Category: Writing

QUESTION 7 Which sentence below uses punctuation correctly? a. Jonathon is worried about the flight; he is afraid there will be turbulence. O b. Excuse me; Is this your luggage? C. The plane looks so small; he thinks nervously. O d. Brad asked if there was an exit row seat available; no.

EMILIA emilia describe her character. Type your answer here…. In your own words, Let’s pause to talk about How well does she know her husband? Not at all Pretty well Somewhat Extremely well Reason for your choice above: Type your answer here…. If Emilia were an animal, she would be a Type your answer here… because. Type your answer here…. INDIRECT CHARACTERIZATION In this scene, how does Shakespeare portray Emilia as being outspoken & direct? Type your answer here….

Read both passage and the 6 statements. Decide if each sentences supported by:
The passage explains how the carnival started. Passage Passage Both A B Passages The passage says how often the carnival is held. Passage Passage Both A B Passages The passage suggests what is available to eat at the carnival. Passage Passage Both A B Passages
The passage says that people have to pay for parts of the carnival. Passage Passage Beth A B Passages The passage describes what people see and do at the carnival. Passage Passage Beth A B Passages The passage explains where the festival is held. Passage Passage Beth A B Passages
0 Passage A 0 Passage B 0 Both Passages Passage A The Notting Hill Carnival is one of the world’s largest street festivals. It is held in the Notting Hill area of West London. Over one million people attend the carnival, which takes place over three days every August. The event started in 1966 as a celebration of Caribbean culture, with people from the West Indies, who had immigrated to London, organizing the festival. Nowadays, the event is very multi-cultural and people from all the different communities of London come together at the festival. However, the music, costumes, floats and food still have a strong Caribbean influence. Passage 8 The Rio de Janiero Carnival is the biggest and most famous street festival in the world. It is held annually in the Brazilian city, over six days before the Christian festival of Lent. On each day, over two million people come out on to the streets of Rio to dance and play music. There are competitions between the different samba schools, with each school trying to have the best float, costume and music, as well as to be the best at samba dancing. These days, some of the main events are ticketed and held in stadiums.

How does
The Donna Reed Show
“Just a Housewife” (1960)  speak to the historical moment in which it was produced?
2. How has this notion changed (or not changed) as evidenced in the Reba ” War and Peace”?
reba  https://www.youtube.com/watch?v=VXTRApcahrU
donna reed: https://www.youtube.com/watch?v=fyrxHMm2lMY

1.     American Sign Language (5 POINTS)
Each of the four signs below includes one affix.  The two signs on the left have the same affix.  The two signs on the right share a different affix.
a/ Which phonological parameter differentiates these two affixes: the place of articulation, movement, handshape, hand orientation, or non-manual marker?
b/ Describe the difference in form between the affix in the signs on the left and the affix in the signs on the right.
c/ Are these two affixes prefixes, suffixes, infixes, or simultaneous affixes?
d/ What is the meaning of the affix used on the left? What is the meaning of the affix on the right?
affix. The two signs on the right share a different affix. left have th c. GRANDFATHER a. GRANDMOTHER b. MOTHER d. FATHER c. LI
2006, William Vicars, www.Lifeprint.com. Used with permission.

In “Kate Chopin’s “The Story of an Hour” and the movie “The Joy that Kills,” what do the two titles infer about the story? In the reading, what can you tell about Mr. and Mrs. Mallard’s marital relationship? Use the text for support. How is that embellished in the movie? Characterize Mr. and Mrs. Mallard. How is the relationship different on film compared to the story? Is Mr. Brently Mallard a controlling or domineering man? How do his choices and fears impact his wife’s life? Describe and discuss the flashbacks that Mrs. Mallard has about her father. How have they affected her life and her marriage? Look up the literary term irony. How does irony play a significant part in this story? How does irony further explain the last line of the reading and the title of the film, “Of Joy that Kills?”

The Brief Bedford Reader pg 85
By Jonathan Bethards
“Code Three”
Questions on meaning
What would you say is the writers purpose in this essay? It is primarily to entertain readers with an exciting story, or dose he seem to have another purpose as well? How can you tell?
What actually happened to the man to prompt a 911 call? Does Bethards provide enough explanation for readers to know? It is necessary to understand the details of the patients condition to understand the rest of the story?
Why did the situation threaten to become violet? How does Bethards explain the wife’s behavior?
Bethards does not state a thesis. What is the controlling idea of his narrative?
questions on Writting strategy
What point of view Bethards takes as a narrator?
What is the effect of Bethards’s opening paragraph? Why does he begin his narrative in the middle?
“Code Three” is a particularly gripping student narrative. How does Bethards create suspense through the essay?
Other Methods Where does Bethards use process analysis to explain events for an audience of laypeople not trained in medical procedures?

Answer the following questions
1. What is globalization? (give examples)
2. Aside from the economic term, in what other domains can you feel globalization?
3. What are the things that people do now which could not be done before globalization?
4. Are the effects of globalization on communication positive or negative? Support your answer
with examples.
5. In what specific ways does globalization affect communication?

Direction: Outline the variety of informative, persuasive and argumentative writing techniques by completing the graphic organizer below. Choose the letter of your answer from the box.
Definition:
A. Expository or explanatory writing
B. Takes a stance on an issue
C. Presents logical arguments with emotional appeal
Purpose:
D. Inform or educate the audience about a certain topic
E. Persuade readers to understand and support their point of view about a topic by stating their reasoning and providing evidence to back it up.
F. Sway readers to a particular point of view
Techniques:
G. Provide definitions to any technical terms
H. State an argument and then refute it.
I. Pick a topic you are passionate about.
_____________________________________________________________________________________________________________________________________
| Informative | Persuasive | Argumentative |
__________________|___________________________________|_____________________________________|_________________________________________|
Definition | 1. | 2. | 3.
__________________|____________________________________|____________________________________|___________________________________________
Purpose | 4. | 5. | 6.
___________________|____________________________________|____________________________________|___________________________________________
Technique | 7. | 8. | 9.
________________________________________________________________________________________________________________________________________

Read the following selection and then answer the questions.
S.S. Van Dine’s Twenty Rules for Writing Detective Stories
In his article Twenty Rules for Writing Detective Stories, SS Van Dine laid down the following “Commandments” for authors of detective fiction. The article was originally published in the American Magazine for September 1928, and was included in the Philo Vance Investigates omnibus edition of 1936.
The detective story is a game. It is more–it is a sporting event. And the author must play fair with the reader. He can no more resort to trickeries and deceptions and still retain his honesty than if he cheated in a bridge game. He must outwit the reader, and hold the reader’s interest, through sheer ingenuity. For the writing of detective stories there are very definite laws–unwritten, perhaps, but none the less binding: and every respectable and self-respecting concocter of literary mysteries lives up to them.
Herewith, then, is a sort of Credo, based partly on the practice of all the great writers of stories, and partly on the promptings of the honest author’s inner conscience. To wit:
The reader must have equal opportunity with the detective for solving the mystery. All clues must be plainly stated and described.
No willful tricks or deceptions may be played on the reader other than those played legitimately by the criminal on the detective himself.
There must be no love interest. The business in hand is to bring a criminal to the bar of justice, not to bring a lovelorn couple to the hymeneal altar.
The detective himself, or one of the official investigators, should never turn out to be the culprit. This is bald trickery, on a par with offering some one a bright penny for a five-dollar gold piece. It is false pretenses.
The culprit must be determined by logical deductions — not by accident or coincidence or unmotivated confession. To solve a criminal problem in this latter fashion is like sending the reader on a deliberate wild-goose chase, and then telling him, after he has failed, that you had the object of his search up your sleeve all the time. Such an author is no better than a practical joker.
The detective novel must have a detective in it; and a detective is not a detective unless he detects. His function is to gather clues that will eventually lead to the person who did the dirty work in the first chapter; and if the detective does not reach his conclusions through an analysis of those clues, he has no more solved his problem than the schoolboy who gets his answer out of the back of the arithmetic.
There simply must be a corpse in a detective novel, and the deader the corpse the better. No lesser crime than murder will suffice. Three hundred pages is far too much bother for a crime other than murder. After all, the reader’s trouble and expenditure of energy must be rewarded.
The problem of the crime must be solved by strictly naturalistic means. Such methods for learning the truth as slate-writing, Ouija-boards, mind-reading, spiritualistic séances, crystal-gazing, and the like, are taboo. A reader has a chance when matching his wits with a rationalistic detective, but if he must compete with the world of spirits and go chasing about the fourth dimension of metaphysics, he is defeated ab initio.
There must be but one detective — that is, but one protagonist of deduction — one deus ex machina. To bring the minds of three or four, or sometimes a gang of detectives to bear on a problem, is not only to disperse the interest and break the direct thread of logic, but to take an unfair advantage of the reader. If there is more than one detective the reader does not know who his co-educator is. It is like making the reader run a race with a relay team.
The culprit must turn out to be a person who has played a more or less prominent part in the story — that is, a person with whom the reader is familiar and in whom he takes an interest.
A servant must not be chosen by the author as the culprit. This is begging a noble question. It is a too easy solution. The culprit must be a decidedly worth-while person — one that wouldn’t ordinarily come under suspicion.
There must be but one culprit, no matter how many murders are committed. The culprit may, of course, have a minor helper or co-plotter; but the entire onus must rest on one pair of shoulders: the entire indignation of the reader must be permitted to concentrate on a single black nature.
Secret societies, camorras, mafias, et al., have no place in a detective story. A fascinating and truly beautiful murder is irremediably spoiled by any such wholesale culpability. To be sure, the murderer in a detective novel should be given a sporting chance; but it is going too far to grant him a secret society to fall back on. No high-class, self-respecting murderer would want such odds.
The method of murder, and the means of detecting it, must be rational and scientific. That is to say, pseudo-science and purely imaginative and speculative devices are not to be tolerated in the roman policier. Once an author soars into the realm of fantasy, in the Jules Verne manner, he is outside the bounds of detective fiction, cavorting in the uncharted reaches of adventure.
The truth of the problem must at all times be apparent — provided the reader is shrewd enough to see it. By this I mean that if the reader, after learning the explanation for the crime, should reread the book, he would see that the solution had, in a sense, been staring him in the face — that all the clues really pointed to the culprit — and that, if he had been as clever as the detective, he could have solved the mystery himself without going on to the final chapter. That the clever reader does often thus solve the problem goes without saying.
A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no “atmospheric” preoccupations. such matters have no vital place in a record of crime and deduction. They hold up the action and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude.
A professional criminal must never be shouldered with the guilt of a crime in a detective story. Crimes by housebreakers and bandits are the province of the police departments — not of authors and brilliant amateur detectives. A really fascinating crime is one committed by a pillar of a church, or a spinster noted for her charities.
A crime in a detective story must never turn out to be an accident or a suicide. To end an odyssey of sleuthing with such an anti-climax is to hoodwink the trusting and kind-hearted reader.
The motives for all crimes in detective stories should be personal. International plotting and war politics belong in a different category of fiction — in secret-service tales, for instance. But a murder story must be kept gemütlich, so to speak. It must reflect the reader’s everyday experiences, and give him a certain outlet for his own repressed desires and emotions.
And (to give my Credo an even score of items) I herewith list a few of the devices which no self-respecting detective story writer will now avail himself of. They have been employed too often, and are familiar to all true lovers of literary crime. To use them is a confession of the author’s ineptitude and lack of originality.
(a)
Determining the identity of the culprit by comparing the butt of a cigarette left at the scene of the crime with the brand smoked by a suspect.
(b)
The bogus spiritualistic séance to frighten the culprit into giving himself away.
(c)
Forged fingerprints.
(d)
The dummy-figure alibi.
(e)
The dog that does not bark and thereby reveals the fact that the intruder is familiar.
(f)
The final pinning of the crime on a twin, or a relative who looks exactly like the suspected, but innocent, person.
(g)
The hypodermic syringe and the knockout drops.
(h)
The commission of the murder in a locked room after the police have actually broken in.
(i)
The word association test for guilt.
(j)
The cipher, or code letter, which is eventually unraveled by the sleuth.
1.The detective story is compared to which of the following?
A long, difficult race
The 10 Commandments
A five-dollar gold piece
A sporting event
By what must the culprit in a detective story be determined?
logical deduction
unmotivated confession
accidental means
3.According to SS Van Dine, there simply must be ____________ in a detective story?
a theft
a wild-goose chase
a runaway
a corpse
4.According to SS Van Dine, crimes must never turn out to be ______________?
accidental
a cover-up
intentional
unnecessary
5.Which of the following is not an item on the list of “devices which no self-respecting detective story writer” should ever do?
The dummy-figure alibi
The cipher, or code letter
Forged fingerprints
A criminal in disguise
What is the best definition of the word
concocter
as used in the following context?
For the writing of detective stories there are very definite laws–unwritten, perhaps, but none the less binding: and every respectable and self-respecting concocter of literary mysteries lives up to them.
creator
editor
literary critic
reader
7.What is the best definition of the word
Credo
as used in the following context?
Herewith, then, is a sort of Credo, based partly on the practice of all the great writers of stories, and partly on the promptings of the honest author’s inner conscience.
list of ideas of what makes a bad detective fiction writer
list of beliefs or aims that should guide all detective fiction writers
list of generalities found in all detective stories
list of observations of what writers of detective fiction always do
8.The reader must have equal opportunity with the detective for solving the mystery.
preposition
conjunction
verb
noun
9.The problem of the crime must be solved by strictly naturalistic means.
adjective
verb
noun
adverb
10.Secret societies, camorras, mafias, et al., have no place in a detective story.
preposition
conjunction
verb
noun