Q4 english 10 reviewer

• a method of interpreting literary texts that seeks to understand the historical and cultural context in which the text was written.
• it has a long history, originating in the enlightenment and developing in the nineteenth and twentieth centuries.

• STEP 1: SOURCE CRITICISM
  • identify the sources that the text draws from.
  • analyze how the text uses these sources.
  • consider the historical and cultural context of the sources.
• STEP 2: FORM CRITICISM
  • identify the form or genre of the text.
  • analyze how the form or genre relates to the historical & cultural context.
  • consider the purpose of the text in its original context.
• STEP 3: REDACTION CRITICISM
  • identify any changes or additions that have been made to the text over time.
  • analyze why these changes or additions were made.
  • consider the historical and cultural context in which the changes or additions were made.
• STEP 4: HISTORICAL & CULTURAL CONTEXT (SOCIAL CONTEXT)
  • research the historical and cultural context of the text.
  • analyze how the historical and cultural context influenced the text.
  • consider the biases and assumptions that maybe inherent in the text due to its historical and cultural context.
• remember that the historical-critical approach is just one of many methods of interpretation.
• be aware of your own biases and assumptions when using this approach.
• use a variety of sources to research the historical and cultural context of the text.
• consider the limitations of the historical-critical approach and use other methods of interpretation to supplement your analysis.
• remember that the goal of interpretation is not to arrive at a single “correct” meaning, but to gain a deeper understanding of the text and its context.

• parallel structure in writing meaning using the same pattern of words to show the relevance of the ideas.
• it links related ideas and emphasizes relationships between them.
• parallel structure also makes the writing more forceful, interesting, and clear.
• it also enhances cohesion of your writing when using words and phrases that have the same grammatical structure.

• advocacy is a form of acting to bring about change.
• a process which involves people in decision-making.
• an action that speaks in favor of, recommends, argues for a cause, and supports or defends.

• have their voice heard.
• defend and protect their rights.
• have their opinions and desires considered.
• language?
• connection?
• advocacy?
• advocacy uses a language that is either literal or figurative.

• a language that means just what it says without comparison, overstatement, or understatement.
• means exactly what is written.
• example:
  • “it was raining a lot, so i rode the bus.”

• used to mean something other than what is written, something symbolic, suggested, or implied.
• words are used in a way that is different from their literal meaning.
• example:
  • “it was raining cats and dogs, do i rode the bus.”

• is a judgment or a decision that you make based on the information you have.
• it is reached by applying deep thinking and reviewing information that is provided.
• we draw conclusions from what additional information we have gathered or inferred.

• is forming an idea using information from the text.
• when you draw a conclusion, you use two things:
  1. what you read from a story or a text.
  2. what you already know in your head.
• readers draw conclusions as they read to help them understand the story.
• a writer will provide information about an idea but not come write it out and tell you what to think.
• when this happens, the writer wants you to draw a conclusion.

1. review all the information stated about the person, setting, or event.
2. look for any facts or details that are not stated but already deducted.
3. Analyze the information and decide on the next logical step or assumption.
4. Come up with a conclusion based on the situation.

• is a shortened version of a text that highlights its key point.

• read the material and identify the main idea.
• Begin with an introductory statement.
• Turn the main idea to sentences.
• use transition words.
• Review the summary.

• is used as a direct object when the object is the same as the subject of the verb.
• it is placed after the verb.
• Follows the pattern noun+verb+pronoun.
• the words myself, yourself, himself, herself, itself, ourselves, yourselves, and themselves are reflexive pronouns.

• a writer’s use of words which connects to a reader’s sense of sight, touch, taste, smell, or hearing in order to develop a mood, idea, character, or theme.
• there are also forms of imagery that connect to your sense of movement and your perception of temperature.
• usually used in descriptive, literary, and narrative text.
• literature:

• sensory imagery is the collection of images that are created in your head from detailed descriptions in poetry and prose.
• sensory imagery is created with details that help the reader see, smell, taste, and feel (tangibly) things without actually experiencing them.
• it can also create thermal images and images relating to movement.
• ultimately, sensory imagery is a good indicator of mood in both poetry and prose writing.

• the following are the academic terms for the sensory words we will be using during throughout the unit, please familiarize yourself with each term.

1. VISUAL — sight words
2. AUDITORY — sound words
3. GUSTATORY — taste words
4. TACTILE — touch words
5. OLFACTORY — smell words
6. THERMAL — temperature words
7. KINESTHETIC — movement words

• this is the most frequent imagery used to recreate a curtain image.
• example:
  • “and the yellow half moon large and low…” — browing, meeting at night

• is the mental representation of any sound and it is vital in imaging and reeling a situation.
• example:
  • “overlaying all this, a soundtrack: choo-ka-choo-ka-choo-ka-choo-ka-choo-k — the metronomic rhythm of an amtrak train rolling down the line to california, a sound that called to mind an old camera reel moving frames of images along a linear track, telling a story.” — andy isaacson, ‘riding the rails’, the new york times, 03/8/09

• is related to smell and this imagery helps summon and deliver the smells to the reader.
• example:
  • “gio’s socks, still soaked with sweat from tuesday’s p.e. class filled the classroom with an aroma akin to that of salty, week-old, rotting fish”.

• appeals to the sense of touch by presenting attributes like hardness, softness, or hot and cold sensations.
• example:
  • “the bed linens might just as well be ice and the clothes snow.” — robert frost, the witch of coos.

• illustrates and recreates the tastes of food or many other things.
• example:
  • “Tumbling through the ocean after being overtaken by the monstrous wave, mark unintentionally took a gulp of the briny, bitter mass, causing to cough and gag.”

• illustrates the sensation of movement.
• example:
  • “ the big gate of the bull-ring was open, and inside the amphitheatre was being swept. the ring was rolled and sprinkled, and carpenters replaced weakened or cracked planks in the barera. standing at the edge of the smooth solled sand you could look up in the empty stands and see old women sweeping out the boxes.” — hemingway, the sun also rises

• is not required to be read from beginning to end since its reading path is non-sequential.
• in assisting the readers, visual aids such as graphic organizers, concept maps, diagrams, and charts are used.

• is known as figurative language.
• is a creative use of language to

generate an effect.

• some figures of speech, like metaphor, simile, and metonymy, are found in everyday language.
• others, like antithesis, circumlocution, and puns take more practice to implement in writing.

1. ALLITERATION
   • is the repeating of consonant sounds right next to each other, which creates a memorable or melodic effect.
   • example:
     1. she sells seashells by the seashore.
2. ANTITHESIS
   • is a literary technique that places opposite things or ideas next to one another in order to draw out their contrast.
   • example:
     1. “it was the best of times, it was the worst of times…” —charles dickens, a tale of two cities
3. APOSTROPHE
   • Is when a character addresses someone or something that isn’t present or cannot respond.
   • the character might speak to someone deceased, an inanimate object, or a concept.
   • example:
     1. “o romeo, romeo, wherefore art thou romeo?” —william shakespeare, romeo and juliet
4. CIRCUMLOCUTION
   • is the use of a purposely wordy description.
   • you can think of it as talking in circles.
   • example:
     1. in the harry potter series, most characters don’t say lord voldemort’s name; instead, they use this circumlocution; “he who must not be named.”
5. EPIGRAM
   • is a clever and memorable statement.
   • you will find epigrams in speech, poetry, and at the front of a book.
   • example:
     1. “no one can make you feel inferior without your consent.” —eleanor roosevelt
6. EUPHEMISM
   • is a way to say something in an understated manner, often to avoid difficult topics—like money, death, or sex.
   • example:
     1. death can be an uncomfortable subject, so we’ve developed many euphemisms to avoid confronting it head-on. rather than telling a friend that a relative died, you might say they “kicked the bucket”, “passed away”, or are “no longer with us.”
7. HYPERBOLE
   • is a deliberate exaggeration that adds emphasis, urgency, or excitement to a statement.
   • example:
     1. if i don’t eat soon, i’m going to die of hunger.
8. IRONY
   • is a situation that subverts a reader’s expectations.
   • example:
     1. one of the characters in your story is a hypochondriac, always convinced that they have an exotic and uncurable disease. an ironic ending for that character would be if they died of a common cold.
9. LITOTES
   • use a double negative to create a positive.
   • example:
     1. you’re not wrong.
10. METAPHOR
    • is the direct comparison of dissimilar things to create more vivid imagery or understanding.
    • example:
      1. he was an onion; to understand him, she had to peel back the layers.
11. METONYMY
    • is a literary device in which a word or object stands in for a closely related word or object.
    • gives a writer more variability with descriptions.
    • example:
      1. i thought his movies were better when they weren’t so hollywood.
12. ONOMATOPEIA
    • is a word that sounds like what it means.
    • example:
      1. when a character is exasperated, they might exclaim, “sheesh!” that’s both a word to show exasperation and a sound that happens when you sigh loudly.
13. OXYMORON
    • is a phrase that uses two contradictory words to create a new meaning.
    • example:
      1. that strawberry cake was awfully good.
14. PARADOX
    • is a statement that appears to contradict itself but contains some truth, theme, or humor.
    • example:
      1. “all animals are equal, but some animals are more equal than others.” —george orwell, animal farm
15. PERSONIFICATION
    • is assigning human attributes to nonhuman things.
    • example:
      1. the floorboards groaned under the weight of each step.
16. PLEONASM
    • is the use of more words than necessary to convey meaning.
    • a writer might use pleonasm for humor or emphasis, or they might not realize they’re using extra words at all.
    • example:
      1. the burning fire warmed the whole house.
17. PUN
    • is a form of wordplay that purposely substitutes words that sound similar but have different meanings.
    • example:
      1. “‘mine is a long and sad tale!’ said the mouse, turning to alice and sighing. ‘it is a long tail, certainly,’ said alice, looking down with wonder at the mouse’s tail; ‘but why do you call it sad?’” —lewis carroll, alice’s adventures in wonderland
18. SIMILE
    • compares two dissimilar things using “like” or “as.”
    • the goal of simile is to give the reader a more vivid understanding of something.
    • example:
      1. it was the first real day of summer, and by the time she came back indoors, she was red as a tomato.
19. SYNECDOCHE
    • is when a smaller unit is used to signify a larger unit or vice versa.
    • example:
      1. new england won the game by a touchdown.
20. UNDERSTATEMENT
    • is the intentional downplaying of a situation.
    • this can create a humorous or deadpan effect in writing.
    • example:
      1. “i have to have this operation. it isn’t very serious. i have this little tumor on the brain.” —j.d. salinger, the catcher in the rye