Year 11 English Extension 1 Emma & Clueless Appropriation Sample Essay Questions 1. You have studied two texts composed at different times. When you compared these texts and their contexts, how was your understanding of each text developed and reshaped? 2. “Appropriation study of texts is interesting because the changing values and attitudes of particular time periods can be observed.” Evaluate this opinion in relation to the Jane Austen’s novel, Emma, and Amy Heckerling’s film, Clueless.
Flow Chart for Revising YourEssay #3 Questions: Yes/No? Revision strategy follows each question. Introduction and Thesis: Does your introduction immediately invite your reader to engage with the novel or story and critical essay with you? Explain. If no, then: Cut any tangential information that doesn’t get right to the subject and framing question for the short story "Omelas" or provide a good introduction to the graphic novel, Persepolis.
How does the style (on the level of specific language, sentence structure, etc.) in which a work is written relate to the story it has to tell – to its thematic concerns, to the way its plot is organized, to the types of character the author represents, etc.? You may write on “The Garden of Forking Paths,” “Why I Live at the P. O,” or “Where Are You Going, Where Have You Been?” Remember that in order to answer this question, you’ll first need to establish what the author’s style is (with evidence and specific terminology), but work well beyond that to explore what that style does. 5. Eudora Welty suggests that the plot of a short story is often “a projection of character.” Consider this claim in relation to “Barbie-Q, “Gimpel the Fool,” or “Everyday Use.” What is the relationship between plot and character in the story you
The choices she makes throughout are frequently wrong, although her intentions are correct and honest. Her biggest mistake is her sympathy for Mickey after his accident and her decision to help in his rehabilitation. She had escaped the trap, and then foolishly stepped back in, even without her firm decision not to remarry. This essential point is misunderstood by some viewers, who do not realize that Francine and Mickey are divorced during the last half of the flashback. Technically, Mickey’s attacks are not spouse abuse, but straightforward assault and battery.
All of these phrases illustrate Nick being unsure, which makes him a non omniscient narrator. Nick knows nothing more than we do in this novel, if not less. We cannot take what Nick says to be literal due to his indecrepancies as a narrator. He is not credible and since there are moments in the novel where Nick cannot be seen as credible, it makes the whole novel questionable because if he lies and alters his perception at certain moment, what’s to say he’s not that way all along. Nick sees Gatsby as a wonderful man who can do no wrong in his eyes.
While the sister will have different opinions on situations, seeing these personalized viewpoints help the reader to make a connection to all the sisters and furthermore, the entire book. Dedé's third-person view gives the reader a feeling that the story revolves around her, and that she acts as a sort of narrator for the book. In the first chapter, her words as well as the true narration from Alvarez set up foreshadowing for the entire plot. It makes it very easy for the reader to get “lost in (Dedé’s) memories (…) searching for the answers” (Alvarez 5) just like she does. The reader learns about how Dede, the sister who survived, has to deal with many interviews even after years that her sisters have died.
In her description, she has been able to prove that she is educative, she has an indomitable spirit, and she is a source of inspiration to other MS patients. She encourages them to be happy even in their crippled condition. Firstly, Nancy Mairs, in her essay, has proven to be educative as she talks about the English language and gives details of the symptoms and effects of multiple sclerosis. She talks about the word “cripple” as the most appropriate word to define her condition instead of using other words like disabled, handicapped or differently disabled. She writes; “Cripple seems to me a clean word, straightforward and precise” (206).
In Proctors case it is opposite, he objects to the girls false deeds and no one believes him because the majority of people do not. Even Hale says it may well be God damns a liar less than he that throws his life away for pride, Proctor took a risk to see if he could get some people to believe him but the majority of the crowd did not, so it could not be true according to them. John Proctor, our main character, is in desperate need of forgiveness at the start of the play, but his wife seems torn about whether to grant it, Proctor finally decides to come clean and clearly realizes that Abigail is a whore and a
Bronte uses figurative language in order to illustrate Jane’s development in her accepting of Rochester and willingness to “attend” to him. Jane’s character development is clearly displayed when saying “for i became his vision, as I am still his right hand” , Jane becoming Rochester’s vision is extremely significant to character development because Rochester’s “great dark eyes” were a symbol of his power. Thus this language conveys Jane’s gain of power, and Rochester’s dependence shift to Jane. “never did i weary of reading to him; never did I weary of conducting him where he wished to go : of doing for him what he wished to be done.” This shows she has matured enough to love him for his innermost qualities, and how Jane is willing to accept him as he is, which is a contrast to when Rochester tries to dress her “like a doll” in chapter 24. Which is also significant in the lines ; “ ‘Jane have you a glittering ornament around your neck?’ ‘I had a gold watch-chain.
Language and Identity in Sandra Cisneros’s The House on Mango Street* Adriane Ferreira Veras** Abstract This article presents a critical reading of the novel The House on Mango Street by the Chicana author, Sandra Cisneros. The focus of the reading falls on Esperanza, the novel narrator, and her longing for a home as a representation of her need to selfaffirm and develop her identity. This paper analyses the identity issue of a subject culturally hybrid, besides that, it also analyses aspects of the narrative, including language as a mark of such identity. The novel can be considered a representative of a Chicano discourse, in which one can follow Esperanza’s journey of growth and development into the adult life, constituting a Chicano Bildungsroman. The theoretical support used comprehends authors who investigate identity issues, such as Stuart Hall, Homi Bhabha and Gloria Anzaldúa.