...In the contemporary century where the world is metamorphosed to a global village, the concept of national culture and national literature is certainly belied. The World literature, today, simultaneously represents an important multicultural perspective within individual national literatures as well as more global perspective taking in the phenomena of transculturalism and diaspora confluence. Centripetal and centrifugal forces can be discerned as both antagonistic and complementary forces in cultural development. Raymond Williams develops a theory of relation between culture at large and cultural products like literature. Culture is manifested in human artifacts and activities such as music, literature, life-style, food, painting, sculpture, theatre and film. It can be said that arts and the world of science with their moral systems come to form culture. These are constantly in a spatio-temporal flux that renders an inexhaustible range of meanings and a catalogue of the elements. In this process of evolution a particular aspect dominates or fades off at some space-time coordinate. The pattern of human activity and the symbolic structures give such activities significance and importance. Rushdie, like other postcolonial writers not only reflects upon the political aspects of history but also deconstructs the interrelationships between history and individual to delve into the moral and psychological tensions of the native homeland. His novels are the fine example where ethics of...
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...6/9/13 10 - A History of English Literature Classic Literature Read about A History of English Literature. More E-texts A History of English Literature 1918 by Robert Huntington Fletcher Education Share Preface | How to Study | Tabular View | Chapters: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | Assignments Chapter X. Period VIII. The Romantic Triumph, 1798 To About 1830 The Great Writers of 1798-1830 | Samuel Taylor Coleridge | William Wordsworth | Robert Southey | Walter Scott | Last Group of Romantic Poets | Percy Bysshe Shelley | John Keats | Summary | Lesser Writers | THE GREAT WRITERS OF 1798-1830. THE CRITICAL REVIEWS. As we look back to-day over the literature of the last three quarters of the eighteenth century, here just surveyed, the progress of the Romantic Movement seems the most conspicuous general fact which it presents. But at the, death of Cowper in 1800 the movement still remained tentative and incomplete, and it was to arrive at full maturity only in the work of the great writers of the following quarter century, who were to create the finest body of literature which England had produced since the Elizabethan period. All the greatest of these writers were poets, wholly or in part, and they fall roughly into two groups: first, William Wordsworth, Samuel Taylor Coleridge, Robert Southey, and Walter Scott; and second, about twenty years younger, Lord Byron, Percy Bysshe Shelley, and John Keats. This period of Romantic Triumph, or of the...
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...N I N G O B J E C T I V E S 10 1. Identify the purpose and structure of narrative writing. 2. Recognize how to write a narrative essay. Rhetorical modes simply mean the ways in which we can effectively communicate through language. This chapter covers nine common rhetorical modes. As you read about these nine modes, keep in mind that the rhetorical mode a writer chooses depends on his or her purpose for writing. Sometimes writers incorporate a variety of modes in one essay. In covering the nine rhetorical modes, this chapter also emphasizes these as a set of tools that will allow you greater flexibility and effectiveness in communicating with your audience and expressing your ideas. rhetorical modes The ways in which we effectively communicate through language. 1.1 The Purpose of Narrative Writing Narration means the art of storytelling, and the purpose of narrative writing is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration. In addition, a narrative can be factual or fictional. A factual story is one that is based on, and tries to be faithful to, actual events as they unfolded in real life. A fictional story is a made-up, or imagined, story; the writer of a fictional story can create characters and events as he or she sees fit. However, the big distinction between factual and fictional narratives is based on a writer’s purpose. The writers of factual stories try to recount...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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...I did this to make an account Television is a telecommunication medium that is used for transmitting and receiving moving images and sound. Television can transmit images that are monochrome, in color, or in three dimensions. The word television comes . Television may also refer specifically to a television set, television program, or television transmission. First commercially available in very crude form on an experimental basis in the late 1920s, then popularized in greatly improved form shortly after World War II, the television set has become commonplace in homes, businesses, and institutions, particularly as a vehicle for entertainment, advertising, and news. During the 1950s, television became the primary medium for molding public opinion. The replacement of bulky, high-voltage cathode ray tube screen displays with compact, energy-efficient, flat-panel alternatives such as LCDs, plasma displays, and OLED displays was a major hardware revolution that began penetrating the consumer computer monitor market in the late 1990s and soon spread to TV sets. In 2013, 87% of televisions sold had color LCD screens. The most common usage of television is for broadcast television, which is modeled on the radio broadcasting systems developed in the 1920s. Broadcast television uses high-powered radio-frequency transmitters to broadcast the television signal to individual television receivers. The broadcast television system is typically disseminated via radio transmissions on designated...
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...Sociological Theories A sociological theory is a set of ideas that provides an explanation for human society. Theories are selective in terms of their priorities and perspectives and the data they define as significant. As a result they provide a particular and partial view of reality. Sociological theories can be grouped together according to a variety of criteria. The most important of these is the distinction between Structural and Social action theories. Structural or macro perspectives analyses the way society as a whole fits together. Structural theory sees society as a system of relationships that creates the structure of the society in which we live. It is this structure that determines our lives and characters. Structured sets of social relationships are the 'reality' that lie below the appearance of 'the free individual' of western individualism. Structuralism focuses on the particular set of 'structural laws' that apply in any one society. Despite their differences, both functionalism and Marxism use a model of how society as a whole works. Many functionalists base their model of society around the assumption of basic needs and go to explain how different parts of society help to meet those needs. Marxists, on the other hand, see society as resting upon an economic base or infrastructure, with a superstructure above it. They see society as divided into social classes which have the potential to be in conflict with each other. However, the main differences...
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...and should not be quoted in essays or answers. Chapter division are from the DVD. • Time shifts are indicated thus: F/B-W = wartime memories; F/B-PW = post war memories; H or D = dreams, hallucinations – though they are often mixed up, so it is an indication only • 'Clue': used to point out deliberate illogicalities etc. that may cause unease on first viewing but are really obvious only on subsequent viewings. S/T: 'sub-text' = things said that take on another layer of meaning on second viewing. • 'Teddy' is used for the Marshal persona, 'Andrew' for his real identity as a patient. Similarly Chuck / Dr Sheehan. • Abbreviations used: // = CUT; M = motif; A = allusion; F/S = foreshadowing (signposting); MS = Martin Scorsese narrative commentary 1. screen text: Boston Harbour Islands, 1954 fog; a ferry appears; a man (Chuck) stands at the bow // INT. HEAD - DAY: a man being sick "It's just water. It's a lot of water." SHALLOW FOCUS on manacles and handcuffs, PULL FOCUS as he emerges He joins a solicitous Chuck at the rail. They introduce themselves – he is Teddy Daniels, a "legend" in the US Marshalls. Teddy concedes that he used to be married Day 1 EST. the wider context; from here on, everything will be from Teddy's POV. Our first view of the protagonist is a double and ambiguous image: his black silhouette and his reflection in a mirror, water dripping off his face. Water will be a significant motif. Teddy's first view of Chuck is a back view,...
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...Sammy’s Journey As a “Professional Sidekick” ENG 99B: Senior Honors Essay Aaron Mitchell Finegold Professor Caron Irr Spring 2009 Chapter 1: Introduction, What Is a Sidekick? Something about The Amazing Adventures of Kavalier & Clay’s syntax sounds like a comic book itself, not unlike the two characters of Detective Comics who are always billed as Batman & Robin. “Robin & Batman” makes no sense, since Batman (Bruce Wayne) is the protagonist of the story and Robin (Dick Grayson) is his ward. The ordering of names is indicative of both their working style as superheroes as well as their living arrangement, which caused a great deal of controversy both in the context of the novel and some of the historical events it references. For Sammy Clay, the sidekick role apparent in the ordering of his and Josef’s names provides him a creative and continual outlet for his sexual desires, until the final crisis of the novel in which his learning of this very trend allows him to break free of his role and live his life in fulfillment and contentment. The connection between Kavalier & Clay and Batman becomes apparent not only through linguistic observation, but also through several references Chabon makes in the novel comparing one or both characters. Arguably, the interrogation Sammy faces at the trial about Wayne and Grayson’s relationship is the most explicit in that they both live together and they work as a team to achieve a common...
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...THE MARTIAN CHILD by David Gerrold Toward the end of the meeting, the caseworker remarked, "Oh - and one more thing. Dennis thinks he's a Martian." "I beg your pardon?" I wasn't certain I had heard her correctly. I had papers scattered all over the meeting room table - thick piles of stapled incident reports, manila-foldered psychiatric evaluations, Xeroxed clinical diagnoses, scribbled caseworker histories, typed abuse reports, bound trial transcripts, and my own crabbed notes as welclass="underline" Hyperactivity. Fetal Alcohol Syndrome. Emotional Abuse. Physical Abuse. Conners Rating Scale. Apgars. I had no idea there was so much to know about children. For a moment, I was actually looking for the folder labeled Martian. "He thinks he's a Martian," Ms. Bright repeated. She was a small woman, very proper and polite. "He told his group home parents that he's not like the other children - he's from Mars - so he shouldn't be expected to act like an Earthling all the time." "Well, that's okay," I said, a little too quickly. "Some of my best friends are Martians. He'll fit right in. As long as he doesn't eat the tribbles or tease the feral Chtorran." By the narrow expressions on their faces, I could tell that the caseworkers weren't amused. For a moment, my heart sank. Maybe I'd said the wrong thing. Maybe I was being too facile with my answers. The hardest thing about adoption is that you have to ask someone to trust you with a child. That means that you have to be willing to...
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...Globalization Versus Normative Policy: A Case Study on the Failure of the Barbie Doll in the Indian Market Priti Nemani* INTRODUCTION .......................................................................................... 97 I. GLOBALIZATION AND THE MULTINATIONAL ........................................ 99 A. Globalization Defined ................................................................ 99 1. The Key to the Kingdom: The Globalized Brand ............. 100 B. Barbie in the Global Economy ................................................. 102 1. Barbie‘s History................................................................. 102 2. Corporate Philosophy and Marketing Strategies behind Barbie ................................................................................ 105 II. MATTEL‘S BUSINESS VENTURES IN INDIA ......................................... 107 A. The Late 1980s: Barbie’s Tango with the License Raj ............. 107 1. The Licensing System ....................................................... 109 2. Limits on Foreign Direct Investment .................................110 3. Mattel‘s Joint Venture ......................................................... 111 B. India’s Economic Liberalization and Mattel’s Second Chance at Success...................................................................................113 1. India, the IMF, and the World Bank ...................................113 2. Mattel in India from 1993-2010 ...............................
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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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...HOW TO Prepare Your Curriculum Vitae Revised Edition Acy L. Jackson and C. Kathleen Geckeis Copyright © 2003 by The McGraw-Hill Companies, Inc. All rights reserved. Manufactured in the United States of America. 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 by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. 0-07-142626-4 The material in this eBook also appears in the print version of this title: 0-07-139044-8 All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill eBooks are available at special quantity discounts to use as premiums and sales promotions, or for use in corporate training programs. For more information, please contact George Hoare, Special Sales, at george_hoare@mcgraw-hill.com or (212) 904-4069. TERMS OF USE This is a copyrighted work and The McGraw-Hill Companies, Inc. (“McGraw-Hill”) and its licensors reserve all rights in and to the work. Use of this work is subject to these terms. Except as permitted under the Copyright Act of 1976 and the right to store and retrieve...
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...Table of Contents Title Page Copyright Page Dedication Introduction Chapter 1 - Priming Chapter 2 - Confabulation Chapter 3 - Confirmation Bias Chapter 4 - Hindsight Bias Chapter 5 - The Texas Sharpshooter Fallacy Chapter 6 - Procrastination Chapter 7 - Normalcy Bias Chapter 8 - Introspection Chapter 9 - The Availability Heuristic Chapter 10 - The Bystander Effect Chapter 11 - The Dunning-Kruger Effect Chapter 12 - Apophenia Chapter 13 - Brand Loyalty Chapter 14 - The Argument from Authority Chapter 15 - The Argument from Ignorance Chapter 16 - The Straw Man Fallacy Chapter 17 - The Ad Hominem Fallacy Chapter 18 - The Just-World Fallacy Chapter 19 - The Public Goods Game Chapter 20 - The Ultimatum Game Chapter 21 - Subjective Validation Chapter 22 - Cult Indoctrination Chapter 23 - Groupthink Chapter 24 - Supernormal Releasers Chapter 25 - The Affect Heuristic Chapter 26 - Dunbar’s Number Chapter 27 - Selling Out Chapter 28 - Self-Serving Bias Chapter 29 - The Spotlight Effect Chapter 30 - The Third Person Effect Chapter 31 - Catharsis Chapter 32 - The Misinformation Effect Chapter 33 - Conformity Chapter 34 - Extinction Burst Chapter 35 - Social Loafing Chapter 36 - The Illusion of Transparency Chapter 37 - Learned Helplessness Chapter 38 - Embodied Cognition Chapter 39 - The Anchoring Effect Chapter 40 - Attention Chapter 41 - Self-Handicapping Chapter 42 - Self-Fulfilling Prophecies Chapter 43 - The Moment Chapter 44 - Consistency...
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...Instructor’s Manual to Accompany The Longman Writer Rhetoric, Reader, Handbook Fifth Edition and The Longman Writer Rhetoric and Reader Fifth Edition Brief Edition Judith Nadell Linda McMeniman Rowan University John Langan Atlantic Cape Community College Prepared by: Eliza A. Comodromos Rutgers, The State University of New Jersey New York San Francisco Boston London Toronto Sydney Tokyo Singapore Madrid Mexico City Munich Paris Cape Town Hong Kong Montreal NOTE REGARDING WEBSITES AND PASSWORDS: If you need a password to access instructor supplements on a Longman book-specific website, please use the following information: Username: Password: awlbook adopt Senior Acquisitions Editor: Joseph Opiela Senior Supplements Editor: Donna Campion Electronic Page Makeup: Big Color Systems, Inc. Instructor’s Manual to accompany The Longman Writer: Rhetoric, Reader, Handbook, 5e and The Longman Writer: Rhetoric and Reader, Brief Edition, 5e, by Nadell/McMeniman/Langan and Comodromos Copyright ©2003 Pearson Education, Inc. All rights reserved. Printed in the United States of America. Instructors may reproduce portions of this book for classroom use only. All other reproductions are strictly prohibited without prior permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. Please visit our website at: http://www.ablongman.com ISBN: 0-321-13157-6 1 2 3 4 5 6 7 8 9 10 - D O H - 05 04 03 02 CONTENTS ...
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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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