DOCSLIB.ORG

Exposition Texts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exposition Texts The modality expresses the writer’s attitude and Exposition reflects whether the discussion is open or authoritative and definite. Texts Responding to persuasive writing helps develop a student’s critical thinking and clarity of expression. It encourages students to question, research and respond to an argument in a clear Structure and features and logical way. of exposition texts There are different types of exposition texts: • Expository writing can change the attitude PURPOSE people have or their point of view,by expressing an argument about a specific issue. An exposition persuades a reader or listener by This persuasive writing appears as newspaper presenting one side of an argument. By taking a editorials, political or campaign speeches, point of view and justifying it, we aim to print, visual and oral media, information texts convince others to see only that side of an in books, letters to the editor, legal defences issue. Some expositions speculate as to what or sermons. Hopefully as students develop might be and persuade others as to what should their skills they will become aware that facts be. can be interpreted in different ways and that a variety of opinions on an issue may be valid. TYPES OF EXPOSITION • Persuasive writing can promote and sell Exposition texts vary according to whether goods, services and activities; for example in they analyse, interpret or evaluate the advertisements and posters persuasive environment surrounding us.They may also language convinces people to do or believe inform or persuade and explain how and why. particular things. It has a positive emphasis or bias and is directed at a specific audience. In an expository text the audience is being Media advertisements are generally eye persuaded to a particular point of view.This catching with catchy slogans and tunes.This may be persuading someone to act in a certain draws people in and makes them identify way or justifying an action. Exposition texts can with the messages and images portrayed.At be personal and emotive in tone and selectively times other texts are adopted, e.g. procedures, explain and analyse events, issues and explanations and descriptions.An example is: phenomena.The writer wants the reader to Ten steps to a beautiful new body. empathise with the emotions and reasons and to support the action. Students need to develop • Expository writing can plead a case, for the ability to recognise that something is one- example Don’t pollute our rivers. sided or biased and presents only one point of Persuasive expositions differ from discussions view, especially if they are being convinced to where the writer explores all sides of an issue behave in a certain way, to buy something or to and comes to a decision based on available do something. evidence. Persuasive expositions have a point of It is important that for the text to be persuasive view that is supported by logical arguments and the tenor must be at the appropriate level for evidence.The writer selects and omits the audience. Generally an impersonal style is information to support a position. Strong used and the passive voice creates an research skills and accurate note making are authoritative tone. Conjunctions give the text needed to write a persuasive exposition if issues coherence, while the vocabulary, which can be relate to areas with which students have had no metaphorical, describes feelings and attitudes. experience. Surveys and interviews about issues 75 can be used to gather information while Frequently each argument begins with current materials gathered from newspapers, background information, followed by points news and radio broadcasts form an invaluable that relate back to the statement of position resource. Students will need to check the and justify or elaborate on the statement. For validity of their sources of information and list arguments to be as effective as possible they a bibliography. should include supporting facts, examples, tables, visual images, quotes or evidence so that they appear convincing.Vague terms such as the Structure of general public, or a large group, should be used carefully, as the accuracy of these observations exposition texts needs to be assessed. The arguments are ordered according to Exposition texts generally begin with an whether the writer believes they are persuasive introductory statement of position giving the or weaker arguments.The writer may wish to author’s opinion or point of view.This previews start with the strongest argument, linking the the argument that will follow.The next section others.An alternative way is to start with the has a series of logical arguments that convince weaker and build with each argument to the the audience why this position has been taken. strongest, or they may wish to intersperse the A conclusion ties it all together by reinforcing strong arguments with those that are weaker. or summarising the author’s point of view. It is important that each elaboration consists of STATEMENT OF POSITION a number of sentences. Each paragraph should be carefully structured with the topic sentence Encourage students to start with a clear and in each paragraph relating to the main idea and forceful statement of position.This is often at times the preceding paragraph. Most supported by some background information paragraphs have one main idea that is argued about the issue in question.The stand taken by and elaborated and forms part of the whole the writer may preview in summary form the exposition. arguments to be presented. Students need to focus on developing a strong statement of An important language feature is the use of position.They can ask themselves the following connectives and conjunctions as they show the questions: relationship between parts of the text.These conjunctions can link ideas, contrast concepts, • Who am I trying to persuade? sequence thoughts, add to ideas and connect • What am I trying to persuade them to think cause and effect. Examples of these words are or do? firstly, finally, in addition, because, as a result of, on the other hand. • What type of arguments will best catch their attention? REINFORCEMENT OF • Is the statement hard hitting and does it clearly state the position? THE STATEMENT OF POSITION This is where the argument is emphasised.The ARGUMENT STAGE summing up of the position in the light of the argument that has been presented reinforces the A number of points are generally made in the statement of position and often calls for some argument stage.The number of arguments is type of action on the part of the audience. flexible and varies in each exposition. Arguments need to be logically developed and In order to persuade their audience in oral supported, and justified with reasons, examples, presentations, students need to focus on expert evidence and statistical information. reinforcing their statement of position and 76 emphasising their main points by varying their scientific from the voice of the expert. voice, tone, volume, pace, body language and • Action (jump), saying (beg), mental gesture. Students’ arguments should be logically (challenge), thinking (hope), modal (must) developed and supported and justified with and relating verbs (it is vital) are used. evidence.They should not be simply emotive • Reasons for actions or choices are shown and intuitive. Students can take different stands through the use of connectives, e.g. however, on the same issue while listeners listen for key similarly,mainly,therefore, so, because, the points on which to question the speakers.The first reason. audience can focus on the evidence that has • Emotive words are used to involve the been presented and assess its accuracy.Tables audience. and diagrams may be used with great impact in e.g.The overuse of our resources will destroy spoken expositions. the land. In written expositions students should be • Evaluative language adding the voice of exposed to community issues and encouraged authority is found. to write letters expressing their support or e.g. It is most important that all people... concern. Nominalisation is a feature of these • The personal pronoun I is often removed. texts, as is the use of extended noun phrases. The author speaks persuasively of people, This text is generally not written in first person, places and things already in the text, e.g. she, but rather in generic terms describing citizens them,Australians, citizens. or Australians or citing authorities and is certain • Reported speech is used when referring to in tone, e.g.This must stop. Passive voice can be what the majority of people have said on the used so that the authority is not identified and issue to indicate the support of others for the so that the tone is both formal and strong, e.g. issue. The opinion has been stated.The vocabulary is • Generally,the text is written in the present often technical and can include abstract terms tense but may change to past tense for while synonyms are often used to avoid recounted events or historical evidence. It repetition and to maintain interest. may be written in the future tense if predictions are being made. When reading expositions students should be • A moderate to high degree of modality or able to identify vague and unsupported claims certainty is found in the words selected, for and misleading or incomplete statistics and example often, nearly,most, generally,might, evaluate how effectively language is being used could.This depends on whether the writer to position the reader. Journalists, politicians and wants to feel authoritative and definite or lawyers develop the above skills when they open to discussion. work objectively with language. • Complex sentences are found. e.g.When the game finished, Jack caught the LANGUAGE FEATURES bus. OF EXPOSITION TEXTS • Nominalisation is used when nouns are made from verbs.
Load more

Recommended publications
  • The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W
    DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 8-2012 The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno Joseph Weiss DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Weiss, Joseph, "The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno" (2012). College of Liberal Arts & Social Sciences Theses and Dissertations. 125. https://via.library.depaul.edu/etd/125 This Dissertation is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W. Adorno A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy October, 2011 By Joseph Weiss Department of Philosophy College of Liberal Arts and Sciences DePaul University Chicago, Illinois 2 ABSTRACT Joseph Weiss Title: The Idea of Mimesis: Semblance, Play and Critique in the Works of Walter Benjamin and Theodor W. Adorno Critical Theory demands that its forms of critique express resistance to the socially necessary illusions of a given historical period. Yet theorists have seldom discussed just how much it is the case that, for Walter Benjamin and Theodor W.
    [Show full text]
  • THE TRENDS of STREAM of CONSCIOUSNESS TECHNIQUE in WILLIAM FAULKNER S NOVEL the SOUND and the FURY'' Chitra Yashwant Ga
    AMIERJ Volume–VII, Issues– VII ISSN–2278-5655 Oct - Nov 2018 THE TRENDS OF STREAM OF CONSCIOUSNESS TECHNIQUE IN WILLIAM FAULKNER S NOVEL THE SOUND AND THE FURY’’ Chitra Yashwant Gaidhani Assistant Professor in English, G. E. Society RNC Arts, JDB Commerce and NSC Science College, Nashik Road, Tal. & Dist. Nashik, Maharashtra, India. Abstract: The term "Stream-of-Consciousness" signifies to a technique of narration. Prior to the twentieth century. In this technique an author would simply tell the reader what one of the characters was thinking? Stream-of-consciousness is a technique whereby the author writes as though inside the minds of the characters. Since the ordinary person's mind jumps from one event to another, stream-of- consciousness tries to capture this phenomenon in William Faulkner’s novel The Sound and Fury. This style of narration is also associate with the Modern novelist and story writers of the 20th century. The Sound and the Fury is a broadly significant work of literature. William Faulkner use of this technique Sound and Fury is probably the most successful and outstanding use that we have had. Faulkner has been admired for his ability to recreate the thought process of the human mind. In addition, it is viewed as crucial development in the stream-of-consciousness literary technique. According encyclopedia, in 1998, the Modern Library ranked The Sound and the Fury sixth on its list of the 100 best English-language novels of the 20th century. The present research focuses on stream of consciousness technique used by William Faulkner’s novel “The Sound and Fury”.
    [Show full text]
  • 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.
    [Show full text]
  • Elements of Literature Characterization
    LIT 101: Introduction to Literature Learning Unit 1: Handout Elements of Literature Plot Difference between plot and chronology; Plot is the sequence of events as presented by the author Pyramidal Plot Elements Exposition-introductory material in a work of fiction Creates tone and Gives setting Introduces characters and often conflict Supplies other facts necessary to understanding Usually at beginning of the work Conflict-struggle between two opposing forces Four kinds External Man vs. man Man vs. nature Man vs. society Internal Man vs. himself (Man vs. fate) Often more than one type in a work, but one will dominate Inciting incident: The catalyst: Event or force that gets the action in motion Rising action: Development and complications Climax: Moment of greatest emotional intensity Crisis: Typically in middle, but in modern works often located near the end Point where situation of the main character is certain to either worsen or improve Falling action All the events that follow the climax Dénouement French for “unknotting” - Final explanation/ unraveling of a plot (solution of a mystery, etc.) Key terms Foreshadowing - use of clues about the events to come Flashback - a section of a literary work that interrupts the sequence of events to relate an event from an earlier time Characterization Character - people, animals, etc., that perform the action in a story Flat characters - aka two-dimensional or wooden characters Characters that are not well developed, that are given only one or two characteristics Stereotypes - stock characters
    [Show full text]
  • Eighteenth-Century Philosophy of Knowledge, Morals and Self As a Background to the Literature of the Period
    Eighteenth-Century Philosophy of Knowledge, Morals and Self as a Background to the Literature of the Period Selected Bibliography Compiled and Commented by Birgitt Flohr I. Introduction. There is not much doubt that philosophy in the eighteenth century had an immense influence on the culture of its time. For example, the widely read journal The Spectator, edited by Addison and Steele, intended to bring philosophy out of the libraries into the coffee houses, to make philosophy part of the general cultural discourse. This might indicate that a proper understanding of the literature of this era depends on a proper knowledge of the philosophical discussions which constituted part of the intellectual and cultural life. However, the interaction between philosophy and literature is by no means a simple and direct one. Duke Maskell in his essay ‘Locke and Sterne, or Can Philosophy Influence Literature?’, Essays in Criticism23 (1973), 22-40, points out that, although there are certainly congruencies between philosophy and literature, they are not of the kind that permit us to discover ‘in’ a novel or poem the philosophical ideas it is ‘based on’ or ‘influenced by’. For him, literature is not a translation of philosophy into another medium. Therefore, this survey attempts to draw a picture of the full complexity of the interrelation of philosophy and literature, as seen by various researchers in this field. For this it is first of all important to identify the important philosophical texts in the eighteenth century, and to collect interpretations and criticism of them by scholars of philosophy. Hence, the first part of the following bibliography is devoted to this task.
    [Show full text]
  • I Am Rooted, but I Flow': Virginia Woolf and 20Th Century Thought Emily Lauren Hanna Scripps College
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Keck Graduate Institute Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2012 'I Am Rooted, But I Flow': Virginia Woolf and 20th Century Thought Emily Lauren Hanna Scripps College Recommended Citation Hanna, Emily Lauren, "'I Am Rooted, But I Flow': Virginia Woolf and 20th Century Thought" (2012). Scripps Senior Theses. Paper 97. http://scholarship.claremont.edu/scripps_theses/97 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. ‘I AM ROOTED, BUT I FLOW’: VIRGINIA WOOLF AND 20 TH CENTURY THOUGHT by EMILY LAUREN HANNA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR MATZ PROFESSOR GREENE APRIL 20, 2012 1 ACKNOWLEDGEMENT It is a pleasure to thank those who made this thesis possible, including Professors Matz, Greene, Peavoy, and Wachtel, whose inspiration and guidance enabled me to develop an appreciation and understanding of the work of Virginia Woolf. I would also like to thank my friends, and above all, my family who helped foster my love of literature, and supported me from the initial stages of my project through its completion. Emily Hanna 2 Table of Contents Introduction 4 Chapter 1 – Conceptual Framework 7 Chapter 2 – Mrs. Dalloway 22 Chapter 3 – To the Lighthouse 34 Chapter 4 – The Waves 50 Conclusion 63 Works Cited 65 3 Introduction If life has a base that it stands upon, if it is a bowl that one fills and fills and fills – then my bowl without a doubt stands upon this memory.
    [Show full text]
  • Prufrock's Stream of Consciousness AUTHOR: R
    PRUFROCK'S STRE.AM 'OF CONSCIOUSNESS PRUFROCK t S STRE.AM OF CONSCIOUSNESS By R •.ANNE JAMIESON. B • .A • .A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of .Arts McMaster University August 1975 MASTER OF ARTS (1975) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Prufrock's Stream of consciousness AUTHOR: R. Anne Jamieson, B.A. (University of Wales) SUPERVISOR: Dr N. Rosenblood NUMBER OF PAGES: v, 92 ii ACKNOWLEDGEMENT I should like to thank my supervisor, Dr Norman Rosenblood, whose help and guidance in the preparation of this thesis were invaluable. iii T~BLE OF CONTENTS I INTRODUCTION 1 II : PRUFROCK: THE CONNECTIVE TISSUE 20 III PRUFROCK: THE THEMES .53 IV PRUFROCK: THE STRUCTURE 72 V CONCLUSION 86 BIBLIOGR~PHY 91 1v ...... ,.... ; EXPLAN.ATORY NOTE \'ihere an asterisk (*) appears in the script it denotes a point originally suggested by Dr Ng Rosenbloodo 'J ••' .: " . " ... v I INTRODUCTION Much T.S. Eliot criticism of the last decade or so has been moving toward the assertion that, in "The Love Song of J. ,Alfred Prufrock" and The ~'laste Land, and perhaps in most of his earlier poetry, Eliot's primary aim was an expl- oration of consciousness. And one critic, at least, has claimed that to achieve this end Eliot adapted the 'stream­ of-consciousness' techniques of modern fiction to poetry. Anne Bo1gan, in 1973, claimed that what The Waste Land "aspired to be" was "a neo-epic of the interior life 1 an epic, that is, mounted upon Ie pa;ysage int~rieur." And, further, she held that "what Eliot set out to write, and what The \Vasts Land was generically 'aiming to be' was an extended --- 2 -interior monologue." Ms Bolgan considers that not only were Eliot's ideas about consciousness born from his study of the philosophy of F.H.
    [Show full text]
  • William Faulkner's Narrative Mode In
    Humanities and Social Sciences Review, CD-ROM. ISSN: 2165-6258 :: 2(2):193–202 (2013) WILLIAM FAULKNER’S NARRATIVE MODE IN “THE SOUND AND THE FURY’’A STREAM OF CONSCIOUSNESS TECHNIQUE OR INTERIOR MONOLOGUE USED IN BENJY’S SECTION Tatiana Vepkhvadze International Black Sea University, Georgia The present research analyzes William Faulkner’s writing style in “The Sound and Fury”, it refers to the stream of consciousness technique called interior monologue. The term is borrowed from drama, where ‘monologue’ refers to the part in a play where an actor expresses his inner thoughts aloud to the audience. The interior monologue represents an attempt to transcribe a character’s thoughts, sensations and emotions. In order to faithfully represent the rhythm and flow of consciousness, the writer often disregards traditional syntax, punctuation and logical connections. He does not intervene to guide the reader or to impose narrative order on the often confused, and confusing, mental processes. Stream of consciousness is now widely used in modern fiction as a narrative method to reveal the character’s unspoken thoughts and feelings without having recourse to dialogue or description. Faulkner’s handling of stream of consciousness technique allows the FID narrator to shape a particular version of the character’s consciousness in terms of images, which need not be actual words or thoughts as the character expressed them. The use of interior monologue is common narrative mode of Benjy’s section that makes the text absolutely ambiguous for the reader. Benjy can’t speak and being a narrator of the first section ,we have an access to the plot of the story through his perceptions and feelings.
    [Show full text]
  • Item No. 1 a Landmark Exposition of the Principles of Republican
    Item No. 1 A Landmark Exposition of the Principles of Republican Government 1. Adams, John: A DEFENCE OF THE CONSTITUTIONS OF GOVERNMENT OF THE UNITED STATES OF AMERICA, AGAINST THE ATTACK OF M. TURGOT IN HIS LETTER TO DR. PRICE...IN THREE VOLUMES. A NEW EDITION. London: Printed for John Stockdale, 1794. Port. frontis, [2], 8, xxxii, [3]-392; [2], 451, [1]; [2], 528, [36] pp. Light private rubberstamp on front free endpaper of each volume. Volume I has the portrait frontis, which is somewhat foxed in the margins. Bound in contemporary tree calf, expertly rebacked with original spines laid down [some spine chipping] and original gilt-lettered black morocco spine labels. Gilt spine bands. Light foxing, Very Good. The book was first published in London in 1787 as a single volume, just as the Constitutional Convention assembled in Philadelphia. This is Adams's completed work and final edition. "John Adams, it is safe to say, bestowed more thought on the nature of government, and exerted more influence in determining the character of the constitutions adopted during the Revolution by most of the original states, than any one of his contemporaries. When, therefore, Turgot attacked these constitutions because of 'an unreasonable imitation of the usages of England,' and because of a want of centralization, it was natural that Adams should come forward as their champion" [Larned]. The Defence "has ably combated the opinions of Turgot, Mably, and Price, who were in favour of a single Legislative Assembly, and by it has contributed much towards establishing that division of power in our Legislative Assemblies, with its proper checks and balances, which we now enjoy.
    [Show full text]
  • Narrative Elements Explained
    Lewisuwritingcenter.wordpress.com Narrative Elements Explained The purpose of this resource is to assist in the critical reading of narratives, and to help students explore how the effect is created and meaning is made. Fiction is best understood by breaking down and discussing terms common to most stories, be they novels, short fiction, movies, TV shows, etc. These terms include: plot, characters, point of view, setting, theme, conflict, and style. Understanding how these elements work helps us better analyze narratives and to determine meanings. Seven main elements of fiction are defined below followed by a sample of questions to help readers uncover meaning of a given narrative. Theme Definition: Theme is perhaps the most important literary concept because it is the overarching idea that the writer of the story wants to reader to understand. All other literary concepts are used to create theme. The theme is the author’s commentary on a subject. For example, in Shakespeare’s Othello, one of the major themes is how easily human perception can be manipulated when powerful emotions are at play. To determine the theme, examine other literary elements of the story. Questions to Consider: First identify the subject (s) of the story and then ask: what is the writer trying to say about this subject? What literary tools does the writer use to create this theme? Plot Definition: Plot is the structure of the narrative as it moves through time. Most narratives (but not all) follow this traditional plot structure. It consists of the exposition (introduction of setting and characters), rising action (events that build conflict for the protagonist), climax (tension of conflict reaches highest, most intense point), falling action (the events following the climax), and denouement (the resolution of conflict).
    [Show full text]
  • Pilgrimage and Its Paratexts
    PILGRIMAGE AND ITS PARATEXTS By RENÉE JANE STANTON A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English Literature School of English, Drama and American and Canadian Studies University of Birmingham September 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Dedication For Jeremy – my book for you. Acknowledgements Firstly I would like to thank very warmly my PhD supervisors at the University of Birmingham, Michael Toolan and Deborah Longworth, who, in their very different ways, helped me focus my thinking. Their time, dedication and expertise have been much appreciated. I would like to say a particular thank you to Gill Hanscombe who responded generously to my enquiries and whose interest and encouragement was so helpful. Also I would like to express my gratitude to Scott McCracken and Becky Bowler at the University of Keele for their welcome on my research visits. Their support, advice and willingness to share their knowledge have been invaluable. Thanks go to the members of the Dorothy Richardson Society whose work I have listened to and read and whose conversations and company I have enjoyed.
    [Show full text]
  • ONIX for Books Codelists Issue 47
    ONIX for Books Codelists Issue 47 31 October 2019 DOI: 10.4400/akjh Go to latest Issue All ONIX standards and documentation – including this document – are copyright materials, made available free of charge for general use. A full license agreement (DOI: 10.4400/nwgj) that governs their use is available on the EDItEUR website. All ONIX users should note that this issue of the ONIX codelists does not include support for codelists used only with ONIX version 2.1. ONIX 2.1 remains fully usable, using Issue 36 of the codelists or earlier, and Issue 36 continues to be available via the archive section of the EDItEUR website (https://www.editeur.org/15/Archived-Previous-Releases). These codelists are also available within a multilingual online browser at https://ns.editeur.org/onix. Codelists are revised quarterly. Layout of codelists This document contains ONIX for Books codelists Issue 46, intended primarily for use with ONIX 3.0. The codelists are arranged in a single table for reference and printing. They may also be used as controlled vocabularies, independent of ONIX. This document does not differentiate explicitly between codelists for ONIX 3.0 and those that are used with earlier releases, but lists used only with earlier releases have been removed. For details of which code list to use with which data element in each version of ONIX, please consult the main Specification for the appropriate release. Occasionally, a handful of codes within a particular list are defined as either deprecated, or not valid for use in a particular version of ONIX or with a particular data element.
    [Show full text]