...Symbolism in Lord of the Flies Symbolism is all around us, even if we don't know about it. Think about how many times you have used the heart emoji or the thumbs down emoji while texting. These two examples stand for something beyond their appearance. The heart emoji stands for love, while the thumbs down emoji is associated with disapproval and dislike. The same way we use those symbols in our everyday lives, Golding uses them in his novel, Lord Of The Flies, to show the transition of the characters from their civilized background, to the rise of destruction, and their descent into savagery. These changes are made evident by symbols, such as the fire going out, the beast and lord of the flies. These three symbols contribute to the novel by...
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...One of the main themes in William Golding's Lord of the Flies is the struggle between Society and Savagery. The boys' first intention on the island is to create a society based on the one they had in the adult world: one with rules, limitations and order. But at the same time, they want to have fun. As time progresses, they start ignoring the rules that they had originally set. Instead of using the designated lavatory stones for bathroom purposes, they start using the bathroom wherever they want, even near their special meeting place. The shelters that they all intended on helping to build end up being built by only a few of the boys and therefore, are not as sturdy as they could have been. According to Henri Talon, "[The boys] planned order and allowed disorder to settle" (Talon). The longer they stayed on the island, the more they lost touch with the boundaries set by society, and they eventually started to resort to primitive behavior. Throughout the novel, each of the boys struggles to keep remnants of society in tact, while their primitive nature tries to reel them into savagery. Some of the boys give into their primitive behavior very quickly, while others strive to hold on to their civility as long as possible. This struggle is portrayed masterfully by Golding who uses symbolism to enhance the reader's understanding of it. The first prominent symbol of society that we see is the conch shell that Ralph finds near the shore at the beginning of the novel. Upon Piggy's suggestion...
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...Throughout the novel Golding uses fire as a symbol/allegory. When the boys have their first meeting as a whole they arise with the idea of a ‘signal fire’. The fire represents the boys’ link to civilization and of their hope to return home. Due to the fact that it is used recurrently through the book show the boys’ link to civilization, it becomes an indicator of the boys’ civilization and sophistication. For example, at the start of the novel the boys are unanimous in their decision that rescue is the most important thing and that they must keep the fire alight incessantly. When the boys are feeding the fire systematically it shows that they are leaning towards their sophisticated nature. Per contra, when the fire gets out of hand or completely burns out it shows that the boys are leaning towards their more primitive and uncivilized nature....
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...A Guide to Writing the Literary Analysis Essay I. INTRODUCTION: the first paragraph in your essay. It begins creatively in order to catch your reader’s interest, provides essential background about the literary work, and prepares the reader for your major thesis. The introduction must include the author and title of the work as well as an explanation of the theme to be discussed. Other essential background may include setting, an introduction of main characters, etc. The major thesis goes in this paragraph usually at the end. Because the major thesis sometimes sounds tacked on, make special attempts to link it to the sentence that precedes it by building on a key word or idea. A) Creative Opening/Hook: the beginning sentences of the introduction that catch the reader’s interest. Ways of beginning creatively include the following: 1) A startling fact or bit of information Example: Nearly two hundred citizens were arrested as witches during the Salem witch scare of 1692. Eventually nineteen were hanged, and another was pressed to death (Marks 65). 2) A snatch of dialogue between two characters Example: “It is another thing. You [Frederic Henry] cannot know about it unless you have it.” “ Well,” I said. “If I ever get it I will tell you [priest].” (Hemingway 72). With these words, the priest in Ernest Hemingway’s A Farewell to Arms sends the hero, Frederic, in search of the ambiguous “it” in his life. 3) A meaningful quotation (from the book you are analyzing...
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...Ryan Newell Lord of the Flies Essay Period 5 Word Count: 1662 Lord of the Flies is a classic story of good versus evil, or civilization versus savagery, and symbolism plays a major role in the development of the story. A major symbol is the conch shell. Discovered early in the story, it became an important fixture in the boys’ lives on the island. Throughout the story, it symbolized society and authority – and served to maintain a sense of civilization. When the conch shell broke near the end of the story, the last aspects of civilization on the island and within the boys had disappeared. The conch was first discovered among the ‘ferny weeds’ by Ralph and Piggy as they explored the island. Even taking the conch shell out of the weeds required Ralph to use civilized techniques – to achieve civilization, mankind had to be smart enough to develop rudimentary technology. The author portrayed this through the way Ralph got the conch: “The palm sapling, bending, pushed the shell across the weeds. Ralph used one hand as a fulcrum and pressed down with the other till the shell rose, dripping, and Piggy could make a grab.” (16) Ralph created a simple tool to achieve what he wanted, to get the conch shell (civilization). The fragility of civilization is also foreshadowed, when Piggy says, “Careful! You’ll break it–” (14) Although he is talking about the tangible shell in this instance, his comment may also be seen as referring to the instability of society, and how quickly and...
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...descriptions, observations, etc. (e.g.,biographies, histories). Contents [hide] * 1 Types of fiction * 1.1 Realistic fiction * 1.2 Non-realistic fiction * 1.3 Semi-Fiction * 2 Elements of fiction * 2.1 Plot * 2.2 Exposition * 2.3 Foreshadowing * 2.4 Rising action * 2.5 Climax * 2.6 Falling action * 2.7 Resolution * 2.8 Conflict * 2.8.1 Types of conflict * 2.8.1.1 Person vs. self * 2.8.1.2 Person vs. person * 2.8.1.3 Person vs. society * 2.8.1.4 Person vs. nature * 2.8.1.5 Person vs. supernatural * 2.8.1.6 Person vs. machine/technology * 2.9 Character * 2.10 Methods of developing characters * 2.11 Symbolism * 2.12 Metaphor * 3 Types of plots * 3.1 Chronological order * 3.2 Flashback * 3.3 Setting * 3.4 Theme * 3.5 Style * 4 Categories * 5 Forms of fiction * 6 Uses of fiction * 7 See also * 8 Notes * 8.1 Footnotes * 8.2 Citations * 9 External links | ------------------------------------------------- [edit]Types of fiction [edit]Realistic fiction Realistic fiction, although untrue, could actually happen. Some events, the people, and the places...
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...Analysis of the Major Characters In Lord of the Flies by William Golding In Partial Fulfillment of the Requirements in English 140 Submitted by: Ryan Mark L. Catanio Submitted to: Prof. Donna Alna C. Cortez September 08, 2014 A. Author’s Biography William Golding Biography Author (1911–1993) a. Synopsis William Golding was born September 19, 1911, in Saint Columb Minor, Cornwall, England. In 1935 he started teaching English and philosophy in Salisbury. He temporarily left teaching in 1940 to join the Royal Navy. In 1954 he published his first novel, Lord of the Flies. In 1983, he was awarded the Nobel Prize for Literature. On June 19, 1993, he died in Perranarworthal, Cornwall, England. b. Early Life William Golding was born on September 19, 1911, in Saint Columb Minor, Cornwall, England. He was raised in a 14th-century house next door to a graveyard. His mother, Mildred, was an active suffragette who fought for women’s right to vote. His father, Alex, worked as a schoolmaster. William received his early education at the school his father ran, Marlborough Grammar School. When William was just 12 years old, he attempted, unsuccessfully, to write a novel. A frustrated child, he found an outlet in bullying his peers. Later in life, William would describe his childhood self as a brat, even going so far as to say, “I enjoyed hurting people.” After primary school, William went on to attend Brasenose College at Oxford University. His father hoped he would become...
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...different fights in a hero’s life, but it is united and intertwined by two parts—the fights with Grendel and his dam and the final dragon fight—signaling “the opposition of hero and king, youth and age, the beginning and ending of a life achievement” (Tolkien 1936). On the basis of this premise, Fisher (1958) conceives the theme of the epic as the “doom of Beowulf”, the integration of “redemption and judgment treated in a way which skillfully blends the Germanic hero with the Christian saint” (p.171). Wrenn (1958) states the similar notion, arguing Beowulf, a Germanic hero, shows his greatest splendor “ not alone in winning glory by victory, but rather by finding his supremely noble qualities especially in the moment of death in battle”. The essay aims to analyze the three fights in detail in Beowulf’s lifetime and, shed light on the heroic fate of him from success to death. Analytical emphasis will be put on distinctions of three monsters, weapons that Beowulf wields in the battle and the consequences ensuing the three battles. The first fight The narrator starts the poem with a brief introduction of Shield Sheafson, a great king of Denmark and his royal line of...
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...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 you to use your imagination to figure out the author's meaning. For...
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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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...Term Paper ‘The Raven’ by Edgar Allan Poe verfasst von Maria Weber handed in on 16th of February 2011 TABLE OF CONTENTS 1. Introduction ……………………………………………………………………………........3 2. Poem…………………………………………………………………………………………3 3. Story…………………………………………………………………………………………7 4. External structure……………………………………………………………………………8 5. Complex phonological structures 5.1. Rhyme scheme………………………………………………………………………...9 5.2. Alliteration…………………………………………………………………………….9 5.3. Consonance……………………………………………………………………………9 5.4. Assonance……………………………………………………………………………10 5.5. Onomatopoeia………………………………………………………………………..10 6. Complex morphological and syntactic structures 6.1. Epiphora……………………………………………………………………………...11 6.2. Anaphora……………………………………………………………………………..12 6.3. Epanalepsis…………………………………………………………………………...12 6.4. Figura etymologica…………………………………………………………………...12 6.5. Synonymy……………………………………………………………………………12 6.6. Parallelism……………………………………………………………………………12 7. Complex semantic structures: Imagery 7.1. Personification………………………………………………………………………..13 7.2. Metaphors…………………………………………………………………………….13 7.3. Simile………………………………………………………………………………...14 8. Psychoanalytical approach…………………………………………………………………14 9. Conclusion…………………………………………………………………………...…….15 10. Bibliography………………………………………………………………………………16 11. Webliography……………………………………………………………………………..17 ...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...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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...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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...© Sri Aurobindo Ashram Trust 1997 Published by Sri Aurobindo Ashram Publication Department Printed at Sri Aurobindo Ashram Press, Pondicherry PRINTED IN INDIA VOLUME 19 THE COMPLETE WORKS OF SRI AUROBINDO Publisher’s Note The first series of Essays on the Gita appeared in the monthly review Arya between August 1916 and July 1918. It was revised by Sri Aurobindo and published as a book in 1922. The second series appeared in the Arya between August 1918 and July 1920. In 1928 Sri Aurobindo brought out an extensively revised edition in book form. For the present edition, the text has been thoroughly checked against all previous editions and against the manuscripts of the revised Arya. CONTENTS FIRST SERIES I Our Demand and Need from the Gita II 3 12 20 29 39 47 57 68 81 94 105 114 124 The Divine Teacher III The Human Disciple IV The Core of the Teaching V Kurukshetra VI Man and the Battle of Life VII The Creed of the Aryan Fighter VIII Sankhya and Yoga IX Sankhya, Yoga and Vedanta X The Yoga of the Intelligent Will XI Works and Sacrifice XII The Significance of Sacrifice XIII The Lord of the Sacrifice CONTENTS XIV The Principle of Divine Works XV 134 145 158 168 177 188 200 212 224 234 247 The Possibility and Purpose of Avatarhood XVI The Process of Avatarhood XVII The Divine Birth and Divine Works XVIII The Divine Worker XIX Equality XX Equality and Knowledge XXI The Determinism of Nature XXII Beyond the Modes of Nature XXIII Nirvana and Works in the...
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