Engelsk B – Studentereksamen A – Ret fejlene 1. After the party on Saturday, he sleeped in on Sunday * Fejlen i denne sætning er ”sleeped” da ’Sleep’ er et uregelmæssigt udsagnsord, som i datid hedder slept. 2. Television has learned me a lot about American culture * Fejlen I denne sætning er “has” da det hedder “have”, da sætning står i nutid. 3. Wayne and Colleen are thrilled with the wonderfully addition to their family life * Fejlen I denne sætning er “wonderfully”
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affects other characters. from these five things, the reader or audience member understands the character’s personality. climax (KlahY-maks): the point in a play, novel, short story, or narrative poem at which the conflict reaches its greatest intensity and is then resolved. the climax is also the part of a narrative when the
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Pictures with Words. The first image people think of when Tokyo is mentioned is a majestic night view from afar with dazzling skylights and neon signs. For most individuals, that is the only image they can think of. In reality, Tokyo is just like any other busy and crowded cities in the world. It too, has days of unclear sky, places that no one visits, and stories never told. Perhaps this is the reason that drove Lee Chapman, a British photographer, to create a photography blog about this wonderful
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Conventions are a set of widely accepted techniques and devices that audiences may expect to find in a novel, short story or other narrative. Conventions give the author and the reader an agreed structure within which they can both work. SETTING Setting refers to where and when a story takes place. Description of the setting is often utilised to create mood and atmosphere. Setting can play a significant role in contributing to the meaning of the story. CHARACTERS The people in the
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Michael Richards Just Like That is a short story written in 1987 by Michael Richards. It’s about a man and a boy, whom are out shooting kangaroos. The purpose is transforming the boy into a man. The story takes place in Australia. Language: The language is easy to read and understand. There are some direct speech but mostly it’s storytelling. Narrator: It’s a third omniscient narrator from the boy’s point of view. We know how he feels and what he thinks about the events that are happening
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Frankenstein Science AO2 Unrestrained scientific desire: ‘they penetrate into the recesses of nature and show how she works in her hiding places’ • ‘they ascend into the heavens’ ‘new and almost unlimited powers’ ‘penetrate’ ‘command’ ‘mimic’ • ‘with fervour’ • ‘performed miracles’ • ‘unfold to the world the deepest mysteries of creation’ • ‘secret’ ‘hidden laws’ • How dangerous is the acquirement of knowledge’ Power: ‘as if my soul were grappling with a powerful enemy’ • ‘like
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Analysis and Interpret of “How lucky you are” We all do it. We look at the glass as half empty, we complain about school, and we hate our parents for telling us to be home at a certain time. Until something - an insightful person, a news item or the voice of reason inside our own heads - puts things into perspective. We realize the glass could in fact be viewed as half full, being able to attend school is a privilege, and we should be happy to have parents, who worry about us. We realize just
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Footloose 1984 & 2011 COM/170 August 20, 2012 Footloose 1984 & 2011 Footloose! Seen it? Want to? Which one? There are two; one came out in 1984 (directed by Herbert Ross starring Kevin Bacon), and the other one in 2011 (directed by Craig Brewer starring Kenny Wormald). Music and characters are very similar, but the dance moves and time frame are different in both Footloose movies. The first thing noticeable is the difference in the time eras from one movie to the other. In the
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consumer narrative analysis? Stefano Pace ` Universita Bocconi, Milano, Italy Abstract Purpose – The aim of the paper is to discuss a possible extension of narrative analysis to a new medium of expression of consumer behaviour, specifically YouTube. Design/methodology/approach – Marketing and consumer behaviour studies often apply narrative analysis to understand consumption. The consumer is a source of introspective narratives that are studied by scholars. However, consumption has a narrative nature
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that took its meaning from the Liberation, and that the technique of the films was in some way magnified by the revolutionary value of the subject. Just as some books by Malraux or Hemingway find in a crystallization of journalistic style the beat narrative form for a tragedy of current events, so the films of Rossellini or De Sica owed the fact that they were major works masterpieces simply to a fortuitous combination of form and subject matter. But when the novelty and above all the flavor of their
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