Written task 2 - Outline Prescribed question: How does the text conform to, or deviate from, the conventions of a particular genre and for what purpose? Title of the text for analysis: I have a dream by Martin Luther King Jr, 1963. The part of the course to which the task refers: Part 2: Language and presentation of speeches and campaigns. My critical response will: • Analyse the rhetorical and literary devices used in Martin Luther King’s speech ‘’I have a dream’’ and state the reasons for why he had made use of them. • Examine the impact these devices have on the reader/listener. • State whether the speech conforms to, or deviates from, the conventions of a one. Martin Luther King’s speech ‘’I have a dream’’ has by far been one of the most powerful and memorable speeches ever given
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William Shakespeare (1564-1616) playwright, actor, poet 37 plays, over 400 screen adaptions Lord Chamberlain's Men, King's Men, The Globe Early life: John Shakespeare, Mary Arden, 2 sis', 3 bros; married Anne Hathaway 3 children Life in London: 1599 built Globe, 1623 first compilation Forms: classical & history plays, comedies+tragedies, poetry Style: metaphors, rhetorical phrases, free flow of words, unrhymed iambic pentameter; deviations Renaissance (end of 14th century) Italy, reaches rest of Europe Elizabethan era (16th II h - 17th I h) Theatre: combined medieval theatre, morality plays & Roman drama to create Elizabethan tragedy Poetry: Italian influences, sonnet (English: cddc ee) Rulers of England: Henry VII (brings prosperity, repairs economic situation; made alliances); Henry
.. Turning to ... Now, what about ...? Next ... My next point is ... Let's now look at ... I'd like now to ... Let me now move on to ... Sequencing/Ordering Firstly ... secondly ... thirdly ... Then ... next ... finally/lastly... Let's start with ... Now we come to ... Let's leave that ... Let's get back to ... That covers ... Asking checkup questions Are you with me so far? Is everyone with me? Is that clear to everyone? Before I go on, are there any questions about ...? Using rhetorical questions What should we do? (pause) How much would it cost? (pause) Dramatic structures We have a revolutionary product. --» What we have is a revolutionary product. Making comparisons It's like ... It's as if... Similarly In the same way Contradicting In fact Actually Digressing By the way In passing Painting word pictures Imagine ... Suppose ... Giving examples For example, ... ... for instance ... ... such as ... Let me give you an example. A good example of this is ...
Each line of it is divides into two halves, separated by a caesura, or pause, and is often represented by a gap on the page. The verse form contains complicated rules for alliteration designed to help scops, or poets, remember the many thousands lines they were required to know ny heart. Each of the two halves of an Anglo-Saxon line contains two stressed syllables, and an alliterative must be carried over across the caesura. Often features a distinctive set of rhetorical devices, like the kenning. 4.) Who is the Venerable Bede and what is he famous for? The Venerable Bede is the author of "The Ecclesiastical History of the English People", which is a record of the development of Christianity in England. 150 manuscripts have survived of the piece. 5.) Name the Fours significant volumes of Old English Verse that date back to the Anglo Saxon Period. 1) The Junius manuscript 2) The Beowulf 3) The Verchelli Book 4) The Exeter Book 6
readers thinking. How to decide what to write in the conclusion? 5 Connect your thesis statement with the body of your essay, then go ahead and describe how this turn of events or whatever you have written about relates to you being an ideal applicant, and how does it relate to your decision to apply for college admission. It is a good idea to use rhetorical devices in the conclusion as long as it's not very overdone. The main point is to connect your changes to your current plans. Types of essays: You can write three types of essays. You should judge by the clues given in the application to decide what kind of a logical structure you should use to tie up your points together in a coherent whole. Here are some patterns for prose exposition:
influenced Am poetry up until that point. Style He was boldly experimental in his work. He believed that Am poetry should be like the country it represented free of restrictive rules and repression. Instead of the tightly constructed sentences of his contemporary poets, he used long, loosely rhythmic lines that replicated the natural stresses of ordinary speech. Whitman believed that a poet should be a man of the common people. He wrote in strong, declarative sentences, avoiding rhetorical figures such as metaphors and similes. Leaves of Grass, Whitman's masterpiece, is the work of a lifetime. Originally published with just 12 poems, it eventually grew to include 400 in what is now referred to as the `Deathbed' edition, published just before his death in 1892. Themes Many of the poems in this collection are a celebration of America its landscape, its people and democratic principles on which it was founded. The poet himself
nii uusi või hübriidseid interaktsiooni- ja sotsiaalsete suhete vorme ning diskursustüüpe? Kas valimit on võimalik selgelt iseloomustada zanrikuuluvuse alusel? Kas valimis on esindatud üks või mitu zanri? Missugus(t)ele stiili(de)le, diskursus(t)ele toetutakse? Kas on võimalik eristada stiile vastavalt üldisele suunitlusele (ingl tenor), kõneviisile ehk moele (ingl mode) ja retoorilisele kõneviisile (ingl rhetorical mode)? Diskursuse üldine suunitlus viitab interaktsioonis osalejate suhetele, mis võivad olla formaalsed või mitteformaalsed, ametlikud, lähedased jne. (Nt: Näiteks kui mitteformaalse suunitluse kasutamine näib kontekstist tulenevalt ootamatuna (nt arutelusaate juht sinatab stuudiokülalist), on tegemist interdiskursiivsusega, luuakse uus diskursuse tüüp. See annab omakorda märku ühiskonnas toimuvatest muutustest.)
Nature stands for enduring, general thruths (opposite to metaphysical), that are always tre everywhere. Nature as collection of eternal thruths best expressed by ancients, studying natre like studying classics. Wit – quickness and liveliness of mind; also fancy and magination which needed restraining. Judgement had to tame wit to achieve a sense of decorum or appropriatness (harmonious union of wit and judgement). The „closed” heroic couplet. In these 2 lines possible to attain rhetorical or witty effects by the use of parallelism, balance or antithesis. Alliteration and assonance could be used to strenghten this effect. Another option: Miltonic blank verse. Dramatic change in prose style, sought concision and clarity (John Locke’s writings). Analogy for new style mathematics. Former complexity (typical to the Restoration wits and scholars) gave way to more factual prose. Simple positive style, exact reflection of the new scientific and rational outlook of the Enlightenment
But no good governance, and no NGO participation either, is possible without a well-working government to begin with and that means, among other things, no weakening of state capacity, and no NPM. Intellectual Post-Mortem Actually, for a post-mortem of New Public Management (NPM), it may seem a bit early, seeing in how many places one still can get away with it. But in a very classical sense, the head of the movement to avoid a more rhetorical metaphor from the animal kingdom seems to have been cut off, or at least to have disappeared. In other words, it has become quite rare during the last five years, and is becoming rarer still, to see articles in the very top journals, or essays and keynote addresses by the very top PA scholars especially in Europe, but also in the United States , based on, or implicitly assuming the validity, of NPM. In that sense, it is legitimate to speak of the demise of NPM, and to already
Rivers: the Severn-longest, 354 km, flows through both Wales and England. The longest rivers in the UK by country are: England-river Thames, Scotland- river Tay, Northern Ireland-river Bann, Wales- river Tywi. Lakes: the deepest lake in the UK is Loch Morar-309 m deep. Largest lakes in the UK by country are: Northern Ireland- Lough Neagh, Scotland-Loch Lomond, England- Windermere, Wales- Llyn Tegid (Bala Lake). 26. Albion. a word used in some poetic or rhetorical contexts to refer to England. It was the original Roman name for Britain. It may come from the Latin word `albus', meaning `white'. The white chalk cliffs around Dover on the south coast are the first part of England to be seen when crossing the sea from the European mainland. 27. Britannia. the name that the Romans gave to their southern British province. It is also the name given to the female embodiment of Britain, always shown wearing a helmet and holding
Chiasmus Blank verse Couplet r. Anaphora Limerick Cross r. Epiphora Accented verse Frame r. Climax Monometer Lexical SD Anticlimax Dimeter Metaphor: Suspense Trimeter Trite Rhetorical q. Pentameter Genuine Exclamation Hexameter Sustained Graphical Means, SD Heptameter Metonymy Under / overstopping Octometer Synecdoche Indented line Antonomasia Graphon Phrasing Irony Common Lit. Voc. Syntagm
They can discover everything--except the obvious.) Suspense is a peculiar construction of the sentence which withholds the basic parts of the information till the very end of the sentence. This is achieved by either separating the subject from the predicate or by amassing the less important descriptive subordinate parts at the beginning of the sentence. Function is to make the reader active, to make him wait. 4) Syntactic structures used in a new function Rhetorical questions are used to emphasize the point. In public speeches they sound sarcastic, indignant. In colloquial speech they are ironical. The reader becomes active as if he himself came to certain conclusions. (Who can stop me?) Exclamatory sentences--sentence is used as an interjection to suggest strong emotion. (She was so happy!) 10. Graphical means and devices The outward shape of the printed page is of great importance. There are various types of prints and their interrelation
7. Detachment is the separation of secondary members of the sentence from the rest of it, in order to stress the isolated part. The effect is stronger when the full stop is used (e.g. "I saw him. In his car."). If we remove the punctuation mark then these parts will form a nice sentence. When this cannot find place then it is not a detachment. (9) V. Syntactic structures used in a new function · Rhetorical question requires no answer; it is used to emphasize the point. In public speeches it expresses sarcasm, indignation (); in colloquial speech it conveys irony. It is the means of making the reader more active (e.g. "Who can stop me?") · Exclamatory sentence used as an intensifier or interjection to make stronger the expression of a sudden emotion (e.g. "She was so happy!"). 10. GRAPHICAL EXPRESSIVE MEANS AND DEVICES
public taste. The Golden Age of crime fiction. The literature of `fair play'. Graham Greene. Realism and Existentialism. English Literature of the 1930s-1950s. Reception theory. Only the process of reading generates a meaning for a text. Reading connects reader and the text. A good degree of inderterminacy and gaps to make the connection possible. Gaps-places in a text- require reader's imagination, thinking ability. Allusions, symbols, metaphors, digression, rhetorical question, open endings. Balance is the key. Too many gaps in Modernist texts. Fiction as a way of finding order in chaotic world. Aggravating political and economic situation. A reflection of the general condition in Europe and America. 1929-stock market crash. 1930's-great depression. Mass unemployment in Britain, nazism in germany, fascism in italy, terror in stalinist russia. Fear of both fascism and stalinism. A turn in the mood, aesthetic programme, moral convictions and public taste.
lives25. However, the very fact of how childhood is perceived within society has a profound impact upon whether children`s rights are upheld or not. The commonly held assumption that 22 Children`s Rights and Early Education, p.5. 23 Children`s Rights and early Education, p.5. 24 Children`s Rights and Early Education, p.5 25 Wells Karen, `Narratives of liberation and narratives of innocent suffering: the Rhetorical Uses of Images of Iraqi children in the British press`, Visual Communication, Vol 6.1 (2007) 55-71 (p.59). http://vcj.sagepub.com at University of Wales Swansea on February 19, 2007 [accessed 7 April 2014); Such et al, p. 302; Childhood Matters. Social Theory, Practise and Politics, ed. Jens Qvortrup and Marjatta Bardy and Giovanni Sgritta and Helmut Wintersberger (Aldershot: Aveburry, 1994), pp. 125-143; Morrow Virginia, 'We
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And the positivists had a very specific idea of what kind of difference it ought to make: the bit of language ought to matter, specifically, to the course of our future experience. If someone utters what sounds like a sentence, but you have no idea how the truth of that sentence would affect the future in a detect- able way, then in what sense can you say that it is nevertheless a meaningful sentence for you? The positivists threw out that rhetorical question as a challenge. Suppose I put a line of something that looks like gibberish on the blackboard and I assert that the scribble is a meaningful sentence in someone's language. You ask me what will happen depending on whether the scribble is true or false. I say "Nothing; the world will go on just as it otherwise would, whether this sentence is true or false." Then you should become deeply suspicious of my contention that this apparent gibberish actually means something. Less dras-
me, holding me a careful distance away for a few seconds before suddenly pulling me closer. "Wrong again," he murmured in my ear. "You are utterly indecent -- no one should look so tempting, it's not fair." "Tempting how?" I asked. "I can change..." He sighed, shaking his head. "You are so absurd." He pressed his cool lips delicately to my forehead, and the room spun. The smell of his breath made it impossible to think. "Shall I explain how you are tempting me?" he said. It was clearly a rhetorical question. His fingers traced slowly down my spine, his breath coming more quickly against my skin. My hands were limp on his chest, and I felt lightheaded again. He tilted his head slowly and touched his cool lips to mine for the second time, very carefully, parting them slightly. And then I collapsed. "Bella?" His voice was alarmed as he caught me and held me up. "You... made... me... faint," I accused him dizzily. "What am I going to do with you?" he groaned in exasperation
T H E W R I T E R ' S JOURNEY ~ T H I R D EDITION Christopher Vogler story is benevolent, to teach the hero the needed moral lesson, to fill in a missing piece in the hero's personality or understanding of the world. T h e lesson is presented in a particular, ritualized way, reflecting a more universal principle we might call "Not O n l y . . . But A l s o " ( N O B A ) . N O B A is a rhetorical device, a way of presenting information that can be found in "fortune- telling" systems like the I Ching and the Tarot. N o t O n l y . . . But Also means: Here is a truth that you know perfectly well, but there is another dimension to this truth of which you may not be aware. A story might be telling you, through the actions of a character, that not only are your habits holding you back but also if you keep going in this direction your habits will destroy you
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