THE PERIPHRASTIC USE of SHALL and WILL in MODERN ENGLISH Charles C
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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. -
The Use of Shall/Will with Pronouns: Collocations in L1 and L2 Writing
TESL Reporter 47, (1 & 2) pp. 21 –34 21 The Use of Shall/Will with Pronouns: Collocations in L1 and L2 Writing Bui Hiu Yuet Gavin, Hang Seng Management College, Hong Kong Introduction Shall and will are “double-faced” words in that they serve as modal verbs ex - pressing personal will and determination, and at the same time as tense marking auxiliaries in contemporary English. Usage of these two words in contexts varies in the literature. The change of their meanings over time (ancient English to mod - ern English, see Gotti, 2006; Lightfoot, 1974) and space (British English, American English and other varieties, see Szmrecsanyi, 2003) also arouses heated discussion. Most past research (e.g., Hoye, 1997; Salkie, Busuttil, & van der Auwera, 2009) has focused on the diachronic (e.g., Gotti, 2006; Nadjia, 2006) or morpho-syntactic (e.g., Quirk & Greenbaum, 1973) description of shall and will while L2 learners’ acquisition of these words was much less touched upon in the literature, still less is an in-depth discussion on L2 learners’ use of these two words in comparison to native English speakers in past research. This paper attempts to fill the gap by looking into the collocations of shall and will with pronouns among Hong Kong university students. A corpus-based approach was adopted to examine the similar - ities and differences between native and non-native student English writings and to explore potential pedagogical implications for L2 teaching. Literature Review The etymology of shall and will shows that these words can find their origin in Old English where they appeared as content verbs sculan and willan (Larreya, 2009; Lightfoot, 1974). -
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. -
The Past and Perfect Tenses. a Diachronic and Synchronic Overview
UNIVERSIDAD DE JAÉN Facultad de Humanidades y Ciencias de la Educación Trabajo Fin de Grado The past and perfect tenses. A diachronic and synchronic overview Alumno: Irene Cazalilla Ramos Tutor: Prof. D. Alejandro Alcaraz Sintes Dpto: Filología Inglesa Junio, 2014 FACULTAD DE HUMANIDADES Y CIENCIAS DE LAS EDUCACIÓN LAS DE CIENCIAS Y HUMANIDADES DE FACULTAD TABLE OF CONTENTS 1. Introduction ............................................................................................................... 1 2. Important Concepts .................................................................................................. 3 2.1. Tense and Time .................................................................................................... 3 2.2. Phase and Aspect ................................................................................................. 4 2.2.1. Perfect and Imperfect/Non-perfect ............................................................ 5 2.2.2. Progressive and Non-progressive .............................................................. 5 2.3. Periphrastic and Synthetic Tenses ....................................................................... 5 3. Diachronic description of the Present Perfect and Preterite ................................. 7 3.1. Old English Period (450-1100) ............................................................................ 7 3.2. Middle English Period (1100-1500) .................................................................... 9 3.3. Early Modern English Period (1500-1750) -
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. -
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. -
"Shall," and "Will" ; Or, Two Chapters on Future Auxiliary Verbs
'E 1315 A8 H4 -opy 1 LIBRARY OF CONGRESS 003 134 323 9 '•J& ££** . « I LIBRARY OF CONGRESS. I m .— & 1 No. i JslW jgUKITED STATES OF AMERICA. "SHALL" AND "WILL;" OR, TWO CHAPTERS FUTURE AUXILIARY VERBS. Br SIR EDMUND W. HEAD, Bart. >?3 LONDON: JOHN MUERAT, ALBEMARLE STBEET. 1856. The right of Translation is reserved. LONDON : PRINTED BY W. CLOWES AND SONS, STAMFORD STREET, AND CHARING CROSS. PREFACE. Some years ago I found myself discussing with an accomplished French lady the various intricacies of " shall" and " will" The result of that conversa- tion was, that I amused myself by putting together the remarks which I had met with, or which sug- gested themselves, on the subject of these puzzling auxiliaries. The two chapters now laid before the reader make no pretension to originality or profound research; they owe their origin to the discussion mentioned above, and they might have been better worth reading if I had, whilst writing them, had constant access to a large philological library. For the speculations in some of the notes I must ask indulgence. E. W. H. a 2 . CONTENTS. CHAPTER I. Want of a future tense in languages of the Teutonic stock — Shall and Will — English future in actual use — Ame- rican, Scotch, and Irish idiom — Apparent anomalies in English — Rules of English idiom in categorical sen- tences — Principle on which these rules are founded — Hypothetical, contingent, and interrogative sentences — Growth of the English idiom . Page 5 CHAPTER II. Future auxiliaries in other languages — Celtic and German futures — Verbs used as future auxiliaries — Haban — Munan — " Shall" and its forms — " Will" and its forms — Analogies to the Greek — " Werden " — Fu- tures of the Romance languages and principles of their formation by an auxiliary verb 54 APPENDIXES. -
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.). -
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. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit Weoran Lost! The development and disappearance of the Old English copula weoran. Verfasserin Kornelia Johanna Schönbacher angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: T 190 593 344 A Studienrichtung lt. Studienblatt: Lehramtsstudium UF Musikerziehung UF Englisch Betreuer: Univ.-Prof. Dr. Mag. Nikolaus Ritt Dedicated to my parents Karl and Johanna, my brother Konrad and my husband Paul. In love and gratitude. Acknowledgements First of all I would like to thank Univ.- Prof. Dr. Nikolaus Ritt, who raised my interest in Old English and historical linguistics. In his “History of English” lecture and his “Linguistics Seminar” I had my first experiences with Old English and through my work as a tutor for the “History of English” lecture I got more and more into the fascinating world of historical linguistics and especially Old English. I would like to thank Prof. Ritt for the inspiring talks, which always provided me with answers, but also with a variety of new questions to think about. His patience, as the work with the Old English data took its time, and the support and regular feedback on my drafts. I am especially thankful for the help with the Old and Middle English translations and analyses, as I am still a learner of these old stages of the English language. Furthermore, I would like to thank my parents, my husband and my brother, the most important people in my life, who were always there for me, in happy as well as in hard times. Who shared my happiness, but also encouraged me when I was desperate, and who supported me throughout my studies, emotionally as well as financially. -
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. -
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.