...07/10/12 Karla Roman Ms karigian “of mice and men” book summary The novel opens with two men, George Milton and Lennie Small, walking to a nearby ranch where harvesting jobs are available. George, the smaller man, leads the way and makes the decisions for Lennie, a mentally handicapped giant. They stop at a stream for the evening, deciding to go to the ranch in the morning. Lennie, who loves to pet anything soft, has a dead mouse in his pocket. George takes the mouse away from Lennie and reminds him of the trouble Lennie got into in the last town they were in — he touched a girl's soft dress. George then reminds Lennie not to speak to anyone in the morning when they get to the ranch and cautions Lennie to return to this place by the river if anything bad happens at the ranch. When he has to take the dead mouse away from Lennie a second time, George chafes at the hardship of taking care of Lennie. After calming his anger, George relents and promises Lennie they will try to find him a puppy; then he tells Lennie about their dream of having a little farm where they can be their own boss and nobody can tell them what to do, where Lennie will tend their rabbits, and where they will "live off the fatta the lan'." Lennie has heard this story so often he can repeat it by heart. And George emphasizes that this dream and their relationship make them different from other guys who don't have anyone or a place of their own. They settle down and sleep for the night. The...
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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 in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...bog56269.app.qxd 7/23/03 1:01 PM Page 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 encounter with the film, not from published criticism. Access to a videocassette recorder or DVD player is essential if you are going to perform a critical analysis of any depth. It is not enough to like or dislike the movie; you must determine why it succeeds or fails in reaching out and encompassing the viewer. The first step is to view the film in its entirety. From this viewing you can get an initial reaction to the many parts of the film that you will have to explore in more depth. When you first view the film, it is best not to try to take notes or separate the parts of the film; you should be familiar with the textbook in order to know what to look for. After you have formulated a thesis and have begun the process of supporting that thesis, you should view the film at least once more in its entirety and two or three times in segments in order to review scenes of major importance. The thesis statement is the element around which to...
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...studies, a theme is the central topic a text treats. Themes can be divided into two categories: a work's thematic concept is what readers "think the work is about" and its thematic statement being "what the work says about the subject". The most common contemporary understanding of theme is an idea or concept that is central to a story, which can often be summed in a single word (e.g. love, death, betrayal). Typical examples of themes of this type are conflict between the individual and society; coming of age; humans in conflict with technology; nostalgia; and the dangers of unchecked ambition. A theme may be exemplified by the actions, utterances, or thoughts of a character in a novel. An example of this would be the theme loneliness in John Steinbeck's Of Mice and Men, wherein many of the characters seem to be lonely. It may differ from the thesis—the text's or author's implied worldview. A story may have several themes. Themes often explore historically common or cross-culturally recognizable ideas, such as ethical questions, and are usually implied rather than stated explicitly. An example of this would be whether one should live a seemingly better life, at the price of giving up parts of ones humanity, which is a theme in Aldous Huxley’s Brave New World. Along with plot, character, setting, and style, theme is considered one of the fundamental components of fiction. Mostly people regards themes as thesis or thesis as themes but there is a clear distinction between them which is...
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...Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement of Sentence Members. Rhetorical Question. Types of Repetition. Parallel Constructions. Chiasmus. Inversion. Suspense, Detachment. Completeness of Sentence Structure. Ellipsis. One-Member Sentences. Apokoinu Constructions. Break. Types of Connection. Polysyndeton. Asyndeton. Attachment Lexico-Syntactical Stylistic Devices. Antithesis. Climax. Anticlimax. Simile. Litotes. Periphrasis....
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...Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement of Sentence Members. Rhetorical Question. Types of Repetition. Parallel Constructions. Chiasmus. Inversion. Suspense, Detachment. Completeness of Sentence Structure. Ellipsis. One-Member Sentences. Apokoinu Constructions. Break. Types of...
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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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...the Curriculum – Role of Curriculum Leaders Chapter 4 1 2 2 3 3 13 14 14 15 15 16 16 17 17 18 21 Learning and Teaching 4.1 Approaches to Learning and Teaching 4.1.1 Introductory Comments 4.1.2 Prose Fiction 4.1.3 Poetry i 21 21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources 104 108 Chapter 6 Chapter 7 109 Supporting Measures 7.1 Learning and Teaching Resource Materials 7.2 Professional Development 109 109 Appendix 1 Examples of Poetry Analysis 110 Appendix 2 Examples of...
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...writing, reading, and critical thinking, and combines comprehensive grammar review with an introduction to paragraph writing and composition. Beginning with the sentence and its essential elements, this book addresses each concept with clear, concise, and effective examples that are immediately reinforced with exercises and opportunities to demonstrate learning. Each chapter allows students to demonstrate mastery of the principles of quality writing. With its incremental approach, this book can address a range of writing levels and abilities, helping each student prepare for the next writing or university course. Constant reinforcement is provided through examples and exercises, and the text involves students in the learning process through reading, problem solving, practicing, listening, and experiencing the writing process. Each chapter also has integrated examples that unify the discussion and form a common, easy-tounderstand basis for discussion and exploration. This will put students at ease and allow for greater absorption of the material. Tips for effective writing are included in every chapter, as well. Thought-provoking scenarios provide challenges and opportunities for collaboration and interaction. These exercises are especially helpful for working with groups of students. Clear exercises teach sentence and paragraph writing skills that lead to common English composition and research essays....
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...author had quietly disappeared. His book stayed on the bestseller list for thirty weeks, though never above fourth place.' Costing 75?, the Bantam paperback edition appeared in 1964. By 1981, when the same edition went for $2.50, sales still held steady, between twenty and thirty thousand copies per month, about a quarter of a million copies annually. In paperback the novel sold over three million copies between 1953 and 1964, climbed even higher by the 1980s, and continues to attract about as many buyers as it did in 1951. The durabilityof The author appreciates the invitationof Professors Marc Lee Raphaeland Robert A. Gross to present an early version of this essay at the College of William & Mary, and also thanks ProfessorsPaul Boyer and John D. Ibson for their assistance. 1AdamMoss, "Catcher Comes of Age," Esquire, December 1981, p. 57; Jack Salzman, ed., intro. to New Essays on "The Catcher in the Rye" (New York:Cambridge UniversityPress, 1991), pp. 6, 7. 567 568 THE NEW ENGLAND QUARTERLY its appeal is astonishing. The...
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...-“Strauss versus Brains and Genes or the postmodern vengeful return of positivism.” This essay first started as an answer to what I deemed very problematic, i.e. the disputation which I found in bad faith (un-authentic to use a philosophical term or an existentialist term), of the mediatic, dashing Harvard cognitivist/linguist, Steven Pinker, in his article “Neglected novelists, embattled English professors, tenure-less historians, and other struggling denizens of the Humanities, Science is not your Enemy—a plea for an intellectual truce,” (The New Republic--August 19). Then the counter-arguments against Steven Pinker’s conception of the “human animal” developed into an essay arguing that the New Positivism, not science, or technology per say, was the enemy of humanism and its avatars as such. The point is not to become a postmodern anti-scientific Luddite. Genomics are changing the world in ways we barely imagine yet and will re-define what it means to be human (a becoming already imagined by science fiction writers, social critics and critical thinkers such as the feminist Donna Haraway with her “Cyborg”). The point is also not to turn “anti-brainiac.” Without a brain we would become vegetative, a vegetal…, i.e. a purely “natural body,” a “zombie.” If we make use of this “computer” allegory which is an analog but not a homologue, and which is used ad nauseam used by psycho-biologists, without a hard-drive there is no software. But is this a reason to say that the software is but...
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...CALIFORNIA CALIFORNIA An Interpretive History TENTH EDITION James J. Rawls Instructor of History Diablo Valley College Walton Bean Late Professor of History University of California, Berkeley TM TM CALIFORNIA: AN INTERPRETIVE HISTORY, TENTH EDITION Published by McGraw-Hill, a business unit of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2012 by The McGraw-Hill Companies, Inc. All rights reserved. Previous editions © 2008, 2003, and 1998. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may not be available to customers outside the United States. This book is printed on acid-free paper. 1234567890 QFR/QFR 10987654321 ISBN: 978-0-07-340696-1 MHID: 0-07-340696-1 Vice President & Editor-in-Chief: Michael Ryan Vice President EDP/Central Publishing Services: Kimberly Meriwether David Publisher: Christopher Freitag Sponsoring Editor: Matthew Busbridge Executive Marketing Manager: Pamela S. Cooper Editorial Coordinator: Nikki Weissman Project Manager: Erin Melloy Design Coordinator: Margarite Reynolds Cover Designer: Carole Lawson Cover Image: Albert Bierstadt, American (born...
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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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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...with a Yashmak Who betrayed Jesus to the Romans Which animal lays eggs On television what was Flipper Who's band was The Quarrymen Which was the most successful Grand National horse Who starred as the Six Million Dollar Man In the song Waltzing Matilda - What is a Jumbuck Who was Dan Dare's greatest enemy in the Eagle What is Dick Grayson better known as What was given on the fourth day of Christmas What was Skippy ( on TV ) What does a funambulist do What is the name of Dennis the Menace's dog What are bactrians and dromedaries Who played The Fugitive Who was the King of Swing Who was the first man to fly across the channel Who starred as Rocky Balboa In which war was the charge of the Light Brigade Who invented the television Who would use a mashie niblick In the song who killed Cock Robin What do deciduous trees do In golf what name is given to the No 3 wood If you has caries who would you consult What other name is Mellor’s famously known by What did Jack Horner pull from his pie How many feet in a fathom which film had song Springtime for Hitler Name the legless fighter pilot of ww2 What was the name of inn in Treasure Island What was Erich Weiss better known as Who sailed in the Nina -...
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