Literary and Rhetorical Elements
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Romeo & Juliet TEACHER
Contents How to Use This Study Guide with the Text & Literature Notebook ......... 5 Notes & Instructions to Student ........................................................................ 7 Taking With Us What Matters .......................................................................... 9 Four Stages to the Central One Idea ............................................................... 13 How to Mark a Book ......................................................................................... 18 Introduction ....................................................................................................... 20 Basic Features & Background .......................................................................... 22 ACT 1 Pre-Grammar | Preparation ............................................................................ 29 Grammar | Presentation .................................................................................. 29 Logic | Dialectic ................................................................................................ 36 Rhetoric | Expression ....................................................................................... 38 ACT 2 Pre-Grammar | Preparation ............................................................................ 41 Grammar | Presentation .................................................................................. 41 Logic | Dialectic ................................................................................................ 46 ACT 3 Pre-Grammar | Preparation -
2.3 Flash-Forward: the Future Is Now
2.3 Flash-Forward: The Future is Now BY PATRICIA PISTERS 1. The Death of the Image is Behind Us Starting with the observation that “a certain idea of fate and a certain idea of the image are tied up in the apocalyptic discourse of today’s cultural climate,” Jacques Rancière investigates the possibilities of “imageness,” or the future of the image that can be an alternative to the often-heard complaint in contemporary culture that there is nothing but images, and that therefore images are devoid of content or meaning (1). This discourse is particularly strong in discussions on the fate of cinema in the digital age, where it is commonly argued that the cinematographic image has died either because image culture has become saturated with interactive images, as Peter Greenaway argues on countless occasions, or because the digital has undermined the ontological photographic power of the image but that film has a virtual afterlife as either information or art (Rodowick 143). Looking for the artistic power of the image, Rancière offers in his own way an alternative to these claims of the “death of the image.” According to him, the end of the image is long behind us. It was announced in the modernist artistic discourses that took place between Symbolism and Constructivism between the 1880s and 1920s. Rancière argues that the modernist search for a pure image is now replaced by a kind of impure image regime typical for contemporary media culture. | 1 2.3 Flash-Forward: The Future is Now Rancière’s position is free from any technological determinism when he argues that there is no “mediatic” or “mediumistic” catastrophe (such as the loss of chemical imprinting at the arrival of the digital) that marks the end of the image (18). -
Writing Steps
PREWRITING ● gather your thoughts and ideas ○ read, research, interview, experience, discuss, reflect ○ brainstorm, list, journal, freewrite, cluster ● direct your writing ○ determine your purpose (what you want your paper to do) ○ focus and direct your ideas to address your purpose ○ topic, thesis, capsule summary ● tailor your writing ○ determine your audience ○ choose vocabulary, syntax, formality, appeal, organization, approach ○ capture essence and flavor of paper ● plan your writing ○ organize your ideas into an outline or plan ○ chronological, spatial, topical, priority ○ inductive (exploratory), deductive (argumentative) DRAFTING ● get situated ○ comfortable, stimulating, no distractions ● express your ideas without worrying about mechanical details ○ let thoughts flow ○ do not struggle with words, spelling, punctuation, other details ○ do not follow urge to reread, restructure, rewrite ○ write quickly, informally ○ concentrate on main ideas and message ● stick to subject ○ avoid digression into interesting examples ○ follow outline or plan (with minor modifications) ○ use transitions to connect and show relationships between and among ideas ● write draft in one sitting ○ consistent tone, smooth continuity ● consider writing a second, independent draft ○ compare the independent drafts and pull out best parts of each ● take a break when your draft is complete REVISING ● re-envision what you have written ○ ensure your paper fulfills its purpose (what you want the paper to do) ○ consider alternative ways to more effectively, efficiently -
143 the Flashforward Facility at DESY Abstract 1. Introduction
DESY 15-143 The FLASHForward Facility at DESY A. Aschikhin1, C. Behrens1, S. Bohlen1, J. Dale1, N. Delbos2, L. di Lucchio1, E. Elsen1, J.-H. Erbe1, M. Felber1, B. Foster3,4,*, L. Goldberg1, J. Grebenyuk1, J.-N. Gruse1, B. Hidding3,5, Zhanghu Hu1, S. Karstensen1, A. Knetsch3, O. Kononenko1, V. Libov1, K. Ludwig1, A. R. Maier2, A. Martinez de la Ossa3, T. Mehrling1, C. A. J. Palmer1, F. Pannek1, L. Schaper1, H. Schlarb1, B. Schmidt1, S. Schreiber1, J.-P. Schwinkendorf1, H. Steel1,6, M. Streeter1, G. Tauscher1, V. Wacker1, S. Weichert1, S. Wunderlich1, J. Zemella1, J. Osterhoff1 1 Deutsches Elektronen-Synchrotron (DESY), Notkestrasse 85, 22607 Hamburg, Germany 2 Center for Free-Electron Laser Science & Department of Physics, University of Hamburg, Luruper Chaussee 149, 22761 Hamburg, Germany 3 Department of Physics, University of Hamburg, Luruper Chaussee 149, 22761 Hamburg, Germany 4 also at DESY and University of Oxford, UK 5 also at University of Strathclyde, UK 6 also at University of Sydney, Australia * Corresponding author Abstract The FLASHForward project at DESY is a pioneering plasma-wakefield acceleration experiment that aims to produce, in a few centimetres of ionised hydrogen, beams with energy of order GeV that are of quality sufficient to be used in a free-electron laser. The plasma wave will be driven by high- current density electron beams from the FLASH linear accelerator and will explore both external and internal witness-beam injection techniques. The plasma is created by ionising a gas in a gas cell with a multi-TW laser system, which can also be used to provide optical diagnostics of the plasma and electron beams due to the <30 fs synchronisation between the laser and the driving electron beam. -
1. Alliteration, Consonance and Assonance 2. Allusion 3. Analogy 4. Apostrophe
A Few Literary and Poetic Devices: (words underlined in bold represent “figurative” language) 1. Alliteration, consonance and assonance • The repetition of sounds where consonance uses consonants and assonance uses vowels Ex. From “The Raven” by Edgar Allan Poe Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of someone gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.” 2. Allusion • a literary device in which an author uses subject matter refer to an event, place, or other work – usually not directly stated • An indirect reference to a piece of knowledge not explicitly mentioned in the text, e.g. “Chocolate was her Achilles Heel” Ex. When Nature sleeps and stars are mute, To mar the silence ev’n with lute. At rest on ocean’s brilliant dyes An image of Elysium lies:” 3. Analogy • A literary device that creates a relationship based on parallels or connections between two ideas. By establishing this relationship, the new idea is introduced through a familiar comparison, thus making the new concept easier to grasp. Analogy is more extensive and elaborate than either a simile or a metaphor. Ex. From Romeo and Juliet “What’s in a name? That which we call a rose By any other word would smell as sweet. So Romeo would, were he not Romeo called,” 4. Apostrophe • An apostrophe used in literature is an arrangement of words addressing a non-existent person or an abstract idea in such a way as if it were present and capable of understanding feelings. -
Hamlet: Rhetoric Ahd the Theme Op Appearance Ahd Reality
HAMLET: RHETORIC AHD THE THEME OP APPEARANCE AHD REALITY by ELLA NORBIB RXDSR, 3*A. A THESIS IS ESfGLISH Sutoltted to the Graduate Faoulty of Texas Technological College in Partial Fulflllnent of the HequireeiaBta for the Degrea of MASTER OP ARTS Approved Aecepted August» 1963 AC r5 n ACKKOWI^DOESBSTS Ky sincere appreciation la extended to the membera of my gradixete committee. Dr. Joseph T, McCullen, Director, and Dr. Roger Brooks* Their acholarship has inspired ne and their willing guidance has always been genuinely helpful, Ky gratitude la also extended to Dr. W. 6. Gates, Dean of the Graduate School (retired), whose guidanoe and encouragement have meant so ouoh to me, and to his secretary and my personal friend, Mrs* Irwie Temple, who has always cheerfully assisted me with administrative details* 11 TABLE OP CONTMTS FOREWORD I. BACKGROUND Elizabethan Concept of Tragedy The Problem of Revenge and Dramatic Irony The Problem of Appearance and Reality Historical Background and Shakespeare's Uae of Rhetoric II* Analysis of Rhetoric In Hamlet III* CONCLUSION BIBLIOGRAPHY ill FORSWORD Elizabethan audleoees keenly aQtlelpated the thena of appearwace and reality in drama, and Shakespeare inganiottsly wove this theme into his tragediea and illixni« nated it through his extraordinary use of rhetoric. In a study of appearance and reality one cannot overlook Shakespear*s skillful blending of all the dramatic elasents to complete the total effect oreated by the enaot- ment of the drama* The dependence of one element upon another makes it necessary to begin this study with a refer, ence to the Elizabethan concept of tragedy and revenge, as wall as the problem of appearance and reality* The dramatic elements are bound together by the chief vehicle of the play—the language. -
Shakespeare's Bolingbroke: Rhetoric and Stylistics from Richard II to Henry IV, Part 2
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2004 Shakespeare's Bolingbroke: Rhetoric and stylistics from Richard II to Henry IV, part 2 DeAnna Faye Jenson Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Literature in English, British Isles Commons, and the Rhetoric Commons Recommended Citation Jenson, DeAnna Faye, "Shakespeare's Bolingbroke: Rhetoric and stylistics from Richard II to Henry IV, part 2" (2004). Theses Digitization Project. 2536. https://scholarworks.lib.csusb.edu/etd-project/2536 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. SHAKESPEARE'S BOLINGBROKE: RHETORIC AND STYLISTICS FROM RICHARD II TO HENRY IV, PART 2 A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements to the Degree Master of Arts in English Composition by DeAnna Faye Jensen March 2004 SHAKESPEARE'S BOLINGBROKE: RHETORIC AND STYLISTICS FROM RICHARD II TO HENRY IV, PART 2 A Thesis Presented to the Faculty of California State University, San Bernardino by DeAnna Faye Jensen March 2004 Approved by: Bruce Golden, Chair, English Date on ABSTRACT Joseph A. Porter acknowledges in The Drama of Speech Acts: Shakespeare's Lancastrian Tetralogy that little is written on Henry Bolingbroke. Although scholarship has begun to change since Porter made this observation in 1979, Bolingbroke still remains ancillary to the more colorful characters in Richard. -
1 12 AP Literature Glossary of Terms Ms. Sutton ALLEGORY Story Or
12 AP Literature Glossary of Terms Ms. Sutton ALLEGORY story or poem in which characters, settings, and events stand for other people or events or for abstract ideas or qualities. EXAMPLE: Animal Farm; Dante’s Inferno; Lord of the Flies ALLITERATION repetition of the same or similar consonant sounds in words that are close together. EXAMPLE: “When the two youths turned with the flag they saw that much of the regiment had crumbled away, and the dejected remnant was coming slowly back.” –Stephen Crane (Note how regiment and remnant are being used; the regiment is gone, a remnant remains…) ALLUSION reference to someone or something that is known from history, literature, religion, politics, sports, science, or another branch of culture. An indirect reference to something (usually from literature, etc.). AMBIGUITY deliberately suggesting two or more different, and sometimes conflicting, meanings in a work. An event or situation that may be interpreted in more than one way-- this is done on purpose by the author, when it is not done on purpose, it is vagueness, and detracts from the work. ANALOGY Comparison made between two things to show how they are alike ANAPHORA Repetition of a word, phrase, or clause at the beginning of two or more sentences in a row. This is a deliberate form of repetition and helps make the writer’s point more coherent. ANASTROPHE Inversion of the usual, normal, or logical order of the parts of a sentence. Purpose is rhythm or emphasis or euphony. It is a fancy word for inversion. ANECDOTE Brief story, told to illustrate a point or serve as an example of something, often shows character of an individual ANTAGONIST Opponent who struggles against or blocks the hero, or protagonist, in a story. -
Analyzing an Argument – Romeo and Juliet Grade Nine
Analyzing an Argument – Romeo and Juliet Grade Nine Skill Focus Levels of Thinking Remember Understand Apply Analyze Evaluate Close Reading Grammar Composition Close Reading Reading Strategies Syntax Techniques Types (modes) Inference Asyndeton Expository Figures of Speech Parallelism analytical Metaphor Polysyndeton Personification Repetition Simile epistrophe Sound Devices Reversal Alliteration inverted order (inversion) Literary Techniques Rhetorical Question (10) Antithesis Argumentation emotional appeals ethical appeals logical appeals Literary Forms Drama Verse Materials and Resources • Romeo and Juliet by William Shakespeare • Terms associated with Close Reading • Terms associated with Grammar • Grammar Foundation Lesson: “Advanced Syntax Techniques” Lesson Introduction The text is Act III, scene iv of Romeo and Juliet. Note the rhetorical devices all through the monologue. • rhetorical question • asyndeton • metaphor • alliteration • repetition • epistrophe • parallelism • antithesis • polysyndeton • inversion • simile • personification Show how Shakespeare uses these rhetorical devices to create a speech that persuades Romeo to reconsider his rash deed. Note: One example of each type of rhetorical device is noted in the margin. 260 Close Reading In grief and despair over his banishment, Romeo tries to stab himself, and the Nurse snatches away the dagger. The Friar then addresses Romeo: Hold thy desperate hand. Are thou a man? Thy form cries out thou art; rhetorical question Thy tears are womanish, thy wild acts denote The unreasonable fury of a beast. metaphor Unseemly woman in a seeming man, repetition Close Reading And ill-beseeming beast in seeming both! Thou hast amazed me. By my holy order, I thought thy disposition better tempered. Hast thou slain Tybalt? Wilt thou slay thyself? And slay thy lady that in thy life lives, By doing damned hate upon thyself? Why railest thou on thy birth, the heaven, and earth, parallelism Since birth and heaven and earth, all three do meet polysyndeton In thee at once, which thou at once wouldst lose. -
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The Writing Center @ JSCC Literary Terms
The Writing Center @ JSCC Literary Terms When you write or talk about literature, you will need to use literary terms. In this handout, you’ll find a list of some common terms, with definitions. If you come across a term in this handout or in your readings that is not on this sheet, be sure to look it up in the dictionary. Abstract (vs. concrete) – descriptions of ideas or of general qualities of people or things; concrete refers to specific ideas, qualities, people, or things. For example, the statement “Omar loves Sally” is con- crete; the statement “Love is a feeling most people crave” is abstract. Alliteration – the repeating of a specific sound. For example, in “Peter Piper picked a peck of pickled peppers,” the sound /p/ is repeated 8 times and the sound /k/ is repeated 3 times. Alliteration can be used to evoke images in the reader. For example, the /s/ sounds in this passage about the sea in Kate Chopin’s The Awakening might make you think of the sounds the ocean makes: “The voice of the sea is seductive; never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude.” Antagonist (vs. protagonist) – the character in a story who works against the hero. Sometimes, but not always, the antagonist is the villain, or the “bad guy.” For example, in the wicked stepmother in Cinderella, Darth Vader in the old Star Wars movies, and the narrator’s mother in Amy Tan’s Two Kinds are all antagonists, even though some (like Tan’s narrator’s mother) are not villains. -
Othello Power Presentation, © June 2011 by Prestwick House, Inc
Rhetorical Devices in Shakespeare’s Othello Power Presentation, © June 2011 by Prestwick House, Inc. All rights reserved. ISBN: 978-1-935468-17-2 Item #: 308550 Alliteration / AssonanceALLITERATION / Consonance / ASSONANCE / CONSONANCEContents by Act Contents by Device ALLITERATION / ASSONANCE / CONSONANCE The repetition of letter sounds within two or more words of a phrase, sentence, or longer passage. Alliteration repeats the beginning sounds. Assonance repeats vowel sounds. Consonance repeats consonant sounds. PLAY PLAY PLAY Slide 1 of 20 Alliteration / Assonance / Consonance Contents by Act Contents by Device Act I, scene i Roderigo: Tush, never tell me! I take it much unkindly That thou, Iago, who hast had my purse As if the strings were thine, shouldst know of this. Slide 2 of 20 Alliteration / Assonance / Consonance Contents by Act Contents by Device Act I, scene i Roderigo: Tush, never tell me! I take it much unkindly That thou, Iago, who hast had my purse As if the strings were thine, shouldst know of this. Slide 3 of 20 Alliteration / Assonance / Consonance Contents by Act Contents by Device Act II, scene i Othello: Not out of absolute lust, though peradventure I stand accountant for as great a sin, But partly led to diet my revenge, For that I do suspect the lusty Moor Hath leap’d into my seat; Slide 4 of 20 Allusion ALLUSION Contents by Act Contents by Device ALLUSION A reference to a fairly well known event, place, or person. The reference may appear in the form of a simile, metaphor, analogy, or it may not be within any other rhetorical device at all.