...“All Quiet on the Western Front” is one of the most influential war novels. It is significant because it features views and feeling of soldiers, who served during World War I, from their perspective. Author, Erich Maria Remarque, was a veteran himself so everything that is written in the novel is coming from his own experience. One of the best qualities of this book and the reason for its success is the writing style. Remarque uses symbolism, imagery, narrator point of view, specific tone and allegory throughout the whole book without these techniques there is no way this book would make so many humans realize what soldiers are going through. At war only men that can understand each other are soldiers themselves, they go through same horror...
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...Thesis/Introduction: In Remarque’s All Quiet on the Western Front, he describes the firsthand experiences of soldiers in the war, in an extremely romantic and emotional standpoint. The sentimental language coupled with literary devices such as imagery help us understand just how gruesome the war was from a lense that we cannot derive from our history textbooks. The information that we assimilate from reading textbooks is that of an atomized society, where the individual does not matter in the general picture. By reading passionate narratives from people who were in the proximity of battle, we start to develop an understanding for the distraught emotions of the soldiers instead of the “9 million dead” that we see recur in history textbooks....
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...How All Quiet on the Western Front Changes Hearts and Minds Stephen Crane’s “All Quiet on the Western Front” gives a new perspective into the real terror and dehumanizing violence of war and its impact on the soldiers who fought it. Instead of romanticizing and glorifying the war, the book gives an accurate description of war as soldiers experienced it allowing readers to be more adequately informed. It is a strong anti-war rhetoric due to its accurate depiction of the false romantic ideals, dehumanization of soldiers, and continual subjection to poor living conditions which often prevented soldiers from returning to live healthy lives after the war. During this period, many teachers and recruiters went to classrooms and painted a false romantic, patriotic, heroic picture of war, rallying young men to join the cause. Men who were able to fight faced ostracism and condemnation if they did not volunteer in the war...
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...Paul Baumer of Erich Maria Remarque’s “All Quiet on the Western Front” doesn’t discover his identity, he creates it through a series of life-altering decisions. His evolution from 19 year old student to soldier, then to killer, and ultimately to a victim of war, can be attributed to each seemingly insignificant choice he makes. The first decision Paul makes that will change the trajectory of his life and the way he perceives himself is volunteering to join the army. The act of joining the military gives Paul the steadfast and resolute identity of soldier, a role in his community that suggests honour as opposed to shame. Baumer expresses that “At that time everyone’s parents were ready with the word ‘coward’”, implying that the threat of ostracization pushed the boys towards their new, society-approved identities of heros. Through sharing traumatic experiences with their fellow classmates, often in close-quarters, the group of young men develop their own distinct identities within the larger ‘umbrella-identity’ of soldier....
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...People look at soldiers as either heroes or killers. In the time around World War I, the Front soldiers are more like animals. In All Quiet in the Western Front, by Erich Maria Remarque, the soldiers on the Front are faced with life or death situations and have to use their instincts to survive. Paul Baumer is the main character and has his group of friends that were convinced to join the military by one of their old teachers. They go into the war as young men who have a bright future and are doing this to be looked at as brave. These young soldiers are instantly mortified by the dramatic deaths taking place at the Front. They have to survive off of a small ration of food. The sad part is that the soldiers do not even get sad when people die,...
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... Abstract Only recently has research begun concerning the longer-term aftermath of organizational crisis. This essay presents the genre of disaster rhetoric as a viable strategy to address the problems and opportunities that arise when the media write about crisis anniversaries or news stories that refer to any crisis or disaster, past or present. After a brief review of genre theory, the authors outline the seven functions of the “rhetoric of disaster” and provide multiple examples of their application to public relations activity and its news coverage. The essay concludes with questions that practitioners may use proactively in the development of copy points to address each of the rhetoric of disaster’s functions. © 2007 Elsevier Inc. All rights reserved. Keywords: Rhetoric; Genre; Writing conventions; Disaster; Crisis; Message design 1. Overview The bulk of the crisis communication literature has been devoted to crisis plans and the principles behind them (e.g., Fearn-Banks, 2006; Seeger, Sellnow, & Ulmer, 2003), using issues management to prepare for potential crises or avoid them (e.g., Heath, 1997; Olaniran & Williams, 2001), and how organizations “speak” during crises (e.g., Hearit, 2006)—and rightly so. Yet what happens after the crisis’ aftermath merits attention for, as Birch (1994) argues: Things will return to normal—but the story won’t be over yet. It will run again and again....
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...Senior English Curriculum Map: 2010-2011 School Year English IV * Note: “Sacred Book List” Addendum is at the end of this document Quarter #1 August 23 to October 22 Essential Questions: 1. How do writers and artists organize or construct text to convey meaning? 2. What does it mean to be a stranger in the village? Unit Goals 1. To understand the relationship between perspective and critical theory. 2. To apply critical theories to various texts studied and created. 3. To control and manipulate textual elements in writing to clearly and effectively convey a controlling idea or thesis. Student Published Portfolios: For each of the first three quarters, students are required to complete three to four published writing portfolio products. Quarter 4 is devoted to completion of the Laureate Research Project. . Pacing: This map is one suggestion for pacing. Springboard pacing guides precede each unit in the “About the Unit” sections and offers pacing on a 45-minute class period length. Prentice Hall Literature – Use selections from Prentice Hall throughout the quarter to reinforce the standards being taught as well as the embedded assessments within the SpringBoard curriculum. QUARTER #1 SpringBoard Curriculum Pacing Guide August 23 – October 22 Standards and Benchmarks | Unit Pacing Guide | SpringBoard Unit/Activities | Assessments | SpringBoard Unit 1Literature * The students will analyze and compare significant works of...
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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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...Copyright © 2013 by McGraw-Hill Education. All rights reserved. Except as permitted under the United States Copyright Act of 1976, 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 permission of the publisher. ISBN: 978-0-07-180360-1 MHID: 0-07-180360-2 The material in this eBook also appears in the print version of this title: ISBN: 978-0-07-180359-5, MHID: 0-07180359-9. E-book conversion by Codemantra Version 1.0 All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill Education eBooks are available at special quantity discounts to use as premiums and sales promotions or for use in corporate training programs. To contact a representative please visit the Contact Us page at www.mhprofessional.com. Trademarks: McGraw-Hill Education, the McGraw-Hill Education logo, 5 Steps to a 5 and related trade dress are trademarks or registered trademarks of McGraw-Hill Education and/or its affiliates in the United States and other countries and may not be used without written permission. All other trademarks are the property of...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...like about myself: __________________________________ Okay, now forget about this exercise and enjoy the story. Have you done it? If not, please do. It will enrich your experience of reading this book. If yes, thanks Sorry for doubting you. Please forget about the exercise, my doubting you and enjoy the story. _____________ The night train ride from Kanpur to Delhi was the most memorable journey of my life. For one, it gave me my second book. And two, it is not every day you sit in an empty compartment and a young, pretty girl walks in. Yes, you see it in the movies, you hear about it from friend’s friend but it never happens to you. When I was younger, I used to look at the reservation chart stuck outside my train bogie to check out all the female passengers near my seat (F-17 to F-25)is what I’d look for most). Yet, it never happened. In most cases I shard my compartment with talkative aunties, snoring men and wailing infants. But this night was different. First, my compartment was empty. The Railways bad just started this new summer train and nobody knew about it. Second, I was unable to sleep. I had been to IIT Kanpur for a talk. Before leaving, I drank four cups of coffee in the canteen while chatting with students. Bad idea, given that it was going to be boring to spend eight...
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...INTRODUCTION This thesis developed from an understanding that 1 Cor. 14:34-35 is an interpolation. Based on this affirmation, chapter one investigates both the meaning of vv. 34-35 within the context of Paul’s first extant letter to the Corinthians, and the original message of chapter fourteen without vv. 34-35. Chapter one also offers the most compelling reasons why a scribe would choose chapter fourteen as the place to insert an interpolation against women’s speech in the church. Finally, I examine the parallels between 1 Cor. 14:34-35 and 1 Tim. 2:9-15. Chapter two summarizes the argument that 1 Cor. 14:34-35 is an interpolation. In this chapter, first I investigate the issue of interpolation in ancient literature. Then, I present the arguments based on internal evidences that are both for and against the interpolation of 1 Cor. 14:34-35. Next, I provide a section on external evidences supporting a case of interpolation of vv. 34-35. In this final section we will investigate scribal awareness of multiple readings in Codex Vaticanus, Fuldensis and Ms. 88, which can be observed in some sigla left by the copyists of these texts. Chapter three examines the identity of the author(s) and the date of composition for both the interpolation in Corinthians and the Pastoral Epistles. Chapter three provides a survey on the role of women in the churches under Paul’s personal supervision. It also examines the ancient view of the role of women in the Greco-Roman society...
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...Second edition Colin Fisher with John Buglear Diannah Lowry Alistair Mutch Carole Tansley . Pearson Education Limited Edinburgh Gate Harlow Essex CM20 2JE England and Associated Companies throughout the world Visit us on the World Wide Web at: www.pearsoned.co.uk First published 2004 Second edition 2007 © Pearson Education Limited 2004 © Pearson Education Limited 2007 The right of Colin Fisher to be identified as author of this work has been asserted by him in accordance with the 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, without either the prior written permission of the publisher or a licence permitting restricted copying in the United Kingdom issued by the Copyright Licensing Agency Ltd, Saffron House, 6–10 Kirby Street, London, EC1N 8TS. All trademarks used herein are the property of their respective owners. The use of any trademark in this text does not vest in the...
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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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