...“The Catcher in the Rye” is written by J.D Salinger which focuses on the reality of life through the eyes of a teenager who sees the world as a painful existence. The novel is written from the perspective of Holden who has been expelled from his fourth school. After a fight with his roommate, Holden leaves early to explore New York City alone. Holden battles with the reality of adulthood that has turn a different turn on his life. We get to this stage where we fear to grow up and see what will be coming for us next in the future. Salinger’s novel clearly displays the experience of being isolated from multiple activities which can lead to the theme of alienation, the creation of the character (Holden) and also the symbolism which can be unnoticed. Salinger tries to convey a message with his writing to also displaying human connection is a must. The theme of “The Catcher in the Rye” is alienation which connects to Holden (the protagonist)...
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...The Catcher in the Rye, a novel written by J.D Salinger, is about a sixteen-year-old boy named Holden Caulfield who is troubled and misunderstood. He is critical and skeptical about the world he lives in, and only respects his deceased brother, Allie, and his younger sister, Phoebe, because of their innocence. Phoebe isn't “phony” like everybody else is to Holden, and because of this he truly admires and trusts her with his inner thoughts. In a way, Holden and Phoebe are each other's heroes without even knowing it. Holden yearns to live in a world that is genuine, and it's clear that Holden is fighting a psychological battle within himself, which makes depression and conflict major themes throughout this novel. Salinger's novel is extremely controversial because of the teenage angst displayed and the language used by Holden, but it is an accurate look inside the mind of someone who feels alienated. The literary critic, Michicku Kakutani, mentions that Salinger gave Holden “a voice that enabled him to channel an alienated 16-year-old's thoughts and anxieties and frustrations, a voice that skeptically appraised the world and denounced its phonies and hypocrites and bores.” Holden fails out of school and goes to New York where he interacts with people, but he thinks they are all phony, so he spends a lot of time feeling like a failure. Past events that occurred in Holden's life definitely make him judgmental, such as when his former English teacher, Mr. Antonlini, pats him on...
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...The Catcher in the Rye Hannah Genich Mr. Buzminski ENG 3U March 7, 2015 J.D Salinger’s The Catcher in the Rye demonstrated a typical Bildungsroman novel, showing that maturing is inevitable and ones life will go on. Holden Caulfield’s experiences allow his character to undergo permanent change that altered his perspectives on life. Salinger illustrated a Bildungsroman with emotional loss, life lessons learnt from encounters, and acceptance of ethics in society. Holden’s role as a developing character in Salinger’s novel demonstrated the elements used in a Bildungsroman. The first phase of a Bildungsroman involves an emotional loss, a period of awkwardness and typically ends with moral the growth of the protagonist. The emotional loss Holden experienced was the loss of his younger brother, Allie, who passed away from leukemia five years before the beginning of the novel. This event altered Holden’s psychological behavior. Holden still grieved from the passing of Allie and regretted the time he told Allie to leave him and Bobby alone. Holden reenacted that particular moment and tried to change the past: “Okay. Go home and get your bike and meet me in front of Bobby's house” (Salinger 99). Holden tried to comfort his depression by attempting to change the past through communication with his deceased brother. Due to Holden’s ongoing struggle to deal with this loss of Allie, he demonstrated traits of awkwardness in the form of cynicism. Holden’s mental state...
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...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...
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...BABY THESIS It's the poster characteristic of the teenager years: adolescent rebellion. And it's one that causes many conflicts with parents. Two common types of rebellion are against socially fitting in (rebellion of non-conformity) and against adult authority (rebellion of non-compliance.) In both types, rebellion attracts adult attention by offending it. The young person proudly asserts individuality from what parents like or independence of what parents want and in each case succeeds in provoking their disapproval. This is why rebellion, which is simply behavior that deliberately opposes the ruling norms or powers that be, has been given a good name by adolescents and a bad one by adults. The reason why parents usually dislike adolescent rebellion is not only that it creates more resistance to their job of providing structure, guidance, and supervision, but because rebellion can lead to serious kinds of harm. Rebellion can cause young people to rebel against their own self-interests -- rejecting childhood interests, activities, and relationships that often support self-esteem. It can cause them to engage in self-defeating and self-destructive behavior - refusing to do school work or even physically hurting themselves. It can cause them to experiment with high-risk excitement - accepting dares that as a children they would have refused. It can cause them to reject safe rules and restraints - letting impulse overrule judgment to dangerous effect. And it...
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...The year is 1959, a pivotal moment in American cultural history, when rock and roll was giving birth to the Sexual Revolution and everything in America culture was about to be turned upside down. Record companies were releasing more than a hundred singles every week and the country was about to explode. Grease, generally considered a trivial little musical about The Fabulous Fifties, is really the story of America’s tumultuous crossing over from the 50s to the 60s, throwing over repression and tradition for freedom and adventure (and a generous helping of cultural chaos), a time when the styles and culture of the disengaged and disenfranchised became overpowering symbols of teenage power and autonomy. Originally a rowdy, dangerous, over-sexed, and insightful piece of alternative theatre, Grease was inspired by the rule-busting success of Hair and shows like it, rejecting the trappings of other Broadway musicals for a more authentic, more visceral, more radical theatre experience that revealed great cultural truths about America. An experience largely forgotten by most productions of the show today. Like Hair before it and The Rocky Horror Show which would come a year later, Grease is a show about repression versus freedom in American sexuality, about the clumsy, tentative, but clearly emerging sexual freedom of the late 1950s, seen through the lens of the middle of the Sexual Revolution in the 1970s. It’s about the near carnal passion 1950s teenagers felt for their rock...
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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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...CHAP TER Separating Ideas and Shaping Content Writing Paragraphs 1. PURPOSE, AUDIENCE, TONE, AND CONTENT L E A R N I N G 1. 2. 3. 4. 6 O B J E C T I V E S Identify the differences between summary, analysis, synthesis, and evaluation paragraphs Identify the content in writing paragraphs Demonstrate how audience and tone influence content Apply purpose, audience, tone, and content to a specific assignment Imagine reading a poorly written review of a movie that you would like to see this weekend. You cannot follow the characters, action, or conflict because the author of the review rambles on and on. Without clear paragraphs, this review will likely lose your interest, and you may skip the movie altogether! When you are the writer, it is helpful to position yourself as a reader. Ask yourself whether you can focus easily on each point you make. Effective writers use a single paragraph for each new idea they introduce. Paragraphs separate ideas into logical, manageable, and distinct units. Each paragraph focuses on only one main idea and presents coherent sentences to support that single point. Because all the sentences in one paragraph support the same point, a paragraph may stand on its own. Each paragraph is shaped by Purpose: the reason why the writer composes the paragraph. < Tone: the attitude the writer conveys about the paragraph’s subject. < Audience: the individual or group whom the writer intends to address. < Content: the written material in the paragraph...
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...Contents Preface Acknowledgments Introduction 1 BRAIN POWER Myth #1 Most People Use Only 10% of Their Brain Power Myth #2 Some People Are Left-Brained, Others Are Right-Brained Myth #3 Extrasensory Perception (ESP) Is a Well-Established Scientific Phenomenon Myth #4 Visual Perceptions Are Accompanied by Tiny Emissions from the Eyes Myth #5 Subliminal Messages Can Persuade People to Purchase Products 2 FROM WOMB TO TOMB Myth #6 Playing Mozart’s Music to Infants Boosts Their Intelligence Myth #7 Adolescence Is Inevitably a Time of Psychological Turmoil Myth #8 Most People Experience a Midlife Crisis in | 8 Their 40s or Early 50s Myth #9 Old Age Is Typically Associated with Increased Dissatisfaction and Senility Myth #10 When Dying, People Pass through a Universal Series of Psychological Stages 3 A REMEMBRANCE OF THINGS PAST Myth #11 Human Memory Works like a Tape Recorder or Video Camera, and Accurate Events We’ve Experienced Myth #12 Hypnosis Is Useful for Retrieving Memories of Forgotten Events Myth #13 Individuals Commonly Repress the Memories of Traumatic Experiences Myth #14 Most People with Amnesia Forget All Details of Their Earlier Lives 4 TEACHING OLD DOGS NEW TRICKS Myth #15 Intelligence (IQ) Tests Are Biased against Certain Groups of People My th #16 If You’re Unsure of Your Answer When Taking a Test, It’s Best to Stick with Your Initial Hunch Myth #17 The Defining Feature of Dyslexia Is Reversing Letters Myth #18 Students Learn Best When Teaching Styles Are Matched to...
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...e eBook Collection This is a Protected PDF document. Please enter your user name and password to unlock the text. User Name: Password: Unlock Remember my user name and password. If you are experiencing problems unlocking this document or you have questions regarding Protectedpdf files please contact a Technical Support representative: In the United States: 1-877-832-4867 In Canada: 1-800-859-3682 Outside the U.S. and Canada: 1-602-387-2222 Email: technicalsupport@apollogrp.edu. This document is published by:Apollo Group, Inc. ISBN 1-256-49231-0 joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka jokaGlossary joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka joka ...
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...Organization Development: An Instructor’s Guide for Effective Teaching by Joan V. Gallos Purpose of this Instructor’s Guide The purpose of this instructor’s guide is to support and energize individuals who use Organization Development: A Reader in their teaching – instructors who teach courses on organizational change, OD, the history of the field, leading change, consulting skills, and organizational effectiveness and health in undergraduate and graduate programs in management, the professions, and the administrative sciences, as well as those involved in professional development and corporate education activities. More specifically, this guide provides opportunities for both new and seasoned educators to learn more about (1) the possibilities in teaching about organizational change and development; (2) ways to design courses or successful learning modules for diverse student audiences using Organization Development; and (3) suggested cases, activities, and other support materials that complement use of Organization Development. Overview of the Instructor’s Guide This instructor’s guide is divided into four parts. PART 1 provides an introduction to Organization Development: A Reader. It discusses the overall purpose and content of the book, the philosophy and central tenets that underpin it. PART 2 explores teaching with Organization Development. It contains chapter-by-chapter summaries and suggested ways to think about teaching various kinds and levels...
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...VOLUME EDITOR S. WALLER is an Associate Professor of Philosophy at Montana State University Bozeman. Her areas of research are philosophy of neurology, philosophy of cognitive ethology (especially dolphins, wolves, and coyotes), and philosophy of mind, specifically the parts of the mind we disavow. SERIES EDITOR FRITZ ALLHOFF is an Assistant Professor in the Philosophy Department at Western Michigan University, as well as a Senior Research Fellow at the Australian National University’s Centre for Applied Philosophy and Public Ethics. In addition to editing the Philosophy for Everyone series, Allhoff is the volume editor or co-editor for several titles, including Wine & Philosophy (Wiley-Blackwell, 2007), Whiskey & Philosophy (with Marcus P. Adams, Wiley, 2009), and Food & Philosophy (with Dave Monroe,Wiley-Blackwell, 2007). P H I L O S O P H Y F O R E V E RYO N E Series editor: Fritz Allhoff Not so much a subject matter, philosophy is a way of thinking.Thinking not just about the Big Questions, but about little ones too.This series invites everyone to ponder things they care about, big or small, significant, serious … or just curious. Running & Philosophy: A Marathon for the Mind Edited by Michael W. Austin Wine & Philosophy: A Symposium on Thinking and Drinking Edited by Fritz Allhoff Food & Philosophy: Eat,Think and Be Merry Edited by Fritz Allhoff and Dave Monroe Beer & Philosophy: The Unexamined Beer Isn’t Worth Drinking Edited by Steven D. Hales Whiskey & Philosophy:...
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...SECOND DRAFT Contents 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...
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...[pic] Гальперин И.Р. Стилистика английского языка Издательство: М.: Высшая школа, 1977 г. В учебнике рассматриваются общие проблемы стилистики, дается стилистическая квалификация английского словарного состава, описываются фонетические, лексические и лексико-фразеологические выразительные средства, рассматриваются синтаксические выразительные средства и проблемы лингвистической композиции отрезков высказывания, выходящие за пределы предложения. Одна глава посвящена выделению и классификации функциональных стилей. Книга содержит иллюстративный текстовой материал. Предназначается для студентов институтов и факультетов иностранных языков и филологических факультетов университетов. GALPERIN STYLISTICS SECOND EDITION, 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...
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...PART I INTRODUCTION 6 I. GENERAL NOTES ON STYLE AND Stylistics 6 2. EXPRESSIVE MEANS (EM) AND STYLISTIC DEVICES (SD) 21 3. GENERAL NOTES ON FUNCTIONAL STYLES OF LANGUAGE 28 4. VARIETIES OF LANGUAGE 30 5. A BRIEF OUTLINE OF THE DEVELOPMENT OF THE ENGLISH LITERARY (STANDARD) LANGUAGE 36 6. MEANING FROM A STYLISTIC POINT OF VIEW 51 PART II STYLISTIC CLASSIFICATION OF THE ENGLISH VOCABULARY 63 I. GENERAL CONSIDERATIONS 63 2. NEUTRAL, COMMON LITERARY AND COMMON COLLOQUIAL VOCABULARY 64 3. SPECIAL LITERARY VOCABULARY 68 a) Terms 68 b) Poetic and Highly Literary Words 71 c) Archaic, Obsolescent and Obsolete Words 74 d) Barbarisms and Foreignisms 78 e) Literary Coinages (Including Nonce-Words) 83 4. SPECIAL COLLOQUIAL VOCABULARY 95 a) Slang 95 b) Jargonisms 100 c) Professionalisms 103 d) Dialectal words 106 e) Vulgar words or vulgarisms 108 f) Colloquial coinages (words and meanings) 109 PART Ш PHONETIC EXPRESSIVE MEANS AND STYLISTIC DEVICES 112 GENERAL NOTES 112 Onomatopoeia 113 Alliteration 114 Rhyme 116 Rhythm 117 PART IV LEXICAL EXPRESSIVE MEANS AND STYLISTIC DEVICES 123 A. INTENTIONAL MIXING OF THE STYLISTIC ASPECT OF WORDS 123 B. INTERACTION OF DIFFERENT TYPES OF LEXICAL MEANING 125 1. INTERACTION OF PRIMARY DICTIONARY AND CONTEXTUALLY IMPOSED MEANINGS 126 Metaphor 126 Metonymy 131 Irony 133 3. INTERACTION OF LOGICAL AND EMOTIVE...
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