Her heart never fully belonged to one person, she couldn’t love and stay with only one single person. As Shug had many responsibilities, she tried to share her time between her loved ones and work etc. All in all, I consider her a strong woman who defied her low position in American culture. She Liisa-Maria Pihlak, 12B didn’t care much about what others thought about her or her preferences. There was a quote that got stuck in my head: Finally, Shug is the color purple personified. She is both red and blue simultaneously. Red represents jazz and life, and the blues’ origins are in misery and disappointment. Together, red and blue create purple. Liisa-Maria Pihlak, 12B
Honest people are so boring." Oscar Wilde Expressive features of separate parts of speech 1 Nouns are based on the unusual use of the number, case, and pronoun substitions. In other words, on a transfer of nouns from one lexico-semantic group to another. This is found in personification. Observing parts in which objects, animals are endowed (given) with human feelings, actions, the ability to think or speech. In this case, the noun that is personified, changes its usual connections with other words. e.g The wind laughed his evil laugh and ran away. Another case of transfer is zoonymic metaphors, that is names of animals, fantastic beings when applied to people become emotional and often offensive. e.g as an animal, donkey, mule, snake, tod, wolf, angel, devil, witch. Connotations vary when names of animals have synonyms. e.g pig (swine), donkey (ass), monkey (ape) these words have some positive yet ironic connotations
female - she; sexless - it. Some other remarks: - morphologically unmarked for gender: bachelor spinster, uncle aunt, monk nun, king queen, nephew niece, brother sister - morphologically marked for gender: host hostess , prince princess, god goddess, hero heroine - personal dual gender (who she/he): artist, cook, friend, servant, singer, enemy, speaker - common gender (who/which he/she/it): child, cat, dog, monkey (as pets or personified) - collective nouns (it/which they/who): army, board, class, crew, gang, jury, firm, family, party, company, department, government, etc. - higher animals: male/female gender distinction maintained by people with a special concern - lower animals and inanimate nouns (which it) c) Case: The term case applies in the first instance to a system of inflectional forms of a noun that serve to mark the function of an NP relative to the construction containing it.
She learns from the other characters, fusing them into a complete human being who has picked up something from everyone she has met along the way. THE ARCHETYPES AS EMANATIONS OF T H E HERO 25 T H E W R I T E R ' S JOURNEY ~ T H I R D EDITION Christopher Vogler T h e archetypes can also be regarded as personified symbols of various human qualities. Like the major arcana cards of the Tarot, they stand for the aspects of a complete human personality. Every good story reflects the total human story, the universal human condition of being born into this world, growing, learning, strug gling to become an individual, and dying. Stories can be read as metaphors for the general human situation, with characters who embody universal, archetypal qualities,
orchestra is given a dominant role. The oratorio can be described as massive, with great inner dynamics, vigour, dramatics joined with lyricism and animation. Kapp reveals himself as a rebel, albeit a tender one at the same time. The music is like an improvisational stream. It could be said that the work is about the Creator and humanity, sacred and secular at the same time. As the fundamental axis of the work, the struggle between good and evil is recognisable, personified in the images of God and Satan: “Do not follow the wicked but the eternal godly laws.” The oratorio is filled with absorbing polyphony: all is connected through the leitmotif of Job reflecting his mental anguish. With this the idea is accentuated: only through suffering is the human being able to rise to the cognition of real happiness. With his oratorio Kapp followed the grand line of Tobias. The chosen theme expressed, to a certain extent, Kapp’s own 1
could tell no more closely than within a month, and upon which island the assault would fall, they never knew until it happened. Compared to the crystalline precision of America's Midway intelligence, Japanese intelligence floundered in a miasma of vaporous generalities. Only once in four years of war—at the Marshalls—did it get word to a garrison early enough to help it prepare for an impending attack. The Japanese Army, personified by the combined War and Prime Minister General Hideki Tojo, had panted for this war much more than the Navy, and so might have been expected to produce striking communications-intelligence results when the desired hostilities broke out. The woeful actuality was summed up in one sentence after the defeat or iNippon by Lieutenant General Seizo Arisue, chief of Army intelligence: "We couldn't break your codes at all." An incident of 1943 epitomizes Japanese incompetence in this whole field
annaabi.ee 
