Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not
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ENG2602/101/3/2015 Tutorial letter 101/3/2015 GENRES IN LITERATURE AND LANGUAGE: THEORY, STYLE AND POETICS ENG2602 Semesters 1 & 2 Department of English Studies IMPORTANT INFORMATION: This Tutorial Letter contains important information about your module. CONTENTS Page 1 INTRODUCTION .......................................................................................................................... 3 2 PURPOSE OF AND OUTCOMES FOR THE MODULE....................
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ENGLISH HANDBOOK -“Welcome to my evil lair…” -Mr. Braiman Brooklyn High School of the Arts www.mrbraiman.com http://handbook.mrbraiman.com “EVIL” Welcome to my evil classroom lair. In order to become full-fledged evil “minions,” you need to read this handbook carefully. It explains everything you need to know. “English,” as you may know, is shorthand for “English Language Arts.” Being that we are in an Arts school, but one where academics must and always do come first, it is important
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ALLEGOR AND IRONY IN 'OTHELLO' Y ANTOINETT B. DAUBER E Othello is Shakespeare's Spenserian tragedy, in which the theme of slandere d chastity becomes a vehicle for exploring the problems of an allegorica l art . Allegory is the mode of selfconscious faith, and Spenser's corpus may be rea d as a portrai t of the artis t as allegorist , wrestling first with the burdens of selfconsciousness and then with the burdens of faith.l In Othello, Shakespeare compresses and objectifies this struggle. Unlike
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A-1 APPENDIX Writing a Film Analysis Films are made to be seen and heard, to appeal to our visual and aural senses. Like any art form, however, films are also meant to be felt and understood, to appeal to our emotions and minds. One of the best ways to determine whether a film has succeeded in any or all of these goals is to analyze the elements that make up the whole work. To write an analysis of a film, you must study the film carefully. Your critical analysis should be derived from your personal
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Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant
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able to identify examples of each. * Understand the uses of irony and foreshadowing in the story as well as more generally in literature. * Become acquainted with Flannery O’Connor and her writing style, particularly with her use of the grotesque. * Explore the complexity of the themes present in the story and the characters O’Connor has created, especially the Misfit and the grandmother. * Exercise a variety of critical thinking and analytical skills in order to form ideas and opinions
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are they really about? What is the content of a film? DIGGING DEEPER: FOUR LEVELS OF MEANING Recounting the plot of a movie, telling what happens, is the simplest way to explain it to someone else. But this is neither a film review nor a film analysis. It’s merely a synopsis that anyone else who sees or has seen the movie will likely agree with. This level of content may be called the referential content, since it refers directly to things that happen in the plot and possibly to some aspects
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AS/A2 English Literature B Student Guide A-LEVEL STUDENT HANDBOOK CONTENTS PAGE | | | |What we Expect of A-Level Students |3 | |Overview of the AS and A2 Course |4
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There is substantial evidence that by 1926, with the publication of The Weary Blues萎靡的蓝调, Langston Hughes had broken with打破 two well-established确立已久的 traditions in African American literature. In The Weary Blues, Hughes chose to modify the traditions that decreed规定 that African American literature must promote racial acceptance and integration融合, and that, in order to do so, it must reflect an understanding and mastery 掌握of Western European literary techniques and styles. Necessarily excluded 排除by
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