- •Ноу «липецкий эколого-гуманитарный иститут»
- •Contents preface ……………………………………………………………………..….5 part one…………………………………………………………………….…..6
- •Preface
- •Part one
- •Analytical reading and its concern
- •The Subject Matter of Analytical Reading
- •1.2. Literary Work
- •2. Language as the medium of literature
- •2.1. Meanings of Linguistic Units Connotation in the Word’s Dictionary Meaning
- •2.2. Denotation and Connotation in Imaginative Literature
- •3. Literary text as poetic structure
- •3.1. Verbal and Supraverbal Layers of the Literary Text
- •3.2. Principles of Poetic Structure Cohesion
- •4. Components of poetic structure: Macro-Components of Poetic Structure
- •4.1. Literary Image
- •4.2. Theme and Idea
- •4.3. Plot
- •Composition
- •4.5. Genre
- •4.6. Tonal System
- •5. Components of poetic structure: Micro-Components of Poetic Structure
- •5.1. Tropes
- •5.1.1. Tropes Based on the Interaction of Different Types of Lexical Meanings
- •5.1.2. Tropes based on the Intensification of a Certain Feature of a Thing or Phenomenon
- •5.1.3. Tropes Based on Peculiar Use of Set Expressions
- •5.2. Phonetic Expressive Means and Stylistic Devices
- •5.3. Figures of speech
- •Part two
- •Selecting a Topic Sentence
- •Checking the Topic
- •Checking Your Progress
- •Mini-test
- •Unit 2. Practice with ideas Locating Key Elements for the Idea
- •Selecting the Correct Idea
- •Checking the Idea
- •Formulating Ideas
- •Checking Your Progress:
- •Revision
- •Unit 3. Practice with principles of poetic structure cohesion
- •Grown up pink
- •Shiseido
- •Checking Your Progress
- •Tropes based on the Intensification of a Certain Feature of a Thing or Phenomenon
- •Tropes based on Peculiar Use of Set Expressions
- •Hear the loud alarum bells –
- •What a tale of terror, now, their turbulency tells!
- •Phonetic Expressive Means and Stylistic Devices
- •Figures of Speech
- •Revision
- •Helping Phrases
- •Unit 5. Understanding poetry
- •To say that for destruction ice
- •A rip tide is raging
- •Checking Your Progress
- •Tips on literary work analysis
- •Practice with extracts From The Girl Who Loved Tom Gordon by Stephen King
- •From The Girl Who Loved Tom Gordon by Stephen King
- •From The Girl Who Loved Tom Gordon by Stephen King
- •From Come Together by Josie Lloyd & Emlyn Rees
- •From Come Together by Josie Lloyd & Emlyn Rees
- •From Vertical Run by Joseph r. Garber
- •From Vertical Run by Joseph r. Garber
- •From Vertical Run by Joseph r. Garber
- •From The Web by Jonathan Kellerman
- •From The Class by Eric Segal
- •From The Blue Note by Charlotte Bingham
- •From Blackout by Campbell Armstrong
- •From Blackout by Campbell Armstrong
- •From Blackout by Campbell Armstrong
- •From Blackout by Campbell Armstrong
- •From Blackout by Campbell Armstrong
- •From Blackout by Campbell Armstrong
- •From Simply Divine by Wendy Holden
- •From Dance While You Can by Susan Lewis
- •From Dance While You Can by Susan Lewis
- •From Rage of Angels by Sidney Sheldon
- •From Whispers by Dean Koontz
- •From Whispers by Dean Koontz
- •From Man and Boy by Tony Parson
- •From Man and Boy by Tony Parson
- •From Cold Fire by Dean Koontz
- •Checking your progress
- •Scheme of Extract Analysis
- •From Whispers by Dean Koontz
- •From Needful Things by Stephen King
- •From Rising Sun by Jeffrey Archer
- •From Sinners by Jackie Collins
- •From Sinners by Jackie Collins
- •From False Memory by Dean Koontz
- •Revision
- •From Come Together by Josie Lloyd & Emlyn Rees
- •From Man and Boy by Tony Parson
- •From Man and Boy by Tony Parson
- •From Sinners by Jackie Collins
- •Bibliography
Checking your progress
The fragments in this section have no helping questions, which means that it is time for you to use your own analytical thinking and skills. Still to give you further guidance, we offer a scheme of extract analysis; besides, the most important elements in these fragments are printed in bold type.
Scheme of Extract Analysis
Give general information about the extract. Say what or who is described/portrayed, where, when or under what circumstances
See if the extract/fragment can be divided into logical parts. Say what is presented in each item.
State how many characters are involved in the narration. Come out with as much information about them as you can, making the best of the hints and clues of the extract.
Say whether the extract is a description/narration/exposition
Analyse the opening sentence of the extract. Say whether it’s advantageous (disadvantageous) to start the description (narration, exposition) that way.
Exemplify he details, which create the general mood of the extract.
Specify the described situation and say what expressive means plunge the reader into the atmosphere in question or help him to vividly visualize the character(s).
Group the tropes and figures of speech used by the author in accordance with the image(s) (the mood) they create or the situation(s) (the environment, the characters’ inner state, etc.) they describe.
Speak on the symbolic function of images or symbolic implications evoked by certain words/ phrases/etc.
Say whether the extract is (characters are) presented statically or dynamically.
Note rhythmical sentences and dwell upon the effect they produce.
Speak on the role of syntax in creating certain effects.
Dwell upon the peculiarities of the extract:
Say what method of character drawing is used in the extract (direct or indirect) and support your opinion with some evidence from the extract;
Account for the personal touch of the author, if any;
Note the style and language peculiarities, if they are striking;
Express you own vision of the problem(s) raised, or analyze the character(s) behaviour in though-provoking or didactic fragments.
From Whispers by Dean Koontz
She wanted to lean back and drink lots of icy Dom Perignonand let happinessconsumeher, but she could not totally relax. She was always sharply aware of thatspectral darknessat the edge of things, thatcrouching nightmarewaiting tospringanddevourher. Earl and Emma, her parents, hadjammedher intoa tiny box of fear,had slammed the heavy lidandlocked it; and since then she hadlookedoutat the worldfrom the dark confines of that box. Earl and Emma had instilled in her a quiet butever-presentandunshakable paranoiathatstainedeverything good, everythingthat should be rightandbrightandjoyful.
From Needful Things by Stephen King
Norris sat behind an old IBM electric typewriter, working on a report with the agonized, breathless concentration only Norris could bring to paperwork. He would stare fixedly at the machine, then abruptly lean forward like a man who has been punched in the belly, and hit the keys in a rattling burst. He remained in his hunched position long enough to read what he had written, then groaned softly. There was a click-rap! click-rap! click-rap! Sound of Norris using the IBM’s CorrecTape to back over some error (he used one CorrecTape per week, on the average), and then Norris would straighten up. There would be a pregnant pause, and then the cycle would repeat itself. After an hour or so of this, Norris would drop the finished report into Sheila’s IN basket. Once or twice a week these reports were even intelligible.