...paragraph seven of his work “Shooting an Elephant”, he is able to establish a revelation he experiences to the reader in expert detail. The reader is experiences is awed as they realize Orwell’s epiphany, that he comes to see that although the white man’s rule is futile, he still conforms to it by deciding to shoot the elephant. Orwell begins strong, describing the vast crowd that has gathered around him in order to witness his shooting of the rampaging elephant. The author’s use of descriptions such as “a sea of yellow faces” and stating the way the multitude of spectators was comparable to the face of someone while watching a magician conjure a trick, allows the reader to fully imagine the size of the audience as well as their feeling of awe at watching Orwell ready himself to shoot the elephant. The reader realizes that Orwell has suddenly become a large spectacle and focus of admiration, although sentences earlier he was an object worthy of hatred. This imagery the author provides, leads in part to the reader recognizing Orwell’s inner struggle,...
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...5 Section 4: Analysis page 7 Section 5: Conclusion page 9 Section 6: Works Cited page page 10 Introduction The literary piece “Shooting an Elephant” by George Orwell, highlights the apprehensions of a colonial officer's obligation to shoot a rogue elephant. The author does not want to shoot the elephant, but feels pressured by a crowd of indigenous residents, before whom he does not wish to appear indecisive or cowardly. “Shooting an Elephant”, by George Orwell, utilizes characterization, point of view, and plot to illustrate the moral conflict between one’s beliefs and duties. George Orwell worked as a sub-divisional police officer in Moulmein, Burma, back in the days of the British Empire. Burma was just one of many unsatisfied colonies. Orwell, and his famous social conscience, is a target for the hatred of the natives, who sneer at him and insult him, whenever they can. Although, in principle, he sides with the natives, his position and their anger weakens his compassion, to some degree. One day, George Orwell is told that an elephant is destroying the bazaar and he is asked to take care of this potential threat. Although basically tame, an elephant may still rampage occasionally due to its natural rhythms. The elephant, regardless of its usual tameness, had already demolished a bamboo hut, killed a cow, attacked some fruit-stalls and consumed its inventory and overturned a municipal garbage van (Orwell 5). George Orwell meets up with the...
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...Peer Innocence (An Analysis of Shooting an Elephant by George Orwell) Pressure is a common obstacle throughout the journey of life. Whether it is stress, a big due date, or peer pressure, it is experienced nearly every day. Peer pressure is defined as getting forced into something that was not wanted by other people, friend or not. It is considered a form of bullying. In the story Shooting an Elephant by George Orwell, is a personal narrative of what happened to him when he was a police officer in Burma, India. Peer pressure was what made him make the decision he did and due to that he has to live forever with the consequences. Certainly, we have all fallen to some form of peer pressure. Peer pressure can greatly influence decisions, always...
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...Patterson: Critical Analysis In this essay we will take a critical analysis approach to George Orwell's “Shooting an Elephant” and its use of certain nonfiction elements that it uses. In “Shooting an Elephant” Orwell tells a tale of when he was an officer in Burma under the British empire. He hates his job and he hates the fact that he is forced to subjugate these people, but he also despises them for making his job so hard with their rebellious ways while also sympathizes with them. He is young and he is very confused with life at this point and has come to the realization that imperialism is wrong in any form. The plot of the story is the strongest non fiction element present because it goes so in depth. It has repercussions not just in the story, but you can infer by the writing other things going on around that time with just the little text present. The non fiction element plot is the main focal point in the story to better convey the situation at that time. What is plot? Plot is a literary term defined as the events that make up a story, particularly as they relate to one another in a pattern, in a sequence, through cause and effect, how the reader views the story, or simply by coincidence. One is generally interested in how well this pattern of events accomplishes some artistic or emotional effect. Plots usually follow the same steps exposition, rising action, climax, falling action, and resolution. Patterson 2 In Orwell's “Shooting an Elephant” plot plays a big...
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...Courtney Lott Eng. 1010-110 Prof. Gore 2/10/15 Rhetorical Analysis What Is His Best Choice?? Every reader of Orwell’s narrative “Shooting An Elephant,” will have an opinion on whether Orwell is simply a coward or just conflicted on his actions and feelings in the situation. Many readers believe he is a coward; however, he was very confused about what to do with the elephant. He knew he did not want to shoot the elephant but he also knew the natives expected him to end the animal with no hesitation because the elephant took the life of a native. Orwell seems to realize this, as he is followed by almost the entire town so they could all witness the shooting. Even though the main argument is that Orwell is a coward for not wanting to shoot the elephant, he shot it mainly because the natives expected him to; therefore, Orwell is deeply conflicted on his authority and actions in this situation. Orwell states that he is “theoretically all for the Burmese and against their oppressors” (134). (Emphasis added) He secretly roots for the natives even though he is an enemy to the people. He says “theoretically” because he really despises both parties, but if he had to choose between these factions, he would choose the natives. He is an Imperial officer and is expected to be on the British side. He also believes he is “not important enough to be hated” (George Orwell, 133). He is hated by the natives because of his role as...
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...-Conformity and Rebellion: In my analysis of Henry David Thoreau’s “Civil Disobedience” I would tend agree that people are divided based on their roles and functions in society. This division of people may be outside of an individual’s or group of people’s control. This division of people may be driven by socioeconomic, geographic, political, ideological or technological reasons. There may be individuals in power that will dictate where classes of people should live and work. The divisions of people into classes can be seen in both the real world and fictional writings. There may be divisions of classes within the same group of people based on power and influence in that group. Some of these individuals in these groups may also consist of those rare individuals with a conscience, that Thoreau speaks of, who can influence change or incite a rebellion. If the actions of these rare individuals incites a revolution and takes down those individuals currently in power then I would agree they would be considered an enemy of the state. People can also be divided based on their roles and functions in society without force or coercion. Their culture or customs of a society may dictate roles and functions. An individual may be born into this society with fixed expectations of their roles or functions. This agreement can be the seen in the case of Changez, in the Reluctant Fundamentalist. Changez was born into a caste system where his family held some form of power and influence based...
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...Instructor’s Manual to Accompany The Longman Writer Rhetoric, Reader, Handbook Fifth Edition and The Longman Writer Rhetoric and Reader Fifth Edition Brief Edition Judith Nadell Linda McMeniman Rowan University John Langan Atlantic Cape Community College Prepared by: Eliza A. Comodromos Rutgers, The State University of New Jersey New York San Francisco Boston London Toronto Sydney Tokyo Singapore Madrid Mexico City Munich Paris Cape Town Hong Kong Montreal NOTE REGARDING WEBSITES AND PASSWORDS: If you need a password to access instructor supplements on a Longman book-specific website, please use the following information: Username: Password: awlbook adopt Senior Acquisitions Editor: Joseph Opiela Senior Supplements Editor: Donna Campion Electronic Page Makeup: Big Color Systems, Inc. Instructor’s Manual to accompany The Longman Writer: Rhetoric, Reader, Handbook, 5e and The Longman Writer: Rhetoric and Reader, Brief Edition, 5e, by Nadell/McMeniman/Langan and Comodromos Copyright ©2003 Pearson Education, Inc. All rights reserved. Printed in the United States of America. Instructors may reproduce portions of this book for classroom use only. All other reproductions are strictly prohibited without prior permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. Please visit our website at: http://www.ablongman.com ISBN: 0-321-13157-6 1 2 3 4 5 6 7 8 9 10 - D O H - 05 04 03 02 CONTENTS ...
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...IGOROTS * Home * IGOROT SONGS * IGOROT DANCE * IGOROT TRADITIONS * MONEY ON THE MOUNTAIN IGOROT TRADITIONS IGOROT TRADITIONS When we talk about Igorot identity and culture, we also have to consider the time. My point is that: what I am going to share in this article concerning the Igorot culture might not be the same practiced by the Igorots of today. It has made variations by the passing of time, which is also normally happening to many other cultures, but the main core of respect and reverence to ancestors and to those who had just passed is still there. The Igorot culture that I like to share is about our practices and beliefs during the "time of Death". Death is part of the cycle of life. Igorots practice this part of life cycle with a great meaning and importance. Before the advent of Christianity in the Igorotlandia, the Igorots or the people of the Cordilleran region in the Philippines were animist or pagans. Our reverence or the importance of giving honor to our ancestors is a part of our daily activities. We consider our ancestors still to be with us, only that they exist in another world or dimension. Whenever we have some special feasts (e.g., occasions during death, wedding, family gathering, etc.), when we undertake something special (like going somewhere to look for a job or during thanksgiving), we perform some special offer. We call this "Menpalti/ Menkanyaw", an act of butchering and offering animals. During these times we call them...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...Agatha Christie - Third Girl CHAPTER ONE HERCULE POIROT was sitting at the breakfast table. At his right hand was a steaming cup of chocolate. He had always had a sweet tooth. To accompany the chocolate was a brioche. It went agreeably with chocolate. He nodded his approval. This was from the fourth shop he had tried. It was a Danish patisserie but infinitely superior to the so-called French one near by. That had been nothing less than a fraud. He was satisfied gastronomically. His stomach was at peace. His mind also was at peace, perhaps somewhat too much so. He had finished his Magnum Opus, an analysis of great writers of detective fiction. He had dared to speak scathingly of Edgar Alien Poe, he had complained of the lack of method or order in the romantic outpourings of Wilkie Collins, had lauded to the skies two American authors who were practically unknown, and had in various other ways given honour where honour was due and sternly withheld it where he considered it was not. He had seen the volume through the press, had looked upon the results and, apart from a really incredible number of printer's errors, pronounced that it was good. He had enjoyed this literary achievement and enjoyed the vast amount of reading he had had to do, had enjoyed snorting with disgust as he flung a book across the floor (though always remembering to rise, pick it up and dispose of it tidily in the waste-paper basket) and had enjoyed appreciatively nodding his head on the rare occasions when such...
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...THE B L A C K SWAN The HIGHLY I mpact IM of the PROBABLE Nassim Nicholas Taleb U.S.A. $26.95 Canada $34.95 is a highly improbable event with three principal characteristics: It is unpre dictable; it carries a massive impact; and, after the fact, we concoct an explanation that makes it appear less random, and more predictable, than it was. The astonishing success of Google was a black swan; so was 9 / 1 1 . For Nassim Nicholas Taleb, black swans underlie almost everything about our world, from the rise of religions to events in our own personal lives. A BLACK SWAN Why do we not acknowledge the phenomenon of black swans until after they occur? Part of the answer, according to Taleb, is that humans are hardwired to learn specifics when they should be focused on generalities. We concentrate on things we already know and time and time again fail to take into consideration what we don't know. We are, therefore, unable to truly estimate oppor tunities, too vulnerable to the impulse to simplify, narrate, and categorize, and not open enough to rewarding those who can imagine the "impossible." For years, Taleb has studied how we fool our selves into thinking we know more than we actually do. We restrict our thinking to the irrelevant and inconsequential, while large events continue to surprise us and shape our world. Now, in this reve latory book, Taleb explains everything we know about what we don't know. He offers...
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...C h a p t e r 1 Prewriting GETTING STARTED (OR SOUP-CAN LABELS CAN BE FASCINATING) For many writers, getting started is the hardest part. You may have noticed that when it is time to begin a writing assignment, you suddenly develop an enormous desire to straighten your 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,...
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...more…People are presented as [Fadiman] saw them, in their humility and their frailty—and their nobility.” —Sherwin B. Nuland, The New Republic 3/462 “Anne Fadiman’s phenomenal first book, The Spirit Catches You and You Fall Down, brings to life the enduring power of parental love in an impoverished refugee family struggling to protect their seriously ill infant daughter and ancient spiritual traditions from the tyranny of welfare bureaucrats and intolerant medical technocrats.” —Al Santoli, The Washington Times “A unique anthropological study of American society.” —Louise Steinman, Los Angeles Times “Some writers…have done exceedingly well at taking in one or another human scene, then conveying it to others—James Agee, for instance…and George Orwell…It is in such company that Anne Fadiman’s writing belongs.” —Robert Coles, Commonweal...
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...FROM THE AUTHOR OF THE BESTSELLING BIOGRAPHIES OF BENJAMIN FRANKLIN AND ALBERT EINSTEIN, THIS IS THE EXCLUSIVE BIOGRAPHY OF STEVE JOBS. Based on more than forty interviews with Jobs conducted over two years—as well as interviews with more than a hundred family members, friends, adversaries, competitors, and colleagues—Walter Isaacson has written a riveting story of the roller-coaster life and searingly intense personality of a creative entrepreneur whose passion for perfection and ferocious drive revolutionized six industries: personal computers, animated movies, music, phones, tablet computing, and digital publishing. At a time when America is seeking ways to sustain its innovative edge, Jobs stands as the ultimate icon of inventiveness and applied imagination. He knew that the best way to create value in the twenty-first century was to connect creativity with technology. He built a company where leaps of the imagination were combined with remarkable feats of engineering. Although Jobs cooperated with this book, he asked for no control over what was written nor even the right to read it before it was published. He put nothing offlimits. He encouraged the people he knew to speak honestly. And Jobs speaks candidly, sometimes brutally so, about the people he worked with and competed against. His friends, foes, and colleagues provide an unvarnished view of the passions, perfectionism, obsessions, artistry, devilry, and compulsion for control that shaped his approach to business and...
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