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
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Muehlbauer). Something as simple as the “scientific process”, which is similar to the scientific method we learned in our first week of lecture, is proof of how we have outgrown earlier and more primitive attempts to differentiate between the true story. Humankind has progressed from an era in which religion used to be the ultimate answer to all of mankind’s questions. The skies would rumble when God was mad and crops would go bad due to curses by a higher power. The fight for knowledge through science
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Sophist: a duplicitous charlatan eager to take peoples' money for teaching them to flout the laws and defy moral norms. The conflation of Socrates with the Sophists is based on a superficial similarity between the interests of Socrates and the sophists concerning education and virtue, but which fails to distinguish between the moral relativism of the Sophists and the belief in absolute moral standards held by Socrates (and his puppet-master Plato). The term "sophist"" is derived from the Greek
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such as an isolated setting, being cut off from communication, the use of darkness, and grisly murders. However, because this type of story has been done before, to be successful, the story truly requires a strong hook and it requires unique characters. While some of the dark humor is appreciated, the script would benefit from more development. First, the story needs to open with a scene that sets the tone. This could be the backstory or some other
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act to the next. Everything happens naturally from the natures of the characters. The fact that the story isn't contrived, and even more that it is based on a true story is interesting. The result is a very believable play. Throughout each act the action rises to a crescendo and comes to a dramatic climax at the end, and thus ensuring the audience or reader of the play is gripped by the story throughout the whole play. The incident begins with the girls dancing in the forest and soon escalates
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hypocrisy of slavery; “I wouldn’t shake my nigger, would I? The only nigger I had in the world, and the only property.” (196). he shows racism twists the mind of the punisher just as much as the punished. This causes people to be pulled away from their moral beliefs. In Huckleberry Finn an example is how white people like Miss Watson and Sally Phelps express no concern about the injustice of slavery or the cruelty of separating Jim from his family. “Ole Missus - dat’s Miss Watson, she pecks on me all
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includes a variety of poems with varying theme and characterized by subjectivity * II. NARRATIVE POETRY * -describes important events in life either real or imaginary 12 * -tells a story * -present dramatic events in a vivid way, using same elements as short stories: plot, characters, dialogue Kinds of Narrative Poetry: 1. Epic- extended narrative about heroic
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use of controversial books is because it redeems qualities. For example, the students can read a book that has sexual violence and drugs. The external tone may be portrayed as substandard and unsatisfactory, but the audience will find that the moral of the story was to stay on the right path and to never do drugs because it can affect your life tremendously. There are other
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better place to start, than Simon Blackburn On Blackburn's projectivist view; after he sketched the outlines of his projectivist theory of moral discourse and some reasons to prefer it versus its rivals, Blackburn turns to an apparent dilemma facing the projectivist. The problem is that the projectivist appears to be committed to either declaring that moral discourse is subject to a pervasive error or abandoning projectivism and accepting a form of realism. ((Blackburn, Simon Spreading The Word
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the future. The story is driven by solid themes about secrets, healing, and second chances. The eventual secret that is exposed is powerful. One can perceive how this plot could make for a compelling screenplay and potential film, but with that said more development is needed. The main concern about the script is the structure. Because the script is based on a novel, the structure tends to be more effective for a novel, rather than
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