...Onomatopoeia:___________________________________________________ ____________________________________________________________________ Ex: _________________________________________________________________ Read the biography of Edgar Allan Poe on pages 253-4 and list 4 facts about his life. a. b. c. d. “The Raven” p. 274-277 1. What is the setting of the poem (time and place)? 2. What is the rhyme scheme in the first stanza? Does Poe maintain this rhyme scheme? 3. List all the questions that the narrator asks the raven. 4. What does the narrator say he is trying to do in lines 9-10? 5. In the third stanza, list all the words that are examples of alliteration. What effect does this alliteration have on the poem? 6. How does the significance of the word “nevermore” change throughout the poem? 7. What is the mood throughout the poem? What images help establish this mood? 8. In line 101, what do you think the narrator means when he begs the bird to “Take thy beak from out my heart”? 9. The author’s tone changes throughout the poem. Do you think that frantic shift is reflective of the narrator going mad (crazy)? Explain. 10. What, in your opinion does the raven symbolize? Why would Poe choose it over any other bird? 11. Read the essay on page 278 and explain Poe’s writing process. What does he claim to be the meaning of his poem? 12. Write three...
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...Chapter I Summary As the novella opens, Mr. Jones, the proprietor and overseer of the Manor Farm, has just stumbled drunkenly to bed after forgetting to secure his farm buildings properly. As soon as his bedroom light goes out, all of the farm animals except Moses, Mr. Jones’s tame raven, convene in the big barn to hear a speech by Old Major, a prize boar and pillar of the animal community. Sensing that his long life is about to come to an end, Major wishes to impart to the rest of the farm animals a distillation of the wisdom that he has acquired during his lifetime. As the animals listen raptly, Old Major delivers up the fruits of his years of quiet contemplation in his stall. The plain truth, he says, is that the lives of his fellow animals are “miserable, laborious, and short.” Animals are born into the world as slaves, worked incessantly from the time they can walk, fed only enough to keep breath in their bodies, and then slaughtered mercilessly when they are no longer useful. He notes that the land upon which the animals live possesses enough resources to support many times the present population in luxury; there is no natural reason for the animals’ poverty and misery. Major blames the animals’ suffering solely on their human oppressors. Mr. Jones and his ilk have been exploiting animals for ages, Major says, taking all of the products of their labor—eggs, milk, dung, foals—for themselves and producing nothing of value to offer the animals in return. Old Major relates...
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...“The role of women in the gothic genre is as victims, always subject to male authority.” Compare and contrast the extent to which this interpretation is relevant to your three chosen texts. “The wolf consumes red riding hood – what else can you expect if you talk to strange men, comments Perrault briskly. Let’s not bother our heads with the mysteries of sadomasochistic attraction” Angela Carter; Foreword to Perrault’s Short Stories. In much of today’s feminist writings, the Gothic era is frequently defined as a period in which the oppression of females was at its most intense. In response to fin de siècle anxieties of a social revolution in which gender stereotypes could be overhauled, gothic writers, it is claimed, sought to reassert cultural and gender norms – a reassertion which inevitably resulted in the oppression of women. In view of such contemporary analysis, it is thus all too tempting to offer a sweeping judgement of gothic literature as victimising, oppressive and misogynistic; Dracula’s “victims” are all “unambiguously women[1]”, Poe victimises through an “idealised and dehumanising image of women[2]”, while Carter is a “pseudo feminist” who merely “reinforces patriarchal views” with her “pornographic” writing[3]. Yet such views are largely artificial, and are primarily based on potted summaries of the above works, rather than a closer textual analysis. If one takes the definition of a victim as a being who is subject to the successful predatory actions of...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF GEORGE ORWELL’S ANIMAL FARM By HAZEL K. DAVIS, Federal Hocking High School, Stewart, OH S E R I E S W. GEIGER ELLIS, ED.D., E D I T O R S : UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of George Orwell’s Animal Farm 2 INTRODUCTION Animal Farm is an excellent selection for junior and senior high students to study. Although on one level the novel is an allegory of the 1917 Russian Revolution, the story is just as applicable to the latest rebellion against dictators around the world. Young people should be able to recognize similarities between the animal leaders and politicians today. The novel also demonstrates how language can be used to control minds. Since teenagers are the target not only of the educational system itself but also of advertising, the music industry, etc., they should be interested in exploring how language can control thought and behavior. Animal Farm is short and contains few words that will hamper the reader’s understanding. The incidents in the novel allow for much interactive learning, providing opportunities for students to dramatize certain portions, to expand on speeches, and to work out alternative endings. The novel can be taught collaboratively with the history department as an allegory of the Russian Revolution, allowing students to draw parallels...
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...According to the Britannica Encyclopedia, an allusion “is an implied or indirect reference to a person, event, or thing or to a part of another text. Allusion is distinguished from such devices as direct quote and imitation or parody. Most allusions are based on the assumption that there is a body of knowledge that is shared by the author and the reader and that therefore the reader will understand the author’s referent.” "allusion". Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2013. Web. 13 Mar. 2013 <http://www.britannica.com/EBchecked/topic/16658/allusion>. Dark Lady Sonnets 127-154 127 In the old age black was not counted fair, | Or if it were it bore not beauty's name: | But now is black beauty's successive heir, | And beauty slandered with a bastard shame, | For since each hand hath put on nature's power, | Fairing the foul with art's false borrowed face, | Sweet beauty hath no name no holy bower, | But is profaned, if not lives in disgrace. | Therefore my mistress' eyes are raven black, | Her eyes so suited, and they mourners seem, | At such who not born fair no beauty lack, | Slandering creation with a false esteem, | Yet so they mourn becoming of their woe, | That every tongue says beauty should look so. | 128 How oft when thou, my music, music play'st, | Upon that blessed wood whose motion sounds | With thy sweet fingers when thou gently sway'st...
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...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” who, for a small surcharge to the price of admission to her stage show, distributes flashlights to anyone in the audience wishing to give her a speculum exam. By looking down at the mirror at just the right angle, she is able, she says, to see her own cervix reflected in the pupil of the beholder, and thereby (according to the lecturer) to fulfill the old Romantic dream of eradicating the...
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...1. Literature of the 17th century. John Milton. “Paradise Lost”. John Bunyan. “Pilgrim’s Progress”. The peculiarities of the English literature of the 17th century are determined by the events of the Engl. Bourgeois Revolution, which took place in 1640-60. King Charles I was beheaded in 1649& General Oliver Cromwell became the leader of the new government. In 1660, shortly after Cro-ll’s death, the dynasty of the Stuarts was restored. The establishment of new social&eco-ic relations, the change from feudal to bourgeois ownership, escalating class-struggle, liberation movement and contradictions of the bourgeois society found their reflection in lit-re. The main representatives of this period is: John Milton: was born in London&educated at Christ’s College. He lived a pure life believing that he had a great purpose to complete. At college he was known as the The Lady of Christ’s. he Got master’s degree at Cambridge. It’s convenient to consider his works in 3 divisions. At first he wrote his short poems at Horton. (The Passion, Song on May Morning, L’Allegro). Then he wrote mainly prose. His 3 greatest poems belong to his last group. At the age of 23 he had still done little in life&he admits this in one of his sonnets. (On his 23d B-day) In his another sonnet he wrote on his own blindness. (On his Blindness) Milton wrote diff. kinds of works. His prose works were mainly concerned with church, affairs, divorce & freedom. The English civil war between Charles...
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...WOMEN AND LEADERSHIP: THE STATE OF PLAY Deborah L. Rhode and Barbara Kellerman July, 2006 c Some four decades ago, Betty Friedan helped launch the contemporary women’s movement with her publication of The Feminine Mystique. The book famously identified a “problem that has no name”: American women’s confinement to a separate and unequal domestic sphere. One factor contributing to women’s unequal status was their absence from leadership positions. Another aspect of the problem was the lack of cultural consensus that this absence was itself part of the problem, and a matter of social concern. Over the last several decades, we have named that leadership problem and created a cottage industry to address it. Women’s underrepresentation in positions of power generates an increasing array of committees, commissions, consultants, centers, conferences, and commentary such as the essays that follow. Yet while we have made considerable progress in understanding the problem, we remain a dispiriting distance from solving it. I. The Underrepresentation of Women in Leadership Roles The facts are frustratingly familiar. Despite almost a half-century of equal opportunity legislation, women’s opportunities for leadership are anything but equal. To be sure, the situation has improved significantly over this period, particularly if leadership is broadly defined to include informal as well as formal exercises of authority.[i] By that definition, the percentage of women...
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...GMAT Vocabulary List MovieHONG abaft (adv.) on or toward the rear of a ship The passengers moved abaft of the ship so as to escape the fire in the front of the ship. abandon (v.; n) to leave behind; to give something up; freedom; enthusiasm; impetuosity After failing for several years, he abandoned his dream of starting a grocery business. Lucy embarked on her new adventure with abandon. abase (v.) to degrade; humiliate; disgrace The mother's public reprimand abased the girl. The insecure father, after failing to achieve his own life-long goals, abased his children whenever they failed. abbreviate (v.) to shorten; compress; diminish His vacation to Japan was abbreviated when he acquired an illness treatable only in the United States. abdicate (v.) to reject, renounce, or abandon Due to his poor payment record, it may be necessary to abdicate our relationship with the client. aberrant (adj.) abnormal; straying from the normal or usual path The aberrant flight pattern of the airplane alarmed the air traffic controllers. His aberrant behavior led his friends to worry the divorce had taken its toll. abeyance (n.) a state of temporary suspension or inactivity Since the power failure, the town has been in abeyance. abhor (v.) to hate By the way her jaw tensed when he walked in, it is easy to see that she abhors him. The dog abhorred cats, chasing and growling at them whenever he had the opportunity. abject (adj.) of the worst or lowest degree ...
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...Reading Between the Lines: An analysis of Mary Shelley’s Frankenstein, or, the Modern Prometheus, using Horace Walpole’s The Castle of Otranto as an example of male discourse about women Louise Othello Knudsen English Almen, 10th semester Master’s Thesis 31-07-2012 Tabel of Contents Abstract ................................................................................................................................................ 3 Introduction .......................................................................................................................................... 5 Historical Context .............................................................................................................................. 10 The View on Women and Their Expected Roles in the late 18th and 19th Century ....................... 11 - Mary Shelley disowns herself .................................................................................................. 11 - Mary Shelley’s Background .................................................................................................... 12 Women’s Role in Frankenstein ..................................................................................................... 13 Men’s Role in Frankenstein ........................................................................................................... 13 - Women in Society and Women as Writers .........................................................
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...Made By Jason & Franklin. This Document Is Strictly Prohibited For Commercial Purposes Without Authorization. List 1 GRE Verbal 750 Quantitative 800, AW 5.5 2008 10 Princeton, MIT, M. Fin Unit 1 ABANDON A B D I C AT E ABASE ABERRANT ABASH ABET A B AT E A B E YA N C E A B B R E V I AT E ABHOR abandon [ 1 n. ] carefree, freedom from constraint added spices to the stew with complete abandon unconstraint, uninhibitedness, unrestraint 2 v. to give (oneself) over unrestrainedly abandon herself to a life of complete idleness abandon oneself to emotion indulge, surrender, give up 3 v. to withdraw from often in the face of danger or encroachment abandon the ship/homes salvage 4 v. to put an end to (something planned or previously agreed to) NASA the bad weather forced NASA to abandon the launch abort, drop, repeal, rescind, revoke, call off keep, continue, maintain, carry on abase [ 1 v. ] to lower in rank, office, prestige, or esteem was unwilling to abase himself by pleading guilty to a crime that he did not commit debauch, degrade, profane, vitiate, discredit, foul, smirch, take down elevate, ennoble, uplift, aggrandize, canonize, deify, exalt abash [ 1 vt. ] to destroy the self-possession or self-confidence of ,disconcert, embarrass Nothing could abash him. discomfit, disconcert, discountenance, faze, fluster, nonplus, mortify embolden abate [ 1 v. ] to reduce in degree or intensity / abate his rage/pain taper off intensify 2 v. ...
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...IRWIN PHILOSOPHY/POP CULTURE S E R I E S R Can drugs take us down the rabbit-hole? R Is Alice a feminist icon? curiouser To learn more about the Blackwell Philosophy and Pop Culture series, visit www.andphilosophy.com and WILLIAM IRWIN is a professor of philosophy at King’s College in Wilkes-Barre, Pennsylvania. He originated the philosophy and popular culture genre of books as coeditor of the bestselling The Simpsons and Philosophy and has overseen recent titles, including Batman and Philosophy, House and Philosophy, and Watchmen and Philosophy. curiouser RICHARD BRIAN DAVIS is an associate professor of philosophy at Tyndale University College and the coeditor of 24 and Philosophy. R I C H A R D B R I A N D AV I S AND PHILOSOPHY Alice’s Adventures in Wonderland has fascinated children and adults alike for generations. Why does Lewis Carroll introduce us to such oddities as a blue caterpillar who smokes a hookah, a cat whose grin remains after its head has faded away, and a White Queen who lives backward and remembers forward? Is it all just nonsense? Was Carroll under the influence? This book probes the deeper underlying meaning in the Alice books and reveals a world rich with philosophical life lessons. Tapping into some of the greatest philosophical minds that ever lived— Aristotle, Hume, Hobbes, and Nietzsche—Alice in Wonderland and Philosophy explores life’s ultimate questions through the eyes of perhaps the most endearing ...
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...Dedicated to St John the Blasphemist Saint of Freakin‟ Awesome Holy Texts Cover Art by MonkeysInACan aka Captain Chris Taylor, Tigger_the_Wing, and Rev. Rowan Redbeard Table of Contents Proclamations of the Councils of Olive Garden.........................................................................1 Second Announcement Regarding Canonical Belief......................................................................2 Third Announcement Regarding Canonical Belief.........................................................................3 The Old Pastament........................................................................................................................4 The Book of Midgets/Midgits.........................................................................................................5 The Creation of Mankind..............................................................................................................14 A Reading From the Book of Fusilli..............................................................................................15 The Book of Penelope....................................................................................................................17 The Book of Linguini.....................................................................................................................20 The Torahtellini Part 2............................................................................................................
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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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