I want you to choose a topic from the readings Essay

I want you to choose a topic from the readings - Essay Example Sarah sparks is talking about entitlement in students and further explains some of the different scenarios that irritate students leading to aggravation. Students according to a research by Tracey Zinn, a psychology associate professor, show that teachers may be unintentionally feeding the sense of entitlement. The professor and the James Madison colleagues are researching on ways to measure academic entitlement and how it develops. Findings have surprisingly found out that students are most likely to show â€Å"serious instances of incivility† right after academic assessment, be they tests results or mid-term grades. Some of the symptoms they came up with showing entitlement in students were: knowledge is a right that should be delivered with very little effort or discomfort on the students part; a high grade should come, not from mastery of material, but in return for non-academic aspects of education; if a student does not perform well on a test, it is a sign that the test was too difficult, not that the student did not understand the material. The researchers also found out that students who scored high on assessment of academic entitlement were less able to control their own learning and had less sense of control. However; professor Zinn has not found the direct cause and effect between specific teacher behavior and student entitlement. The professor though suggests that, there are some potential ways teachers can cut down on the whine. These included options such as providing clear expectations for students and assignments, in which the effort put in is clearly related to the grade a student, will receive. They should explain why particular policies are set up and also explain the value of the task the teachers ask students to do. The teachers are urged not to respond to students request for â€Å"the right answer† but rather help students to understand the concepts and to think through their own problem solving. As

Curriculum Development Assignment Example | Topics and Well Written Essays - 1000 words

Curriculum Development - Assignment Example Philosophical theories in particular help in controlling the organization and content of the curriculum. Realism, for instance, asserts that the aim of education is primarily to teach values and things which will lead to the good life, which is, however â€Å"equated with one which is in tune with the overarching order of natural law† (Marshall, as cited in Golen, 1982). Realistic philosophy thus emphasizes learning through the direct study of nature via the aid of teachers. Thus, it has led to the continuous development of instructional methods that are suited to this kind of learning such as lecture, sensory experiments, and demonstrations, stressing the cultivation of logic and rational thoughts. Another theory is called pragmatism, which is founded on the principle that change is the principal characteristic of life. It has resulted to a curriculum that is learner-centered, wherein experiences are primordial in the educational process. Social Foundation. This foundation could be defined as influences that are present in society and culture. It is concerned with the impact of forces and institutions that comprise the school program’s culture. These are elements which create the greatest impact on the curriculum developer’s way of thinking as they always think and act within the society they live. In other words, the content, objectives, and methods of the devised curriculum shall reflect the social or cultural background of the developers (Print, 1993). Society and culture are the shapers of education since curriculum makers take into account the social setting, culture, the relationship between society and education, and the social implications of knowledge and change (Ritz, 2006). It must be noted that curriculum development is centered on attaining educational goals that are in harmony with broad cultural and societal goals.

Euro note and euro commercial paper

Euro note and euro commercial paper Difference Between The Euro Note Market And The Euro Commercial Paper Market Introduction The Euromarkets are the single most important source of commercial loan funds for the developing countries. The development and operation of Eurocurrency markets have played a very significant role in the post war international financial system. Indeed the explosive growth in international banking and bank lending could not have come about but for the Eurocurrency markets. Simply stated, the term Eurocurrency refers to a currency deposited in a bank outside the home country of that currency. Therefore, Eurocurrencies and Eurocurrency markets are outside the regulatory framework of any monetary authority-the monetary authority of the place where the deposit is made is not concerned with non-residents depositing or borrowing foreign currencies, which does not affect the domestic money supply. It is also outside the control of the monetary authority of the home country of the currency concerned because the transaction takes place outside the country. Inter-Bank Markets Apart from customer transactions, there is an extremely active inter-bank market in Eurocurrencies. Banks acting in the market are continuously trading Eurodollar deposits in the inter-bank market. Such active banks would readily offer a two-way quote-the rate at which they are willing to take a deposit, and the rate at which they are willing to place deposits. The two rates are referred to as bid and offered rates-hence the terms, London inter-bank rate (LIBID) and London inter-bank offered rate (LIBOR)-and the differences between the two represents the trading margin of the bank. Generally, it is of the order 1/8 percent. For calculation of interest on currencies other than the British pound, Eurodollar deposits in particular, the year is reckoned to be of 360 days. Thus, the actual interest would be worked out on the actual number of days divided by 360. Note Issuance Facilities Note Issuance Facility (NIF) is a medium term commitment on the part of underwriting banks which obliges them to purchase any short term notes which the borrower is unable to sell in the market, at an agreed spread over a suitable benchmark. The benchmark could be LIBOR, the T-bill rate, etc. Once a note issuance facility is in place, the borrower can issue short term paper and sell it in the capital market. To the extent the borrower can sell notes at a spread lower than that at which the underwriters are committed to buy, this helps in reducing the cost of borrowing. Another major advantage of a note issuance facility is that, since the notes are short term, this may allow the borrower to access investors who may not be interested in committing medium term funds but may be quite happy to buy short-term paper. The NIF can thus be used to diversify the investor base. To an extent, the NIF is something of a halfway mark between syndicated loans on the one hand and bond issues on the other. With some marginal variations in the basic structure of the facility, NIFs are sometimes also referred to as revolving underwriting facilities (RUFs), note purchase facilities or Euro note facilities. Euro-Notes Euro notes are short term bonds sold by a borrower directly to the investors with or without the underwriting support of the commercial banks. Euro-Commercial Paper Like Euro notes under NIFs, CPs is also short term paper issued by non-bank borrowers. The principal distinguishing feature is that commercial papers are not underwritten by a bank and the issuer, therefore, is one with very high credentials. The paper is usually issued in higher denominations of the order of $ 100,000 and the market is dominated by large professional investors. Although these can be issued in interest -bearing form, they are usually issued at a discount to face-value and quoted in the secondary market on a yield basis. Euro Notes And Euro-Commercial Paper Markets A recent innovation in nonbank short-term credits that bears a strong resemblance to commercial paper is the so-called Euro note. Euro notes are short term notes usually denominated in dollars and issued by corporations and governments. The prefix†Euro† indicates that the notes are issued outside the country in whose currency they are denominated. The interest rates are adjusted each time the notes are rolled over. Euro notes are often called Euro-commercial paper. Typically, though, the name Euro-CP is reserved for those Euro notes that are not underwritten. There are some differences between the U.S. commercial paper and the Euro-CP markets. For one thing, the average maturity of Euro-CP is about twice as long as the average maturity of U.S. CP. Also Euro-CP is actively traded in secondary market, but most U.S. CP is held to maturity by the original investors. Central banks, commercial banks and corporations are important part of the investor base for particular segment s of Euro-CP market; the most important holders of U.S. CP are money market funds, which are not very important in the Euro-CP market. In addition, the distribution of U.S. issuers in the Euro-CP market is of significantly lower than the distribution of U.S. issuers in the U.S. CP market. An explanation of this finding may lie in the importance of banks as buyer of less-than-prime paper in the Euro-CP market. Another important difference in practice between the two markets is in the area of ratings. Only about 45% of active Euro-CP issuers at year end 1986 were rated. Credit ratings in the United States, on the other hand are ubiquitous. This difference may prove transitory, however as investors become accustomed to the concept and the rating agencies facilitate the use of their services.

Othello Essay -- essays research papers

One of the most interesting and exotic characters in the tragic play "Othello," by William Shakespeare, is "Honest" Iago. At first glance, Iago seems to be the essence of "motiveless malignity." However, despite Iago's unquestionable malignancy, the motivation behind his actions lie more in Iago's quest for personal gain, as opposed to just being evil for evil's sake. Iago's rapacity can be validated by examining his manipulation of Roderigo, Cassio and, most importantly, Othello. Iago's main interest is the destruction of Othello. The reason being that Othello has chosen another man, Cassio, as his second-in-command, preferring him to Iago. This resentment, accompanied by Iago's fabricated accusations of adultery and his blatant racism, cause Iago to despise the kindly moor, and shortly thereafter, begin to conspire against him. Because Iago is much too smart to immediately kill Othello, he proceeds with the arduous process of dismantling him emotionally. Iago also knows that he must distance himself from any of the harrowing occurrences that transpire, so he cleverly gets other people to do his dirty work. The first to fall victim to Iago's illiberal manipulation, is the half-witted Roderigo. Iago knows Roderigo is consumed by lust for Desdemona, and would do anything to make her his own. Iago tells Roderigo that the only way to win Desdemona's love, is to make money to procure gifts for her. "...put money in thy purse.." (Act 1,...

Growing afraid Essay

Pip describes the afternoon as being â€Å"raw†, which describes the bitterness of the weather, the weather is almost attacking Pip. The graveyard can be described as very old because â€Å"overgrown with nettles† lays a churchyard, which is uncared for and in an instant it could just crumble away. Pip again adds significant words, as he repeats all of the names on the gravestones, â€Å"Alexander, Bartholomew, Abraham, Tobias and Roger† that have died in this harsh place, Pip reads it as if it were a list with so many people there, who have been there for a long period of time. â€Å"Dark, flat, wilderness beyond the churchyard† again explains the lack of community and the Isolation around the area. Dickens personifies wind as the â€Å"wind was rushing†, as if it were â€Å"rushing† to get Pip who was at the time a â€Å"small bundle of shivers† growing afraid. The marshlands had an effect not only on Pip, but the convict also, the convict had been â€Å"smothered in mud and lamed by stones and cut by flints, and stung by nettles and torn by briars†, showing he had escaped for a long time and had spent most of his time hiding in the marshlands. As the convict roughly treats Pip, he tilts him over, gradually down to the floor, he gives Pip a greater â€Å"sense of helplessness and danger† which adds to the atmosphere significantly. Toward the end of the chapter, a sad atmosphere is created, as the convict â€Å"hugged his shuddering body in both arms clasping himself as if to hold himself together†. The convict limps toward the â€Å"low church wall† producing an image of one who is close to death. Pip creates another childish imagination but this one describes the dead rising up â€Å"stretching up cautiously out of their graves†, showing how much fear he had in him at the time. The marshes are depicted as just a â€Å"long black horizontal line† with the sky being â€Å"just like a row of long angry red lines and dense black lines intermixed†, describing the darkness, and anger in Pip’s world. Charles Dickens leaves you with eerie images of death, of a limping man, as if he were a â€Å"pirate come to life and come down and going back to hook himself up again. We are introduced to Miss Havisham first as an â€Å"immensely rich and grim lady†, a notorious woman who lived in a large house that was heavily barricaded against robbers. She is described as living a life of â€Å"seclusion† which leads us to believe that she is isolated, miserable and depressed. Pip describes her as being the â€Å"strangest lady† he had ever seen. She was dressed in rich materials, satins, lace and silks, all that are symbols of wealth. She had a â€Å"long white veil dependent from her hair† which makes us believe that she is a bit odd wearing bridal wear for no apparent reason. Her hair was white which symbolizes that she is quite old. Another symbol of wealth is created because she had some bright jewels sparkling around her neck. Pip states that the â€Å"bride within the bridal dress had withered like the dress† which is another clue to her being quite old. We are given another unhealthy image of Miss Havisham, of her dying, the book reflects this by stating that there was â€Å"no brightness left but the brightness of her sunken eyes† and her figure had â€Å"hung loose† and had â€Å"shrunk to skin and bone†. She states that she had never seen the sun since she was born, this makes the reader feel that she is again isolated and hiding away from life outside. She is also a cold-hearted person, because she says that her heart was broken with an eager look on her face. We learn that she despises adults, and that she acts like a child, the novel portrays this by stating that she has â€Å"sick fancies† and she orders Pip with an â€Å"impatient movement of the hand† to play. When Estella came to play with Pip, Miss Havisham says to Estella that she can break Pips heart, this indicates that Miss Havisham has set out to seek revenge on men, and that is one of the reasons why she brought Pip to her house. There is a sense that life has ceased for Miss Havisham, the book shows this by stating that her silk stocking â€Å"once white, now yellow had been trodden ragged†. Pip says that the frillings and trimmings on her bridal dress looked like â€Å"earthy paper† which describes it as being fragile, like Miss Havisham herself. After Pip had finished playing cards with Estella, Miss Havisham states â€Å"You shall go home soon†, â€Å"Play the game out† this illustrates to the reader that she is depressed and emotionally hurt, and is not to used to the company of others, so she sends him away. She had an appearance of â€Å"dropped body and soul, within and without, under the weight of a crushing blow† which leads us to believe that the marriage which didn’t take place, has caused her to drop her body and drop her soul. Miss Havisham once again thinks highly of herself, acting as if she owns Pip, she expresses this by stating â€Å"When shall I have you here again? â€Å". We also learn that she is a misguided woman because she says she doesn’t know anything about the days of the week, or the weeks of the year. We first learn that Estella is selfish and speaks in an scornful manner to anyone she isn’t familiar with, the evidence of this is that after Pip politely said that she could go in first, she replied by saying â€Å"Don’t be ridiculous boy; I am not going in† and she also left Pip in the dark by taking the candle with her. When Pip called her name out to play with him, she didn’t come straight away, she took her time, deliberately trying to be awkward. When Miss Havisham tried the jewel on Estella, she obviously had intentions for her to get married. Estella thinks she is better than Pip, the evidence of this is that when she was ordered by Miss Havisham to play with Pip, she replied â€Å"With this boy! Why he is a common labouring boy! â€Å". When Estella asked Pip what games he played, she asked it in the â€Å"greatest disdain† which makes us believe she is strict and again scornful and looks down on lower classes. Estella is used as a weapon, a heartbreaker by Miss Havisham, who as we know wants to treat men as she was treated, Miss havisham illustrates this by stating â€Å"beggar him† to Estella. Estella has no respect for Pip and thinks highly of herself and no one else, the evidence of this is that she says, â€Å"he calls the knaves, jacks this boy! † and â€Å"what coarse hands he has†. This leaves an effect on Pip as he becomes ashamed of his hands. She was watching Pip creating tension, trying to make him do wrong, so that she could insult him more on his faults. Pip tells us this by stating â€Å"she was lying in wait for me to do wrong; and she denounced me for a stupid, clumsy labouring boy† As Pip was whispering to Miss Havisham, even though she wasn’t saying anything, Estella was making Pip say nice things about her with her eyes, the evidence of this is that she was looking at Pip with look of â€Å"supreme aversion†. As the game between Pip and Estella finished, Estella threw all of the cards down as if she â€Å"despised† them for having been won of Pip, this shows that Estella is spiteful, treats Pip disdainfully and she is very proud. Estella was to told feed Pip, so she put the food down on the ground without looking at Pip as if Pip was a â€Å"dog in disgrace†, this shows that Estella again thinks Pip as being lower class and she has contempt for Pip. Estella had made Pip cry, she looked at him with quick delight as being the cause of the tears, this proves she has no feelings and is satisfied for making him cry, this makes her not a likeable character at all. The first Impressions of Miss Havisham`s house is that it is a huge house filled with mystery, â€Å"dismal house, barricaded against robbers† which reflects the owner’s feelings. The house can furthermore be described as bleak and nervous for anyone who approaches it, with its â€Å"great front entrance† having two chains across it. It is a dark, gloomy place, with a sense of bad experiences. The text tells us this by stating, â€Å"the passages were all dark†¦ and still it was dark, and only the candle lighted us†. Miss Havisham`s room was also dark, she obviously prefers darkness, and all of the candles represent the light in the room, the evidence of this is that â€Å"a pretty large room, well lighted with candles† and â€Å"no glimpse of daylight was to be seen in it†. There is a sense of chaos in the room as everything is untidy, dresses and half-packed trunks were scattered about also Miss Havisham only had one shoe on. Everything was left as it was years ago, â€Å"all confusedly heaped about the looking glass†. Pip relates Miss Havisham to a waxwork he had once seen, with her skin sallow. He also makes a reference to death by describing a skeleton in the ashes of a rich dress. Miss Havisham is almost a ghost in her own house, the evidence of this is that â€Å"waxwork and skeleton seemed to have dark eyes that moved†. All of the watches and clocks in her room had stopped at twenty minutes to nine, which is deliberate and could be linked with her marriage that didn’t take place. Pip is made to feel vulnerable, he has no choice but to do what Miss Havisham says, this is because he had the â€Å"desperate idea of starting round the room† meaning that he had to embarrass himself in front of Miss Havisham. She asked Pip if he was sullen and obstinate, he is obviously very misunderstood. Miss Havisham becomes frustrated with him and pitiful for him, the book expresses this by stating â€Å"So new to him† â€Å"So old to me† â€Å"So melancholy to both of us! † Miss Havisham again makes Pip feel discomfort as he is made to shout out â€Å"Estella† in a dark and â€Å"mysterious passage of an un-known house† again he is made to embarrass himself. Another sense that life has seized for Miss Havisham is that there are â€Å"pale, decayed objects† which also creates a deathly and unsettling atmosphere. Pip also describes her clothes as â€Å"grave-clothes† and her â€Å"long veil looking like a shroud† both of which are linked with a corpse. As Pip leaves Miss Havisham`s house, he states that the â€Å"rush of daylight† quite confounded him, this is another clue that the house is a very dark place. Toward the end of the chapter, we feel pity for Pip, because Estella treats him so badly, but he is strong because he refuses to cry in the presence of her, even though his feelings are â€Å"bitter†. This also shows that he wishes he had come from a family who were more of an upper class, than the family he was brought up with, because then maybe Estella would have treated him better.

The Story of Herbert Ernest Bates “The Beauty of the Dead”.

Interpretation by Arkadiy Kurakin The story of Herbert Ernest Bates â€Å"The Beauty of the Dead†. The story is a unit of literary fiction. The author uses different expressive means and stylistic devices to show the reader the idea of the story, such as epithets, metaphor, similar, oxymoron, irony, hyperbola, understatement, etc. The protagonist of this story is Mr. Grimshaw. This is a complex character, reticent, gloomy. His surname is rather significant.The adjective â€Å"grim† means harsh, merciless, severe; ghastly, joyless, sinister (has a grim truth in it); unpleasant, unattractive. – expresses here the impression to be made by him on a reader. We can see his mercilessness from the following phrase: he turned with satisfaction to look at his wife, who lay dying on the bed. From his interaction with the minor character it occurs that though his relative consider him to be another, he is so a man that his name gives our an impression.The most important acti on of the protagonist is his inner thoughts, his choice in using sudden circumstances, his impulse to go through all the events happened. The minor characters is his wife. We do not know and the author do not let us know her name and it is significant because her name is of no account as her character is weak-willed, dull and infirm. What why he doesn't care about her inner world and doesn't interpret her as a person. Stylistic AnalysisThe story â€Å"The Beauty of the Dead† by Herbert Ernest Bates is casual in its subject-matter, describing a particular place at a particular time. In analysing this story we must point out its three main features: 1) the effect of striking concreteness and simplicity; 2) the impression of a melancholy meditating tone; 3) the implication suggested by the author as the ultimate stylistic effect. These three peculiarities are linked and interwoven to produce a joint impression, the EMs and SDs of the story are aimed at achieving the desired effe ct.SDs used in describing the picture are aimed at arousing a concrete image: epithets â€Å"yellow†, â€Å"grassy†, metonymical periphrasis â€Å"wanted wear† and â€Å"no step had trodden black† suggesting paths which are seldom used. A careful and inclusive analysis must consider linguistic items at various levels, as all stylistically significant features form a complex. The impression of colloquial intonation of reminiscence is mainly created in the story through enjambment. The pause in the middle of the line (see the third lines in the first and the last stanzas) makes the tone of the lines natural and meditating.The combination of the SDs of enjambment and anadiplosis (the repetition of the pronoun â€Å"I† at the end of the line and at the beginning of the next line) in the last stanza produces the impression of a kind of afterthought uttered quite naturally after a pause: Lexical EMs and SDs emphasise the melancholy tone of the story. Thi s SD is that of antonomasia. The proper name is substituted by a common noun which stands in certain relations to the name. Beatrice in her reply to Benedick treats the word â€Å"disdain† as a living being ascribing to it human qualities.Hence here we have the SD of personification. Stylistic Analysis This story is one of Hemingway's masterpieces. It gives a deep insight into human nature and a true picture of contemporary social and family relations in bourgeois society. The writer leaves the surface comparatively bare: the meaning is plain and simple. The impression of simplicity which strikes the reader from the first is brought out not only by the plain dialogues, the common matter-of-fact events at the beginning of the story but by the language itself.A close study of the story for the purposes of examining its style involves a careful observation and a detailed description of the language phenomena at various levels. The text of the story is not homogeneous: the author 's narration is interrupted by the dialogues of the characters; inner thoughts of come characters (mostly Wilson's) are imperceptibly interwoven with the narration. A rigorous analysis of the vocabulary of the story clearly shows that the author employs common words in his narration and a restricted number of colloquial words in the dialogue and represented speech.Here are some examples of colloquial words: â€Å"†¦ †. In many instances the reader sees that the number of synonyms is deliberately restricted. Note the use of verbs of communication (â€Å"to say† and its synonyms) times; â€Å"to tell† — 3; â€Å"to ask† — 2; â€Å"to speak†, â€Å"to agree†Ã¢â‚¬â€ once each. No other verb of communication is used. Besides, the author does not usually add any adverbial modifier to show the manner in which the character speaks. See the first page where the author plainly states â€Å"†. The impression of impassive matt er-of-fact narration is brought out also by a very limited use of words denoting feelings.On the first pages we can find only the following words: â€Å"pretending†, â€Å"in triumph†, â€Å"smiled†, â€Å"liked†, Author’s scrupulous attention to minute details adds to the matter-of-fact and logical tone of the story. Underneath this simple exterior of restraint there lies a rich treasure of suggestions and implications. The very structure of the story adds to the effect of implication but the actual meaning of what is going on is not clear at the beginning of the story, as the feelings suggested by the writer are not precisely determined.The reader however feels that something has happened and that the characters are strained and full of hidden apprehension and suppressed emotions. The effect of implication ( ) and suspense () is brought about in various ways, firstly by the direct means of stating that something has happened but not revealing wha t. Observe the repetition of the word â€Å"happen†. Note the word â€Å"pretending† which characterises from the start the atmosphere of suppressed emotion.Note the various cases of logical periphrasis used by the characters to say in a round-about way what happened that morning. The reader is kept in constant suspense: â€Å"the whole thing†; â€Å"about it†; â€Å"that lion business†; â€Å"something like today†. Observe also the repeated use of the verb â€Å"to forget† stressing the intention of the speaker not to think of some unpleasant fact; the verb â€Å"to forget† is used four times and its contextual synonym â€Å"to drop† — twice. The hints and suggestive remarks uttered by the characters in their seemingly plain unpretentious dialogues are very effective in their implication.The effect of implication and suspense is brought about indirectly too: The macro-context that comes after these words affects them and determines their meaning. The peculiar use of the verbs â€Å"to look† and â€Å"to smile† may also be regarded as an indirect means of creating the effect of implication. However additional contextual meaning and emotive colouring is received mainly from the macrocontext. This manner of describing the character's reaction and emotions by presenting simple external actions may be considered a specific SD—metonymical description which is realised only in the macrocontext.The SD of metonymical description makes the reader supply what is missing and creates the effect of implication. This is one of the ways in which Hemingway employs his â€Å"iceberg principle†: â€Å"I leave out what I know but knowledge is what makes the underwater part of the iceberg,† writes Hemingway. In a similar way the writer uses the verb â€Å"to smile†: the implication conveyed by this verb is also brought out in the macrocontext. The role of the macroconte xt in Hemingway's story is of utmost importance. Note instances where the verb â€Å"to smile† is used: â€Å"So author's story devoid at the beginning of any apparent emotional colouring, of any apparent expression of the characters' feelings is impassive and matter-of-fact only on the surface whereas beneath the surface can be found intense emotions, meditations, sufferings. Note that the feelings and emotional reactions of Mrs. Macomber and Wilson are mostly conveyed by this means. Note the role of repetition in heightening the impression of growing fear: the word â€Å"fear† is used here twice, and the word â€Å"afraid† is repeated three times.One more note about author's usage of words and how it is related to the description of his characters. The impartial tone and the absence of emotive words in describing Mrs. Macomber may be accounted for by two reasons: the writer's principle to leave the surface comparatively bare of any emotion, and the desire to emphasise the woman's nature by choosing relevant words and expressions (note the writer's way to explain her purpose for desiring to marry again — â€Å"to better herself†). Analyse the use of the adjectives â€Å"red† and â€Å"blue† in the story.Similarly, the adjective â€Å"blue† is affected by the surrounding words (it is constantly used in such combinations as â€Å"cold blue eyes†, â€Å"his flat, blue, machinegunner's eyes†) and had acquired an additional contextual meaning making it an epithet in the macrocontext. It is the macrocontext that determines the meanings of some words and suggests their implication in author’s story, and therefore should not be underestimated. The grammatical peculiarities of the story serve the basic stylistic purpose — that of giving the impression of simplicity and mpartiality on the one hand, and creating implication and emotional tension, on the other. Long sentences which are s o characteristic of the author's narration in the story do not produce a sense of complexity. On the contrary, the long sentences give the illusion of simplicity. The impression of simplicity is generally maintained by a peculiar sentence structure. The most striking feature which is easily observed is the repetition of one and the same conjunction within the sentence. Read this sentence: † † Similar structures can be seen on the same page: â€Å" † The use of one and the same conjunction and one and the ame type of subordinate clause within the sentence (a complex sentence with successive subordination) creates a monotonous analogous description where the author seems concerned only with presenting a bare enumeration of details. It is interesting to point out that folklore contains clear-cut structures of this type with successive subordination as in the well-known nursery rhyme â€Å"This is the house that Jack built†¦ â€Å". The established syntactical pattern which is repeated within the sentence is a stylistically significant feature in the story leading to a seeming lack of variety and maintaining the effect of simplicity.Note that this holds true not only of the sentence-structure but to a larger extent of the paragraph-structure. The established pattern (or patterns) is repeated with a slight variation throughout the paragraph giving the impression of analogy and logic in structure. Read the paragraph on p. XX beginning: â€Å" † The predominant sentence-type in the above paragraph is the complex sentence with a subordinate clause of time. The conjunction â€Å"when† is repeated five times, the conjunctions â€Å"while† and â€Å"before† are used once each. The paragraph being a unity of ideas presents in the story a striking unity of syntactic structure.There is no conspicuous topic sentence, the paragraph gives a series of details or actions which go on and on, as if the writer assumes that his r eaders want only to learn as quickly and easily as possible what happens. The unity of the paragraph manifests itself in the established syntactical pattern used throughout the whole of the paragraph and in the one and the same conjunction. Repetition assumes in the story various structural forms. Catch-word repetition (anadiplosis) is frequently used giving the impression of plain, logical structure: â€Å"Margot looked at them both and they both saw that she was going to cry. â€Å"But more than shame he felt cold, hollow fear in him. The fear was still there†¦ â€Å". Note that anadiplosis produces the effect of a â€Å"chain-pattern† structure similar to that produced by successive subordination often used in the story. Anadiplosis is sometimes employed to connect successive paragraphs. The dominant conjunction which is employed frequently and variously in the story is â€Å"and†. The repetition of the conjunction â€Å"and† usually maintains paralle lism and rhythm: â€Å"† The effect of a rhythmical arrangement is heightened in this example by alliteration at the end of the paragraph.Suspense which is the basic compositional feature of the story manifests itself in the structure of most paragraphs. Read the paragraph by which the first part of the story culminates: â€Å"† Note that the paragraph tends toward balanced structure for the sake of contrast: â€Å"Macomber did not know†¦ ,† â€Å"Wilson knew†¦ â€Å". The repeated use of the words â€Å"knew†, â€Å"did not know† adds to the effect of contrast and gives the impression of a certain established pattern of the paragraph.Observe that parallel constructions are interrupted by inserting modifiers (three instances of subordinate clause of time introduced by â€Å"before†, â€Å"when†, â€Å"when†) and some other relevant detail. Syntactical parallelism supported and intensified by lexical repetition (four instances of â€Å"know†; â€Å"nor †¦ nor†; â€Å"when, when †¦ â€Å"; â€Å"how, how †¦ â€Å") lends an unmistakable rhythm to the passage. Note that the length of sentences and clauses is shortened and the number of inserted details is lessened by the end of the paragraph and so causing a change in rhythm: from a slow, even rhythm to a rapid, excited rhythm.This change of rhythm heightens the emotional tension and reinforces the implication suggested by the last unexpected sentence of the paragraph: â€Å"He did not know how his wife felt except that she was through with him. † The repeated words do not assume any definite compositional pattern, such a simple scattered repetition contributes to the impression of a colloquial simplicity of narration: â€Å"† The principle of repetition which reveals itself in the use of the established syntactic pattern and the repetition of one and the same conjunction often leads to the SD of cum ulation: â€Å"† The clash between the yntactical analogy and semantic distance in the SD of cumulation brings about the effect of implication and hints at the real relations of the characters. All these similar features contribute to the impression of parallelism in the structure of the paragraph. Cumulation is striking as the clash between the grammatical identity and semantic difference is sudden and strong. Cumulation gives rise to implication and presents the first obvious hint at what happened before the story began. The main dramatic force is achieved by syntax — by the writer's masterly utilisation of the resources concealed in the syntactic structure of the language.Stylistic tendencies and peculiarities of the story manifest themselves in the passage most intensely and palpably. The passage tends to rhythmical structure: parallel constructions, various types of repetition, a peculiar scheme of sense-group division — all contribute to this impression. A ll these features lend balance to the passage. A change in rhythm from slow to rapid reinforces the effect of suspense and climax. Suspense is created by a number of interrupting but relevant details postponing the completion of the thought.The length of the interrupting phrases and coordinate clauses is shortened by the end of the passage (note once again that the last three clauses contain two sense-groups while the first four — three or six) and causing a change in rhythm adds to emotional tension. The sentences are not so long, not so fragmentary, the relevant details are not so numerous. Note that some details are repeated (â€Å"like slate† — â€Å"like hitting a slate roof†). The rhythm of the paragraph is even and quiet giving the impression of an impassionate description.The paragraph may be regarded as a kind of comment on what happened. Note the use of the Past Perfect which plainly refers the actions to those which have been mentioned. The ide a of suspense and the effect of implication is masterfully revealed at the end of the story — the writer does not say plainly whether it was an accident or murder. The writer presents only a sequence of outward actions and the reader is left to imagine more than the words themselves convey. Assignments for Stylistic Analysis: 1. Speak on the subject-matter and the idea of the story. . Analyse the structure of the poem (its stanzas, rhythm, rhymes), note instances of enjambment and speak on its stylistic function. 3. What characters of the novel are described in the passage and what does the reader learn about them? 4. Who are the major and minor character/s? Describe them shortly. 5. What impression do you get from the protagonist? Discuss his/her character and his/her views as they are revealed through his/her speech. Describe the protagonist’s state of hopelessness and frustration. Comment on the protagonist’s words: â€Å"†. 6.Analyse the direct speech and speak on its peculiarities. 7. Discuss the meaning of the saying: â€Å"† and comment on its stylistic peculiarity. Say why he/she uses it. Speak on the way he/she interprets the above mentioned saying. What SD is used by him? 8. Find cases of periphrasis in her speech and speak of their function. 9. Discuss she attitude towards the situation, comment on lexical and phonetic EMs and SDs used in her speech and speak of the effect achieved through the use of these devices. 10. Pick out various types of metaphors and comment on their stylistic effect. 1. Comment on the meaning and stylistic peculiarities of some lines. 12. Dwell on the implication suggested by the author. 13. Pick out epithets, state their types and structure and speak on their stylistic function. 14. Comment on the exclamatory sentence 15. How do you account for the sudden transmission from literary vocabulary mostly used by the author (â€Å"under the auspices†, etc. ) to the colloquial words (â₠¬Å"a confounded quarrelsome highbred jade†)? What stylistic effect is achieved by this device? 16. Comment on the stylistic effect of the rhetorical question: 17.Speak on the author's attitude towards the society he describes. Pay attention to the EMs and SDs employed by the author (note the vocabulary of the passage, metaphors, metonymies, allusions, rhetorical questions and their stylistic function). 18. Speak on the scene and the characters introduced in the excerpt and SDs used to describe them. 19. Find various forms of repetition in the author's narration: the repetition of a sound (alliteration); of a conjunction (polysyndeton); of a notional word; of a syntactical pattern (parallelism) and speak on the role of repetition in the structure of a paragraph. 0. Analyse the SD of repetition from the point of view of its compositional design (anaphora, anadiplosis etc. ); note what kind of repetition prevails in the excerpt; speak on the stylistic functions of repetition. 21. Take the Xth paragraph for rigorous analysis; in doing so dwell on the following points: 1) the main thought of the paragraph and the way it is developed; 2) the SD of polysyndeton; 3) the metaphor, the way it is prolonged and the stylistic effect achieved; 4) represented speech, its type and stylistic function; 5) antithesis as the culmination point of the paragraph. 2. Comment on the different ways author manipulates with the remarks of the characters. 23. Summing up the analysis of the chapter pick out all passages where the author's ironic or sarcastic attitude towards high society and its corrupt morality is acutely felt and analyse the main SDs used to achieve this effect. 24. Summing up the analysis of the chapter/extract/passage/story, speak on the allegoric character of the story and on various SDs used to make the particular effect..