...killed more than 71,000 people on the spot and it was responsible for a volcanic winter that caused the worst worldwide famine of the 19th century” (Diaz, 1). The wrath that Tambora left on the environment proved to be harsh, as the deadly eruption led to political unrest and disease all across the globe. Because ecocriticism enjoys examining the effects of the state of the natural world on human stories, ecocritics like the story of Frankenstein because the bad weather from 1815-1817 helped to inspire the author towards all of the gloom in the novel. Mary Shelley’s Frankenstein was written during one of the most productive periods in the history of English literature, the summer of 1816....
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... A Stylistic Analysis of D.H. Lawrence’s ‘Sons and Lovers’ Nozar Niazi English Department, Lorestan University, Khorramabad-Iran E-mail: nozar_2002@yahoo.co.in Received: 04-04-2013 doi:10.7575/aiac.ijalel.v.2n.4p.118 Abstract Accepted: 14-05-2013 Published: 01-07-2013 URL: http://dx.doi.org/10.7575/aiac.ijalel.v.2n.4p.118 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...
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...A literary genius, Poe, caused the faint of heart to shudder and the squeamish to tremble. And this he could do succinctly as illustrated in “The Cask of Amontillado”. On the surface, this short story appears to only be concerned with mere revenge over the possible imaginary slights committed by Fortunato against Montressor. However, if you look underneath the cloak of retribution you find darker, deeper motives that may explain Montressor’s radical behavior. Analysis Left to his own devices we find Montressor rationalizing sinister thoughts of retaliation against a fellow citizen, Fortunato, eventually reaching the conclusion that he must commit the dastardly deed of immolation if he is to regain his injured pride. This story is not as simple as it first appears to be. There exists a manifestation of different emotions which have developed over time for both characters. The aforementioned emotions could also be regarded as sinful in nature, and if left unchecked create situations where more serious sinful acts could occur as demonstrated in this...
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...Journal of Postcolonial Writing ISSN: 1744-9855 (Print) 1744-9863 (Online) Journal homepage: http://www.tandfonline.com/loi/rjpw20 “He does not understand our customs”: Narrating orality and empire in Chinua Achebe’s Things Fall Apart Jarica Linn Watts To cite this article: Jarica Linn Watts (2010) “He does not understand our customs”: Narrating orality and empire in Chinua Achebe’s Things Fall Apart , Journal of Postcolonial Writing, 46:1, 65-75, DOI: 10.1080/17449850903478189 To link to this article: http://dx.doi.org/10.1080/17449850903478189 Published online: 27 Jan 2010. Submit your article to this journal Article views: 501 View related articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rjpw20 Download by: [Indiana University Libraries] Date: 24 February 2016, At: 16:43 Journal of Postcolonial Writing Vol. 46, No. 1, February 2010, 65–75 “He does not understand our customs”: Narrating orality and empire in Chinua Achebe’s Things Fall Apart Jarica Linn Watts* University of Utah, Salt Lake City, USA Downloaded by [Indiana University Libraries] at 16:43 24 February 2016 jarica.watts@utah.edu Jarica 0 100000February 46 2010 &Article OriginalofFrancis 1744-9855 (print)/1744-9863 JournalandPostcolonial 10.1080/17449850903478189(online) RJPW_A_448194.sgm TaylorLinnWatts 2010 Writing Francis This article delineates different strains of...
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...read words. Images sell everything. This paper offers an analytical framework for understanding how still photography is Literature in the 21st Century, using TY Bello’s still pictures. According to Aristotle, “There can be no words without images”. The world is surrounded with mediated images in such a way that has never been witnessed in the history of mass communication. Every era has expressed itself in its own way since the beginning. Antiquity was the time of legends, epics and mythical narratives. During the sovereignty of this era, meaning was constructed with ‘the word’ and its peculiar rules. Though the permanency of ‘writing’ as opposed to the fleeting character of the word has grown to be the symbol of authority and power, literary narrative which was developed together with the Enlightenment and the invention of printing process have brought out the freedom of ‘written language’. Whereas ‘writing’ was fundamental to the construction...
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...The Last of The Mohicans: Theme Analysis Theme Analysis Culture Clash In the wilderness of upper New York, two cultures clash—white Eurocentric culture and native Indian culture. Ample evidence is given in the novel of the destruction caused to the Indians by the coming of the whites—Hawkeye himself acknowledges that this is so. The reason that Magua was driven from the Hurons, for example, was because the whites introduced the Indians to alcohol, and he fell victim to it. The savagery of the conflict between whites and Indians is apparent in numerous incidents. The two races do not understand each other’s ways, even though they make many alliances with each other according to what they believe is in their best interest. Generally speaking, Hawkeye, Heyward, and David Gamut, each in his different way, represent the values of white civilization. Heyward represents the military ideal; David represents the sect of Protestantism known as Calvinism. Hawkeye is a more complex case because he in a sense lives in both worlds, Indian and white, and has great respect for some of the Indian ways. Although he thinks Indians other than Delawares and Mohicans are liars and “varlets,” he acknowledges the validity of their religion and respects many of their customs. However, Hawkeye still sees a wide gulf between the ways of the “Mingo” and those of the white man. He believes that whites have a more enlightened set of values, inspired by Christianity, although he is not an especially...
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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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...the Raven. Balram's father is a struggling rickshaw driver, and his mother died when he is young. The alpha figure of his family was his pushy grandmother, Kusum. Balram was initially referred to simply as “Munna,” meaning “boy," since his family had not bothered to name him. He did not have another name until his schoolteacher dubbed him Balram. The boy proved himself intelligent and talented, and was praised one day as a rare “White Tiger” by a visiting school inspector. Unfortunately, Balram was removed from school after only a few years, to work in a tea shop with his brother, Kishan. There, he furthered his education by eavesdropping on the conversations of shop customers. Balram feels that there are two Indias: the impoverished “Darkness” of the rural inner continent, and the “Light” of urban coastal India. A mechanism that he dubs the “Rooster Coop” traps the Indian underclass in a perpetual state of servitude. It involves both deliberate methods used by the upper class and a mentality enforced by the underclass on itself. Balram’s father died from tuberculosis in a decrepit...
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...Cierra Henry Professor Nieman ENG 102 30 March 2016 Literary Analysis: The One Who Walked Away from Omelas As you read the story and imagine as you go the first image that may pop into your mind is the Indian culture or something of that sort. Everything about the festival, the dancing, the clothing, the flags, the music, the laughter, the activities all together may indicate and assure that the city of Omelas was a complete happy place filled with people who love to have a great time. But all of this happiness comes with a price, but to whose expense? The city of Omelas portrays happiness and perfection. but someone is suffering in order for the city to pursue happiness. Who has to pay the price? Through symbolism and imagery Ursula Le Guin reveals unhappiness behind closed doors and childhood innocence through the suffering ciao not only being exposed to the evils of the world but being the target in recipient of evil. Are the people of Omelas really happy? When the narrator tells the story he or she compares the story two things we think. "Omelas sounds in my words like a city in a fairytale, long ago and far away, once upon a time"(2). This is the type of imagery Le Guin uses to reveal unhappiness. Anybody who gains from another suffering is clearly said. These people are said and are using the suffering of a chow to be delivered from unhappiness and this is how they live their lives. This story can make you believe it is true because there are really people like this...
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...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 Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources 104 108 Chapter 6 Chapter 7 109 Supporting Measures 7.1 Learning and Teaching Resource Materials 7.2 Professional Development 109 109 Appendix 1 Examples of Poetry Analysis 110 Appendix 2 Examples of...
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...Short Story Analysis: “The Sniper” The short story, “The Sniper,” was written by Liam O’ Flaherty in 1923. Liam O’ Flaherty was born on Inishmore Island, which is on the western coast of Ireland, on August 28, 1898. O’ Flaherty enlisted in the British Army as a teenager in 1915 (Cummings, 2007). “The Sniper,” is based on O’ Flaherty’s experiences during the Irish Civil War. He had suffered from a serious injury due to a bomb explosion while at war. After Liam had returned home from war, he was diagnosed with depression (Cummings, 2007). The story begins with Liam O’ Flaherty introducing a young Republican sniper who is anxiously waiting for action on top of a rooftop near O’ Connell Bridge. Hungry since the morning, the sniper took time to eat a sandwich and take a gulp from his flask. When finished eating, the sniper brought out a cigarette to smoke. As soon as he lit it, a bullet shot across the parapet of the roof. The sniper went to look over the parapet to see the enemy sniper, and at that moment, another shot was going over his head. From his view he could see the enemy truck stationed across the bridge in the view of the sniper. After figuring out where the enemy had been, the sniper wanted to shoot at the...
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...Themes Themes are the fundamental and often universal ideas explored in a literary work. The Decline of the American Dream in the 1920s On the surface, The Great Gatsby is a story of the thwarted love between a man and a woman. The main theme of the novel, however, encompasses a much larger, less romantic scope. Though all of its action takes place over a mere few months during the summer of 1922 and is set in a circumscribed geographical area in the vicinity of Long Island, New York, The Great Gatsby is a highly symbolic meditation on 1920s America as a whole, in particular the disintegration of the American dream in an era of unprecedented prosperity and material excess. Fitzgerald portrays the 1920s as an era of decayed social and moral values, evidenced in its overarching cynicism, greed, and empty pursuit of pleasure. The reckless jubilance that led to decadent parties and wild jazz music—epitomized in The Great Gatsby by the opulent parties that Gatsby throws every Saturday night—resulted ultimately in the corruption of the American dream, as the unrestrained desire for money and pleasure surpassed more noble goals. When World War I ended in 1918, the generation of young Americans who had fought the war became intensely disillusioned, as the brutal carnage that they had just faced made the Victorian social morality of early-twentieth-century America seem like stuffy, empty hypocrisy. The dizzying rise of the stock market in the aftermath of the war led to a sudden, sustained...
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...Literary Criticism Review Paradigm: a framework containing your basic assumptions, ways of thinking and methodology about how something should be done, made or thought about. Cognitive dissonance (psychology): the excessive mental stress and discomfort experienced by the individual who: * Holds 2+ contradictory beliefs, ideas, of values simultaneously * Is confronted by new info that conflicts with existing BIV Is/ought dilemma: us aging -> the world as we wish to be OR the world as it actually is HISTORICAL LENS/NEW HISTORICAL LENS Historical criticism -> insisted we need to know a literary piece, that we need to know authors bio, social background, ideas during that time, cultural milieu (environment) New historicism New Historicism: seeks to find meaning in a text by considering the work within framework of prevailing ideas/assumptions of its era. *All about paying close attention to historical context of literary works (e.g: poems, novels, plays) GOALS: 1) Study how a work of literature reflects its historical/sociocultural context 2) Understand how literary works comments on and relates to its context Therefore, approach is interdisciplinary Example of this lens: Always by Erasure MARXIST LENS (Karl Heinrich Marx + Friedrich Engles) * A form of critique for interrogating all societies and their texts in terms of certain specific issues like race, class, and the attitudes shared within a given culture (see terms) * Marxist critique may...
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...The Decline and Fall of Literature November 4, 1999 ANDREW DELBANCO E-mail Print [pic]Share [pic] [pic]In Plato’s Cave[pic] by Alvin Kernan A couple of years ago, in an article explaining how funds for faculty positions are allocated in American universities, the provost of the University of California at Berkeley offered some frank advice to department chairs, whose job partly consists of lobbying for a share of the budget. “On every campus,” she wrote, “there is one department whose name need only be mentioned to make people laugh; you don’t want that department to be yours.”1 The provost, Carol Christ (who retains her faculty position as a literature professor), does not name the offender—but everyone knows that if you want to locate the laughingstock on your local campus these days, your best bet is to stop by the English department. The laughter, moreover, is not confined to campuses. It has become a holiday ritual for The New York Times to run a derisory article in deadpan Times style about the annual convention of the Modern Language Association, where thousands of English professors assemble just before the new year. Lately it has become impossible to say with confidence whether such topics as “Eat Me; Captain Cook and the Ingestion of the Other” or “The Semiotics of Sinatra” are parodies of what goes on there or serious presentations by credentialed scholars.2 At one recent English lecture, the speaker discussed a pornographic “performance artist”...
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...Karen Conner Professor Pridgeon English 252H Spring 1993 Semester Film Production: Final Project After the astounding success of my last film endeavor [final project for ENG 251H], Townies, my production company, Gateway Productions, has con¬tracted me for a new endeavor, this time for an adaptation of Joseph Conrad's novella Heart of Darkness. The company says that I may have full creative license in this one so, as Orson Welles did in his film Citizen Kane, I intend to oversee all aspects of the process. In selecting my staff, I have decided to keep some of the old faces from the previous film. My friend Julie Weaver will once more be at my side. As you recall, I chose her previously because she is not only a good art director but a talented illustrator as well. Her ability to do on-the-spot sketches of ideas saved me a great amount of time and money on the last project. I have also decided to keep Brightwood as cinematographer and Wise as sound director, again for the same reason for which I chose them last time, because they would make good contributions to the creative aspect of the process, and I felt that these two could best translate my ideas to film. Another old face will be Joyce Nevelson, my editor. I chose her last time because she was well-known in the industry and had won many rewards, proving her talent. Changes I have made will be in the writing, sound, and music departments. I have chosen Paul Gainritch to write my screen¬play. He is...
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