...“Battle Royal” was first published as a short story which later became the first chapter of the well-received first novel of Ralph Ellison(1913-1994), Invisible Man. “Battle Royal” is the story of the unnamed protagonist, a Black youth who just graduated from high school brought to a meeting of the town’s elite leaders to give his eloquent speech because he is the smartest boy in his school. The youth is proud and eager to give his graduation class speech and prove his ability. The problem is that the audience is composed of White men of the South during the time prior to the struggle for civil rights. Each plays out his part, leaving the horror of racism for all to see. The youth narrator takes on the typical Black role of the time, that of a submissive pleaser. The White men also take on their expected roles. They humiliate the narrator and the other youth who have been invited to the affair. But in so doing, they unwittingly humiliate themselves as well. The youth’s grandfather, lying on his deathbed admits that he feels like a traitor, but prompts his son to give the Whites what they want. Throughout the story, Ellison’s symbols give layers of meaning. The White woman is used just as the Black youth are, to humiliate and denigrate them, and keep them in their places. The woman is symbolic of the thirst the youth has for America and its opportunities. The youth are made to fight a battle royal, a fight between several who struggle until the end. Through all this turmoil...
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...The stack In life problems solved by confrontations is mandatory, no matter how hard you try to avoid them, sooner or later they will catch up, and stacking them instead of confronting them, will only make the problems bigger. Don’t wait for others to do your dishes take responsibility. That is among other things what Rose Tremain writes about in the short story ”The stack”, which was written and published in 2000. The story is told by an 3. Person omniscient narrator bound to John McCreedy. The main theme in the story is family problems that we can see, because the story is about a family that doesn’t function. The communication is bad, and the tone is hard between the members, they don’t like talking to each other and you get the feeling that the members in the family are alienated towards each other. The Story takes place in a small family in London it is in modern time, and about a modern family living in the suburban area. It can be seen through the language represented in the text: “Fuck off, Dad. Everyone remembers their fuckin’ age”. As shown in this quote. The main character is John McCreedy also known as McCreedy, he is father of 2 children and married to Hilda. Original McCreedy is from Ireland, which he misses enormously. He has a drinking problem and spends a little too much time in the pub: “But don’t go and spoil it by going out first and getting sloshed.” Through this quote it gets clear to us, that it is a regular thing for him to drink. We can assume...
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...Although it is a work of fiction, F. Scott Fitzgerald’s novel The Great Gatsby is an accurate portrayal of the 1920s. It is generally realistic, despite some events and details being fabricated for entertainment purposes. The story was written shortly after the Roaring 20s. Because it was written so soon after the time period, readers are led to believe that the author experienced the time period first hand. If this is true, the author will know more information than that of someone writing a novel on the same time period almost one hundred years later. In history books, the 1920s, also known as the Roaring 20s, was a time period prior to the Great Depression where the majority of the population was prosperous and happy. (“The Roaring...
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...1 of 83 file:///D:/000004/Buy__ology.html 08/08/2009 10:45 2 of 83 file:///D:/000004/Buy__ology.html CONTENTS TITLE PAGE FOREWORD BY PACO UNDERHILL INTRODUCTION 1: A RUSH OF BLOOD TO THE HEAD The Largest Neuromarketing Study Ever Conducted 2: THIS MUST BE THE PLACE Product Placement, American Idol , and Ford’s Multimillion-Dollar Mistake 3: I’LL HAVE WHAT SHE’S HAVING Mirror Neurons at Work 4: I CAN’T SEE CLEARLY NOW Subliminal Messaging, Alive and Well 5: DO YOU BELIEVE IN MAGIC? Ritual, Superstition, and Why We Buy 6: I SAY A LITTLE PRAYER Faith, Religion, and Brands 7: WHY DID I CHOOSE YOU? The Power of Somatic Markers 8: A SENSE OF WONDER Selling to Our Senses 9: AND THE ANSWER IS… Neuromarketing and Predicting the Future 10: LET’S SPEND THE NIGHT TOGETHER Sex in Advertising 11: CONCLUSION Brand New Day APPENDIX ACKNOWLEDGMENTS NOTES BIBLIOGRAPHY ABOUT THE AUTHOR COPYRIGHT FOREWORD PACO UNDERHILL It was a brisk September night. I was unprepared for the weather that day, wearing only a tan cashmere sweater underneath my sports jacket. I was still cold from the walk from my hotel to the pier as I boarded the crowded cruise ship on which I was going to meet Martin Lindstrom for the first time. He had spoken that day at a food service conference held by the Gottlieb Duttweiler Institute, the venerable Swiss think tank, and David Bosshart, the conference organizer, was eager for us to meet. I had never heard of Martin ...
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...1 of 83 file:///D:/000004/Buy__ology.html 08/08/2009 10:45 2 of 83 file:///D:/000004/Buy__ology.html CONTENTS TITLE PAGE FOREWORD BY PACO UNDERHILL INTRODUCTION 1: A RUSH OF BLOOD TO THE HEAD The Largest Neuromarketing Study Ever Conducted 2: THIS MUST BE THE PLACE Product Placement, American Idol , and Ford’s Multimillion-Dollar Mistake 3: I’LL HAVE WHAT SHE’S HAVING Mirror Neurons at Work 4: I CAN’T SEE CLEARLY NOW Subliminal Messaging, Alive and Well 5: DO YOU BELIEVE IN MAGIC? Ritual, Superstition, and Why We Buy 6: I SAY A LITTLE PRAYER Faith, Religion, and Brands 7: WHY DID I CHOOSE YOU? The Power of Somatic Markers 8: A SENSE OF WONDER Selling to Our Senses 9: AND THE ANSWER IS… Neuromarketing and Predicting the Future 10: LET’S SPEND THE NIGHT TOGETHER Sex in Advertising 11: CONCLUSION Brand New Day APPENDIX ACKNOWLEDGMENTS NOTES BIBLIOGRAPHY ABOUT THE AUTHOR COPYRIGHT FOREWORD PACO UNDERHILL It was a brisk September night. I was unprepared for the weather that day, wearing only a tan cashmere sweater underneath my sports jacket. I was still cold from the walk from my hotel to the pier as I boarded the crowded cruise ship on which I was going to meet Martin Lindstrom for the first time. He had spoken that day at a food service conference held by the Gottlieb Duttweiler Institute, the venerable Swiss think tank, and David Bosshart, the conference organizer, was eager for us to meet. I had never heard of Martin ...
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...‘ THE BUSINESS OF MASS MEDIA Advertising and Commercial Culture 345 Early Developments in American Advertising 351 The Shape of U.S. Advertising Today 359 Persuasive Techniques in Contemporary Advertising 366 Commercial Speech and Regulating Advertising 374 Advertising, Politics, and Democracy Back in 1993, the trade magazine Adweek wrote about “The Ultimate Network”— something called the Internet: “Advertisers and agencies take note: It has the potential to become the next great mass/personal medium.”1 The prediction was correct, if not understated. The Internet has become a huge medium for advertisers, targeting audiences more precisely than any medium before it. Yet, none of the venerable ad agencies at that time could have guessed that an Internet start-up—Google— would become bigger than the leading multinational advertising holding companies like Omnicom, WPP, Interpublic, and Publicis. Nearly 99 percent of Google’s $16.6 billion revenue in 2007 came from advertising. THE BUSINESS OF MASS MEDIA B 343 ‘ ADVERTISING However, Google is different from the Madison Avenue agencies. It doesn’t design witty, slick ad campaigns. Instead, it facilitates the dull but effective text-based sponsored links that appear in Google searches or on affiliated sites. “We are in the really boring part of the business…the boring big business,” Google’s CEO Eric Schmidt says.2 What Google’s ads lack in creativity, they make up in precision. Google’s AdWords advertising...
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...AS English Language [pic] [pic] [pic] Fiction style models and tasks – 2012/2013 Style Model Workbook Style models are examples of a type of writing used to give you an idea of the features used when adapting a particular style and form. As you will be required to include a fiction and non-fiction annotated style model as part of your coursework folder we have compiled a selection of materials to give you a head start. The two booklets (one fiction, one non-fiction) will contain the type of extracts you should be looking for and the questions that accompany them will help you to annotate the materials appropriately. You will be given some of the extracts to study in class and some to complete as homework tasks. There may be some materials that you haven’t been directed to by your teachers, these will make very good additional preparation and you should look at these in your own time. All the resources, and some additional style models, can be found in the AS Language section of Moodle. AS LANGUAGE COURSEWORK You must keep all work during the production of the coursework in your folder. You will need all drafts and style models for part of your final grade. Criteria • Two pieces of your own writing • Each piece must have a different audience and purpose • You should write with a specific genre in mind • Pieces should be designed with a real publication in mind • Two...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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...4141- 4141--- Cherished and Cursed:Towarda Social History of The Catcher in the Rye STEPHEN J. WHITFIELD THE plot is brief:in 1949 or perhaps 1950, over the course of three days during the Christmas season, a sixteen-yearold takes a picaresque journey to his New YorkCity home from the third private school to expel him. The narratorrecounts his experiences and opinions from a sanitarium in California. A heavy smoker, Holden Caulfield claims to be already six feet, two inches tall and to have wisps of grey hair; and he wonders what happens to the ducks when the ponds freeze in winter. The novel was published on 16 July 1951, sold for $3.00, and was a Book-of-the-Month Club selection. Within two weeks, it had been reprinted five times, the next month three more times-though by the third edition the jacket photographof the author had quietly disappeared. His book stayed on the bestseller list for thirty weeks, though never above fourth place.' Costing 75?, the Bantam paperback edition appeared in 1964. By 1981, when the same edition went for $2.50, sales still held steady, between twenty and thirty thousand copies per month, about a quarter of a million copies annually. In paperback the novel sold over three million copies between 1953 and 1964, climbed even higher by the 1980s, and continues to attract about as many buyers as it did in 1951. The durabilityof The author appreciates the invitationof Professors Marc Lee Raphaeland Robert A. Gross to present an early version...
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...Allan and Barbara Pease are the internationally renowned experts in human relations and body language, whose 20 million book sales worldwide have turned them into household names. People's body language reveals that what they say is often very different from what they think or feel. It is a scientific fact that people's gestures give away their true intentions. Every day we are confronted by hundreds of different signals that can mean anything from 'That's a great idea' to 'You must be kidding'. And we are all sending out these signals whether we realise it or not. Now, in this authoritative guide written with great humour and insight, you can learn the secrets of body language to give you more confidence and control in any situation — from negotiating a deal to finding the right partner. Discover the techniques that will show you how to interpret gestures, read the underlying thoughts and emotions — and reach the right conclusions. Front cover photo supplied courtesy of Shufunotomo Co., Ltd. 2-9 Kanda Surugadai, Chiyoda-Ku, Tokyo, Japan Allan Pease is the world's foremost expert on body language. His book Why Men Don't Listen And Women Can't Read Maps co-authored with wife Barbara, has sold over 10 million copies in 48 languages since its release. Allan travels the world lecturing on human communication, has written 8 other bestselling books and appeared in his own television series which attracted over 100 million viewers. Barbara Pease is CEO of Pease International which...
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...A CRITICAL SURVEY OF CONTEMPORARY SOUTH AFRICAN POETRY A CRITICAL SURVEY OF CONTEMPORARY SOUTH AFRICAN POETRY: THE LANGUAGE OF CONFLICT AND COMMITMENT By Laura Holland, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University September 1987 MASTER OF Arts (1987) (English) McMASTER UNIVERSITY Hamilton, Ontario TITLE: A Critical Survey of Contemporary South African Poetry: The Language of Conflict and Commitment AUTHOR: Laura Linda Holland, B.A. (University of Alberta) SUPERVISOR: Dr. Alan Bishop NUMBER OF PAGES: v, 134 ii ABSTRACT The thes is concentrates on South African poetry from 1960 to the present. It closely examines a selection of poems by Breyten Breytenbach, Dennis Brutus, Pascal Gwala, Wopko Jensma, Oswald Mtshali, Arthur Nortje, Cosmo Pieterse, Sipho Sepamla, and Wally Serote, among others. The body of the thesis discusses these poets' contributions to poetry about prison, exile, and township life. The thesis focuses on the struggle between various polical, racial, and cultural groups for hegemony over South Africa's poetic development. Such issues as language, ideology, and censorship are explored insofar as they in! .luence t:ne content and structure of the poetry. This body of poems, sadly, is little studied in North America. The thesis presents an introduction to and a survey of the major tendencies in South African poetry and, in part...
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...CONTENT Exercise 1. 2 Exercise 2. 5 Exercise 3. 8 Exercise 4. 11 Exercise 5. 15 Exercise 6. 18 Exercise 7. 21 Exercise 8. 25 Exercise 9. 28 Exercise 10. 31 Exercise 11. 34 Exercise 12. 37 Exercise 13. 40 Exercise 14. 43 Exercise 15. 46 Exercise 16. 49 Exercise 17. 53 Exercise 18. 57 Exercise 19. 61 Exercise 20. 65 Exercise 21. 68 Exercise 22. 72 Exercise 23. 76 Exercise 24. 80 说明： 题目来源： Exercise 1-24：所有题目都来自官方真题 其中： Exercise 1-14：我们将OG和PP2中的题目编排为前14个Exercise, 每个Exercise都是按照GRE考试中阅读部分的出题习惯编排，即每个Exercise 10个题目，形式为（1长+2短+1逻辑 or 4短+1逻辑）。 Exercise 15-24：我们将近年来考试中出现的文章和老GRE中极为接近现行出题风格的文章编排为后10个Exercise，每个Exercise 13个题目左右，形式为（1长+1短+2逻辑）。 练习方法： 建议大家第一遍做能够限时练习，按照考试的要求每个Exercise的大致难度和应该用的时间都标在了前面。没做完6个exercise可以做一个回顾总结，将文章反复做一遍，总结单词，长难句，文章的出题规律，句子之间的关系。 答案显示方法： 如果你打印出来练习：参考答案见P 页 如果你在电脑上练习：windows 系统：Ctrl+Shift+8；Mac系统：Command+8 Exercise 1. 20min While most scholarship on women’s employment in the United States recognizes that the Second World War (1939–1945) dramatically changed the role of women in the workforce, these studies also acknowledge that few women remained in manufacturing jobs once men returned from the war. But in agriculture, unlike other industries where women were viewed as temporary workers, women’s employment did not end with the war. Instead, the expansion of agriculture and a steady decrease in the number of male farmworkers combined to cause the industry to hire more women in the postwar years...
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...books, water your plants, or sharpen your pencils for the fifth time. If this situation sounds familiar, you may find it reassuring to know that many professionals undergo these same strange compulsions before they begin writing. Jean Kerr, author of Please Don’t Eat the Daisies, admits that she often finds herself in the kitchen reading soup-can labels—or anything—in order to prolong the moments before taking pen in hand. John C. Calhoun, vice president under Andrew Jackson, insisted he had to plow his fields before he could write, and Joseph Conrad, author of Lord Jim and other novels, is said to have cried on occasion from the sheer dread of sitting down to compose his stories. To spare you as much hand-wringing as possible, this chapter presents some practical suggestions on how to begin writing your short essay. Although all writers must find the methods that work best for them, you may find some of the following ideas helpful. But no matter how you actually begin putting words on paper, it is absolutely essential to maintain two basic ideas concerning your writing task. Before you write a single sentence, you should always remind yourself that 1. You have some valuable ideas to tell your reader, and 2. More than anything, you want to communicate those ideas to your reader. These reminders may seem obvious to you, but without a solid commitment to your own opinions as well as to your reader, your prose will be lifeless and boring. If you don’t care about your subject, you...
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...> 168159 CD >m Gift of YALE UNIVERSITY With the aid of the ROCKEFELLER FOUNDATION 1949 OSMANIA UNIVERSITY LIBRARY Call No. Author %&V/S#/ 2-^ & Accession No. - . This bookihould be returned on or before the date last marked below. WHAT IS LITERATURE? JEAN-PAUL SARTRE Translated from the French by BERNARD FRECHTMAN PHILOSOPHICAL LIBRARY NEW YORK Copyright, 1949, by Philosophical Library, Inc. 15 EAST 40th Street, New York, N.Y. Printed in the United States of America TABLE OF CONTENTS Foreword I II What Why is Writing? Write? Whom Does One Write? 7 38 III For IV Situation of the Writer in 1947 161 Index 299 67 FOREWORD want to engage yourself," writes a young imbecile, "what are you waiting for? Join the Communist Party." A great writer who engaged himself often and disengaged himself still more often, but who has forgotten, said to me, "The worst artists are the most engaged. Look "If you at the Soviet painters" "You want tres is to murder An old critic gently complained, literature. spread out insolently all Contempt for belles-let- through your review." A petty mind calls me pigheaded, which for him is evidently the highest insult. An author who barely crawled from name sometimes awakens men accuses me of not being one war to the other and whose languishing memories in old concerned with immortality; he knows, thank God, any number of people whose chief hope it is. In the eyes of an American...
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...Кухаренко В.А. Практикум з стилістики англійської мови: Підручник. – Вінниця. «Нова книга», 2000 - 160 с. CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. 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...
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