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Edi Samsuri

Educación Entretenimiento y humor

STAGING/GIVING MOVES TO GENRE ( R hetorical D evelopment) ,[object Object],[object Object],[object Object],www.text-types.com

R E V I E W ,[object Object],[object Object],www.text-types.com

generic structure: R E V I E W ,[object Object],[object Object],[object Object],[object Object],www.text-types.com

[object Object],[object Object],[object Object],[object Object],www.text-types.com

LANGUAGE FEATURES OF REVIEW ,[object Object],[object Object],[object Object],[object Object],[object Object],www.text-types.com

Example and Generic Structure ,[object Object],[object Object],[object Object],[object Object],[object Object],www.text-types.com

[object Object],[object Object],www.text-types.com

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Ideal to use with Mobi, CPS or both( or neither). Bill McIntosh 843-442-8888 Email: WKMcIntosh@Comcast.net Authorized eInstruction Consultant www.eInstruction.com 888-333-4988 tech support To see CPS and the Mobi in action: http://legacy.einstruction.com/media/mobi/ My profile : http://www.slideshare.net/WKMcIntosh/bill-mcintosh-einstruction-consultant I am using site called Slideshare to post and share information about eInstruction’s products. There are not only product brochures, but help, and how to files and videos about our products. http://www.slideshare.net/WKMcIntosh/presentations http://www.slideshare.net/WKMcIntosh/documents http://www.slideshare.net/WKMcIntosh/videos

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John Smith Prof. C. Simmons English 227 30 January 2014 Gothic Imagery in Hawthorne’s Rappaccini’s Daughter The word “gothic” gives a connotation of gloom, despair, and the decay of time. The grotesque and horrifying are used in Gothic literature for atmosphere, foreshadowing, and symbolism. Nathaniel Hawthorne is an early American example of a writer of Gothic tales. In “Rappaccini’s Daughter,” Hawthorne uses Gothic conventions to tell a story of dual natures and doomed love. In the opening scene, Giovanni, a university student and the hero of our tale, is shown to his new lodgings in Padua. Here Hawthorne utilizes two Gothic conventions to create a grim sense of foreshadowing: the ancient, ruined building, and the mysterious old woman. Giovanni’s lodgings are in a “high and gloomy chamber of an old edifice which looked not unworthy to have been the palace of a Paduan noble” (Hawthorne 178). He is reminded of Dante’s Inferno, and imagines that a member of this ancient household “[partook] of the immortal agonies” described in the poem (178). This foreshadows the “agonies” of Giovanni’s love for Beatrice, the heroine. Giovanni is with his new landlady, a strange and vaguely superstitious woman named “dame” Lisabetta. She makes frequent reference to the Virgin and the Saints, and directs Giovanni to the view of Dr. Rappaccini’s herb garden. She tells Giovanni that he may see Rappaccini and his daughter at work in the garden, cultivating plants that “are as potent as a charm” (179). Later in the story, Lisabetta is the means by which Giovanni and Rappaccini’s daughter Beatrice meet clandestinely in the deadly garden (187). The garden itself is the scene of the majority of Hawthorne’s Gothic symbolism and foreshadowing. It is dominated by “the ruin of a marble fountain in the centre, sculptured with rare art, but so woefully shattered that it was impossible to trace the original design from the chaos of the remaining fragments” (179). The fountain is beautiful, “rare,” and destroyed. It is a symbol for the dual nature of the garden itself, with its beautiful, deadly flowers; for Beatrice Rappaccini, who is beautiful, but literally poisonous; and the love/obsession Giovanni has for Beatrice, which is beautiful, but kills. In the end, the Gothic tone of Hawthorne’s “Rappaccini’s Daughter” portrays the dual nature of love and obsession in the story. Hawthorne brilliantly displays symbolism and foreshadowing as techniques by which an author can show the deeper meaning of surface imagery. Works Cited Hawthorne, Nathaniel. “Rappacini’s Daughter.” The Art of the Short Story. Ed. Wendy Martin. Boston: Houghton Mifflin, 2006. 178-197. Print. How to Write about Literature If you wish to write well about literature, you must keep in mind the following: Clearly articulate a main point. Main Points in Paragraphs In a short writing of only one paragraph this main point is called a topic sentence and it should us.

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Chapter 11 Writing Excellent Requirements 1 11.1 Characteristics of excellent requirements 2 11.2 Guidelines for writing requirements 3 4 5 6 7 8 9 10 11 12 13 14 11.3 Exercises 15 16 17 18 19 20 21 22 23 1. Plot/Structure – Describe the plot of the story. Avoid making comments or interpretations about behavior and actions by the characters, just stick with describing what happens in the story. Are there other stories you know of that is similar to the plot of this story? Most stories, as we’re familiar with them through movies, have the structure of a beginning, middle, and end. The plot is essentially the action of the story, where one event or action leads to another event or action, which leads in a long string of actions that arrives at a final confrontation. After the final confrontation, there is the resolution and denouement. This story telling structure is embodied through a model known as Freytag’s Pyramid, which maps out a traditional plot like this: 2. Point of View – Who is telling this story, a first person or third person narrator? How would you characterize this narrator? In any literary work, whether it’s a short story, poem, or novel, the point of view from which a story is told is an important element to keep in mind, because the ‘point of view’ determines who the narrator is, the narrator being the one who’s telling the story. We often assume that it’s the author who is telling the story, but it’s not as simple as that. There are 3 basic types of points of view and an author has to choose which one he or she will use. The 3 types are as follows: first person, second person, third person. 3. Characters – List and describe the primary characters of the story. Focus on specific details about each character, such as certain behaviors and/or things they say. This is probably the most familiar of all the literary elements and the one we immediately react to when reading any story. The analysis of a character is one of the core activities of most literary interpretation and it’s hard to cover all the ways we go about analyzing a character, most of which you’ll learn to do through consistent practice and engagement with the works we read in this class. In the most general sense, what we look at in a character is their behavior, the actions they take and/or the decisions they make. We look closely at what they say in order to get a sense of their view of a situation, or their view of the world; we also focus on how they interact with other characters, asking ourselves if a certain act or decision has aggressive implications, or was meant well but with unfortunate consequences. These are things to pay attention to, along with what they say through dialogue, which is also revealing about a character. There’s no end to the ways we look and react to characters we’re presented within a story, one reader may love and identify with a certain ...

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