How does the writer use language to create suspense in The Red Room :: English Literature

How does the writer use language to create suspense in The Red Room The Red Room is about a man who is staying at an old house with a haunted room, which he is going to spend the night in. He is unwilling to listen to the warnings of the three elderly occupants of the house who are sure that the room is haunted. The story starts with the man speaking and being very confident about staying in the room and how only a tangible ghost will frighten him he is saying that nothing can hurt him unless it is solid or touchable which is not what ghosts are like. So he is also saying that ghosts do not exist. He tries to back up this by saying that he has â€Å" lived for eight and twenty years and never seen a ghost† however the old woman says â€Å" that he has never stayed in a house like this†. This creates more suspense because the reader want to know what the house is like and why it is haunted and what the inhabitants have experienced to support their beliefs in a paranormal housemate. To make the story more mysterious none of the characters is named. The three old people are described, as though they are unhealthy and decaying so they look like ghosts in comparison to the narrator. The narrator then wants to go to the room, so he asks the elderly people if they would guide him there but they just ignore him. He sounds very authoritative and superior but also very arrogant and the old people do not answer him so he repeats the request a little louder and they just tell him where he can find the candle and say he must go alone. Then the old woman says â€Å"this night of all nights† which again creates more tension because what did happen on this night? They give him directions to the room and he leaves them and heads for the room but just before he leave the old man says â€Å"its of your choosing† the old man is saying that when the narrator finds what ever is in the room don’t come to them saying we was pushed you into it†. The writer goes on to set the scene for the journey to the room. Portraying it as a chilly echoing passage, which sounds very threatening and menacing. He talks about the three old pensioners that occupy the castle coming from an age where there was no science and the existence of omens and witches were creditable. As he goes down

Cognitive science Essay

Stylistics is the study and interpretation of texts from a linguistic perspective. As a discipline it links literary criticism and linguistics, but has no autonomous domain of its own. [1][2] The preferred object of stylistic studies is literature, but not exclusively â€Å"high literature† but also other forms of written texts such as text from the domains of advertising, pop culture, politics or religion. [3] Stylistics also attempts to establish principles capable of explaining the particular choices made by individuals and social groups in their use of language, such as socialisation, the production and reception of meaning, critical discourse analysis and literary criticism. Other features of stylistics include the use of dialogue, including regional accents and people’s dialects, descriptive language, the use of grammar, such as the active voice or passive voice, the distribution of sentence lengths, the use of particular language registers, etc. In addition, stylistics is a distinctive term that may be used to determine the connections between the form and effects within a particular variety of language. Therefore, stylistics looks at what is ‘going on’ within the language; what the linguistic associations are that the style of language reveals. * | Early twentieth century The analysis of literary style goes back to Classical rhetoric, but modern stylistics has its roots in Russian Formalism,[4] and the related Prague School, in the early twentieth century. In 1909, Charles Bally’s Traite de stylistique francaise had proposed stylistics as a distinct academic discipline to complement Saussurean linguistics. For Bally, Saussure’s linguistics by itself couldn’t fully describe the language of personal expression. [5] Bally’s programme fitted well with the aims of the Prague School. [6] Building on the ideas of the Russian Formalists, the Prague School developed the concept of foregrounding, whereby poetic language stands out from the background of non-literary language by means of deviation (from the norms of everyday language) or parallelism. [7] According to the Prague School, the background language isn’t fixed, and the relationship between poetic and everyday language is always shifting. [8] Late twentieth century Roman Jakobson had been an active member of the Russian Formalists and the Prague School, before emigrating to America in the 1940s. He brought together Russian Formalism and American New Criticism in his Closing Statement at a conference on stylistics at Indiana University in 1958. [9] Published as Linguistics and Poetics in 1960, Jakobson’s lecture is often credited with being the first coherent formulation of stylistics, and his argument was that the study of poetic language should be a sub-branch of linguistics. [10] The poetic function was one of six general functions of language he described in the lecture. Michael Halliday is an important figure in the development of British stylistics. [11] His 1971 study Linguistic Function and Literary Style: An Inquiry into the Language of William Golding’s ‘The Inheritors’ is a key essay. [12] One of Halliday’s contributions has been the use of the term register to explain the connections between language and its context. [13] For Halliday register is distinct from dialect. Dialect refers to the habitual language of a particular user in a specific geographical or social context. Register describes the choices made by the user,[14] choices which depend on three variables: field (â€Å"what the participants†¦ are actually engaged in doing†, for instance, discussing a specific subject or topic),[15] tenor (who is taking part in the exchange) and mode (the use to which the language is being put). Fowler comments that different fields produce different language, most obviously at the level of vocabulary (Fowler. 1996, 192) The linguist David Crystal points out that Halliday’s ‘tenor’ stands as a roughly equivalent term for ‘style’, which is a more specific alternative used by linguists to avoid ambiguity. (Crystal. 1985, 292) Halliday’s third category, mode, is what he refers to as the symbolic organisation of the situation. Downes recognises two distinct aspects within the category of mode and suggests that not only does it describe the relation to the medium: written, spoken, and so on, but also describes the genre of the text. (Downes. 1998, 316) Halliday refers to genre as pre-coded language, language that has not simply been used before, but that predetermines the selection of textual meanings. The linguist William Downes makes the point that the principal characteristic of register, no matter how peculiar or diverse, is that it is obvious and immediately recognisable. (Downes. 1998, 309) Literary stylistics In The Cambridge Encyclopedia of Language, Crystal observes that, in practice, most stylistic analysis has attempted to deal with the complex and ‘valued’ language within literature, i. e.  Ã¢â‚¬Ëœliterary stylistics’. He goes on to say that in such examination the scope is sometimes narrowed to concentrate on the more striking features of literary language, for instance, its ‘deviant’ and abnormal features, rather than the broader structures that are found in whole texts or discourses. For example, the compact language of poetry is more likely to reveal the secrets of its construction to the stylistician than is the language of plays and novels. (Crystal. 1987, 71). Poetry As well as conventional styles of language there are the unconventional – the most obvious of which is poetry. In Practical Stylistics, HG Widdowson examines the traditional form of the epitaph, as found on headstones in a cemetery. For example: His memory is dear today As in the hour he passed away. (Ernest C. Draper ‘Ern’. Died 4. 1. 38) (Widdowson. 1992, 6) Widdowson makes the point that such sentiments are usually not very interesting and suggests that they may even be dismissed as ‘crude verbal carvings’ and crude verbal disturbance (Widdowson, 3). Nevertheless, Widdowson recognises that they are a very real attempt to convey feelings of human loss and preserve affectionate recollections of a beloved friend or family member. However, what may be seen as poetic in this language is not so much in the formulaic phraseology but in where it appears. The verse may be given undue reverence precisely because of the sombre situation in which it is placed. Widdowson suggests that, unlike words set in stone in a graveyard, poetry is unorthodox language that vibrates with inter-textual implications. (Widdowson. 1992, 4) Two problems with a stylistic analysis of poetry are noted by PM Wetherill in Literary Text: An Examination of Critical Methods. The first is that there may be an over-preoccupation with one particular feature that may well minimise the significance of others that are equally important. (Wetherill. 1974, 133) The second is that any attempt to see a text as simply a collection of stylistic elements will tend to ignore other ways whereby meaning is produced. (Wetherill. 1974, 133) Implicature In ‘Poetic Effects’ from Literary Pragmatics, the linguist Adrian Pilkington analyses the idea of ‘implicature’, as instigated in the previous work of Dan Sperber and Deirdre Wilson. Implicature may be divided into two categories: ‘strong’ and ‘weak’ implicature, yet between the two extremes there are a variety of other alternatives. The strongest implicature is what is emphatically implied by the speaker or writer, while weaker implicatures are the wider possibilities of meaning that the hearer or reader may conclude. Pilkington’s ‘poetic effects’, as he terms the concept, are those that achieve most relevance through a wide array of weak implicatures and not those meanings that are simply ‘read in’ by the hearer or reader. Yet the distinguishing instant at which weak implicatures and the hearer or reader’s conjecture of meaning diverge remains highly subjective. As Pilkington says: ‘there is no clear cut-off point between assumptions which the speaker certainly endorses and assumptions derived purely on the hearer’s responsibility. ’ (Pilkington. 1991, 53) In addition, the stylistic qualities of poetry can be seen as an accompaniment to Pilkington’s poetic effects in understanding a poem’s meaning. Stylistics is a valuable if long-winded approach to criticism, and compels attention to the poem’s details. Two of the three simple exercises performed here show that the poem is deficient in structure, and needs to be radically recast. The third sheds light on its content. Introduction Stylistics applies linguistics to literature in the hope of arriving at analyses which are more broadly based, rigorous and objective. {1} The pioneers were the Prague and Russian schools, but their approaches have been appropriated and extended in recent years by radical theory. Stylistics can be evaluative (i. e.judge the literary worth on stylistic criteria), but more commonly attempts to simply analyze and describe the workings of texts which have already been selected as noteworthy on other grounds. Analyses can appear objective, detailed and technical, even requiring computer assistance, but some caution is needed. Linguistics is currently a battlefield of contending theories, with no settlement in sight. Many critics have no formal training in linguistics, or even proper reading, and are apt to build on theories (commonly those of Saussure or Jacobson) that are inappropriate and/or no longer accepted. Some of the commonest terms, e. g. deep structure, foregrounding, have little or no experimental support. {2} Linguistics has rather different objectives, moreover: to study languages in their entirety and generality, not their use in art forms. Stylistic excellence — intelligence, originality, density and variety of verbal devices — play their part in literature, but aesthetics has long recognized that other aspects are equally important: fidelity to experience, emotional shaping, significant content. Stylistics may well be popular because it regards literature as simply part of language and therefore (neglecting the aesthetic dimension) without a privileged status, which allows the literary canon to be replaced by one more politically or sociologically acceptable. {3} Why then employ stylistics at all? Because form is important in poetry, and stylistics has the largest armoury of analytical weapons. Moreover, stylistics need not be reductive and simplistic. There is no need to embrace Jacobson’s theory that poetry is characterized by the projection of the paradigmatic axis onto the syntagmatic one. {4} Nor accept Bradford’s theory of a double spiral: {5} literature has too richly varied a history to be fitted into such a straitjacket. Stylistics suggests why certain devices are effective, but does not offer recipes, any more than theories of musical harmony explains away the gifts of individual composers. Some stylistic analysis is to be found in most types of literary criticism, and differences between the traditional, New Criticism and Stylistics approaches are often matters of emphasis. Style is a term of approbation in everyday use (â€Å"that woman has style†, etc.), and may be so for traditional and New Criticism. But where the first would judge a poem by reference to typical work of the period (Jacobean, Romantic, Modernist, etc. ), or according to genre, the New Criticism would probably simply note the conventions, explain what was unclear to a modern audience, and then pass on to a detailed analysis in terms of verbal density, complexity, ambiguity, etc. To the Stylistic critic, however, style means simply how something is expressed, which can be studied in all language, aesthetic and non-aesthetic. {6} Stylistics is a  very technical subject, which hardly makes for engrossing, or indeed uncontentious, {7} reading. The treatment here is very simple: just the bare bones, with some references cited. Under various categories the poem is analyzed in a dry manner, the more salient indications noted, and some recommendations made in Conclusions. Published Examples of Stylistic Literary Criticism G. N. Leech’s A Linguistic Guide to English Poetry (1969) Laura Brown’s Alexander Pope (1985) Roy Lewis’s On Reading French Verse: A Study in Poetic Form (1982) George Wright’s Shakespeare’s Metrical Art. (1988) Richard Bradford’s A Linguistic History of English Poetry (1993) Poem The Architects But, as you’d expect, they are very Impatient, the buildings, having much in them Of the heavy surf of the North Sea, flurrying The grit, lifting the pebbles, flinging them With a hoarse roar against the aggregate They are composed of — the cliffs higher of course, More burdensome, underwritten as It were with past days overcast And glinting, obdurate, part of the Silicate of tough lives, distant and intricate As the whirring bureaucrats let in And settled with coffee in the concrete pallets, Awaiting the post and the department meeting — Except that these do not know it, at least do not Seem to, being busy, generally. So perhaps it is only on those cloudless, almost Vacuumed afternoons with tier upon tier Of concrete like rib-bones packed above them, And they light-headed with the blue airiness Spinning around, and muzzy, a neuralgia Calling at random like frail relations, a phone Ringing in a distant office they cannot get to, That they become attentive, or we do — these Divisions persisting, indeed what we talk about, We, constructing these webs of buildings which, Caulked like great whales about us, are always. Aware that some trick of the light or weather Will dress them as friends, pleading and flailing — And fill with placid but unbearable melodies Us in deep hinterlands of incurved glass.  © C. John Holcombe 1997 Metre Though apparently iambic, with five stresses to the line, the metre shows many reversals and substitutions. Put at its simplest, with: / representing a strong stress representing a weak stress x representing no stress, and trying to fit lines into a pentameters, we have -| /| x| x| x| /| -| | x| /| x| | But| as| you’d| ex| pect| | they| are| ve| ry| x| /| x| x| /| x| /| x| | x| x| Im| pat| ient| the| build| ings,| hav| ing| much| in| them| x| x| | x| /| x| x| | /| /| x x| Of| the| heav| y| surf| of| the| North| Sea,| flurr| ying| x| /| -| /| x| x| /| x| /| x| | The| grit,| | lift| ing| the| pebbl| es,| fling| ing| them| | x| /| -| /| x| | x| /| x| | With| a| hoarse| | roar| a| gainst| the| agg| re| gate| x| | x| /| | x| /| /| x| x| /| They| are| com| posed| of,| the| cliffs| high| er| of| course| | /| x| | -| /| x| / | x| | | More| burd| en| some,| | un| der| writ| ten| as| | x| /| x| /| -| /| -| /| x| /| | It| were| with| past| | days| | o| ver| cast| | x| /| x| | /| x| | -| /| x| x| And | glit| ter| ing,| ob| du| rate,| | part| of| the| -| /| x x x| /| -| /| -| /| x x| /| x x| | Sil| icate of| tough| | lives| | dist| ant and| in| tricate| -| | x| /| x| /| x| | -| /| x| | As| the| whir| ring| bu| reau| crats| | let| in| x| /| x x| /| x| | x| /| x| /| x| And | set| tled with| cof| fee| in| the| con| crete| pal| lets| x| /| x x| /| x| | x| /| x| /| x| A| wait| ing the| post| and| the| de| part| ment| meet| ing| x| | x| /| x | /| x| x| | /| x| Ex| cept| that| these| do not| know| it, | at| least| do| not| -| /| x| /| x| /| x| /| x| | x| | Seem| to| be| ing| bus| y| gen| ER| all| y| | x| /| x x| /| x| | x| /| x| /| x| So| per| haps| it is| on| ly| on| those| cloud| less| al| most| -| /| x| /| x| | x| /| x x| | /| x| | Vac| uumed| af| ter| noons| with| ti| ER u| pon| ti| ER| x| /| x| | /| /| -| /| x| /| x| | Of| con| Crete| like| rib| bones| | packed| a| bove| them| | x| /| | /| x| | x| /| /| x| | | And | they| light| head| ed,| with| the| blue| air| i| ness| | -| /| x x| /| x| /| x| | x| /| x x| | | Spin| ning a| round| and| muz| zy,| a| neu| ral| gia| | -| /| x x| /| x x| /| x| /| x x| /| | | Cal| ling at| ran| dom like| frail| re| lat| ions a| phone| | -| /| x x x| /| x| /| x x| /| x| /| x| | Ring| ing in a| dist| ant| of| fice they| can| not| get| to| x| /| x| /| x| /| x x| /| /-| | | That| they| be| come| at| ten| tive, or| we| do| these| | x| /| x x| /| x x| /| | x| /| x| /| Di| vis| ions per| sist| ing, in| deed| what| we| talk| a| bout| -| /| x| /| x x| /| x| /| x| | | | We,| con| struct| ing these| webs| of| build| ings| which| | -| /| x| /| | /| x| /| x x| /| x| | Caulk| Ed | like| great| whales| a| bout| us are| al| ways| x| /| x x| /| x x| /| x| /| x| | | A| ware| that some| trick| of the| light| or| weath| ER| | | | /| x x| /| -| /| x x| /| x| | | Will| dress| them as| friends| | plead| ing and| flail| ing| | | x| /| x| /| x| | x| /| x x| /| x x| And| fill| with| plac| id| but | UN| bear| able | mel| odies| -| /| x| | -| /| x x x| /| | /| | | Us | in| deep| | hint| erlands of| in| curved| glass| | Poets learn to trust their senses, but even to the experienced writer these (tedious) exercises can pinpoint what the ear suspects is faulty, suggest where improvements lie, and show how the metre is making for variety, broad consistency, shaping of the argument and emotive appeal. Though other scansions are certainly possible in the lines above, the most striking feature will remain their irregularity. Many lines can only roughly be called pentameters; Lines 16 and 17 are strictly hexameters; and lines 27 and 28 are tetrameters. In fact, the lines do not read like blank verse. The rhythm is not iambic in many areas, but trochaic, and indeed insistently dactylic in lines 9 and 10, 21 and 22 and 28. Line 27 is predominantly anapaestic, and line 3 could (just) be scanned: x x| / x| /| x x | /| | /| x x | Of the| heavy| surf| of the North| Sea| | flurr| ying| Reflective or meditative verse is generally written in the iambic pentameter, and for good reason — the benefit of past examples, readers’ expectations, and because the iambic is the closest to everyday speech: flexible, unemphatic, expressing a wide range of social registers. Blank verse for the stage may be very irregular but this, predominantly, is a quiet poem, with the falling rhythms inducing a mood of reflection if not melancholy. What is being attempted? Suppose we set out the argument (refer to rhetorical and other analyses), tabbing and reverse tabbing as the reflections as they seem more or less private: {8} 1. But, as you’d expect, 2. they are very impatient, the buildings, 3. having much in them of the heavy surf of the North Sea, 4. flurrying the grit, 5. lifting the pebbles, 6. flinging them with a hoarse roar against the aggregate they are composed of — the 7. cliffs higher of course, more 8. burdensome, 9. underwritten as it were with past days 10. overcast and glinting, 11. obdurate, 12. part of the silicate of tough lives, 13. distant and intricate as 14. the whirring bureaucrats 15. let in and settled with coffee in the concrete pallets, awaiting the post and the department meeting — 16. except that these do not know it, 17. at least do not seem to, being busy, 18. generally. 19. So perhaps it is only on those cloudless, almost vacuumed afternoons with tier upon tier of concrete like rib — bones packed above them, and 20. they light-headed 21. with the blue airiness spinning around, and 22. muzzy, a 23. neuralgia calling at random like 24. frail relations, a 25. phone ringing in a distant office they cannot get to, that 26. They become attentive, 27. or we do — 28. these divisions persisting, 29. indeed what we talk about, 30. we, constructing these webs of buildings which 31. caulked like great whales about us, are 32. always aware that some trick of the light or weather will dress them as friends, 33. pleading and flailing — and 34. fill with placid but unbearable melodies 35. us in deep hinterlands of incurved glass. The structure should now be clear. Where Eliot created new forms by stringing together unremarkable pentameters, {8} this poem attempts the reverse: to recast an irregular ode-like structure as pentameters. And not over-successfully: many of the rhythms seemed unduly confined. But once returned to the form of an eighteenth century Pindaric ode, however unfashionable today, the lines regain a structure and integrity. Each starts with a marked stress and then tails away, a feature emphasized by the sound patterns. {9} Sound Patterning To these sound patterns we now turn, adapting the International Phonetic Alphabet to HTML restrictions: 1. But | as | you’d | expect | u | a | U | e e | b t | z | y d | ksp kt | 2. They | are | very | impatient | the | buildings | A | a(r) | e E | i A e | e | i i | th | – | v r | mp sh nt | th | b ld ngz | 3. Having | much | in | them | of | the | heavy | surf | of | the | North | Sea | a i | u | i | e | o | e | e | e(r) | o | e | aw | E | h v ng | m ch | n | th m | v | th | h v | s f | v | th | n th | s | 4. flurrying | the | grit | u E i | e | i | fl r ng | th | gr t | 5. lifting | the | pebbles | i i | e | e | l ft ng | th | p b lz | 6. flinging | them | with | a | hoarse | roar | against | the | aggregate | they | are | composed | of | i i | e | i | e | aw | aw | e A | e | a E A | A | a(r) | o O | o | fl ng ng | th m | w th | – | h s | r | g nst | th | gr g t | th | – | k MP zd | v | 7. the | cliffs | higher | of | course | more | e | i | I e | o | aw | aw | th | kl fs | h | v | s | m | 8. burdensome | u(r) e e | b d ns m | 9. underwritten | as | it | were | with | past | days | u e i e | a | i | (e)r | i | a(r) | A | nd r t n | z | t | w | w | p st | d z | 10. overcast | and | glinting | O e(r) a(r) | a | i i | v k St | nd | gl NT ng | 11. obdurate | o U A | bd r t | 12. part | of | the | silicate | of | tough | lives | (a)r | o | e | i i A | o | u | I | p t | f | th | s l k t | v | t f | l vz | 13. distant | and | intricate | i a | a | i i e | d St NT | nd | NT r k t | 14. as | the | whirring | bureaucrats | a | e | e(r) i | U O a | z | th | w r ng | b r kr ts | 15. let | in | and | settled | with | coffee | in | the | concrete | pallets | e | i | a | e ie | i | o E | i | e | o E | a e | l t | n | nd | s tl d | w th | k f | n | th | k Kr t | p l Ts | awaiting | the | post | and | the | department | meeting | e A i | e | O | a | e | E e | E i | w t ng | th | p St | nd | th | d p tm NT | m t ng | 16. except | that | these | do | not | know | it | e e | a | E | U | o | O | i | ks pt | th | th z | d | n t | n | t | 17. at | least | do | not | seem | to | being | busy | a | E | U | o | E | U | E i | i E | t | l St | d | n t | s m | t | b ng | b z >/td> | 18.generally | e e a E | j nr l | 19. so | perhaps | it | is | only | on | those | cloudless | almost | vacuumed | afternoons | O | e(r) a | i | i | O | o | O | ou e | aw O | a U | a(r) e oo | s | p h ps | t | z | nl | n | th z | kl dl s | lm St | v k md | ft n nz | with | tier | upon | tier | of | concrete | like | rib | bones | packed | above | them | and | i | E e(r) | e o | E e(r) | o | o E | I | i | O | a | e u | e | a | w th | t | p n | t | v | k nkr t | l k | r b | b nz | p Kt | b v | th m | nd | 20. they | light | headed | A | I | e e | th | l t | h d d | 21. with | the | blue | airiness | spinning | around | and | i | e | U | (A)r i e | i i | e ou | a | w th | th | bl | r n s | sp n ng | r nd | nd | 22. muzzy | a | u E | e | m z | – | 23. neuralgia | calling | at | random | like | U a E a | aw i | a | a o | I | n r lj | k l ng | t | r nd m | l k | 24. frail | relations | a | A | e A e | e | fr l | r l zh nz | – | 25. phone | ringing | in | a | distant | office | they | cannot | get | to | that | O | i i | i | e | i a | o i | A | a o | e | oo | a | | f n | r ng ng | n | – | d St NT | f s | th | k n t | g t | t | th | | 26. they | become | attentive | A | E u | a e i | th | b k m | t NT v | 27. or | we | do | aw | E | oo | – | w | d | 28. these | divisions | persisting | E | i i e | e(r) i i | th z | d v zh nz | p s St ng | 29. indeed | what | we | talk | about | i E | o | E | aw | e ou | in d | wh t | w | t k | b t | 30. we | constructing | these | webs | of | buildings | which | E | o u i | E | e | o | i i | i | w | k nz str Kt ng | th z | w bs | v | b ld ngz | wh Ch | 31. caulked | like | great | whales | about | us | are | aw | I | A | A | e ou | u | a(r) | k kd | l k | gr t | w lz | b t | s | – | 32. always | aware | that | some | trick | of | the | light | or | weather | will | dress | them | as | friends | aw A | e (A)r | a | u | i | o | e | I | aw | e e(r) | i | e | e | a | e | lw z | w | th t | s m | tr k | v | th | l t | – | w th | w l | dr s | th m | z | Fr ndz | 33. pleading | and | flailing | E i | a | A i | pl d ng | nd | fl l ng | 34. will | fill | with | placid | but | unbearable | melodies | i | i | i | a i | u | u A(r) a e | e O E | f l | w th | PL s d | b t | n b r b l | m l d z | | 35. us | in | deep | hinterlands | of | incurved | glass | u | i | E | i e a | o | i e(r) | a(r) | s | n | d p | h NT l ndz | v | nk v d | GL s | Sound in poetry is an immensely complicated and contentious subject. Of the seventeen different employments listed by Masson {10} we consider seven: 1. Structural emphasis All sections are structurally emphasized to some extent, but note the use (in decreasing hardness) of * plosive consonants in sections 1, 5, 6, 7, 10-13, 19, 28-50; 31 and 35. * fricative and aspirate consonants in sections 2, 3, 6, 7, 12, 19, 25, 28, 32, 35. * liquid and nasal consonants in sections 3, 4, 12, 15, 17, 18, 19, 21, 23, 31-35. Also: * predominance of front vowels — in all sections but 6, 7, 11, 16, 17, 19 and 31. * predominance of vowels in intermediate positions — only sections 16 and 17 having several high vowels and section 3 low vowels. 2. Tagging of sections Note sections 1, 7, 13 and 15. 3. Indirect support of argument by related echoes * Widely used, most obviously in sections 3-7, 12-13, and 15. 4. Illustrative mime: mouth movements apes expression * Sections 2, 6, 11-13, 19, 31 and 35. 5. Illustrative painting * Sections 3-6, 10-13, 15, 19 and 33. Most sections are closely patterned in consonants. Those which aren’t (and therefore need attention if consistency is to be maintained) are perhaps 8, 9, 14, 18, 20, 22, 24, 26 and 27. Originally the poem was cast in the form of irregular pentameters. But if this is set aside in favour of the 35 sections listed above, how are these sections to be linked in a self-evident and pleasing form? A little is accomplished by alliteration: * f in sections 3 to 7. * s and t in sections 12 to 15 * w in sections 29 to 32 And also by the predominance of front and intermediate level vowels, but these do not amount to much. Certainly we do not find that the overall shaping of the poem emphasizes the argument or content. Sociolinguistics Language is not a neutral medium but comes with the contexts, ideologies and social intentions of its speakers written in. Words are living entities, things which are constantly being employed and only half taken over: carrying opinions, assertions, beliefs, information, emotions and intentions of others, which we partially accept and modify. In this sense speech is dialogic, has an internal polemic, and Bakhtin’s insights into the multi-layered nature of language (heteroglossia) can be extended to poetry. {11} Much of Postmodernist writing tries to be very unliterary, incorporating the raw material of everyday speech and writing into its creations. This poem seems rather different, a somewhat remote tone and elevated diction applying throughout. Let us see what’s achieved by grouping under the various inflections of the speaking voice. * urgently confidential But, as you’d expect, cliffs higher, of course, that they become attentive or we do * obsessively repetitious flurrying the grit, lifting the pebbles, flinging them†¦ burdensome, underwritten†¦ overcast and glinting, obdurate * over-clever silicate of tough lives  distant and intricate constructing these webs of buildings distracted and/or light-headed except that these do not know it at least do not seem to with the blue airiness spinning around calling at random like frail relations * melancholic and/or reflective some trick of the light or weather will dress them as friends pleading and flailing and fill with placid but unbearable melodies. The exercise hardly provides revelation. Heteroglossia is an interweaving of voices, moreover, not shifts of tone or reference. And yet there is something very odd about the opening line. Why should we expect the buildings to be very impatient? This is more than the orator’s trick of attracting attention, since the animate nature of buildings and their constituents is referred to throughout the poem. To be more exact, the attitude of the inhabitants — observers, bureaucrats, architects — to the buildings is developed by the poem, and is paralleled by the tone. But why the confidential and repetitious attitude at the beginning. Why should we be buttonholed in this manner? Why the But, which seems to point to an earlier conversation, and the urgency with which that earlier conversation is being refuted or covered up? Because the blame for something is being shifted to the buildings. What error has been committed we do not know, but in mitigation we are shown the effect of the buildings on other inhabitants. Or perhaps we are. In fact the whirring bureaucrats seem to grow out of the fabric of buildings, and we do not really know if the we, constructing these webs of buildings is meant literally or metaphorically. The poem’s title suggests literally, but perhaps these constructions are only of the mind: sections 17, 20-29, 32 and 34 refer to attitudes rather than actions, and there is an ethereal or otherworldly atmosphere to the later section of the poem. So we return to heteroglossia, which is not simply borrowed voices, but involves an internal polemic, {12} that private dialogue we conduct between our private thoughts and their acceptable public expression. The dialogue is surely here between the brute physicality of a nature made overpoweringly real and the fail brevity of human lives. That physicality is threatening and unnerving. If the we of the later section of the poem is indeed architects then that physicality is harnessed to practical ends. If the constructing is purely mental then the treatment is through attitudes, mindsets, philosophies. But in neither case does it emasculate the energy of the physical world. Architects may leave monuments behind them, but they are also imprisoned in those monuments (us in deep hinterlands) and hearing all the time the homesick voice of their constituents. Conclusions: Suggested Improvements The greatest difficulty lies in the poem’s structure. An pentameter form has been used to give a superficial unity, but this wrenches the rhythm, obscures the sound patterns and does nothing for the argument. If recast in sections defined by rhythm and sound pattern the form is too irregular to have artistic autonomy. A return could be made to the eighteenth century Pindaric ode in strict metre and rhyme, but would require extensive and skilful rewriting, and probably appear artificial. A prose poem might be the answer, but the rhythms would need to be more fluid and subtly syncopated. Otherwise, blank verse should be attempted, and the metre adjusted accordingly. The internal polemic is a valuable dimension of the poem, but more could be done to make the voices distinct. http://www. textetc. com/criticism/stylistics. html1. On StylisticsIs cognitive stylistics the future of stylistics? To answer this question in the essay that follows, I will briefly discuss Elena Semino and Jonathan Culpeper’s Cognitive Stylistics (2003), Paul Simpson’s Stylistics (2004), and a recent essay by Michael Burke (2005). However, because questions are like trains – one may hide another – any discussion of the future of stylistics raises intractable questions about stylistics itself. French students of stylistics, for example, will come across definitions of the discipline like the following. According to Brigitte Buffard-Moret, â€Å"si les definitions de †¦ [la stylistique] – que certains refusent de considerer comme une scien

Wright And Wrong Essays - Nelle A. Coley, Pedagogy, Scout Promise

Wright And Wrong Essays - Nelle A. Coley, Pedagogy, Scout Promise Wright And Wrong old brain acquired any knowledge from was my parents. They were my soul teachers on what was and what was not ethical. Then one brisk fall day my tiny right foot hit the bus steps and I was off to my first day of school. It was in this one isolated incident in wh Beginning from birth until I was about five years old the only source that my five-year ich my brain began to fog up from the entire worlds views on ethics. Basically in the fraction of a second that it took my foot to make contact with the rubber stuff on the bus steps, I became perpetually confused as to what was right and what was wrong. As I made my way down the aisle of the bus I found a seat with a very scruffy little kid (Danny McCormick), whom would soon become my partner in crime. This was my best bud back in the day when days lasted weeks and weeks lasted years. Now being an extremely shy child I was his lackey, he said jump and I responded how high? We were that children who always had to sit on the wall during recess for throwing dirt at little Billy or for teasing little Susie about her stupid pink bow. To this day the smell of Windex will send me straight back to the days of cleaning the chalkboard and the desks during recess. Also we were the well-published chalkboard names with the vivacious yellow check mark strategically placed directly following. The two of us could be found at any given time together and probably causing trouble. So my best bud until about fourth grade basically taught me to be a little punk. Which totally went against everything my parents had taught me. Here is where I need to flashback to fill you in on my parent's background and what they had taught me until I started attending school. My parents are the basic run of the mile middle class parents. They are not: drug addicts, alcoholics, quick-tempered, violent, or in any way emotionally scaring. To sum it up my parents are the Huxtable's without all the sappy make you want to vomit scenes. They had always grilled a sense of love everyone, treat others the way you want to be treated view into my head. So meeting my little scruffy Danny was something extremely new and exciting to me. He taught me it could be fun to get in trouble, my parents of course thought otherwise and would try at all lengths to keep us apart. This was like trying to keep Bert away from Ernie. During the summer before fourth-grade Danny and his family moved to the upper- peninsula and we lost contact after about five years of what seemed like an everlasting friendship. I'm sure my parents were pained to see me hurt by the whole ordeal of losing my best buddy, but I also believe that they jumped for joy internally when he left in his parents beat-up old station wagon that day lost so long ago. The memory lives on and what he taught me will always be apart of what I hold ethical. Upon returning to school in the fall of the fourth grade I found myself surrounded by all the familiar faces minus one. I realized all these kids were the ones that we had tormented for so many years, why would they ever speak to me. So for a few days I basically kept to myself, went back to being really shy and I spoke to no one. My whole personality had changed into something these kids had never seen; I was not being a little bad ass. And one day a little curly-headed girl, (Heather Ross), whom we had repeatedly tormented, approached me and asked me to come over to her house and play and I did. This was the beginning of my second most beautiful friendship. Heather and I would do everything together just as Danny and I had, but this relationship was quite different. We didn't do everything to physically or emotionally injure another person, which was what I basically was doing for

Music Or Suicide Professor Ramos Blog

Music Or Suicide There are many ways that you can define suicide and how it affects us as individuals. According to the National Institute of Mental Health, there are three different types of suicides. Suicide is defined as death caused by self-directed injurious behavior with intent to die as a result of the behavior. Suicide attempt is a non-fatal, self-directed, potentially injurious behavior with intent to die as a result of the behavior. A suicide attempt might not result in injury. And lastly Suicidal Ideation refers to thinking about considering, or planning suicide. We learn suicide in many different ways, such as listening to music, on television, the acts of another person, bullying, encouragment and many more. Our main focus will discuss how music affects teenagers and adolescents causing and leading them to self-harm and kill themselves. According to the American Foundation of Suicidal Prevention, There is no single cause for suicide. Suicide most often occurs when stressors and health issues coverage to create an experience of hopelessness and despair. Depression is the most common condition associated with suicide, and it often undiagnosed or untreated. Conditions like depression, anxiety, and substance problems, when unaddressed, increase risk of suicide. Some of the things that we can look out for when looking for signs of suicide is the behaviors of another person. Statistics have proven that suicide is the tenth leading cause of death in the U.S. for all the ages. In 2017, 47,173 Americans died by suicide and 1,400,000 Americans attempted suicide. There were twice as many suicides in the United States then there were homicides. Among females, the suicide rate was highest between the ages of 45-54, and males aging 65 and older(American Foundation of Suicidal Prevention, Suicide Statistics). There have been many situations of teens killing themselves, because of the encouragement of what artists sing in their music. 2 Famalies Sue Heavy-Metal Band As Having Driven Sons To Suicide, written by Larry Rohter gives an example of two young Nevada men who shot themselves two days before christmas listening to albums by the heavy metal band Judas Priest. Another incident was the traumatic suicide that led to over 100 suicides was the â€Å"Gloomy Sunday†, by RezsÅ‘ Seresss. According to Ranker by Jessica M. Thomas. In 1933, it was soon known worldwide as the cursed song, â€Å"A social reality of 1980s America was a significant rise in the teen suicides†(Jessica M. Thomas). There were many deaths from this song that those that killed themselves had held the lyrics to the song on a note paper as a suicide note. The song was banned in many places because of the increase of suicides. As a result according to Centre for Suicide Prevention, Some commentators claimed that certain emo groups promoted negative behaviors such as cutting, self-harm, and even anorexia. There was a growing fear that positive perceptions of suicidal behaviour were rising, and that this new media was helping to spread its message at alarming rates (Ovell 2011). We also may not forget the case of a 19 year old John McCallum, who shot himself to death while listening to Ozzy Osbourne’s song â€Å"Suicidal Solution†. (Robert Olson). Let us also take a look at the songs that also encourage suicide, for instance the band Blink 182 â€Å"Adams song† speaks â€Å" The choice was mine, I didn’t think enough, im to depressed, to go on, you’ll be sorry when I am gone.† This song not only spoke of him not being able to continue with his life, soon after a year later after its release a 17year-old survivor of the Columbine High School shooting used it to soundtrack his own suicide. The song Tonight I Will Retire by Damien Jurado sings â€Å" Tonight I will retire to these hands of the revolver and I don’t fear death, I will commit†¦ Sure me not I deserve to die†. Him shooting himself to forget about the pain that he feels, and that is the only way for him to feel happy. Alone Again Naturally by Gilbert O’ Sullivan â€Å" I promise to treat myself and visit a nearby tower and climbing to the top will throw myself off.† Writing this song of a bride leaving him at the altar, of a broken heart, his only way to end his pain was by throwing himself off a building. And lastly Papa Roach’s song Last Resort he sings in his song â€Å"Cut my life into pieces this is my last resort, Suffocation no breathing dont give a fuck if I cut my arm bleeding.† The song convinces teenagers to question if living is worth it or is it better to commit. These songs as of thousands of more have encouraged those to end their life or try to attempt. We listen to the songs without even realizing what they are saying until the lyrics are right in front of us. In conclusion to the effects of music taking away the life of teenagers or adults, instead of encouraging them to look for the help we are only telling them it is okay to give up and doubt yourself. Taking your life away is the only way that you will find happiness. I believe that after the research we see how much suicide has increased even on its own. When the suicide rates started increasing Logic, Alessia Cara and khalid came out with the song (1800)273-8255, which is the number to the suicide hotline. The song encourages men and women to look for help and remind them that taking their life won’t fix the problem. In the song it also includes both point of views that sometimes it’s okay to question who you are nssd question life, but theres always someone out their who cares about you. If we can encourage young women and me. Or at any age to believe that they have a purpose the death rates and attempts would be lessened and could help many more look for the help that they need.If we can stop industries from publishing the songs that speak upon death or attempt it then we can encourage those to find help. Work Cited Overell, R. (2010). Emo online: Networks of sociality/networks of exclusion. Perfect Beat, 11(2), 141-162. Retrieved from academia.edu/763999/Emo_ online_networks_of_sociality_networks_of_exclusion â€Å"Risk Factors and Warning Signs.† AFSP, 14 Nov. 2018, afsp.org/about-suicide/risk-factors-and-warning-signs/. Rohter, Larry. â€Å"2 Families Sue Heavy-Metal Band As Having Driven Sons to Suicide.† The New York Times, The New York Times, 17 July 1990, nytimes.com/1990/07/17/arts/2-families-sue-heavy-metal-band-as-having-driven-sons-to-suicide.html. â€Å"Suicide, Rock Music and Moral Panics.† Centre for Suicide Prevention, suicideinfo.ca/resource/musicandsuicide/#references. â€Å"This Cursed Song Drives People To Suicide And You Can Listen To It Right Now.† Ranker, Vote on Entertainment Movies Tv Celebrity Comedy Horror behind the Scenes Nostalgia What to Watch Music Rock Hip Hop Country Metal Pop Music Singers Albums Music History Nerdy Gaming Comics Anime Cartoons Toys Tech Space Science Sports Nfl Soccer Nba Baseball Hockey College Sports Combat Sports Athletes Living Beauty Fashion Family Relationships Pets Home Career Automotive History Politics World History Us History Royalty War Mysteries Historical Figures Ancient History Culture Art Travel Books Deep Thoughts LGBTQ Astrology Funny Social Media Food Cooking Beverages Libations Fast Food Snacks Restaurants Healthy Eating Secret Menu Items Channels Total Nerd Weird History Button Mash Graveyard Shift Anime Underground Weird Nature Unspeakable Crimes Weirdly Interesting Video Shop, ranker.com/list/gloomy-sunday-song-curse/jessika-gilbert.

Whistleblowing. Whistle Blowing Issues That a Potential Whistleblower Essay

Whistleblowing. Whistle Blowing Issues That a Potential Whistleblower Should Consider Before Blowing a Whistle in the Public Sector - Essay Example Secondly, he should consider whether the issue involves are a breach of legal obligation like a contractual obligation awarded to the said officer. Thirdly, the case should involve an issue where justice was not effectively and fairly awarded to a victim or a party. Fourthly, the case should be one involving an issue concerning the endangerment of the public like a health or war issue. Lastly, the whistle blower should consider the issue of the state’s security by revealing such information to various parties as it might lead to chaos and unrest among the public. A case example of whistle blowing against the public sector involves where an individuals notices some abnormities in the armed service recruitment process. An example is when the concerned armed service officials are not selecting individuals based on their qualifications, but based on bribes, tribalism, nepotism or favors given to them. The second example is when a public servant tasked with ministerial office uses the office for selfish materialist gains like engaging with unscrupulous dealers to provide the public with poor quality products whose origins and sale have not been certified with the body concerned with monitoring of goods sold to the public (Arszulowicz & Gasparski, 2011, 97). . The Wikileaks Case as Whistle Blowing Case In my opinion, Wikileaks case is a whistle blowing cases as evidenced in many issues being raised about the company by various individuals. Most cases being brought up by the company against individuals or companies always involves circumstances where various issues are being perpetrated against the citizens or an individual. An example is the PFC or the Bradley Manning case where he believed that the issues Wikileaks was whistle blowing on has the capability of plunging the country into a state of unrest or would jeopardize the security of the nation. This was an issue concerning the armed services and the whistleblower has every intention to believe that their activities would lead to an overkill of various civilians involved. Manning provided a video that killed numerous citizens in Baghdad to the public which showed them of the government’s irresponsibility in taking care of the civilians. In my views, this information revealed the government’s role in failing to deliver its legal obligation to protect the citizens even in times of emergency (Arszulowicz & Gasparski, 2011, 45). . The Pros and Cons of the False Claim Act That Offers Payment to Whistle Blowers False claim Act cases are known to offer payment to whistle blowers because it considers the whistle blower as a significant person in aiding in the process of justice to the citizens and various parties concerned. However, false claims acts have both advantages and disadvantages to the whistle blowers in numerous instances. Advantages The false claim offers a pay-out to the whistle blower as way of showing gratitude in revealing various unethical issues happening in various state departments or aiding in the process of finding justice to various helpless victims who are not capable of protecting themselves. Secondly, false claim act offers payment to the whistle blower by ensuring public safety for various concerned individuals and stakeholders. A whistle blower will feel satisfied because the issue he or she has raised was disturbing to him and that is why he decided to blow the whistle on various concerned officials. When concerned officials take responsibility of a disturbing issue confessed by a whistle blower, then the whistle blower feels that he or she is compensated as his worries are addressed. Thirdly, many

MRP 4 Assignment Example | Topics and Well Written Essays - 1000 words

MRP 4 - Assignment Example According to Andree, R. G. (1974), In the US, elementary schools start from kindergarten up to second grade (k-2). Learning at this state is crucial since it’s the foundation of the education for the children. Therefore, if the teaching staff is motivated they will deliver quality concepts and also influence the performance of the learners. However, if demoralized learns won’t learn well; hence, the general performance is affected. Teaching at elementary school is currently challenging and demanding where technology is used in teaching therefore motivation of teachers is necessary to even go for computer classes. Underperformance is also a big challenge due insufficient efforts by the teaching staff especially in public schools. The research will try to address the cause of teachers de-motivation and determine whether motivation approaches will improve their teaching hence the overall performance of the learners. This approach entails the ways that can be suitable to increase the motivation of the teachers. Factors that usually reinforce motivation are applied so as to create interest for the staff hence job satisfaction. The approach used depends on the source of motivation. It can either be intrinsic or extrinsic. Intrinsic entails physical, mental and spiritual recognition and praise, responsibility for ones work and being comfortable at work. In this context, extrinsic motivation as an approach may include; training of staff and advancement in their career. Inclusion of the teachers in decision making will enable them identify critical areas and find out the best ways of finding solutions. Decision making enables them own the career hence will increase their drive force (Thomas, K., 2002). Provision of good working environment and also permitting them to go for further studies in their teaching area will improve their motivation. Dan Airley said that people think about motivation and payment as the same thing when they

EPIDEMIOLOGY and BIOSTATISTICS Essay Example | Topics and Well Written Essays - 3250 words

EPIDEMIOLOGY and BIOSTATISTICS - Essay Example Specific Tests are required more when a rare disease in question. However for such a communicable disease, early detection is a must and hence the more sensitive test i.e Test B should be chosen. 2. Physicians practising in the general community often find that on the average chronic debilitating conditions such as multiple sclerosis or connective tissue diseases lead to less disability and fewer complications than they were led to expect from reading reports in medical literature on the natural history of these conditions. Why do you think this is the case? Ans 2. The chronic debilitating conditions mentioned in these diseases is a subjective and dependant variable concern. Multiple factors affect the incidence and complexity of the above mentioned diseases. Or it could be the case that, Medical awareness in the community is high so these conditions get cured before reaching an advance stage. Thus all this could contribute to the fact that these chronic conditions seem to occur with less disability and fewer complications than they were led to expect from reading reports in medical literature on the natural history of these conditions. 3. Surgeons at hospital A report that mortality rate at the end of one year follow up period after a coronary by-pass operation is 15%. At hospital B the surgeons report a 1-year mortality rate of only 8% after the same procedure. What would you find out before concluding that surgeons at hospital B perform the operation with greater skill? Referral Bias is an important factor to be considered while determining the skill in the above case. A might be getting more complicated disease cases. Even for the same disease, it might get a disease in a more advanced stage. Thus even for the same number of cases, the mortality rate of the two hospitals is not comparable. 4. The following table shows data from a