DOCSLIB.ORG

Diction and Idiom Errors: a List of Common Errors in English Usage

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Diction and Idiom Errors: a List of Common Errors in English Usage Diction and Idiom Errors: A List of Common Errors in English Usage The errors on this list are, obviously, organized alphabetically. Errors that involve confusion of two or more words or expressions are generally alphabetized according to whichever word comes first alphabetically; “emigrate vs. immigrate,” for example, is listed under emigrate. (Others are listed by the word or expression that is commonly misused, such as “like vs. as,” which is listed under like.) Articles (a, an, the) and the word to in infinitives are disregarded for purposes of alphabetization. Some words or expressions fall under a larger category; “to set vs. to sit,” for example, is listed under the heading “count nouns vs. mass nouns.” Items marked with an asterisk are errors that students whose English is influenced by Chinese should pay special attention to. about vs. around adapt vs. adopt Some grammar fascists insist that around should not To adapt means “to make or become suited (often be used to mean “about” or “approximately”: by alteration)”; to adopt means “to take up for use” “around five hundred people” or “to accept and put into effect.” “around six o‟clock” “freshmen adapting to a new environment” “about five hundred people” “adapted it for use as a weapon” “at about six o‟clock” “adopted a new strategy” “the speaker adopted a tone of urgency” absolute adjectives “adopted the panel‟s recommendations” Some adjectives, including superlative adjectives “adapted the recommendations to fit the new like last and best, along with other adjectives like situation” full, pregnant, perfect, the word absolute itself, and unique (which literally means “one of a kind”), adhere with technically should not be modified by intensifiers adhere to like very and extremely or qualifiers like somewhat “If you do not adhere to the rules, you will be and a little because they indicate qualities of an excommunicated from the Hannah Montana absolute degree. A woman is either pregnant or not Fan Club.” pregnant, for example; she can‟t be “a little pregnant.” advance vs. advanced “the very best performance” Some people are under the impression that the past “the best performance” participle advanced is the only adjective form of the “a very perfect performance” verb advance. In fact, advance itself can be an “a perfect performance” adjective when it refers to something ahead of time: “a rather perfect performance” “advanced age” “an excellent performance” “advanced technology” In practice, however, this rule is often disregarded. “advance notice” It may make sense to describe a woman as “very “advance party sent to secure the area” pregnant,” for example, if you mean that her pregnancy is advanced and her stomach is quite affect vs. effect1 large. (Unique, in particular, is often modified by an In their most common usages, affect is a verb mean- intensifier. Many people think of uniqueness as a ing “to influence” or “to have an impact on,” while quality that can have different degrees; one person, effect is a noun meaning “result, consequence, for example, can be “more unique” than another outcome”: person.) “affect the outcome” “affected by the weather” absorbed in “the war‟s effects” When you use absorb to mean “engross,” use it with “the effect of the decision” the preposition in: However, effect can also be a verb when it is used “too absorbed by his book to notice” to mean to bring about or to put into effect: “too absorbed in his book to notice” “to effect a change” = “to bring about a change” (not “to influence a change”) accept vs. except “effect a solution to the problem” Except can be used as a verb, but only to mean “to exclude.” “refused to except defeat” “refused to accept defeat” 1 Affect has other uses as well, but they aren‟t likely “People are dishonest, cruel, and selfish... to appear on the SAT: one can affect a British accent present company excepted, of course.” or affect a limp, for example, and in psychology, an affect (pronounced “A fect,” not “uh FECT”) is the subjective aspect of an emotion. Diction and Idiom Errors: A List of Common Errors in English Usage Page 1 © 2006 and 2008 C. Brantley Collins, Jr. afflict vs. inflict “has no illusions about his chances of success” To afflict means to distress severely; trouble. To inflict means to give or cause (damage, pain, etc.). alot and alright Although they are similar in meaning, afflict focuses Just in case your teachers have failed to get the on the pain or suffering itself, while inflict focuses message to you, these forms are considered on the active cause of the pain or suffering. Gener- nonstandard. Use “a lot” and “all right.” ally speaking, if the word cause can be used as a substitute, you should use inflict, not afflict. altogether vs. all together “inflicted with various ailments” Altogether means either “completely” or “in total”; “afflicted with various ailments2” all together means “all in a group”: “a region inflicted with drought” “altogether in one place for the first time in “a region afflicted with drought” years” “suffering afflicted by the drought” “all together in one place for the first time in “suffering inflicted (caused) by the drought” years” “attack that afflicted heavy losses on the “an altogether different situation” (= “a enemy” completely different situation”) “attack that inflicted (caused) heavy losses on the enemy” “a need of” “losses inflicted (caused) by the enemy” “in need for” “a need for” aggravate “a child with a need for attention” Although aggravate (along with other forms such as “in need of” aggravating and aggravation) has long been com- “a patient in need of immediate aid” monly used to mean “to annoy or irritate,” some grammar fascists insist that its only proper usage is appraise vs. apprise “to make worse; to exacerbate”: To appraise means “to evaluate or estimate”: “aggravated by her constant nagging” “an appraisal of the value of the house” “annoyed/irritated by her constant nagging” “quickly appraised the situation” “bully aggravated his injury while beating up To apprise means “to inform, to tell”: the little kid” “apprised him of the situation” agree (up)on, agree to, agree [infinitive], agree argue against vs. argue with with argue with [a person] agree (up)on = [of two or more parties] “to have the “argued with the plan” same opinion about (something)” or “to reach an “argued with him about the plan” agreement regarding (something)” argue against [an opinion, approach, tactic, etc.] “two sides agreed on a course of action” “argued against him about the plan” agree to = accept “argued against the plan” “agree to your demands” agree [infinitive] as...than... “agree to accept responsibility” “gasoline as expensive than liquid gold” “agree to do my homework regularly” as...as... agree with = to have the same opinion as; concur “gasoline as expensive as liquid gold” “agree to your views on the matter” For negative comparisons using this pattern, see the “agree with your views on the matter” entry for “not so...as...” allude/allusion/allusive vs. elude/elusive vs. “at face value” illusion “for face value” An allusion is “a reference to something, often an The idiom face value refers to the outward or initial indirect reference,” and to allude thus means “to appearance of something. It is used to indicate the make a reference.” To elude means “to escape.” An acceptance of something without questioning or illusion is “something that causes a false perception doubting it: or belief” (or the false perception or belief itself). “accepted his explanation at face value” “novel makes frequent illusions to the Bible” “took his promises at face value” “novel makes frequent allusions to the Bible” “police could not capture the elusive fugitive” attend vs. attend to “optical illusion that made the image appear to The verb attend is usually used to mean “to be change” present at, to participate in, to be enrolled in”: “attend a meeting” To attend to something is “to deal with” or “to focus 2 Although afflict(ed) with seems to be the one‟s attention on”: preferred idiom, afflicted by is also quite common. “attend to a school” Diction and Idiom Errors: A List of Common Errors in English Usage Page 2 © 2006 and 2008 C. Brantley Collins, Jr. “attend to a problem” be sure and [verb] “attend to your studies” “be sure and clean up after yourself” be sure [infinitive] attribute on/attributable on “be sure to clean up after yourself” attribute to/attributable to “problems attributable to neglect” between...or... “saying traditionally attributed to Socrates” “a choice between death or imprisonment” between...and... avail “a choice between death and imprisonment” “To no avail” means “without success”: “tried to resuscitate her, to no avail” between vs. among “To avail oneself of [something]” means “to take for two: between advantage of”: for three or more: among “availed herself of the opportunity to observe a “walk between the two statues” veterinarian at work” “walk among the many statues” These are standard idioms for which no other formula is acceptable. bias vs. biased Bias is both a noun and a verb; biased is a participle bare vs. bear often used as an adjective: Bare means “to uncover, reveal,” while bear means “wording that biases the poll results” “to endure” or “to carry”: “has a bias against the poor” “bare one‟s soul” (“reveal”) “test is bias against the poor” “bare one‟s pain to the audience” “a bias and unfair test” “bear the pain of rejection” (“endure”) “test is biased against the poor” “bear the cross of terrible guilt” (“carry”) “a biased and unfair test” “bear the weight of the panda on my back” Note that this is also true of the adjective preju- diced: because at the beginning of a sentence “a prejudice jury” The rule that you can‟t begin a sentence with “a prejudiced jury” because is pounded into the heads of kids every- where, and many of them never get the message both...as well as..
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [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]
  • Creative Writing - Essential Curriculum
    Creative Writing - Essential Curriculum CW11.10 – The student will demonstrate the ability to respond to a text by employing personal experience and critical analysis. • CW11.10.01 – Analyze how the patterns of organization, hierarchic structure, repetition of key ideas, syntax and word choice in a text influence understanding and reveal an author’s purpose. CW11.10.01a – Use scansion to analyze the meter of a poem. • CW11.10.02 – Analyze and evaluate how the literary elements of point of view, tone, imagery, voice, metaphor, and irony are used in texts for literary aesthetics. CW11.20 – The student will demonstrate the ability to compose in a variety of modes by developing content, employing specific forms, and selecting language appropriate for a particular audience. • CW11.20.01 – Write independently for an extended period of time. • CW11.20.02 – Produce literary writing and demonstrate an awareness of audience, purpose, and form using stages of the writing process as needed. • CW11.20.03 – Utilize effective structural elements of particular literary forms (e.g. poetry, short story, novel, drama, essay, biography, autobiography, journalistic writing, and film) to create works of literary merit. • CW11.20.04 – Use literary elements to compose poetry and fiction for literary aesthetics. CW11.20.04a – Use poetic elements to include consonance, assonance (and other forms of rhyme), meter (rhythm), simile, metaphor, hyperbole, understatement, personification, imagery, symbolism, syntax, parallelism, repetition, speaker’s voice, and irony. CW11.20.04b – Use poetic forms to include sonnet, haiku, ballad, blank verse, couplets, quatrains, sestets and at least 2 additional forms (ex – cinquains, villanelle, sestina, etc.).
    [Show full text]
  • Connotation, Diction, Figurative Language, Imagery, Irony, and Theme
    Tone: Connotation, Diction, Figurative Language, Imagery, Irony, and Theme What Should I Learn In This Lesson? ● I can explain the relationship of tone, connotation, and diction in a text. (RL/RI 4). ● I can choose an appropriate tone word for a passage and support it with individual diction choices. (Rl/RI4) ● I can explain the relationship between imagery and figurative language and describe its impact on the tone of a text. (Rl/RI4) ● I can explain why a situational or verbally ironic tone is present when its presence is identified for me. (RL/RI4) ● I can explain how an author uses diction choices and the tone they create to support the development of a theme category or a central idea. (RL/RI 2) What Is Tone? Tone is the general character, attitude, or feeling of a piece of art or literature. What tone does this painting have? How do you know? Tone in Our Bodies: Voice and Body Language Tone is also communicated through our voice and body language. Have you ever had an authority figure tell you to “Watch your tone”? What did he or she mean? Deliver the line “I thought you would understand,” and give the line a strong tone (or feeling). Record your line on the Flipgrid and say your tone word after your performance. If you aren’t sure which tone to use, try one of these: Bitter, Loving, Confused, Surprised View some of the performances of your colleagues. Then answer the following questions. How does voice communicate tone? Consider things like volume, pitch, and speed.
    [Show full text]
  • On the Epistemology of Narrative Theory : Narratology and Other Theories of Fictional Narrative Sylvie Patron
    On the Epistemology of Narrative Theory : Narratology and Other Theories of Fictional Narrative Sylvie Patron To cite this version: Sylvie Patron. On the Epistemology of Narrative Theory : Narratology and Other Theories of Fictional Narrative. Robert Kawashima, Gilles Philippe et Thelma Sowley. Phantom Sentences. Essays in Linguistics and Literature presented to Ann Banfield, Berne, Peter Lang, pp. 43-65, 2008. hal- 00698699v2 HAL Id: hal-00698699 https://hal.archives-ouvertes.fr/hal-00698699v2 Submitted on 28 Mar 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. On the Epistemology of Narrative Theory: Narratology and Other Theories of Fictional Narrative Sylvie Patron University of Paris 7-Denis Diderot (Translated by Anne Marsella) Introduction The work of Gérard Genette in the field referred to as “narratology”2 represents one of the most important contributions to narrative theory, considered as a branch of literary theory, in the second half of the twentieth century. I purposely say “one of the most important”, as there are other theoretical contributions, some of which I believe to be equally important though they are not as well known as Genette’s narratology, particularly in France.3 These lesser-known theories are rich in epis- temological reflection.
    [Show full text]
  • A Syntactic Analysis of Negation in Latin: Negated Quantifier Phrases
    A Syntactic Analysis of Negation in Latin: Negated Quantifier Phrases Maria C Tierney April 2018 New York University Department of Linguistics Senior Honors Thesis Advisor: Professor Chris Collins Second Reader: Professor Richard Kayne Acknowledgements First and foremost I would like to give innumerable thanks to my advisor and mentor Professor Chris Collins, without whom this thesis would not have been possible. His endless support, assistance, and enthusiasm allowed me to attempt this project and complete it to my best abilities. All of its failings are my own; however, its successes would not have been possible without the guidance and support of Professor Collins. I could not have wished or hoped for a better advisor. Next, I would like to thank the other professors and mentors in New York University’s Department of Linguistics who have helped me reach this point in my academic career. In particular, I would like to thank Richard Kayne, an inspiring scholar and professor who was kind enough to offer me his feedback and encouragement. I would also like to thank Hadas Kotek and Stephanie Harves for their support and guidance, as well as Maria Kouneli, who was an encouraging TA in my very first syntax class. The scholars of syntax in the NYU Department of Linguistics are an amazing, world-class group of individuals, and I feel immeasurably lucky to have had the opportunity to work among them. Outside of the realm of syntax, countless other professors and scholars both inside and outside the NYU Department of Linguistics have offered me their support and guidance.
    [Show full text]
  • Theory and Interpretation of Narrative) Includes Bibliographical References and Index
    Theory and In T e r p r e Tati o n o f n a r r ati v e James Phelan and Peter J. rabinowitz, series editors Postclassical Narratology Approaches and Analyses edited by JaN alber aNd MoNika FluderNik T h e O h i O S T a T e U n i v e r S i T y P r e ss / C O l U m b us Copyright © 2010 by The Ohio State University. All rights reserved Library of Congress Cataloging-in-Publication Data Postclassical narratology : approaches and analyses / edited by Jan Alber and Monika Fludernik. p. cm. — (Theory and interpretation of narrative) Includes bibliographical references and index. ISBN-13: 978-0-8142-5175-1 (pbk. : alk. paper) ISBN-10: 0-8142-5175-7 (pbk. : alk. paper) ISBN-13: 978-0-8142-1142-7 (cloth : alk. paper) ISBN-10: 0-8142-1142-9 (cloth : alk. paper) [etc.] 1. Narration (Rhetoric) I. Alber, Jan, 1973– II. Fludernik, Monika. III. Series: Theory and interpretation of narrative series. PN212.P67 2010 808—dc22 2010009305 This book is available in the following editions: Cloth (ISBN 978-0-8142-1142-7) Paper (ISBN 978-0-8142-5175-1) CD-ROM (ISBN 978-0-8142-9241-9) Cover design by Laurence J. Nozik Type set in Adobe Sabon Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii Introduction Jan alber and monika Fludernik 1 Part i.
    [Show full text]
  • GMAT-Sentence-Correction.Pdf
    A Treasure Trove of Tools and Techniques to Help You Conquer “GMAT Verbal” This eBook presents Chapter 2: Sentence Correction, as excerpted from the parent eBook Chili Hot GMAT: Verbal Review. Maven Publishing mavenpublishing.com © 2011 by Brandon Royal All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical — including photocopying, recording or any information storage and retrieval system — without permission in writing from the author or publisher. Published by: Maven Publishing 4520 Manilla Road, Calgary, Alberta, Canada T2G 4B7 www.mavenpublishing.com Correspondence Address in Asia: GPO Box 440 Central, Hong Kong ISBN 978-1-897393-93-2 eDoc This eDoc contains Chapter 2: Sentence Correction, as excerpted from the parent eDoc Chili Hot GMAT: Verbal Review. Technical Credits: Cover design: George Foster, Fairfield, Iowa, USA Editing: Victory Crayne, Laguna Woods, California, USA GMAT® is a registered trademark of the Graduate Management Admission Council, which neither sponsors nor endorses this product. CONTENTS Topical Checklist 7 Chapter 1: The GMAT Exam 9 What’s on the GMAT Exam? w How is the GMAT Scored? w How does the CAT Work? w Exam Tactics w Attitude and Mental Outlook w Time frame for GMAT Study Chapter 2: Sentence Correction 15 Overview Official Exam Instructions for Sentence Correctionw Strategies and Approaches Review of Sentence Correction Overview w The 100-Question Quiz on Grammar, Diction, and Idioms w Review of Grammatical Terms w Diction Review
    [Show full text]
  • ED311449.Pdf
    DOCUMENT RESUME ED 311 449 CS 212 093 AUTHOR Baron, Dennis TITLE Declining Grammar--and Other Essays on the English Vocabulary. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-1073-8 PUB DATE 89 NOTE :)31p. AVAILABLE FROM National Council of Teachers of English, 1111 Kenyon Rd., Urbana, IL 61801 (Stock No. 10738-3020; $9.95 member, $12.95 nonmember). PUB TYPE Books (010) -- Viewpoints (120) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS *English; Gr&mmar; Higher Education; *Language Attitudes; *Language Usage; *Lexicology; Linguistics; *Semantics; *Vocabulary IDENTIFIERS Words ABSTRACT This book contains 25 essays about English words, and how they are defined, valued, and discussed. The book is divided into four sections. The first section, "Language Lore," examines some of the myths and misconceptions that affect attitudes toward language--and towards English in particular. The second section, "Language Usage," examines some specific questions of meaning and usage. Section 3, "Language Trends," examines some controversial r trends in English vocabulary, and some developments too new to have received comment before. The fourth section, "Language Politics," treats several aspects of linguistic politics, from special attempts to deal with the ethnic, religious, or sex-specific elements of vocabulary to the broader issues of language both as a reflection of the public consciousness and the U.S. Constitution and as a refuge for the most private forms of expression. (MS) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** "PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY J. Maxwell TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC)." U S.
    [Show full text]
  • English 10 Overview
    Unit 10.4: Stories of Other Worlds: Science Fiction, Fantasy, and Imaginative Literature The final quarter of the year gives students Enduring Understandings opportunities to let their minds roam free to distant • Science fiction and fantasy combine realistic or imagined worlds, as they explore texts that and fantastic elements to examine and pose questions about our world. intentionally create new settings in order to • Authors work within and against the conventions of established genres to achieve comment on the authors’ own societies. Whether the different purposes. stories question the benefits and dangers of new • Effective storytellers control multiple narrative elements to capture readers’ technology or criticize social practices through imaginations. • Willing suspension of disbelief allows subtle, allegorical narratives, they offer a unique readers of fantastical literature to consider provocative philosophies. perspective on the real world by creating one that mirrors it. Each generation’s anxieties, from the nuclear threat of the postwar era to the more recent rise of electronic networks that simultaneously connect and isolate individuals in a Essential Questions worldwide community, find new expression • Why do some authors choose to through the varied types of stories that writers tell. communicate ideas through imaginative fiction? Students analyze the methods these authors use to • How do writers create worlds that are imaginary yet believable? achieve their purposes, simultaneously questioning • How do writers break new ground within the assumptions that they make. In addition, they established genres? practice creating their own imagined societies in • What makes some stories more engaging than others? order to make a strong statement about the one they live in.
    [Show full text]