reflection of language

Reading the Language -

Word Analysis (breaking down the meaning of words):
1. Completely fixed - determine, determining, determinate, determination, determined.
Even level - equal, equally, equitable, equality, equaled, equivalent
2. Fluency (understanding how words are used):
The determining factor of equitable distribution rests on the laurels of
liberty.
2. Systematic Vocabulary Development (understanding the meaning of
words.); Equivalent means to be the same or equal to another thing in
value. Used most in science; one gram is equivalent to 1000 milligrams.

Researching the language –

Develop the main ideas within the body of the composition through
supporting evidence (e.g., scenarios, commonly held beliefs,
hypotheses, definitions). Begin thinking about connecting information from what you read, what you experienced in the past and what you’re currently learning.

Writing the language –

Identify and correctly use clauses (e.g., main and subordinate),
phrases (e.g., gerund, infinitive, and participial), and mechanics of
punctuation (e.g., semicolons, colons, ellipses, hyphens).

Understand sentence construction (e.g., parallel structure,
subordination, proper placement of modifiers) and proper English
usage (e.g., consistency of verb tenses.)

Demonstrate an understanding of proper English usage and control
of grammar, paragraph and sentence structure, diction, and syntax.

-Reading, writing and researching the language at the same time -

Interpret and evaluate the impact of ambiguities, subtleties,
contradictions, ironies, and incongruities in a text.

Explain how voice, persona, and the choice of a narrator affect
characterization and the tone, plot, and credibility of a text.

Identify and describe the function of dialogue, scene designs,
soliloquies, asides, and character foils in dramatic literature.

Analyze a work of literature, showing how it reflects the heritage,
traditions, attitudes, and beliefs of its author. (Biographical
approach)

Students write clear, coherent, and focused essays. The writing exhibits
students’ awareness of audience and purpose. Essays contain formal
introductions, supporting evidence, and conclusions.

Students apply their knowledge of word origins to determine the meaning
of new words encountered in reading materials and use those words
accurately. (do you get what the story is trying to say?)
1.1 Identify and use the literal and figurative meanings of words and
understand word derivations. (can you figure out if a word is trying to tell you something about the story or if the word literally tells you something about the story?)
1.2 Distinguish between the denotative and connotative meanings of
words and interpret the connotative power of words. (Words have positive and negative characteristics. Can you figure out the difference? )
1.3 Identify Greek, Roman, and Norse mythology and use the
knowledge to understand the origin and meaning of new words.( Words have birthdays which we call the origin of words. Words that are drawn from Greek and Roman Mythology can be difficult to get at times. To command this knowledge requires you to grasp its understanding. e.g.,
the word narcissistic (which means to be in love with yourself which infers one to be conceited and unaware of other things beautiful. The word narcissistic is drawn from the myth of Narcissus and Echo. The word Herculean is also draw from Greek Myth; it is a word that describes of something incredible happening.)

When we read, we break down words to understand their meaning. Do we get what the story is saying? Can we figure out what the word is trying to describe? Can we determine their positive or negative qualities? Is the origin of a word drawn mythology? Let’s break this down in bullet form:
- Grasp the vocabulary
- retell the story or passage
- figure out the words meaning
- determine its connotation
- draw the connection to the mythology

Example of a passage – Julius Caesar

And when you saw his chariot but appear,
Have you not made a universal shout,
That Tiber trembled underneath her banks,
To hear the replication of your sounds
Made in her concave shores?
And do you now put on your best attire?
And do you now cull out a holiday?
And do you now strew flowers in his way
That comes in triumph over Pompey's blood? Be gone!
Run to your houses, fall upon your knees,
Pray to the gods to intermit the plague
That needs must light on this ingratitude.
-Grasp the vocabulary-

The passage is heavy with figurative vocabulary: “That Tiber Trembled..the concave shores..triumph over Pompey’s Blood..” These passages connotate a tone that is characteristic to an authoritarian angry at its people.
-Retell the story passage-

A Roman tributary, Marullus, is commanding the commoners to go back to work and to stop making holiday out of the triumph over Pompey. “ Be gone! Run to your houses…” the governing voice shouts to its citizenry that they are fools to celebrate the defeat of Pompey and ignorant to the voices that speak of truth to you of the real plague. He orders the festive crowd to go home and pray. Gratitude of Pompey’s defeat in celebration is wrong and unjust.
-connation of word significance-

Tiber is a river that runs through the historic lands of Greece. The historic allegory, or the allusive significance of Tiber is to convey the importance of a battle that left Pompey’s blood, a general of Rome, to stream down the waters of Tiber.




Voice –
When describing a thought, ask yourself the following:
1. What is your voice – active or passive
2. What is your tense – present, past or future
3. Do you have understanding in a word?



Questions to know -

1. Which of the following sentence would make the most effective opening statement?
2. Which of the following sentences supports the main idea of an essay?

-Writing Prompts-
Write a biographical narrative of a person or group of persons:
a. Relate its sequence of events effectively and with significance.
b. Locate scenes and incidents in specific places.
c. Describe with concrete sensory details the sights, sounds,
and smells of a scene and the specific actions, movements, ges­
tures, and feelings of the characters.
d. Use interior monologue to depict the characters’ feelings.
d. Pace the presentation of actions to accommodate changes in
time and mood.
e. Use descriptive structures to describe appearances, images,
shifting perspectives, and sensory details.

Liberties Veil –

Orbs from celestial spheres in flight like Arcadia’s chariots,
A behemoth mass, strides along the tides of echoing Hellas,
And to Troy; her death of Alexander in Cleopatra’s rags,
The plight of irony masked in mockery the death concealed,

Darkness in blood enveloping all that sense could rapture,
The crash of steel and spiteful fury set fire the canopy blue,
And the ghost of Hamlet manifesting his prophetic image,
Her haloed crown now stained beyond the angelic ivory,

Mother planet; your liberty veiled by antiquating verses,
By looming miscreants that breed the perpetual fraudulence,
Your nature is the yolk of such things eternal and divine,
The snapshot ebbing panic stoic like ancient warrings,

April’s swindled lilacs robbed still warm from Autumn’s capture,
Her gardened callous tar exposing the soils which bare her lies,
Was not the plight of God in One? Was not the voice of verse his Son?
Has not the lure of bait escaped Angels worked? To trap the boundless fallen?

We shadow our light and veil our liberties and old myths return,
Like Dutch Master’s who cloak deceit by despot shrouds.

My Blue Truck

Yes, it's true, the patient thorns of virtue,
Sting in subtle waves, the innocent dreams,
the stingy waiting rooms of childhood,

I never learned to still my anxious panic,
Heckling the furniture and cursing the floors,
When the worry grew loud I couldnt bear it,

And finally, like the end of a painful shot,
The screeching rubber of the blue truck heard,
My Dad, my hero, my everything rode down,

Away went the grieving sad grunts
And my tremoring fears,
Dad, the Shaman Warrior, swept up my tears.

Alliteration
The triage of attraction in literary structure is literary device, believability and sequential. Alliteration falls into the literary device category. Writer’s, especially poets, use alliteration to attract the reader/audience to a particular scene, moment, and action. Proximal attraction occurs if and only if the believability of the author’s intent is believable uniform to the plot sequence. Alliteration – a literary device prescribing similar consonant sounds to words in physical approximation. Alone, Alliteration may spark acute interest, be it trivially, randomly, with little or mention. Its strength depends upon other factors; author’s purpose, intent, tone, diction, believability and uniformity to its plot.
Question - Choose a character, a statement, a theme, an occurrence, an image, or a scene in a novel, play, or poem and write a personal essay developing your response to your choice. There are two ways to develop this paper. (1) You may make a point by point comparison and/or contrast between the work and yourself. (2) You may refer to the work briefly and then devote the rest of your essay to your own response. For example, you could refer to the novel only once, at the beginning of the paper, using the reference to the novel as a jumping off point for your discussion; or you could refer to the work in your conclusion, to wrap up your topic.
Act 5; scene 1; Hamlet.
Shakespeare’s Hamlet is a juxtaposing carousel of structures; an inlay of levels, within the structural parameters of believability and sequence. Setting, the dramatic personae’s; both dead and alive, the metaphysical embeddings, such as Hamlet’s ghost and MacBeth’s witches, the situational ironies between character and audience, the play of words through dialogue and/or soliloquy, the binding literal and figurative historical references through allusion, foreshadowing, and other literary methods. All the ambiguities and nuances that may hinder believability and uniformity are covered. In Act 5, Scene 1, Hamlet is vexed by the insignificance of Yorick, once an important member of the court, an elderly advisor to Hamlet, now, dust and bones. The significance here is the contradiction of life and death; a parallel to Hamlet's own life, as he fears his life will as well be insignificant. This makes Hamlet contemplate his own methodical madness of conviction.

Rhetorical Proximity – an approximate connection of emotional attraction by the audience towards the aesthetic value of an author’s work. Weak rhetorical proximity may be in the informative; directions to the library, a puzzle, a dinner menu; Strong rhetorical proximity is generally found in Shakespeare, the master of word play; the repetitive sequence of intermittent breaks within lines, methodical ironies of verbal situational and the dramatic , the paradoxical relationships, the contradictions, the clown motifs, the metaphysical insertions; the dual nature of circumstance constantly streams around, each having significant interest at various moments in the play. We are fully involved. In Hamlet, the play by William Shakespeare, at any time, throughout the play, there are simultaneous slices of drama and mini dramas present, embracing a central conflict. The ghost, Hamlet, the fog, a castle, the royal bloodline of Denmark; would be an example of rhetorical proximities; thus, what manifests is an attractive quality that bounds the audience to its personae.

colege notes

My college notes – emphasis in Literature

Literature is a multi-modal discipline. A well constructed work has structural strength, creative burst, and a coherent flow.

The Moral Sense – In literature -

One’s pride must not let others to be threatened by, especially that of the individual which believes pride conquers.

One’s – 3rd person 1st would be “my” 2nd would be “your”
Present tense - verbs are must, let , be threatened

Tragedy – an imitation of an action (motive, motivation)
Has serious implications
There are things which stand outside or beyond the action
Possesses magnitude, greatness, largeness
The language is an exalted poetic verse; exalted meaning too heavy, too much, too rich too ripe, poetry is out of sync; transcends our everyday colloquial speech
Emotionally, catharsis; audience participation – which is to pity and fear the tragic hero
Pity – aroused by unmerited misfortune
Fear – aroused by misfortunes of ourselves
The tragic hero has: nobility, is pre-destined
To conclude, tragedy in literature is flawed pride on a grandiose scale, progressively moving in stamp misfortune emanating catharsis
The belief and realization that a human being must face overwhelming consequences is too great for the audience.
It is a gradual rise - contrary to comedy, a circular rise
The process of tragedy moves away from control to chaos
Exposition – the beginning of a play (exposing itself to the world.)
Conflict – Two parties in interaction
Crisis – A point of no return fates take over
Climax – the absolute height of catharsis
Turning point – the quick fall
Resolution – end denoument fin
The power of metaphor between men and women – Man must convert language into woman’s language. Example, home to man is the fort; the hold of the family; the protectorate; the hall – and to a woman, a house is her comfort, her security, her place to create; may it be weaving, cooking, rearranging.
For men, language is denotative(fixed yet rigid); for women, it is connotative (wobbly yet flexible) Men have difficulty understanding the language of a woman, so man must change.
The issue of power – In any love story, women are the saviors. She is on top; sexually and socially. The issue of power of man is violence; distressing brutality. This is male power. The true source of power is persuasion. There is no internal ego towards women. Therefore, the weaker of the two is the male. Violence is demoralizing; deceiving attraction; corrupt influence; active ignorance – Love is absolute moral sense; it is truth and beauty; natural attraction.
Humanism –celebrates the power and spirit of the human being. It is a human invention. A natural attraction; truth; beauty; self healing; illuminating; controversial and at times cutting edge; ahead it time; earth shattering; boundless; creatively infinite; Love.
It spread mainstream in the 17th Century, during the time of discovery.
The force opposed is Fundamentalism; it is theocratic; secular, governing. An obstacle intended to tame the human being; to bound; impregnate active ignorance by way of vitriolic rhetoric; ambiguous verse, connotatively wobbly, emotionally charged.
The break – opposing forces within the human being. Anne Bradsreet; a Puritan that celebrated human achievement; a perplexity; contradiction; paradoxical pandemonium; through it, something’s breaks; either an explosion or implosion.
Implosive self determiner – tamed, given up, accepting fate; convinced into
Explosive self determiner – freedom, true righteousness, accepting new fate, realized into
The Orator – the transcendentalist. Teacher of self-relevance. Didactic; influential; respected; source of primary acquisition; teacher-student instruction.

POETRY - The silence of tragedy; a primary focus on language. Speaks directly. Words can fail. Poetry attempts to rebuke the charge that words in fact fail; Thus, Poetry steam-cleans, re-suits, reinforces, reinvents, responds, recalculates, redefines, reimburses, redirects, revamps, recollects, repudiates, reorganizes, reinstates, replenishes, restores, reduces, and even recommends a thought to a thought; From one thinkers thought to another.
Thinkthought –
Post Modern Literary Theory states that “words” have trace value. Absent in language cannot be traced. A gap in knowledge; disconnect; reinventing with absence; Therefore, since words are trace; to signify a word it must be de-constructed then reconstructed to its real significant value.
What is signified from a word has no real value. Rhetorical legislation. The absolute significance to any significant object is God transcended.
God transcended in the physical is “Happiness.” This is achieved when is close to the attractive beauty in truth; the intrinsic moral signifier; contradiction to the linguist; a sense of absence of meaning. A tinge naïve yet may have misconstruing forms, post literary theory suggest to begin from the start; the seed; thus, the image, itself, in pure form. Then begin to reconstruct into the true essence of significance.
Examples can be seen in political climates; the connotative deception and misconstruing tones; from dire to urgent to panic to apathy to charm or to plain numbness, boredom, the active ignorance scale should be calibrated and reexamined to fully understand post literary theory. Examples – Surrealism, Dadaism, Man Ray, Theatre of the absurd.

Monday, January 10 -

A new system
Projects
Sentence patterns
American literary movment
JC and GG -
Homework
Idoms

Todays track : Rhetoric -


What is rhetoric?



Rhetoric is the study of effective speaking and writing. And the art of persuasion. And many other things.
In its long and vigorous history rhetoric has enjoyed many definitions, accommodated differing purposes, and varied widely in what it included. And yet, for most of its history it has maintained its fundamental character as a discipline for training students 1) to perceive how language is at work orally and in writing, and 2) to become proficient in applying the resources of language in their own speaking and writing. (See rhetorical pedagogy)
Discerning how language is working in others' or one's own writing and speaking, one must (artificially) divide form and content, what is being said and how this is said (see Content/Form). Because rhetoric examines so attentively the how of language, the methods and means of communication, it has sometimes been discounted as something only concerned with style or appearances, and not with the quality or content of communication. For many (such as Plato) rhetoric deals with the superficial at best, the deceptive at worst ("mere rhetoric"), when one might better attend to matters of substance, truth, or reason as attempted in dialectic or philosophy or religion.
Rhetoric has sometimes lived down to its critics, but as set forth from antiquity, rhetoric was a comprehensive art just as much concerned with what one could say as how one might say it. Indeed, a basic premise for rhetoric is the indivisibility of means from meaning; how one says something conveys meaning as much as what one says. Rhetoric studies the effectiveness of language comprehensively, including its emotional impact (see pathos), as much as its propositional content ( see logos). To see how language and thought worked together, however, it has first been necessary to artificially divide content and form.