Among these are the tendency to pull tired metaphors, similes, and other figures of speech out of a hat, resulting in a Tetris level of participation. Then there is the common substitution of long, bloated words that carry the shallow appearance of intelligent thought in the place of shorter, meaningful words that get the point across, but may appear dull if the point is dull. Finally, there is the unfortunate padding of sentences with useless operators that cloud the original meaning with vague and passive phrases. Not only are these bad habits stunting creativity in writing, they are manipulating the
Edgar Allan Poe, writing in the first person as an unnamed man, uses syntax to express the idea that the narrator is unstable. Though the narrator spends most of the passage convincing his reader that he is sane, his words have an adverse effect because of the structure. Abrupt sentences and repetition show that the narrator is unable to clearly communicate his thoughts. His words are littered with punctuation marks that
For example the author for” Dulce et Decorum Est” uses more of a depressing connotation and the author for “Who’s for the Game” uses more of a welcoming persuading view. They are also different because the rhyme schemes are different and the poem “Who’s for the Game” has inner rhyme within the
‘Positive characters … usually prove miserably ineffectual when contending with ruthless overwhelming powers’ claims Amin Malak, noting on such protagonists as Winston Smith and Offred in George Orwell’s Nineteen Eighty-Four and Margaret Atwood’s The Handmaid’s Tale, and, when looking at the dystopian genre as a whole, he certainly seems to be correct. Dystopian fiction does seem to portray the worse side of human nature than the better, leaving the positive traits to the struggling protagonists. While utopian writers seemed to think that the essence of human nature was to do good, dystopian writers seem to think very differently and it is from this notion that these novels seem to be written. Nineteen Eighty-Four certainly seems to do this, with almost every member of the society representing one or more negative aspects of humanity. Throughout the novel, Winston constantly references the fact that ‘Today there were fear, hatred and pain’ and that in this society of Ingsoc ‘No emotion was pure, because everything was mixed up with fear and hatred’ and this is displayed in many, various ways.
His argument is that he had precautions, one of which was to act “hastily”. Additional diction that the narrator uses to try and show that he isn’t mad are the words “cleverly” and “cunningly” which he uses to describe himself in an effort to appear sane. The author uses sentence structure and syntax as well in this passage, in this passage there were two different instances of repetition. One example of repetition is when he used the rhetorical question, “for what had I now to fear?” Through the rhetorical question, the reader infers that the narrator was scared of the old man, or of himself. If the narrator was afraid of the old man it
There is a significant difference between thinking critically while close reading complex text and thinking creatively while solving a complicated task… Creative thinking is divergent, critical thinking is convergent; whereas creative thinking tries to create something new, critical thinking seeks to assess worth or validity in something that exists; whereas creative thinking is carried on by violating accepted principles, critical thinking is carried on by applying accepted principles. Although creative and critical thinking may very well be different sides of the same coin they are not identical (Beyer, 1987, p.35). The Common Core’s emphasis on text-based thinking at the expense of experiential learning is not in the best interest of students or their future employers. Text may be complex and rigorous but it is a passive, dull, and lifeless way to learn, while activities are a much more dynamic, interactive, and vigorous way to learn. The Common Core Standards do not cultivate innovative and creative thought because it’s lead author has made it clear
The Fifth madrigal book got a lot of criticism from Artusi in his L’Artusi in which he argues over Monteverdi’s introduction of alleged new rules, the unprepared sevenths and the use of turns and modes of phrases that were considered as being unpleasing to hear and harsh . The madrigal “Cruda Amarilli” is from Giambattista Guirini’s “Il Pastor Fido”. It is classified in the mixolydian which Artusi qualifies as being improper. “Cruda Amarilli” has free use of form, however it is easy to identify three sections in this madrigal. The first being from the first measure to measure 25, the second from measure 26-43, s and the last from measure 44 until the end of this piece
Similairly, in Victor Hugo 's historical novel Les Misérables, much of Hugo 's brilliant contemplations of the French language is often lost in English translations. The range of possible interpretations of the original text is narrowed when translated by a secondary source who imposes their own perceptions of the piece into the translation. The reader, having the unfortunate disadvantage of not being able to read in French, loses the opportunity to interpret Hugo 's intentions with their own experiences to create a more personal meaning. This phenomenon
What can be also presented with the help of earlier mentioned adverbials, as in the Romeo and Juliet, is emotional as well as social distance. 2.4.Temporal deixis In the theoretical part of my paper I have mentioned that there are two deictic expressions which can be highly ambiguous (see 1.4), namely now and then. In order to present this ambiguity, I would like to briefly discuss the following utterance. Duke. I think he be transform’d into a beast; For I can nowhere find him like a
This line was taken from a novel by Frank Kafka entitled "The Metamorphosis" which shows faltering of the character. This line highlights the condition of Gregor after his change into a vermin bug. A lot of "The Metamorphosis" is spent in Gregor 's psyche as he fights to manage his new shape. Now and again he is in every way prepared to contemplate his condition in ways that sound sensible, paying little mind to the likelihood that his condition is completely silly. At distinctive times it creates the impression that the faculties drives and torments of his new body encroach upon his mindfulness, affecting his mental life in ways that he can 't even begin to get it.
Smith, in the second metaphor, illustrates preaching as doxologically dancing. This metaphor is not as strong as the one before. This is partly because Smith wants to keep some things ambiguous. He conveys that the enigma of doctrinal preaching causes it to be difficult to interpret. This is the reason why he talks in a lot of metaphors and parables.
A stigma is an attribute detectable but sometimes not, used to label those who don’t fit the expected standard. This use of labelling is a powerful tool of language used to make those who are discreditable and discredited based off physical deformations, personal attributes, or tribal relations feel deficient in terms of their social nature. Goffman, in his 1963 novel, “Stigma: Notes on the Management of Spoiled Identity” writes: “…not all undesirable attributes are at issue, but only those which are incongruous with our stereotype of what a given type of individual should be” (3). Discredited (features of oneself that is detectable), and discreditable stigma (features that can discredit us if they are known) are an effect of our language
It fades and appears when it sees fit. Some would characterize this as a drive to better myself, others would call it obsessive in the same way rehearsed words spill from a painted face, dolled up and shiny but still feature a lacked sort of sincerity. The masks I wear vary, but they ultimately serve the same purpose of setting aside my true emotions to press on. Lesser minds could decipher the trick, that it is all an act, that my idiosyncrasies are the furthest possible alternative from what most come to know as “natural ability” and even then they decline, because we are one in the same. People are no different.
In addition, the evidences in the essay is not clear. Although those evidences is specific and sufficient, they are too general; the evidences does not specify and support the claims that Malik makes in “Let them die”. Malik’s opinions and his encountering methods are not reasonable.
In states of emergence the ideas are there but the logic isn 't and that is what you get from this story. Not that it 's not true, but that it’s not organized linearly, which in fact may be more true than a story that was crafted in an organized fashion. When people tell stories they edit and spice to give the reader or listener a clean line of events. But life is not clean and orderly it is a mas confusion and chaotic mess. Therefore, the non-linear line here may in fact be more true than the “truth.” a war story should not be told neatly because it probably didnt fashion out that way.