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the model millionaire stylistic devices

This is the lesson to accompany the story "The Model Millionaire " by Oscar Coleman's Classroom poselok-dobroe.ru Literary Terms: Alliteration. The story "The Model Millionaire" by Oscar Wilde is about a man named Hughie Erskine. Hughie is in love with a woman named Laura. Oscar Wilde has given us a lot to think about in ''The Model Millionaire.'' In this lesson, we'll explore some of the themes in the story, as well./

Comparison means weighing two objects belonging to one class of things with the purpose of establishing the degree of their sameness or difference. To use simile is to characterize one object by bringing it into contact with another object belonging to an entirely different class of things. Comparison takes into consideration all the properties of the two objects, stressing the one that is compared.

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Simile excludes all the properties of the two objects except one which is made common to them. It is ordinary comparison. Similes have formal elements in their structure: A metaphor becomes a stylistic device when two different phenomena things, events, ideas, actions are simultaneously brought to mind by the imposition of some or all of the inherent properties of one object on the other which by nature is deprived of these properties.

Metaphor can be presented by all notional parts of speech — nouns, verbs, adjectives and adverbs: England has two eyes, Oxford and Cambridge n , friendly trees adj , The night whispered to him v , They entered the room slender adv. The SD of metaphor can be classified semantically and structurally.

The Model Millionaire Lesson

Semantically metaphors can be classified according to their degree of unexpectedness. Metaphors which are absolutely unexpected, i. Structurally metaphors can be simple and sustained. The simple metaphor is realized in one word and creating one image. Sustained metaphor is realized in a number of logically connected words and creating a series of images supporting the central one: Osborne Fresh metaphors are mostly to be found in emotive prose, while trite metaphors are used as EMs in newspaper articles, in oratory, even in scientific language.

Personification is a kind of metaphor in which human qualities are ascribed to inanimate things. The non-human objects are portrayed in such a way that we feel they have the ability to act like human beings. Thus, we can say that the sky has been personified in the given sentence. Then the moon held a finger to her lips and the lake became a clear pool, pale and quiet. The chief function of metaphor is to create images. Epithet, oxymoron and metonymy Epithet is probably as well known to you as metaphor, because it is widely mentioned by the critics, scholars, teachers, and students discussing a literary work.

Epithet expresses a characteristic of an object, both existing and imaginary.

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Its basic feature is its emotiveness and subjectivity: The epithet is a stylistic device based on the interplay of emotive and logical meaning in an attributive word, phrase or even sentence, used to characterize an object and pointing out to the reader, and frequently imposing on him, some of the properties or features of the object with aim of giving an individual perception and evaluation of these features or properties.

The epithet is markedly subjective and evaluative. The logical attribute is purely objective, non-evaluating.

It is descriptive and indicates an inherent or prominent feature of the thing or phenomenon in question. Thus in green meadows, white snow, round table and the like, the adjectives are more logical attributes than epithets.

They indicate those qualities of the objects which may be regarded as generally recognized. But in wild wind, loud ocean, heart-burning smile, the adjectives do not point to inherent qualities of the objects described.

They are subjective evaluations. Our speech ontologically being always emotionally colored, it is possible to say that in epithet it is the emotive meaning of the word that is foregrounded to suppress the denotational meaning of the latter.

Through long and repeated use epithets become fixed. Many fixed epithets are closely connected with folklore and can be traced back to folk ballads e. The structure and semantics of epithets are extremely variable which is explained by their long and wide use.

Semantically, there should be differentiated two main groups, the biggest of them being affective or emotive proper. These epithets serve to convey the emotional evaluation of the object by the speaker. Most of the qualifying words found in the dictionary can be and are used as affective epithets e. The second group - figurative, or transferred, epithets — are formed of metaphors, metonymies and similes expressed by adjectives. In the overwhelming majority of examples epithet is expressed by adjectives or qualitative adverbs e.

Language and style of The Model Millionaire by Oscar Wilde

They are used either as exclamatory sentences You, ostrich! Epithets are used singly, in pairs, in chains, in two-step structures, and in inverted constructions, also as phrase-attributes. Pairs are represented by two epithets joined by a conjunction or asyndetically as in "wonderful and incomparable beauty" or "a tired old town". Two-step epithets are so called because the process of qualifying seemingly passes two stages: Phrase-epithets always produce an original impression.

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Their originality proceeds from rare repetitions of the once coined phrase-epithet which, in its turn, is explained by the fact that into a phrase-epithet is turned a semantically self-sufficient word combination or even a whole sentence, which loses some of its independence and self-sufficiency, becoming a member of another sentence, and strives to return to normality.

Inverted epithets are based on the contradiction between the logical and the syntactical: Thackeray says "this devil of a woman". Here "of a woman" is syntactically an attribute, i. Oxymoron is a SD realized in the combination of two words mostly an adjective and a noun or an adverb with an adjective in which the meanings of the two clash сталкиваться , being opposite in sense, e. In other words oxymoron is a combination of two semantically contradictory notions, that help to emphasize contradictory qualities simultaneously existing in a described phenomenon as a dialectal unity.

As a rule one of the two members of oxymoron illuminates the feature which is universally observed and acknowledged while the other one offers a purely subjective, individual perception of the object. In oxymoron the logical meaning holds fast because there is no true word combination, only the juxtaposition соприкосновение of two non-combinative words.

But we may notice a peculiar change in the meaning of the qualifying word. Henry "I despise its very vastness and power. It has the poorest millionaires, the littlest great men, the haughtiest beggars, the plainest beauties, the lowest skyscrapers, the dolefulest унылый pleasures of any town I ever seen. The most widely known structure of oxymoron is attributive. But there are also others, in which verbs are employed. Oxymoron may be considered as a specific type of epithet.

Oxymorons rarely become trite, for their components, linked forcibly, repulse each other and oppose repeated use. Metonymy is a deliberate use of words in two meanings: The basis for it is not the similarity of notions but associations logical or physical relations between phenomena that connect notion. The most common types of possible associations which metonymy is based on are: A symbol for a thing nominated: The container instead of the thing contained: The material for the thing made of it: The author for his works: The instrument which the doer uses in performing the action instead of the action or the doer himself: The relation of proximity: The interplay between logical and nominal meanings of a word is called antonomasia.

As in other stylistic devices based on the interaction of lexical meanings, the two kinds of meanings must be realized in the word simultaneously.

Antonomasia is the use of a proper name instead of common noun or vice-versa. It can be metaphorical when based on similarity. Her mother is perfectly unbearable, never met such a Gorgon.

In any case, she is a monster without being a myth. Every Ceaser has its Brutus.

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The next day Hugh met Alan Trevor in the club. Trevor continued laughing loudly. He added that Baron Hausberg was in high spirits after Hugh had left and was rubbing his hands together. Nevertheless, Hugh was so unhappy that he asked Trevor not to tell the story to anyone else and left the club. The next morning the servant brought Hugh a visiting card.

The visitor, an old man in golden spectacles, was from Baron Hausberg.

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As he came into the room, Hugh expressed sincere apologies to the Baron. Instead the man handed Hugh an envelope. Hugh opened the envelope. Inside, there was a cheque for ten thousand pounds. The poor should be practical and prosaic.

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It is better to have a permanent income than to be fascinating. He has tried many things to make a living, including being a stock trader and also a merchant. Hughie is in love with Laura Merton, the daughter of a retired merchant. On the positive side, Laura loves him, but what good is that if they cannot marry? Hughie often visits his friend, Alan Trevor, a renowned painter, whose paintings are always in demand. Alan happens to like Hughie, and allows him to visit even while he is working.

One day when Hughie is visiting, Alan is painting a beggar with a piteous and miserable look on his face. The two friends talk about the beggar and Hughie asks how much the model gets, and he learns that it is a schilling for an hour while Alan gets guineas for the painting.

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