Animal Imagery in George Orwell's novel “Animal Farm”

The present paper is a literary stylistic study that illustrates in George Orwell's novel Animal Farm the imagery, the allegorical meaning, linguistic exploitation or manipulation of words. One of the most traditional features of the Animal Farm and an integral part of its imagery is Orwell 's sophisticated sensitivity to political abuse of language Inwardly, this novel is an allegory that relates to power struggle, usurpation, coercion, manipulation, hypocrisy, oppression, political racket and fear of the ruling classes in any shape they may exist (human or animal). It seems to be a simple tale of animals. However severe the subject is, through his vivid imagery and artful use of literary instruments, Orwell has made it imaginative and humorous. With its clear, deceptively simple, but creatively honed prose style and expressive language, the novel is a source of great aesthetic and intellectual pleasure and political insight.

On Style in Victorian Fiction

Some writers of the Victorian period, as well as more recent critics, have argued that the prose style of Victorian fiction aims to efface itself or that an absence of style may in itself represent the nineteenth-century ideal. This collection provides a major assessment of style in Victorian fiction and demonstrates that style - the language, techniques and artistry of prose - is inseparable from meaning and that it is through the many resources of style that the full compass of meaning makes itself known. Leading scholars in the field present an engaging assessment of major Victorian novelists, illustrating how productive and illuminating close attention to literary style can be. Collectively, they build a fresh and nuanced understanding of how style functioned in the literature of the nineteenth century, and propose that the fiction of this era demands we think about what style does, as much as what style is.

Lyricism and Happiness in the Autobiographical Writings of Jean-Jacques Rousseau

<p>One aspect of Rousseau's prose style, not only in La Nouvelle Heloise but also in the autobiographical writings, particularly the Confessions and the Reveries du promeneur solitaire, is his lyricism. While Rousseau's lyricism has always been generally recognized it has rarely been given detailed examination, especially in the case of the autobiographical works. In this thesis, therefore, a detailed study of lyrical passages in Rousseau's autobiographical writings is undertaken. This analysis is linked to the theme of happiness, which is usually related in some way to Rousseau's lyricism. The first chapter of Part One of this study considers, the nature of lyricism in relation to literary expression in poetry and in prose, and also briefly surveys lyrical prose before Rousseau. Then Rousseau's potential for lyrical expression, as so far defined, is studied. As Rousseau's lyricism is to be analysed within the framework of happiness, the role of happiness in his life and works is considered in Chapter III. Part Two, namely Chapters IV to VII inclusive, consists of an examination of lyrical passages connected with happiness in Rousseau's autobiographical Writings. The subdivisions of happiness in the different chapters into absence of happiness, wishful thinking, happiness in personal relationships and happiness associated with nature respectively, are to be regarded as no more than a convenient framework for stylistic analysis. The aim of the thesis is to discover, in the course of analysing these lyrical passages, in what manner and with what effect certain feelings and reflections are expressed; to show what characterizes his lyrical suppleness and what is responsible for his melodiousness; to discover what features of, style are, variously, characteristics, special, unexpected or even disappointing, whether at one time or more generally in Rousseau's lyrical expression.</p>

Lyricism and Happiness in the Autobiographical Writings of Jean-Jacques Rousseau

<p>One aspect of Rousseau's prose style, not only in La Nouvelle Heloise but also in the autobiographical writings, particularly the Confessions and the Reveries du promeneur solitaire, is his lyricism. While Rousseau's lyricism has always been generally recognized it has rarely been given detailed examination, especially in the case of the autobiographical works. In this thesis, therefore, a detailed study of lyrical passages in Rousseau's autobiographical writings is undertaken. This analysis is linked to the theme of happiness, which is usually related in some way to Rousseau's lyricism. The first chapter of Part One of this study considers, the nature of lyricism in relation to literary expression in poetry and in prose, and also briefly surveys lyrical prose before Rousseau. Then Rousseau's potential for lyrical expression, as so far defined, is studied. As Rousseau's lyricism is to be analysed within the framework of happiness, the role of happiness in his life and works is considered in Chapter III. Part Two, namely Chapters IV to VII inclusive, consists of an examination of lyrical passages connected with happiness in Rousseau's autobiographical Writings. The subdivisions of happiness in the different chapters into absence of happiness, wishful thinking, happiness in personal relationships and happiness associated with nature respectively, are to be regarded as no more than a convenient framework for stylistic analysis. The aim of the thesis is to discover, in the course of analysing these lyrical passages, in what manner and with what effect certain feelings and reflections are expressed; to show what characterizes his lyrical suppleness and what is responsible for his melodiousness; to discover what features of, style are, variously, characteristics, special, unexpected or even disappointing, whether at one time or more generally in Rousseau's lyrical expression.</p>

Tips for Reporting Musculoskeletal Imaging Studies: Lessons Learned

This paper is designed to be read by radiological trainees who are starting out with reporting musculoskeletal imaging studies. Based on the author's experience of over 25 years, it provides tips on how to report musculoskeletal imaging succinctly and effectively using a prose style report.

DIASPORA AND IDENTITY IN NAIPAUL’S WORKS : A SELECT STUDY

“Write what you know” - this is the age-old advice said by someone to all the novelists. Surajprasad Naipaul, generally known as V. S. Naipaul, took it more seriously than others. Naipaul’s grandparents migrated from Uttar Pradesh India to Trinidad. His grandfather started working as an indentured laborer in the sugarcane estates there. They faced many problems regarding settlement and adjustment in this new cultural environment. That’s why Naipaul’s works are replete with the themes of diaspora. He applied his uniquely careful prose style to the point where the observer has called him the greatest living writer of English prose. Often known as the world’s writer, Naipaul is both one of the most highly regarded and one of the most controversial of contemporary writers. Much of his work deals with individuals who feel estranged from the societies. The present paper is an effort to analyze his select works based on diaspora and identity. Different characters in his fiction and non-fiction works seem to be in search of their identity in this world. Cultural-clash and hybridity, these twin themes, are also dominant in his works and I have tried to highlight all these diaspora-related issues in this paper.

Encyclopedic Style

This chapter turns to Trevisa’s accomplished translation of Bartholomaeus Anglicus’s natural encyclopedia, De proprietatibus rerum. Medieval encyclopedias like Trevisa’s subvert modern expectations of natural history by showing first, that the history of information culture includes both literature and the literary, and second, that the history of English literature includes the translation of big Latin encyclopedias into the vernacular. Trevisa’s continual immersion in De proprietatibus rerum helped him develop a vibrant and affecting prose style, an accumulative style, that was both indebted to Latin encyclopedism and deeply innovative in its shaping of literary English. At the heart of Trevisa’s encyclopedic style is the idea of the “property” as simultaneously a literary ornament and the character or trait of a created thing.

Fiction, Non-Fiction, and Family Writing

The boundaries of literary genres have long been contested. Stylometric investigations of genres — for example, to identify genre through distant reading — is by no means a new area for research. Computational methods are especially useful for large corpora that have not previously been the subject of many enquiries. This might mean the work of a non-canonical author or work that has not been published. Both are true of the primary text used in this paper: a notebook of anecdotes kept by Frances Eleanor Trollope between January 1879 and March 1890. These anecdotes were written in a prose style but were only intended for the consumption of family. While these methods have been used to analyze unpublished works the aim of this research is often to attribute authorship. This paper uses stylometry to compare Trollopewith her published works of both fiction and non-fiction.

LANGUAGE EXAMINATION OF THE OTTOMAN SARIYYE REGISTERS

Although the relations between Turks and Persians date back to the first periods of history, especially since the first years of Islam, these two nations shared the same religious and political powers with Arabs and lived together and exchanged culture with each other for centuries. Naturally, after Islam, Arabic and Persian influenced Turkish both in form and content. After the announcement of the Tanzimat, the changes made with the innovation movements have also affected the language, and various literary movements have put forward different ideas about how the written language should be. After that period, Ottoman Turkish was stuck between Arabic and Persian. The literati and intellectuals of that period started to use many Arabic and Persian words, which were not even used in that period, and created many compositions and phrases that could not be resolved with them. These compositions and phrases made the language of the works created in that period very heavy and almost incomprehensible. The content of the Shari'iyye registers includes a very wide and comprehensive area as a research field. It is closely related to the social, cultural and linguistic features of the times it was in. In cases seen in the registries, besides many immovable properties (mills, stores, shops, etc.) sold, donated or left inherited, the items (wooden sofa, tray, sheet, fork, shirt etc.) carries over. In this context, Tuzla Court Şer'iyye Registry XIX. century, it has the characteristics of that period because it is the official court records. The XIX, which we mentioned above in general terms. century language features of the Tuzla Court overlap with the Şer'iyye Registry Book (1287-1295). When we look at this shari'iyye registry book, we come across definitions of sharia law, and many non-Turkish (Arabic, Persian) words in addition to the terms. In addition, the compositions and phrases made make the language of the work very heavy. Court proceedings, written in the ornate prose style, are very difficult to understand. In addition, it is possible to encounter some linguistic features (For example: rounding) belonging to the period of Old Anatolian Turkish in the work

Symbolic Representation Highlighted through Parallelism in A Tale of Two Cities by Charles Dickens

The art of writing can be seen when, according to Gauding (2009), "authors use symbols to evoke more than a simple, straightforward, literal meaning". In addition to symbols, the art of poetic writing – Parallelism – emphasizes sounds and ideas in the parallel elements through repetition, development or contrast. However, most research on parallelism was done in poetic or biblical writing. This paper points out symbolic representation highlighted through parallelism in the prose-style novel A Tale of Two Cities by Charles Dickens. It explores how symbols categorized by Pickering and Hoeper (1986) were illustrated through types of parallelism by Lowth (1753), Bullinger (1898), Bulkeley (2001), McCoy (2003), Parry (2007) and Kostenberger and Patterson (2011). The results showed that symbols were represented mainly through semantic parallelism which is used to compare people, things and events using literary devices, and clarification parallelism which conveys additional information about the content. It is hoped that this paper will be useful for teachers teaching Dickens' style found in A Tale of Two Cities with a focus on symbols and parallel structures.