Talk in life and literature
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Talk in life and literature. Starter – remind the person sitting next to you what the difference is between life and literature …. Assessment Focus. Talk in life and literature. Typical exam questions … .

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Talk in life and literature

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Talk in life and literature

Talk in life and literature

Starter – remind the person sitting next to you what the difference is between life and literature …


Talk in life and literature

Assessment Focus


Talk in life and literature

Talk in life and literature

Typical exam questions …

Explore the ways in which Arthur Miller uses literary, linguistic and rhetorical devices and conventions to create specific dramatic effects in scene …

A three part essay:

Dramatic effects and context

Dramatic effects created by linguistic devices

(discourse/spoken language features)

3) Dramatic effects created by use of literary and rhetorical devices


Talk in life and literature

Linguistic, Literary, Rhetorical and Dramatic effects

What are linguistic devices?

Discourse Conventions

Spoken Language features

Grammar

Syntax

Register

Relevant linguistic theories


Talk in life and literature

What are literary devices?

Use of imagery

Phonological Features

Use of form and structure

Lexical choices

The performance – use of stage directions/set

The importance of context


Talk in life and literature

What are rhetorical devices?

Persuasive devices:

A FOREST

Alliteration

Facts

Opinions

Rhetorical question/repetition

Emotive Language

Statistics

The rule of three


Talk in life and literature

What are dramatic effects?

PLOT:

Is the plot being revealed or furthered?

CHARACTER:

Is the character being established or revealed?

RELATIONSHIPS:

Are the relationships between the characters being developed?

THEMES AND IDEAS:

Are thematic ideas being presented?

AUDIENCE:

How are the audience meant to feel about the characters?

MOOD:

Is a particular mood being created?


Talk in life and literature

REVEREND PARRIS is praying now, and, though we cannot hear his words, a sense of confusion hangs about him. He mumbles, then seems about to weep; then he weeps, then prays again; but his daughter does not stir on the bed.

The door opens, and his Negro slave enters. TITUBA is in her forties. PARRIS brought her with him from Barbados, where he spent some years as a merchant before entering the ministry. She enters as one does who can no longer bear to be barred from the sights of her beloved, but she is also very frightened because her slave sense has warned her that, as always, trouble in this house eventually lands on her back.

What do we learn about Tituba?


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