DIDLS Diction, Imagery, Details, Language, and Syntax Use Diction to Find Tone
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Analyzing Syntax
A.P. Language and Composition Analyzing Syntax A writer’s style is indicated by his/her choice of words and by the way he/she puts those words together: the sentence is usually considered the backbone of a writer’s style. Syntax encompasses word order, sentence length, sentence form, sentence function, sentence focus, and punctuation. I. A sentence can be studied for its form. Is it simple, compound, or complex? A. Simple: The boys were already in the classroom. (one independent clause) B. Compound: The boys were already in the classroom, and they began to work. (two independent clauses) C. Complex: The boys who were already in the classroom began to work (one independent clause and one or more dependent clauses) D. Compound-Complex: When the teacher walked into the classroom, the boys were already there, and they began to work. (two independent clauses and one or more dependent clauses) *** The important point to remember when analyzing the sentence form would be the purpose of that form; what effect does it have on the piece of writing? For example, Hemingway’s short stories about Nick Adams include mostly simple sentences with some compound and complex sentences. Hemingway is famous for this technique and its effect of emphasizing Nick’s careful denial of his emotions when he returned from the war. When considering sentence form, you might ask yourself how the effect of a sentence would be different if its form was altered? For example, if a writer writes two short simple sentences in a row (i.e. I am frustrated. -
The Structure of Plays
n the previous chapters, you explored activities preparing you to inter- I pret and develop a role from a playwright’s script. You used imagina- tion, concentration, observation, sensory recall, and movement to become aware of your personal resources. You used vocal exercises to prepare your voice for creative vocal expression. Improvisation and characterization activities provided opportunities for you to explore simple character portrayal and plot development. All of these activities were preparatory techniques for acting. Now you are ready to bring a character from the written page to the stage. The Structure of Plays LESSON OBJECTIVES ◆ Understand the dramatic structure of a play. 1 ◆ Recognize several types of plays. ◆ Understand how a play is organized. Much of an actor’s time is spent working from materials written by playwrights. You have probably read plays in your language arts classes. Thus, you probably already know that a play is a story written in dia- s a class, play a short logue form to be acted out by actors before a live audience as if it were A game of charades. Use the titles of plays and musicals or real life. the names of famous actors. Other forms of literature, such as short stories and novels, are writ- ten in prose form and are not intended to be acted out. Poetry also dif- fers from plays in that poetry is arranged in lines and verses and is not written to be performed. ■■■■■■■■■■■■■■■■ These students are bringing literature to life in much the same way that Aristotle first described drama over 2,000 years ago. -
Topic: Sentence Structure Definition: Syntax, Diction, and Grammar Create
Topic: Sentence Structure Definition: Syntax, diction, and grammar create sentence style. They work together to create effective writing. Explanation: Good writing is clear and easily understood by readers. That means the following elements of writing must be used effectively: • Syntax (sentence structure) should be as concise as possible. • Diction (word choice) should be as precise as possible. • Grammar (spelling and punctuation) should be accurate. Examples of rules in style to remember • Use simple present tense consistently when describing someone's written statement. o Example: “In another article she is saying…” or “she said…” o Better: "In another article she says…" o Note on verb tense: Research papers are typically written in past tense, and papers about literature and film are written in present tense. • To maintain formal style, avoid contractions even though they are appropriate in conversation. o Example: "I've noticed that she's written a novel that many people haven't read." o Better: "I have noticed that she has written a novel that many people have not read." • To maintain formal style, avoid writing in second person (you, your). o Example: "When you read Lincoln's words, you will understand his wisdom." o Better: "Reading Lincoln's words reveals his wisdom." • Avoid qualifiers, such as, pretty, little, rather, somewhat, very, kind of. They sound uncertain and hesitant. Go easy on the use of very. o Example: "I am pretty certain that with a little effort, you can be somewhat sure of the kind of success that most people usually hope for." o Better: "With effort, she can reach the success others hope for." Page 1 of 3 • Go easy on superlatives. -
Proprietary Aspects of Commercial Remote-Sensing Imagery, 13 Nw
Northwestern Journal of International Law & Business Volume 13 Issue 2 Fall Fall 1992 Proprietary Aspects of Commercial Remote- Sensing Imagery Patrick A. Salin Follow this and additional works at: http://scholarlycommons.law.northwestern.edu/njilb Part of the Science and Technology Commons Recommended Citation Patrick A. Salin, Proprietary Aspects of Commercial Remote-Sensing Imagery, 13 Nw. J. Int'l L. & Bus. 349 (1992-1993) This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of International Law & Business by an authorized administrator of Northwestern University School of Law Scholarly Commons. Proprietary Aspects of Commercial Remote-Sensing Imagery PatrickA. Salin * I. INTRODUCTION Remote-sensing is performed by sensors on board a satellite which is usually placed on a low polar orbit so that it may vertically scan the Earth while the Earth is revolving around its axis. Remote-sensing en- ables a very high altitude view of the areas which are covered and since it always follows the same path in a circular movement which is perpendic- ular to the rotation of the Earth, it covers the whole Earth after a few rotations. For example, US Landsat satellites, the initiator in the field, circle the globe fourteen times a day at a 920 km circular and sun-synchronous orbit,1 with a 200 km wide swath.' Their repeat coverage at the Equator is 18 days.3 Resolution of Landsat imagery is 30 m. (i.e. the size of the smallest object which can be identifiable on the basis of picture elements or "pixels"), within a standard image of 185 km by 170 km. -
Poetic Diction, Poetic Discourse and the Poetic Register
proceedings of the British Academy, 93.21-93 Poetic Diction, Poetic Discourse and the Poetic Register R. G. G. COLEMAN Summary. A number of distinctive characteristics can be iden- tified in the language used by Latin poets. To start with the lexicon, most of the words commonly cited as instances of poetic diction - ensis; fessus, meare, de, -que. -que etc. - are demonstrably archaic, having been displaced in the prose register. Archaic too are certain grammatical forms found in poetry - e.g. auldi, gen. pl. superum, agier, conticuere - and syntactic constructions like the use of simple cases for pre- I.positional phrases and of infinitives instead of the clausal structures of classical prose. Poets in all languages exploit the linguistic resources of past as well as present, but this facility is especially prominent where, as in Latin, the genre traditions positively encouraged imitatio. Some of the syntactic character- istics are influenced wholly or partly by Greek, as are other ingredients of the poetic register. The classical quantitative metres, derived from Greek, dictated the rhythmic pattern of the Latin words. Greek loan words and especially proper names - Chaoniae, Corydon, Pyrrha, Tempe, Theseus, Zephym etc. -brought exotic tones to the aural texture, often enhanced by Greek case forms. They also brought an allusive richness to their contexts. However, the most impressive charac- teristics after the metre were not dependent on foreign intrusion: the creation of imagery, often as an essential feature of a poetic argument, and the tropes of semantic transfer - metaphor, metonymy, synecdoche - were frequently deployed through common words. In fact no words were too prosaic to appear in even the highest poetic contexts, always assuming their metricality. -
Durham Research Online
Durham Research Online Deposited in DRO: 11 April 2019 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Sunderland, Luke (2020) 'Visualizing elemental ontology in the Livre des propri¡et¡esdes choses.', Romanic review., 111 (1). pp. 106-127. Further information on publisher's website: https://doi.org/10.1215/00358118-8007978 Publisher's copyright statement: Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Visualizing Elemental Ontology in the Livre des propriétés des choses Luke Sunderland Durham University A major challenge for the humanities and social sciences, according to Bruno Latour, is the need to supersede the model of cultural diversity, which he does not see (as we might expect) as a positive, open-minded stance that valorizes difference. Instead, he holds that to speak of cultural diversity is to suggest that difference is only possible on the level of concepts and vocabulary, stories and beliefs, and to assume that there are objectively knowable truths about the material world that are immune to variation (Inquiry 20). -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Harbrace College Handbook
Harbrace College Handbook REVISED THIRTEENTH EDITION WITH 1998 MLA STYLE MANUAL UPDATES SUB Gttttlngen 7 ••% 208 52018X 98 A14435 Contents Preface vi GRAMMAR Chapter 1 Sentence Sense ss The parts of a sentence 2 la Recognizing verbs and predicates 3 lb Recognizing subjects, objects, and complements (1) Subjects of verbs 4 (2) Objects of verbs 6 (3) Subject and object complements 7 (4) Word order 8 lc Recognizing parts of speech 10 (1) Verbs 13 (2) Nouns 13 (3) Pronouns 15 (4) Adjectives 15 (5) Adverbs 16 (6) Prepositions 16 (7) Conjunctions 18 (8) Interjections 18 Id Recognizing phrases 19 (1) Kinds of phrases 19 (2) Phrases used as nouns 21 (3) Phrases used as modifiers 22 XIX xx Contents le Recognizing clauses 24 (1) Independent clauses 24 (2) Subordinate clauses 24 If Sentence form and function 28 (1) Examining sentence forms 28 (2) Examining the purpose or function of sentences 29 Chapter 2 Sentence Fragments frag 31 Testing for fragments 31 2a Phrases 32 2b Subordinate clauses 33 Chapter 3 Comma Splices and Fused Sentences cs/fs 36 How to separate clauses 36 How to link and relate clauses 37 3a With coordinating conjunctions 38 3b With conjunctive adverbs or transitional phrases 41 3c Divided quotations 42 Chapter 4 Adjectives and Adverbs ad 45 4a Adverbs 46 4b Adjectives used as subject or object complements 47 4c Comparative and superlative forms 48 (1) The comparative 49 (2) The superlative 50 (3) Incorrect double comparatives or superlatives 50 4d Awkward or ambiguous use of a noun as an adjective 51 4e The double negative 52 -
Imagery in the Journals Written by the Writing I Students of the English Department of Widya Mandala Catholic University Surabaya
Imagery in the Journals Written by the Writing I Students Of the English Department Of Widya Mandala Catholic University Surabaya Nonce Trisnawaty Abstract. Many students think that writing is a daunting task and, therefore, they cannot write a good composition and journal writing is assigned for writing improvement. One of the aspects in writing a journal is imagery. Imagery is the use of concrete words to replace the abstract ones in order to enable the readers to imagine in everything experienced by the author. This study explored the kinds of imagery which are found in the journals written by the Writing I students of Widya Mandala Catholic University Surabaya. The subjects were eleven students of Writing I. Each student submitted 4 journals. A checklist was used to organize the imagery in the journals. Not all writing journals that were analyzed exposed imagery. Visual and auditory imagery were found. There were forty seven examples of visual imagery and six examples of auditory imagery. The olfactory, gustatory and tactile imagery were not found. Key words: imagery, journal, writing I class Introduction Writing is a way in which people can communicate thoughts and feelings with others graphemically. It is a complex process of language communication and also a creative thinking process (Zuo Huangqi, 2002, p. 197). Hansen (2006) states that writing skills can be the ticket to better college grades and greater academic achievement, even if the students do not study harder and know the material better than others do. Writing allows students to keep permanent records such as journals, and it lets students demonstrate their knowledge on an examination. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Domestic
UNIVERSITY OF CALIFORNIA, SAN DIEGO Domestic Dispatches: The Moral Imperative of Modernity, Writing, and the Evolving Role of Female Missionaries A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Anthropology by Emily Frances King Committee in Charge: Professor Suzanne Brenner, Chair Professor Joseph Hankins Professor Saiba Varma 2017 The thesis of Emily Frances King is approved and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Chair University of California, San Diego 2017 iii Dedication This thesis is dedicated to my family. Thank you for telling me family stories, and constantly finding new articles and photographs in old boxes that made this thesis longer than I anticipated. Thank you for always making me laugh at horrible puns. Thank you for your unwavering support and love. This thesis wouldn’t have been possible without you. iv Table of Contents Signature Page……………………………………………………………………………iii Dedication……………………………………………………………………...................iv Table of Contents………………………………………………………………………….v List of Figures…………………………………………………………………………….vi Acknowledgements………………………………………………………………………vii Abstract of the Thesis..………………………………………………………………….viii I-Introduction……………………………………...………………………………………1 II-The Myth of Teleological Progress…………………………………………………......6 -
A Derivational Approach to the Syntax-Prosody Interface
LINEARIZATION: A DERIVATIONAL APPROACH TO THE SYNTAX-PROSODY INTERFACE by KAYONO SFflOBARA B.A., The University of Tokyo, 1996 M.A., The University of Tokyo, 1998 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Linguistics) We accept this thesis as confomiing to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 2004 © Kayono Shiobara, 2004 ABSTRACT The major goal of this thesis is to account for a certain class of word order alternations in natural languages, in particular heavy NP shift in English and short-scrambling in Japanese. My central claim is that the properties of these alternations are best accounted for as PF interface phenomena constrained by correspondence conditions on the mapping from syntax to prosody. I develop a model of grammar in which linearization is distributed between core syntax and the prosody-syntax interface: using an incremental structure-building mechanism based on that of Phillips (1996, 2003), I provide a derivational model of the syntax-prosody mapping in which the unit of spell-out is defined by correspondence relations between syntactic objects and prosodic objects. This approach, which I refer to as the Prosodic Phase Hypothesis, provides a prosodically based account of the distinctive properties of heavy NP shift and short-scrambling, including not only clearly prosodic factors such as weight and sentence level stress, but also, indirectly, sensitivity to semantic/pragmatic factors such as focus. The gist of the Prosodic Phase Hypothesis is that the general prosodic properties of a particular language constrain the linearization of verbal dependents in the language. -
Name: Homework 1 Indicate the Order in Which
Name: _________________________ Homework 1 Indicate the order in which the signs should be read by numbering next to the signs: Name: _________________________ Homework 2 Identify only the uniliteral signs by circling them. Then, transliterate: 1. 2. 3. 4. 5. 6. Name: _________________________ Homework 3 Identify the uniliterals, biliterals, phonetic complements, and determinatives with. Then, transliterate: 1. See 11. Construction, work, device 2. (ferry) across 12. Vizier 3. Rejoice, be 13. Donkey glad 4. Send 14. Secret 5. Son 15. Water 6. Daughter 16. Crocodile 7. Male servant 17. Mouth, utterance 8. Female 18. (noun) face servant 9. Road, way, 19. (preposition) , side upon, concerning, because 10. Office, hall Notes: The determinative is not necessarily the last sign. There may be more than one determinative for a single word. Additionally, there is a subtle difference between the pintail duck, zA, and the goose, gb. The former has a more pointed tail and the latter is in gbb the Earth god. Homework 3 Answer Key Text Transliteration: 1. mAA 2. DA(j) 3. rS(j) 4. HAb 5. zA 6. zAt 7. bAk 8. bAkt 9. wAt , 10. xA 11. kAt 12. TAt(j) 13. aA 14. sStA 15. jtrw 16. mzh 17. r 18. Hr 19. Hr Name: _________________________ Homework 4 Transliterate and translate the following: 1. 2. 3. 4. 5. 6. 7. 8. Word Bank: Son Vizier Daughter Donkey Male servant Crocodile Female servant Mouth, utterance Road, way (noun) face , Construction, work Homework 4 Answer Key Text Transliteration Translation 1. zAw Hna zAt Sons and daughter 2. bAktj nt TAt(j) Two maids of the vizier 3.