...more sensitive to life. Poetry is thought that is felt. Aristotle says, “There is nothing in the intellect that is not first in the senses”. The poet uses figures of speech and creates images-imitations of life, words that evoke mental pictures and appeal to our senses. The essence of poetry is, according to the different types of minds, either quite worthless or of infinite importance (Herbert, 2000). Poetry may be described as rhythmic imaginative language expressing the invention, thought, imagination, taste, passion and insight of the human soul. Its purpose is “enthrallment”. William Wordsworth describes it as “the spontaneous overflow of powerful feelings” taking its origin from “emotion recollected in tranquility”. For Edgar Allan Poe, poetry is “the rhythmical creation of beauty”. Poets, from their own store of felt, observed or imagined experiences, select, combine, and recognize. They create significant new experiences for the readers-significant because the focused and formed in which they may gain a greater awareness and understanding of the world. Poetry can be recognized only by the response made to it by a good reader, someone who has acquired some sensitivity to poetry. There is indeed an ideal reader or listener as well as an ideal poem; and it is useful to think about them all and to consider the qualities and virtues of each. The reader has responsibilities just as the poet has. The first rule of what might be called “good readership”-at least with respect...
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...creative imagination, including works of poetry, drama, fiction, and nonfiction. Generally, most people have their own ideas of what literature is. When enrolling in a literary course at university, you expect that everything on the reading list will be “literature”. Similarly, you might expect everything by a known author to be literature, even though the quality of that author's work may vary from publication to publication. Perhaps you get an idea just from looking at the cover design on a book whether it is “literary” or “pulp”. Literature then, is a form of demarcation, however fuzzy, based on the premise that all texts are not created equal. Some have or are given more value than others. Most forays into the question of “what is literature” go into how literature works with the reader, rather than how the author set about writing it. It is the reception, rather than the writing, which is the object of enquiry. Largely, what we call “literature” is often a subjective value judgment, and naturally, value judgments, like literary tastes, will change. Etymologically, literature has to do with letters, the written as opposed to the spoken word, though not everything that is written down is literature. As a classification, it doesn't really have any firm boundary lines. The poet Shelley wanted to include some legislative statutes of parliaments under poetry because they created order and harmony out of disorder. There is recurring agreement amongst theorists though that...
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...ENGLISH HANDBOOK -“Welcome to my evil lair…” -Mr. Braiman Brooklyn High School of the Arts www.mrbraiman.com http://handbook.mrbraiman.com “EVIL” Welcome to my evil classroom lair. In order to become full-fledged evil “minions,” you need to read this handbook carefully. It explains everything you need to know. “English,” as you may know, is shorthand for “English Language Arts.” Being that we are in an Arts school, but one where academics must and always do come first, it is important that we approach the subject as what it is: an art form. How does one study the arts? What exactly do we do when we study drawing, sculpture, music, or dance? Well, anyone who has studied the arts will tell you that studying the arts essentially involves two things: • Learning about, and developing an awareness of and appreciation for, existing works of art in that particular form; • Developing the skills and techniques associated with the art form, in order to create our own works. In the case of language arts, much like any other art form, we will be studying existing works of art (i.e., reading books, stories and poems), and developing the skills to produce our own (i.e., writing). That’s what English Language Arts is. We will also be preparing ourselves for New York State’s Regents Comprehensive Examination in English, which we’ll all be taking in June. This two-day, six-hour, four-part exam requires no specific knowledge or content, but it does require the skills to listen, read,...
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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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...FB 02 Anglistik/Amerikanistik L3 Englisch Teaching Short Stories – A beneficial piece of teaching material by Christoph Kant Matr. Nr. 282-345-86 Kurs: Short Stories in the EFL-Classroom Dozent: Stephen Mason Kassel, 20.09.2012 Content: 1. Introduction3 2. A brief history of EFL teaching-styles3 3. Teaching „the skills“4 4. Motivational advantages8 5. Providing literary knowledge8 6. The cultural aspect 10 7. Encouraging/developing critical thinking 11 8. Conclusion 12 References 14 1.) Introduction: In this paper I would like to discuss the advantages that teaching the short story as a major part of a teaching concept brings to the EFL classroom and present several example tasks of how to integrate short stories into ones „teaching portfolio“. Whereas some people might believe that teaching the short story benefits students only from a linguistic standpoint, those people really do not get the big picture. Yes, there are obvious linguistic benefits you can draw from teaching short stories, but the most important factor is motivation. This hales from the structure of short stories themselves. As almost all of them have a beginning, a main part and an ending, students are most likely encouraged to read the story all the way through, to see what the outcome might be. Sure, the structure of most novels or plays might be similar, but the length of the short story is the big advantage. If a student knows, that he does not have...
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...resting on the junction of stylistics and text linguistics is aimed at extracting, aesthetic and meaningful, emotional information from the literary text. The second chapter is concerned with the semantic and stylistic analysis of the epithet. In the work the epithet is determined as a stylistic device based on the interplay of emotive and logical meaning in a attributive word, phrase or even sentence used to characterize an object and pointing out to the reader. The epithet always has the emotional meaning or emotional color due to peculiarities of semantic structure of adjectives. For the purpose of study of linguistic nature of epithet we dwell on the problem of lexical and stylistic meaning of adjectives. The use of adjectives as epithet as preconditioned by the contact and functional characteristics that is predicativeness, stylistic churdge and liability for stylistic actualization in the context. Next undertake the study the types of epithet and its informational meaning in the text. We suggested the following classification of the epithet: conventional or standing; explanatory, metaphorical, mixed and syntactical types of epithet (invertational and phrase). Under the conventional epithet we understand the firm combinations, which point out the property of the subject. The explanatory epithet points out the main feature of the word. The metaphorical epithet is treated as a sort of explicit metaphor. Conclusion In the conclusion section we’d like to write brief in...
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...on who writes it. Some poems may be written in free verse while others could be written in rhyme; the form of a poem is quite important since the form is important to how readers interpret a poem. In most forms of poetry, the meaning of the words is employed to decipher the overall meaning of the poem. However, due to E.E Cummings’ unique style of poetry, the poetic structure is what determines the meaning of the work unlike in that of other poets. The poem “The Sky Was” is one of many of E.E. Cummings’ unusual pieces of poetry, and to most readers, it being shaped like a wisp and having parts of separated words in each stanza makes it seem completely nonsensical. Strangely, throughout the poem, some words are separated into halves and thirds to create the shape of a wisp. “The Sky Was” had been purposefully arranged to appear to be a wisp of smoke coming from a train within the poem: “…a lo co mo tive s pout ing vi o lets” (14-21). However, that is not all that the poem is unique for. The work “E. E. Cummings's Parentheses: Punctuation as Poetic Device” states that “…physical aspects as typeface, layout, and spelling, participate in the creation of meaning, and ‘provide additional information not directly available from the flow of speech’” (Levenston 63-65). One purpose of separating out words within this piece...
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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...thoughts, summary, scene, and description (Selgin 2007, p. 38). Currently, there is no consensus within the writing community regarding the number and composition of fiction-writing modes and their uses. Description is the fiction-writing mode for transmitting a mental image of the particulars of a story. Together with dialogue, narration, exposition, and summarization, description is one of the most widely recognized of the fiction-writing modes. As stated in Writing from A to Z, edited by Kirk Polking, description is more than the amassing of details; it is bringing something to life by carefully choosing and arranging words and phrases to produce the desired effect. (Polking, p. 106) The most appropriate and effective techniques for presenting description are a matter of ongoing discussion among writers and writing coaches. Purple prose is a term of literary criticism used to...
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...PRESENTASJON LYSBILDE 1 * We are going to talk about Literary Genre LYSBILDE 2 * Literary genre is a fancy way of saying type of literature. All literature are categorized by its genre of type. * Some literary genres: - Fiction - Nonfiction - Folktales - Drama - Poetry LYSBILDE 3 – Short story vs Novel * There are many differences between a short story and a novel – some obvious and some not so obvious * WORD COUNT: a short story generally runs to maximum 10 000 words, a novel starts from about 50 000 words. Basically, short stories are short. Novels are long. * TIME: As far as content goes, a novel vs. short story both have characters and plots. However, the scope of a short story is limited. Short stories are much more likely to take place during a constricted time period such as one day. * CHARACTERS: Short story usually have fewer characters and Novels have more characters. * PLOTS: Short stories has often-non subplots but only one main plot. Novels have subplots too. Subplots are of less interest, and has the duty and awaken the interest in the main plot. * STRUCTED DIFFERENTLY STRUCTED: Novels have time to explore the full three-act structure. In short stories it jumps right into the story, and there is often a truning point in the end of the story with a suprising and open end. LYSBILDE 4 – Features in news report * The headline is super important. Make it short, but catchy. This will get the reader attention...
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...ENG2602/101/3/2015 Tutorial letter 101/3/2015 GENRES IN LITERATURE AND LANGUAGE: THEORY, STYLE AND POETICS ENG2602 Semesters 1 & 2 Department of English Studies IMPORTANT INFORMATION: This Tutorial Letter contains important information about your module. CONTENTS Page 1 INTRODUCTION .......................................................................................................................... 3 2 PURPOSE OF AND OUTCOMES FOR THE MODULE............................................................... 4 2.1 Purpose ........................................................................................................................................ 4 2.2 Outcomes .....................................................................................................................................4 3 LECTURER(S) AND CONTACT DETAILS................................................................................... 5 3.1 Lecturer(s) .................................................................................................................................... 5 3.2 Department ................................................................................................................................... 6 3.3 University ...................................................................................................................................... 6 4 MODULE-RELATED RESOURCES ..................
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...The use of parallelism as a literary device revolves around the repetition of words and sentences as a primary method of generating rhythm and meter. The poem "Learning to Love America" includes an extensive use of parallelism with the primary effect of juxtaposing ideas with contrasting meaning as a means of showing their differences or relationship. In some cases, the parallelism is created through grammatical construct which highlights an element of simplicity in this poem in its attempt to convey its message. The effective use of repetition and contrast in this poem set it as a distinct example in which parallelism stands out as the main literary device outlining the structure of the poem. The sentence "because the water of the ocean is...
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...Student: Tutor: Course: Date: The Lottery: Annotated Bibliography Nebeker, Helen. The Lottery: Symbolic Tour de Force", in American Literature, Vol. 46, No. 1, March, 1974, pp. 100-07. Print. Nebeker uses this piece of literary work to argue that each and every name used in “The Lottery” has a special or distinct significance (3). The author hints at some of the larger meanings, especially through name symbolism. At the end of the second paragraph, for instance, Nebeker asserts that Jackson had indicated and presented the season. It was time of ancient sacrifice and excess, with stones representing the most ancient sacrificial weapons (2). Apart from that, the name Martin signifies monkey or ape. The above is juxtaposed intentionally with Dickie Delacroix and Harry Jones with an aim of urging the people to be aware of the Ape residing within them. Indeed, “Delacroix has been vulgarized in the story to “Dellacroy,” who becomes the first person to pick a large stone something that encourages others to stone Mrs. Hutchinson. The above is a clear indication of forces against change in the society. The presence of Old Man Martin further symbolizes conservatives whose role is to undermine any attempt to discard old traditions (3). In a nutshell, this is a reliable source for my research since Nebeker has made every possible attempt to identify various facts about the historical context of the short story. Jackson, Shirley. The Lottery. Mankato, Minnesota: The Creative Company...
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...educating their daughters. Her father was a professor at the Imperial Academy and also a prose writer whereas her mother was a writer of poetry. Qingzhao acquired extensive knowledge of literature and classics in her teenage as she also remained devoted and focused on her academics. Literary work was part of her life; even as a young girl she wrote delightful little lyrics on her outings to the near beauty spots. She stood up in a literary world that was dominated by men in an unusual way at that particular period as Chinese women were actively discouraged from any form of writing. She pressed on and her determination of creating her space in the male literary tradition never died (Ring). At eighteen, she got married to Zhao Mingcheng-a student at the Imperial Academy- in the year 1101 and lived in Shandong; he later died in 1129. Fortunately, they both had a mutual interest in art collection and epigraphy, and they collected many books as a result. They enjoyed touring the city and the neighborhoods and many other places in quest of favorite antiques and the ancient books that helped in refining of her poetic style. Zhao was mostly absent after he started his official career, and this inspired some of the love poems that she wrote. They shared love poetry and hence many times wrote poems for one another (LaFleur). Li Cingzhao bravely wrote about nature, longing, and love. For instance, Poem No. 43. “I've heard spring is still lovely at Twin Streams, I'd like to go boating in...
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...this self-definition * the OEDIPAL COMPLEX competition with the parent of the same sex for the attention and affection of the other parent * the SIBLING RIVALRY competition with siblings for the attention and affection of parents * the PENIS ENVY * the FEAR OF CASTRATION Defences processes that keep the contents of our unconscious in the unconscious: * SELECTIVE PERCEPTION (seeing and hearing only what we feel we can handle) * SELECTIVE MEMORY (modifying memories or forgetting painful events entirely) * DENIAL (believing that the problem doesn’t exist or that something unpleasant has never happened) * AVOIDANCE (staying away from people/situations that are liable to raise our anxiety by stirring up some unconscious/repressed experience or emotion) * DISPLACEMENT (taking it out on somebody/something less threatening than who/what caused our fear/hurt/frustration/anger) * PROJECTION...
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