live and die by the quality of what they say.” —Richard Stone, story analytics master, i.d.e.a.s “A primary role of leaders is to create and maintain meaning for their organizations. Denning clearly demonstrates that meaningmaking comes from stories well told.” —Thomas Davenport, President’s Distinguished Professor of I.T. and Management, Babson College, and author, The Attention Economy “Steve...
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...Hebrew Israelites HUM/130 Dr. John McGinn February 15, 2013 (Your Title Page looks good.) Hebrew Israelites An Israelite is a descendant of the scriptural patriarch Jacob. Jacob was the Grandson of Abraham and the son of Isaac. Jacobs name was changed to Israel (Genesis 32:28) and his descendants were called Israelites which denotes they are the children of Jacob or the Children of Israel. The Suffix “ITE” means a descent from. “ISRAEL-ITE” means a descendant of their father Jacob whose name was changed to Israel, but the question still remains, “Who are the modern day Hebrew Israelites”? How are Christian central beliefs different than an Israelites? (Work on opening paragraph - especially the thesis statement for your paper.) A Hebrew is a Descendant of the scriptural Patriarch Abraham. He is the first to be called Hebrew (Genesis 14:13). The Most High made a Covenant with Abraham and his seed. The Title Hebrew was passed on from Abraham to his Son Isaac and Isaac son Jacob and to Jacobs 12 sons who became the 12 tribes of Israel. The Israelites were known and called Hebrews mainly by outsiders or foreigners. The name means one who crosses over, or wander. It is also derived from Eber, which means "one who emigrates" and "beyond, on the other side." Abraham and his posterity being called Hebrews in order to express a distinction between the races east and west of the Euphrates River. It may also be derived from Heber, one of the ancestors of Abraham...
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...W.B. Yeats's "The Second Coming" W.B. Yeats' poem "The Second Coming" was written in 1919, just one year after WWI ended. The beginning of this poem reflects on how evil has taken over the minds of good Christians, and the world has turned into chaos. It is apparent that Yeats believes that a Second Coming is at hand, and he spends the last half of the poem discussing what that Second Coming could look like. Turning and turning in the widening gyre (line 1) Yeats imagines the world in a cyclical sphere known a gyre (shape of a cone). In Yeats' note on the text, he states that "the end of an age, which always receives the revelation of the character of the next age, is represented by the coming of one gyre to its place of greatest expansion and of the other to that of its greatest contraction" (2036). Yeats believes that the two thousand years of Christianity will be coming to an end, and after a violent reversal a new age will take its place. The widening part of the gyre is supposed to connote anarchy, evil, and the loss of innocence. The falcon cannot hear the falconer; (2) The falconer in this analogy is most likely God (or Jesus), and the falcon is the follower (or devotee). Humanity can no longer hear the word of God, because it is drowned out by all of chaos of the widening gyre. A wild falcon can symbolize an unconverted Gentile; someone who has sinful thoughts, and does sinful things. A tame falcon (one who listens to the word of God) is a Christian convert. In the...
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...Mobile Usability Jakob Nielsen and Raluca Budiu New Riders 1249 Eighth Street Berkeley, CA 94710 Find us on the Web at www.newriders.com To report errors, please send a note to errata@peachpit.com New Riders is an imprint of Peachpit, a division of Pearson Education. Copyright © 2013 by The Nielsen Norman Group Senior Editor: Susan Rimerman Copy Editor: Anne Marie Walker Proofer: Emily K. Wolman Indexer: James Minkin Production Editor: Tracey Croom Composition: Danielle Foster Cover Design: Peachpit Press Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact permissions@peachpit.com. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the authors nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of...
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