...What happened that night at the Buchannan dinner table??? The Great Gatsby is a novel by F. Scott Fitzgerald that tells the story of the ‘great’ Jay Gatsby, but along with his story we learn about Daisy Buchannan the love of his life and their torrid love affair. It seemed as though Daisy was ready to leave her husband Tom in Chapter VII (Fitzgerald pg. 134) but by the end of the novel Daisy has chosen to run away to New York with Tom leaving Gatsby behind without saying anything. The novel did not go into any detail as to why Daisy chooses to stay with Tom, but in one scene after all of the chaos form the brief trip to the city we see Tom and Daisy sitting at the kitchen table over a cold dinner and some ale talking, the reader is not told what is said (Fitzgerald pg. 146). The reader can infer that several things were discussed at the dinner table that evening to make Daisy leave Gatsby behind, such as Tom’s old money and ability to provide, Gatsby’s new money and his reputation, as well as Daisy’s herself. There are several good reasons why Daisy Buchannan stays with her husband Tom instead of leaving him for Gatsby. One of the reasons that she could’ve chosen to stay is the same reason that she chooses to marry Tom in the first place; he was a safe secure choice. Tom came from money, old money, and to someone like Daisy who was also of old money this was a way to a secure future without worry. The reader is made aware of Tom’s wealth is Chapter 4 when Jordan Baker,...
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...banter, but also for the amount of wealth they possess and how he is exposed to such a rich place within one night. The Buchanans are a family full of deceit and obvious blind-eyes, but they are still Nick's family nonetheless, and Fitzgerald expresses his pride of Nick dealing with his discomfort around them clearly through Nick's capturing of detail throughout the night. Nick depicts, amongst the table where he is currently seated with the Buchanans and Jordan Baker, that, "Among the...
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...audience a first person experience of his take on America in the 1920’s, whilst still maintaining a comparatively neutral standpoint on the events that occurred throughout the novel. Nick Carraway, the narrator of The Great Gatsby, can be considered and appreciated by the audience as quite atypical to the status seeking and self-rewarding concept that was prevalent throughout 1920’s America. As though Fitzgerald himself needed readers to know that he antagonised this mentality by making Nick (humble and quite accepting) the main character of the novel. The author also devotes very little to giving the readers a background of Nick, and often deviates from information about him to focus on the plot revolving around Gatsby’s shady past and Daisy’s relationship conflict within herself. This works suitably well for Fitzgerald as it “kills two birds with one stone” in the sense that whilst the readers are being won over by Nick, they are also growing more curious in the growing relationships between the other main characters of the book, opening the door for Fitzgerald to manipulate the character of Nick in any way he deems necessary. A prime example of how Fitzgerald used Nick as a completely neutral observer of events that transpired was how he always tended to stay out of other characters’ affairs as though he had long since taken up the mentality that he either had no right to interfere in people’s private matters or he perhaps simply enjoyed standing back and watching the chaos...
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...could came to conclusion which was self-fulfilling prophecy and greatest was only The Great Gatsby written by F. Scott Fitzgerald. Even today gonging hundreds of years away from that time, The Great Gatsby was made a movie by Baz Luhrmann. There were lots of coxcombical and extravagant scenes in that film: clothing,...
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...A Analysis is the practice of looking closely at small parts to see how they affect the whole, but a Literary analysis focuses on how plot plus structure, character, setting, and many other techniques. That's what I intend to achieve in this essay about The Great Gatsby. In the novel The Great Gatsby, F. Scott Fitzgerald depicts the theme of wealth can breed carelessness in my own opinion. Using the literary techniques of point of view, juxtaposition, and foreshadowing to create meaning in his classic work. The word “careless” sums up Nick's friends as I think and also what the author says in the book himself. For example I feel like Gatsby’s whole life trying to contract his money and status so that he could reach a certain position in life. This is what motivated him to move to west egg to be right across the lake from Daisy, making as much money by doing anything possible. I felt in his position Daisy wanted and needed a man that was wealthy so he changed himself to win her back. At a point him and Daisy were perfect for eachother when he was unwealthy, but their affair foreshadowed that it was a doomed relationship showing that she only wanted him for his money now. As we can see now, the relationship was never doomed at the end for Daisy as she runs away, as her secondary lover dies. Another...
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...pursuit of happiness, the rights that have been bestowed upon us; they are the utmost essential rights that have been gifted to us by simply being an American. The works of, “The Declaration of Independence,” drafted by Thomas Jefferson, the self-liberating essay, “Salvation,” penned by Langston Hughes, as-well-as, the continuous resurging classic, “The Great Gatsby,” written by F. Scott Fitzgerald all share a common factor. These analects not only render on how we are entitled to these essential American rights but how we are given the opportunity to practice them freely...
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...How to Read Literature Like a Professor Morgan Banks 1.)Introduction: How'd He Do That? Memory affects the reading of literature because it helps you make connections and recognize patterns. Patterns, in turn, can reveal hidden meanings and truths in the text- if something is mentioned repeatedly, thats a big clue that is of vital importance to fully understanding the piece of literature. Finally symbols show what text cannot and guide you to a more complete understanding of the underlying point. A complicated novel will often include many characters, one central plot, and numerous sub-plots. Pattern recognition allows us to see the relationships between character, actions, and ideas. A time when symbolism enhanced my understanding when reading a literary work, was when i was reading The Great Gatsby by F. Scott Fitzgerald. The symbol is the green light, which sits across the water from Gatsby's house. Gatsby stood at the end of his garden with arms outstretched, desperately trying to reach the green light. The green light symbolizes how desperately Gatsby want Daisy back in his life- however, his failure to reach the green light demonstrates how Daisy is ultimately gone from his life forever. 2.)Chapter 1: Every trip is a quest (Except when it's not) Story I have chosen is Percy Jackson and the Lightning Thief A.) Our questor: A young boy with dyslexia and ADHD who finds out he is a demigod and that...
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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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...Table of Contents Title Page Copyright Page Dedication IF I STAY Acknowledgements DUTTON BOOKS A member of Penguin Group (USA) Inc. Published by the Penguin Group | Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, U.S.A. | Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario M4P 2Y3, Canada (a division of Pearson Penguin Canada Inc.) | Penguin Books Ltd, 80 Strand, London WC2R 0RL, England | Penguin Ireland, 25 St Stephen’s Green, Dublin 2, Ireland (a division of Penguin Books Ltd) | Penguin Group (Australia), 250 Camberwell Road, Camberwell,Victoria 3124, Australia (a division of Pearson Australia Group Pty Ltd) | Penguin Books India Pvt Ltd, 11 Community Centre, Panchsheel Park, New Delhi - 110 017, India | Penguin Group (NZ), 67 Apollo Drive, Rosedale, North Shore 0632, New Zealand (a division of Pearson New Zealand Ltd.) | Penguin Books (South Africa) (Pty) Ltd, 24 Sturdee Avenue, Rosebank, Johannesburg 2196, South Africa | Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England This book is a work of fiction. Names, characters, places, and incidents are either the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. Copyright © 2009 by Gayle Forman “Waiting for Vengeance” © by Oswald Five-0, Serenade , Grinning Idiot Records. All rights reserved. No part of this publication...
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...FOR NICK Finally . . . Always 7:09 A.M. Everyone thinks it was because of the snow. And in a way, I suppose that’s true. I wake up this morning to a thin blanket of white covering our front lawn. It isn’t even an inch, but in this part of Oregon a slight dusting brings everything to a standstill as the one snowplow in the county gets busy clearing the roads. It is wet water that drops from the sky—and drops and drops and drops—not the frozen kind. It is enough snow to cancel school. My little brother, Teddy, lets out a war whoop when Mom’s AM radio announces the closures. “Snow day!” he bellows. “Dad, let’s go make a snowman.” My dad smiles and taps on his pipe. He started smoking one recently as part of this whole 1950s, Father Knows Best retro kick he is on. He also wears bow ties. I am never quite clear on whether all this is sartorial or sardonic—Dad’s way of announcing that he used to be a punker but is now a middle-school English teacher, or if becoming a teacher has actually turned my dad into this genuine throwback. But I like the smell of the pipe tobacco. It is sweet and smoky, and reminds me of winters and woodstoves. “You can make a valiant try,” Dad tells Teddy. “But it’s hardly sticking to the roads. Maybe you should consider a snow amoeba.” I can tell Dad is happy. Barely an inch of snow means that all the schools in the county are closed, including my high school and the middle school where Dad works, so it’s an unexpected day off for him, too. My mother, who...
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...SECOND DRAFT Contents Preamble Chapter 1 1.1 1.2 1.3 1.4 1.5 Background Rationale Aims Interface with the Junior Secondary Curriculum Principles of Curriculum Design Chapter 2 2.1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 Curriculum Planning 3.1 Planning a Balanced and Flexible Curriculum 3.2 Central Curriculum and School-based Curriculum Development 3.2.1 Integrating Classroom Learning and Independent Learning 3.2.2 Maximizing Learning Opportunities 3.2.3 Cross-curricular Planning 3.2.4 Building a Learning Community through Flexible Class Organization 3.3 Collaboration within the English Language Education KLA and Cross KLA Links 3.4 Time Allocation 3.5 Progression of Studies 3.6 Managing 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...
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...Кухаренко В.А. Практикум з стилістики англійської мови: Підручник. – Вінниця. «Нова книга», 2000 - 160 с. CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Craphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a 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...
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...Readings for American History Since 1877 Historiography in America...................................................................................................................................................... 2 How to teach history (and how not to) ................................................................................................................................ 6 How Ignorant Are Americans? ........................................................................................................................................... 9 The West ............................................................................................................................................................................... 11 The Education of Native Americans ................................................................................................................................. 11 Bury My Heart at Wounded Knee .................................................................................................................................... 15 Prostitution in the West: .................................................................................................................................................... 17 The Gilded Age ..................................................................................................................................................................... 21 The Duties of American Citizenship ...........................
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...Кухаренко В. А. Практикум з стилістики англійської мови: Підручник. — Вінниця: Нова книга, 2000. — 160 с. Кухаренко Валерия Андреевна, д.ф.н., проф., кафедра лексикологии и стилистики английского языка факультетеа РГФ ОНУ им. И. И. Мечникова CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Graphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a 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...
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...6 Build Your Vocabulary ■ ■ ■ ■ The SAT High-Frequency Word List The SAT Hot Prospects Word List The 3,500 Basic Word List Basic Word Parts be facing on the test. First, look over the words on our SAT High-Frequency Word List, which you’ll find on the following pages. Each of these words has appeared (as answer choices or as question words) from eight to forty times on SATs published in the past two decades. Next, look over the words on our Hot Prospects List, which appears immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you...
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