...Sherlock Holmes (/ˈʃɜrlɒk ˈhoʊmz/) is a fictional character created by Scottish author and physician Sir Arthur Conan Doyle, a graduate of the University of Edinburgh Medical School. A London-based "consulting detective" whose abilities border on the fantastic, Holmes is known for his astute logical reasoning, his ability to adopt almost any disguise and his use of forensic science to solve difficult cases. Holmes, who first appeared in print in 1887, was featured in four novels and 56 short stories. The first novel, A Study in Scarlet, appeared in Beeton's Christmas Annual in 1887 and the second, The Sign of the Four, in Lippincott's Monthly Magazine in 1890. The character's popularity grew with the first series of short stories in The Strand Magazine, beginning with "A Scandal in Bohemia" in 1891; additional short-story series and two novels (published in serial form) appeared from then to 1927. The events in the stories take place from about 1880 to 1914. All but four stories are narrated by Holmes's friend and biographer, Dr. John H. Watson. Two are narrated by Holmes himself ("The Adventure of the Blanched Soldier" and "The Adventure of the Lion's Mane"), and two others are written in the third person ("The Adventure of the Mazarin Stone" and "His Last Bow"). In two stories ("The Adventure of the Musgrave Ritual" and "The Adventure of the Gloria Scott"), Holmes tells Watson the story from memory, with Watson narrating the frame story. The first and fourth novels, A...
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...Requiem and Deviant Intentions For A Dream” The 2000 film, Requiem for a Dream, by Director Darren Aronofsky is a chilling look into the realities of drug addiction, disappear, and hopelessness. If ever their was an anti-drug film or Public Services Announcement cautioning people about the dangers and ills of drug use, this could most certainly serve as one of the canonical texts. One viewing of this film would cause Nancy Regan’s 1980’s warnings of “Just saying No” to duck and hide their insufficient faces in shame for simply not hitting home hard enough. According to Farber, in The Age of Great Dreams: America in the 1960s, he contends that by the late 1960s, many young antiwar activities and others who were involved in a variety of social and political movements were in open revolt against what they considered “the American way of life,” believing that the “traditional” values of American life were what had produced the war in Vietnam, racism, and a lot of other ugliness. The shock troops in this “cultural war,” at least as most Americans saw it, were the longhaired “freaks” and “hippies” of what was then called the “counterculture.” It was the counterculture, more than the antiwar movement or Black Power groups, that seemed to many older Americans to be the most threatening to their family and loved ones. Far more young people would experiment with illegal drugs and counterculture lifestyles than would ever participate in the civil rights, antiwar,...
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...International Journal of Applied Linguistics & English Literature ISSN 2200-3592 (Print), ISSN 2200-3452 (Online) Vol. 2 No. 4; July 2013 Copyright © Australian International Academic Centre, Australia 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...
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...Television Studies ------------------------------------------------- Professor Eduardo Cintra Torres 1ªAula, dia 22 de Setembro de 2015 Programme: 1. Introduction to Television Studies; 2. Television text (contents); 3. Television agency; 4. Television and technology; 5. Television history; 6. Viewer, audiences: I, We, They. Why study television? People wrote about television as a general media. There was a certain resistance to the study of TV. To study popular culture was parallel to the fear of the death of high culture. Umberto Eco (1964) and others gave special attention to TV and other “minor arts”. The interest in the study of reader/receiver increased in the 60’s in the universe of high culture and the academy. R.Barthes – encode/decode. Later the canonization of popular mass culture in Anglo-American countries changed the vision of the society about the TV. In the US they reflected about the industry. Cultural industries – television is culture but it’s also an industry. If we think in Hollywood as a dream factory we have also a culture industry. Nowadays popular culture is a part of our life. Common sense and TV – resisting the analysis of television is also a consequence of commons sense. But there is a paradox: it is so easy to watch that it becomes difficult to analyze. TV is inscribed in daily life. TV is transparent. Popular culture, namely TV, has a supposed transparency: what I see is what it looks likely...
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...Open main menu Last edited 2 days ago by Andreasmperu Literary genre EditWatch this page A literary genre is a category of literary composition. Genres may be determined by literary technique, tone, content, or even (as in the case of fiction) length. The distinctions between genres and categories are flexible and loosely defined, often with subgroups. The most general genres in literature are (in loose chronological order) epic, tragedy,[1] comedy, and creative nonfiction.[citation needed] They can all be in the form of prose or poetry. Additionally, a genre such as satire, allegory or pastoral might appear in any of the above, not only as a subgenre (see below), but as a mixture of genres. Finally, they are defined by the general cultural movement of the historical period in which they were composed. Genre should not be confused with age categories, by which literature may be classified as either adult, young-adult, or children's. They also must not be confused with format, such as graphic novel or picture book. GenresEdit For more details on this topic, see List of literary genres. Just as in painting, there are different types: the landscape, the still life, the portrait; there are different types of literary works. These types tend to share specific characteristics. Genres describe those works which share specific conventions.[2] Genres are often divided into subgenres. Literature, is divided into the classic three forms of Ancient Greece, poetry, drama...
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...IS NOVEL? A Novel is prose narrative of considerable length and some complexity that deals imaginatively (fictional) with human experiences (near to life) through a connected sequence of events involving a group of persons in a specific setting. Previously it was known as fictional narrative or narrative prose. ( A Narrative opens “in media res”. This means it opens usually with the hero at his lowest point “in the middle of things”, earlier portions of the story appear later as flashbacks..) Main characterstics of novels are theme, plot or setting, structure, action or events in a sequence, strong characterization and expressive language. The genre of extended prose fiction or narrative fictional prose i.e. novel is rooted in the tradition of medieval "romances" or the heroic romance in prose. The term ‘roman or romance’ linked fictions back to the histories that had appeared in the Romance language of 11th and 12th-century southern France. The typical Arthurian romance became a fashion in the late 12th century. The unexpected and peculiar adventures surprised the audience in romances like Sir Gawain and the Green Knight (c. 1380).The romance had become a stable generic term by the beginning of the 13th century, as in the Roman de la Rose (c. 1230), famous today in English through Geoffrey Chaucer's late 14th-century translation. Chaucer's Troilus and Criseyde (1380–87) is a late example of this European fashion. Prose narrators wrote narrative patterns as employed in fairy...
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...Fiction we must understand what American Literature is in itself and which pieces of writing we can include within this label. It is believed that when a piece is written in North America, more precisely in the USA, it would automatically be given this epithet. But it should be taken into account that this idea is quite broad and doesn’t reflect the real essence of the term. However, there is also another definition that gathers this essence: American Literature is the one that represents the Americanism, the singularity of the USA philosophy and culture. This way, instead of focusing on who the author is, it is focused on the content of the writing. In that which concerns Fiction, the following documents are the ones considered as narrative: Speeches Letters Short Stories Essays Political Documents Sermons Novels Diaries 1 FIRST LITERARY EXPRESSIONS The first documents in which the idea of Americanism is very present are the Sermons. They respond to the strict Protestantism settled in the New Continent after the arrival of the Pilgrim Fathers and Puritans in the Mayflower (1620) and the Arabella (1630). They established a theocratic community whose main and only point of reference was the Bible. That is why the idea of the ‘city upon a hill’ is still very present in American mentality. As we all know, their community was also governed by the concept of Predestination. This belief was based...
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...Ministry of Education of the Republic of Moldova State Pedagogical University “Ion Creangă” Foreign Languages 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...
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...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 events as they actually happened, but writers of fictional stories depart...
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...Through the exploration of a pair of texts composed in different contexts one can observe the significance of the ability of texts with varied form and context to still present and reflect similar values. A Room of One’s Own (hereafter AROO), a polemic, by Virginia Woolf and the play Who’s Afraid of Virginia Woolf (hereafter WAVW) by Edward Albee both address gender inequality and truth and illusion even though their contexts and form starkly contrast. An analysis of similar themes will provide a greater understanding of meanings and perceptions of the texts. AROO, written in the post-war period of the late 1920s, was composed in a time of great social change due to the destruction and turmoil of the War. Modernist writing highlights the absence of, and search for, meaning and features experiments with new forms. Loss and absence lie at the heart of Woolf’s art, resulting from the experience of loss as an adolescent – her half sister, father, brother and mother. Her refusal to give one single view of anything, offering instead multiple, often conflicting views which the reader has to balance and bring together is another modernist trait. In contrast, WAVW was written in a far more conservative context, and although Albee does challenge societal roles, he does it in a more blatant way. Written during a time of Cold War tension, where fear and instability was disguised beneath the facade of the Great American Dream, Albee is still able to paint a dystopian image of the stereotyped...
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...Strategic Computing and Communications Technology | | |New Trends in Product Placement | | | |Lilia Gutnik, Tom Huang, Jill Blue Lin, Ted Schmidt | |Spring 2007 | INTRODUCTION The traditional broadcast television advertising model is based on the 30-second ad that regularly interrupts TV shows. Most viewers find these ads boring and intrusive, but until recently were forced to endure them in order to watch the show. With the advent of digital video recording (DVR) and the growing popularity of TiVo, television viewers are no longer a passive audience. DVR technology allows viewers to fast-forward or skip ads. According to a study done by the major television networks in 2005, 90% of viewers surveyed said they skipped all or most of the commercials. In addition, one of the most desirable demographics (18-34 year old males) are moving away from television all together, and spending more time using more interactive forms of media, such as video games. The peak time of day for game console usage coincides directly with primetime network programming, much to the chagrin of network executives as well as advertisers. Attempting to fight the...
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...according to a nineteenth-century history of tea, tea was such a fundamental part of everyday life that English tea drinkers often failed to notice its significance within their daily lives. G. G. Sigmond, in the opening pages of Tea: Its Effects, Medicinal and Moral, declares, “Man is so surrounded by objects calculated to arrest his attention, and to excite either his admi- ration or his curiosity, that he often overlooks the humble friend that ministers to his habitual comfort; and the familiarity he holds with it almost renders him incapable of appreciating its value.”1 By the early nineteenth century, tea had become a com- modity of necessity, forming a crucial part of daily patterns of consumption and domesticity. The habitual comfort of tea, ac- cording to Sigmond’s tea treatise, does not draw attention; it is quiet and familiar and thus goes unnoticed. Tea is represented as dependable, a frequent part of everyday life that forms a com- fortable, secure basis for the rest of life’s responses, decisions, and actions. As Sigmond declares, the English tea drinker is “in- capable of appreciating [tea’s] value” (1). What the typical tea drinker fails to recognize, Sigmond suggests, is the crucial role that tea plays in forming the foundation of everyday life. Despite Sigmond’s attempts to rectify the humble status of tea in nineteenth-century English culture, tea has remained a 1 2 introduction relatively unrecognized aspect of Victorian life. Just as Sigmond implies that...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...
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...What is PUBLIC BROADCASTING? Exercising of media broadcasting by the nations’ Government is broadly known as Public Broadcasting. It is financed and controlled by the public, for the public. It is neither commercial nor state-owned; it is free from political interference and pressure from commercial forces. It includes radio, television, internet and other media outlets whose primary mission is Public Service. In broadcasting, public service includes the social welfare of people, spreading information, speaking to and engaging as a citizen. Public Broadcasting is wide ranging in its appeal, reliable, entertaining, instructive and informative, who serves only one master – Public. It strives to engage all communities through evocative broadcast programmes and outreach projects. It channelizes the information and ideas to help improve communities socially, culturally and economically. Through public service broadcasting, citizens are informed, educated and also entertained. Public service broadcasting can serve as a keystone of democracy when it is guaranteed with pluralism, programming diversity, editorial independence, appropriate funding, accountability and transparency. What are the Public broadcasting institutions in India? The Major institution for public broadcasting in India is Prasar Bharati. Prasar Bharati through All India Radio (AIR) and Doordarshan (DD) networks provide maximum coverage of the population and are one of the largest terrestrial networks in the world...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights...
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