...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 go beyond their ordinary meaning. It requires you...
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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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...January 7, 2013 by Mosaic Magazine LORNA GOODISON: INTERVIEW by Clarence V. Reynolds Poet and author Lorna Goodison has a contagious laugh. Whether she is sharing a moment that enlightened her early in her literary career or retelling an incident that involved a family member or a neighbor while growing up in Jamaica, the richness and fullness of her joviality embraces whoever happens to be in her company. Goodison confessed that in Jamaica having a sense of humor helps many people cope with life’s difficulties. This past September, Goodison visited the Museum of Contemporary African Diasporan Arts in Brooklyn, NY, where she read from her latest book, By Love Possessed: Stories (Amistad/HarperCollins). The heartrending and oftentimes risible tales Goodison presents in By Love Possessed, including the Pushcart Prize-winning short story for which the book gets its title, explore the wide range of complex feelings that are kindled by love—its heartaches, its obsessions, and its passions. Many of the fables in the collection were inspired by people and instances in Jamaica, she said. Goodison is a detailed and thoughtful writer in every sense; and in these short stories she wields a cast of memorable characters, animated descriptions, and Caribbean patois to convey a truthfulness and a universality through her storytelling. Before she decided that writing was indeed her calling, Goodison’s creative spirit had been drawn to painting, and she studied at the Jamaica School of Art...
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...AS English Language [pic] [pic] [pic] Fiction style models and tasks – 2012/2013 Style Model Workbook Style models are examples of a type of writing used to give you an idea of the features used when adapting a particular style and form. As you will be required to include a fiction and non-fiction annotated style model as part of your coursework folder we have compiled a selection of materials to give you a head start. The two booklets (one fiction, one non-fiction) will contain the type of extracts you should be looking for and the questions that accompany them will help you to annotate the materials appropriately. You will be given some of the extracts to study in class and some to complete as homework tasks. There may be some materials that you haven’t been directed to by your teachers, these will make very good additional preparation and you should look at these in your own time. All the resources, and some additional style models, can be found in the AS Language section of Moodle. AS LANGUAGE COURSEWORK You must keep all work during the production of the coursework in your folder. You will need all drafts and style models for part of your final grade. Criteria • Two pieces of your own writing • Each piece must have a different audience and purpose • You should write with a specific genre in mind • Pieces should be designed with a real publication in mind • Two...
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...The Catcher in the Rye is a 1951 novel by J. D. Salinger. Originally published for adults, it has since become popular with adolescent readers for its themes of teenage angst and alienation. It has been translated into almost all of the world's major languages. Around 250,000 copies are sold each year with total sales of more than 65 million books. The novel's protagonist Holden Caulfield has become an icon for teenage rebellion. The novel was included on Time's 2005 list of the 100 best English-language novels written since 1923, and it was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century. In 2003, it was listed at number 15 on the BBC's survey The Big Read. The novel also deals with complex issues of identity, belonging, connection, and alienation. Plot summary Holden begins his story at Pencey Prep, an exclusive private school in Agerstown, Pennsylvania, on the Saturday afternoon of the traditional football game with rival school Saxon Hall. Holden misses the game. As manager of the fencing team, he loses their equipment on a New York City subway train that morning, resulting in the cancellation of a match. He goes to the home of his History teacher named Mr. Spencer. Holden has been expelled and is not to return after Christmas break, which begins the following Wednesday. Spencer is a well-meaning but long-winded middle-aged man. To Holden's annoyance, Spencer reads aloud Holden's History paper, in which Holden...
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...re tu ra li CAPE Modern te ng Languages Literatures nE e siniEnglish ur e at l er g it En sin ur e at er it L Caribbean Examinations Council ® SYLLABUS SPECIMEN PAPER CSEC® SYLLABUS,MARK SCHEME SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures...
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...Fatima B. Niog Introduction to Research BSEd-English 3A Dr. Pedro D. Abanador Problem : Factors Affecting Reading Comprehension of Students Solutions: A. Interactive 1. Story Retelling 2. Story Grammar Training 3. Question-Answer 4. Reading Tutorial 5. Recitation B. Self-Enrichment 1. Inferring 2. Synthesizing 3. Summarization 4. Paraphrasing Strategy 5. Repeated Readings C. Assessment 1. Giving exam 2. Giving assignments 3. Book report 4. Impromptu Speech 5. Story Mapping INTERACTIVE Story Retelling Retelling is a reading skill that demonstrates comprehension. Retelling is the ability to read or listen to a story, then summarize it in paraphrased form. Children begin learning the basics of retelling in kindergarten where teachers start to informally assess the students' overall understanding of a story. Retelling is a useful assessment tool throughout school because it can measure simple to advanced comprehension, as well as help the students improve their listening and speaking skills. Instructions 1. Review retelling strategy. Model it again for those who may struggle. Read a short story aloud to the class, then summarize the important details in the correct sequence. Write each summarizing statement on chart paper. Number the statements so students understand how to retell in the order that events happened. 2. Choose an instructional level text, like a short story from...
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...and should not be quoted in essays or answers. Chapter division are from the DVD. • Time shifts are indicated thus: F/B-W = wartime memories; F/B-PW = post war memories; H or D = dreams, hallucinations – though they are often mixed up, so it is an indication only • 'Clue': used to point out deliberate illogicalities etc. that may cause unease on first viewing but are really obvious only on subsequent viewings. S/T: 'sub-text' = things said that take on another layer of meaning on second viewing. • 'Teddy' is used for the Marshal persona, 'Andrew' for his real identity as a patient. Similarly Chuck / Dr Sheehan. • Abbreviations used: // = CUT; M = motif; A = allusion; F/S = foreshadowing (signposting); MS = Martin Scorsese narrative commentary 1. screen text: Boston Harbour Islands, 1954 fog; a ferry appears; a man (Chuck) stands at the bow // INT. HEAD - DAY: a man being sick "It's just water. It's a lot of water." SHALLOW FOCUS on manacles and handcuffs, PULL FOCUS as he emerges He joins a solicitous Chuck at the rail. They introduce themselves – he is Teddy Daniels, a "legend" in the US Marshalls. Teddy concedes that he used to be married Day 1 EST. the wider context; from here on, everything will be from Teddy's POV. Our first view of the protagonist is a double and ambiguous image: his black silhouette and his reflection in a mirror, water dripping off his face. Water will be a significant motif. Teddy's first view of Chuck is a back view,...
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...1 Transcending the limitations of diaspora as a category of cultural identity in Chimamanda Ngozi Adichie’s The Thing Around Your Neck Dr Elizabeth Jackson University of the West Indies St Augustine, Trinidad and Tobago Having begun my academic career, not so long ago, as a postcolonial scholar, I have become increasingly critical of postcolonial theory on the grounds that for an increasing number of literary texts by so-called postcolonial writers, postcolonial theoretical approaches may have outlived their usefulness. One example is the Nigerian-born writer Chimamanda Ngozi Adichie’s collection of short stories The Thing Around Your Neck, published in 2009. My paper will examine the ways in which these stories explore the limits of diaspora as a category of cultural identity and move toward a more flexible conceptualization of the impact of globalization on people’s sense of themselves and their place in the world. Although the main characters in these stories are of Nigerian origin, few of them fit easily into the limiting categories of ‘Nigerian’ or ‘Nigerian diaspora’. This is not only because their geographical placement is often in flux, but also because their sense of identity is not based on nationality, national origin, or even a sense of belonging to a Nigerian diaspora. On the contrary, they can arguably be described as ‘cosmopolitan’ – not in the old elitist sense of the term, but in the sense of transcending the limitations of nationality or...
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...important works of 20th century fiction; including the landmark short story collection In Our Time (1925) which contained "The Big Two-Hearted River." In 1926 he came out with his first true novel, The Sun also Rises (after publishing Torrents of Spring, a comic novel parodying Sherwood Anderson in 1925). He followed that book with Men without Women in 1927; it was another book of stories which collected "The Killers" and "In Another Country." In 1929 he published A Farewell to arms , arguably the finest novel to emerge from World War I. Let us consider the following essays for today’s discussion on the topic of Hemingway’s artistry skills. • Sudden Unexpected Interjection by David Gagne 1 • An Essay on In Our Time by Nathan Kotas 2 • Preludes to a Mood in The New York Times October 18, 1925 3 • Love and War in the pages of Ernest Hemingway by Percy Hutchinson 4 Ernest Hemingway had the most unique and colourful style of writing . He used symbolism. His style of writing involved getting right to the core of the scene without spending much time on building of characters. He used simple and declarative language. But this unique style of writing, made many feel that Hemingway was an artist in his essence. Lets find what these four people have to say on this particular aspect of Ernest Hemingway. The first two essays deal with mainly the narrative style of Hemingway. As such, they would justify that Hemingway was truly an artist because of his narrative style. The latter two place...
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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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...6/9/13 10 - A History of English Literature Classic Literature Read about A History of English Literature. More E-texts A History of English Literature 1918 by Robert Huntington Fletcher Education Share Preface | How to Study | Tabular View | Chapters: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | Assignments Chapter X. Period VIII. The Romantic Triumph, 1798 To About 1830 The Great Writers of 1798-1830 | Samuel Taylor Coleridge | William Wordsworth | Robert Southey | Walter Scott | Last Group of Romantic Poets | Percy Bysshe Shelley | John Keats | Summary | Lesser Writers | THE GREAT WRITERS OF 1798-1830. THE CRITICAL REVIEWS. As we look back to-day over the literature of the last three quarters of the eighteenth century, here just surveyed, the progress of the Romantic Movement seems the most conspicuous general fact which it presents. But at the, death of Cowper in 1800 the movement still remained tentative and incomplete, and it was to arrive at full maturity only in the work of the great writers of the following quarter century, who were to create the finest body of literature which England had produced since the Elizabethan period. All the greatest of these writers were poets, wholly or in part, and they fall roughly into two groups: first, William Wordsworth, Samuel Taylor Coleridge, Robert Southey, and Walter Scott; and second, about twenty years younger, Lord Byron, Percy Bysshe Shelley, and John Keats. This period of Romantic Triumph, or of the...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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...Семинар 6. Вопрос 1 THE VICTORIAN AGE The Victorian Compromise The Victorian Age takes its name from Queen Victoria who ruled from 1837 to 1901; it was a complex era characterised by stability, progress and social reforms, and, in the mean time, by great problems such as poverty, injustice and social unrest; that’s why the Victorians felt obliged to promote and invent a rigid code of values that reflected the world as they wanted it to be, based on: * duty and hard work; * respectability: a mixture of both morality and hypocrisy, severity and conformity to social standards (possessions of good manners, ownership of a comfortable house, regular attendance at church and charitable activity); it distiguished the middle from the lower classes; * charity and philanthropy: an activity that involved many people, expecially women. The family was strictly patriarchal: the husband represented the authority and respectability, cosequently a single woman with a child was emarginated because of a wide-spread sense of female chastity. Sexuality was generaly repressed and that led to extreme manifestations of prudery. Colonialism was an important phenomenon and it led to a patriotism deeply influenced by ideas of racial superiority: British people thought that they were obeying to God by the imposition of their superior way of life. The concept of “the white man’s burden” was exalted in the works of colonial writers (such as Rudyard Kipling). This code of values, known...
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...1 The Evolution of Music in Film and its Psychological Impact on Audiences By Stuart Fischoff, Ph.D. “I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.” Film composer Bernard Herrmann. Why Is There Music in Film? The general feeling about film is that it is singularly a visual experience. It is not. While we certainly experience film through our eyes, we just as surely experience it through our ears. Especially today, particularly with modern home and theater sound systems offering multi-channel sound and high fidelity. Films are generally fantasies. And fantasies by definition defy logic and reality. They conspire with the imagination. Music works upon the unconscious mind. Consequently, music works well with film because it is an ally of illusion. Music plays upon our emotions. It is generally a non-intellectual communication. The listener does not need to know what the music means, only how it makes him feel. Listeners, then, find the musical experience in film one that is less knowing and more feeling. The onscreen action, of course, provides clues and cues as to how the accompanying music does...
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