Why we gots ta analyze? Welcome to fàçÄx TÇtÄçá|á 101 Introducing W|và|ÉÇ and gÉÇx Diction • Choice and use of words in speech or writing Tone • Tone is the attitude or feeling that the writer’s words express. Diction + Tone • To discuss diction, you would cite individual words the author uses along with how the words hint at the tone – if the author employs an austere tone, you might cite words such as "frown," "tightly pulled back hair," or "glare" • The purpose of diction and tone is that their use helps bring forth the author's intended message, or theme AP HINT • Word choice is the most powerful element of style for you to understand. If the directions in the prompt do not give you any specific techniques to analyze, always address diction---you won’t be wrong. Word Choice • Made up of two parts: DENOTATION + CONNOTATION Denotation • This means the literal, dictionary definition of a word. • Example: Plump and Obese • Both of these words share the same definition (they are synonyms) Connotation • The implied or suggested meaning attached to a word, the emotional “tag” that goes along with a word. • Many words in our language have strong connotations, and authors use them on purpose to elicit certain responses from the reader. Example: Connotation • The word plump has the connotation of being pleasantly fat, almost cutely overweight. Its connotation describes women more often than men. It is this extra “emotional” feeling that shows how we use the word. Example: Connotation • The word obese, often used by medical personnel, has a more technical connotation. It carries a less emotional, more scientific emotional tag. Both plump and obese have the same literal definition, but the connotations are different. Connotation • Connotation is important because it shows differences between synonyms and illustrates ways in which we use a word. Process • Once you identify an author’s diction, you must analyze it. This means that you write commentary about it.. You must discuss the connotation of the word or phrase to do a good job of diction analysis. When analyzing diction, consider such questions as: • Do the words have interesting connotations? • What can the reader infer about the speaker or the speaker’s attitude from the word choice? • Is the language concrete or abstract? • Are the words monosyllabic or polysyllabic? • Is the diction formal or colloquial? • Is there any change in the level of diction in the passage? The choice of diction contributes to the tone. When discussing tone, consider such techniques as: • What seems to be the speaker’s attitude in the passage? • Is more than one attitude or point of view expressed? • Does the passage have a noticeable emotional mood or atmosphere? • Can anything in the passage be described as irony? HINT • ALWAYS use an adjective when describing diction and tone. ____ diction contributes to the ____ tone. • Now --- let’s try it • Bouncing into the room, she lit up the vicinity with a joyous glow on her face as she told about her fiancé and their wedding plans. What are the specific words that create the feeling of the sentence? • Bouncing into the room, she lit up the vicinity with a joyous glow on her face as she told about her fiancé and their wedding plans. Bouncing – lit – joyous – glow – fiancé - wedding What kind of words are these? • Bouncing into the room, she lit up the vicinity with a joyous glow on her face as she told about her fiancé and their wedding plans. ____ diction contributes to the ____ tone. Cheerful diction contributes to the euphoric tone. Or uplifting diction contributes to the joyful tone. • She huddled in the corner, clutching her tattered blanket and shaking convulsively, as she feverishly searched the room for the unknown dangers that awaited her. ____ diction contributes to the ____ tone. • Frightening diction contributes to the alarming tone. • She lay on the couch in a white evening dress, whispering softly in the ear of her fiancé, running her fingers through his hair and gently nibbling his earlobe. ____ diction contributes to the ____ tone. • Suggestive diction contributes to the seductive tone. Strong Connotative Diction • The boy surveyed the class, congratulating himself for snatching the highest grade on the test. Diction Analysis • Word: “Surveyed” • Connotation: Conveys the idea of someone looking around as if he were a king gazing down on lesser beings. Your Turn • Word: “snatching” • Connotation: Abhorrent abrupt accusing accusatory admonitory bantering bitter boring brash bucolic calm cautious childish coarse cold colloquial desperate disdainful disgusted ecstatic effusive elated elegiac eloquent embittered erudite exuberant foreboding gloomy harsh • Remember……………………… haughty hopeful humble indignant inflammatory irreverent irritated ironic What joking joyful miserable melancholic nervous kindlight of loving words are there? nostalgic optimistic outraged paranoid passionate patronizing And how do they make the reader feel? pedantic peaceful pessimistic pitiful pleasant playful proud pompous pretentious questioning reflective reminiscent resigned romantic sad sanctimonious sarcastic sardonic scornful sentimental serene serious sharp shocked silly solemn somber soothing snobbish snooty sympathetic taunting turgid vexed vibrant whimsical angry anxious appreciative apologetic arrogant audacious condemning dark condescending contemptuous dreamy mocking moralistic mournful persuasive piquant cynical compassionate confident Last Diction and Tone Slide! One last tip……….. Never, never, never, never, never say: “the author uses diction” do you mean – the author chooses words? Well, duh!!!!!! Syntax • The arrangement and grammatical relation of words, phrases, and clauses in sentences; the ordering of words into phrases, clauses and sentences. – Syntax is an important element of an author’s style • Example: Ernest Hemingway’s syntax may be said to be fairly simple, with few complex sentences and few modifying elements. • In the grass and the grain, beside the road, and in some places scattered over the road, there was much material: a field kitchen, it must have come when things were going well; many of the calfskin-covered haversacks, stick bombs, helmets, rifles, sometimes one butt-up, the bayonet stuck in the dirt, they had dug in quite a little at the last; stick bombs, helmets, rifles, intrenching tools, ammunition boxes, star-shell pistols, their shells scattered about, medical kits, gas masks, empty gas-mask cans, a squat tri-podded machine gun in a nest of empty shells, full belts protruding from the boxes, the water cooling can empty and on its side, the breech block gone, the crew in odd positions, and around them, in the grass, more of the typical papers. » “A Way You’ll Never Be” by Ernest Hemingway Syntax • That was a ridiculously lengthy sentence for Hemingway. Because of that, it’s something that warrants the reader’s attention • In the grass and the grain, beside the road, and in some places scattered over the road, there was much material: a field kitchen, it must have come when things were going well; many of the calfskin-covered haversacks, stick bombs, helmets, rifles, sometimes one butt-up, the bayonet stuck in the dirt, they had dug in quite a little at the last; stick bombs, helmet rifles, intrenching tools, ammunition boxes, star-shell pistols, their shells scattered about, medical kits, gas masks, empty gas-mask cans, a squat tripodded machine gun in a nest of empty shells, full belts protruding from the boxes, the water cooling can empty and on its side, the breech block gone, the crew in odd positions, and around them, in the grass, more of the typical papers. Why does he start with a long string of prepositional phrases? • Sets the scene • Knows we’re efficient/lazy readers – If he gives “there was much material” before the set up, we’ll move on and not give it the notice it deserves • In the grass and the grain, beside the road, and in some places scattered over the road, there was much material: a field kitchen, it must have come when things were going well; many of the calfskincovered haversacks, stick bombs, helmets, rifles, sometimes one butt-up, the bayonet stuck in the dirt, they had dug in quite a little at the last; stick bombs, helmet, rifles, intrenching tools, ammunition boxes, star-shell pistols, their shells scattered about, medical kits, gas masks, empty gas-mask cans, a squat tripodded machine gun in a nest of empty shells, full belts protruding from the boxes, the water cooling can empty and on its side, the breech block gone, the crew in odd positions, and around them, in the grass, more of the typical papers. What technique is used in the highlighted parts of the passage? • Listing • Why the comments? (in green) • Gives the impression he just walked into the scene. He’s looking at it for the first time – and so are we. – Repeats helmets and rifles – stream of consciousness • Oh wait, I was listing things • In the grass and the grain, beside the road, and in some places scattered over the road, there was much material: a field kitchen, it must have come when things were going well; many of the calfskin-covered haversacks, stick bombs, helmets, rifles, sometimes one butt-up, the bayonet stuck in the dirt, they had dug in quite a little at the last; stick bombs, helmet rifles, intrenching tools, ammunition boxes, star-shell pistols, their shells scattered about, medical kits, gas masks, empty gas-mask cans, a squat tri-podded machine gun in a nest of empty shells, full belts protruding from the boxes, the water cooling can empty and on its side, the breech block gone, the crew in odd positions, and around them, in the grass, more of the typical papers. Shock • Wait, what just happened? What did that say? • the crew in odd positions, and around them, in the grass, more of the typical papers. • There are dead soldiers? Why didn’t he tell us that at first???? Diction • “. . . the crew” – not men or people – dehumanizing • Dehumanization is an effect of war Man = empty gas mask cans and typical papers • In the bosom of one of those spacious coves which indent the eastern shore of the Hudson at that broad expansion of the river denominated by the ancient Dutch navigators the Tappan Zee, and where they always prudently shortened sail, and implored the protection of St. Nicholas when they crossed, there lies a small market-town or rural port, which by some is called Greensburgh, but which is more generally and properly known by the name of Tarry Town. • “The Legend of Sleepy Hollow” by Washington Irving Syntax - Polysyndeton • Polysyndeton is a sentence style that employs many conjunctions Syntax - Polysyndeton • He ate the last of the eggs and wiped the plate with the tortilla and ate the tortilla and drank the last of the coffee and wiped his mouth and looked up and thanked her. – The Crossing by Cormac McCarthy Syntax - Polysyndeton • At the hour he’d always choose when the shadows were long and the ancient road was shaped before him in the rose and canted light like a dream of the past where the painted ponies and the riders of that lost nation came down out of the north with their faces chalked and their long hair plaited and each armed for war which was their life and the women and children and women with children at their breasts all of them pledged in blood and redeemable in blood only. • All the Pretty Horses by Cormac McCarthy Syntax - Polysyndeton • Now and then, however, there were times of panic, when they squealed or wanted to squeal but couldn’t, when they twitched and made moaning sounds and covered their heads and said Dear Jesus and flopped around on the earth and fired their weapons blindly and cringed and sobbed and begged for the noise to stop and went wild and made stupid promises to themselves and to God and to their mothers and fathers, hoping not to die. • The Things They Carried by Tim O’Brien Sentences: Sentences can be classified in many ways, and it’s helpful to consider the potential effect a particular type of sentence might have on a reader in a certain situation. Simple Sentence: • Has a single independent clause. – Abraham Lincoln struggled to save the Union. • Within its single clause, a simple sentence can have a compound subject, and compound verb, or both. – Abraham Lincoln and Andrew Johnson struggled to save the Union. – Abraham Lincoln struggled to save the Union and persevered. Compound Sentence Has two clauses, each of which could exist as a simple sentence if you removed the conjunction connecting them. – Abraham Lincoln struggled to save the Union, and Andrew Johnson assisted him. • Abraham Lincoln struggled to save the Union. Andrew Johnson assisted him. – Abraham Lincoln and Andrew Johnson struggled to save the Union and persevered, but the leaders of the Confederacy insisted that the rights of the states were more important than the maintenance of the Union. Complex Sentence • Has two clauses, one independent and at least one subordinate to the main clause. – When the leaders of the Confederacy insisted that the rights of the states were more important than the maintenance of the Union, Abraham Lincoln and Andrew Johnson struggled to save the Union and persevered. Compound-Complex Sentences • Has the defining features of both a compound sentence and a complex sentence. – When the leaders of the Confederacy insisted that the rights of the states were more important than the maintenance of the Union, Abraham Lincoln struggled to save the Union and persevered, and Andrew Johnson assisted him. Why should you be concerned with whether a sentence is simple, compound, complex, or compound-complex when you are analyzing someone else’s writing? Sentences: Why Should I Care? Function grows out of form • When the writer needs to make a succinct point, often a short, simple sentence will do so effectively. A short, simple sentence can suggest to a reader that the writer is in control and wants to make a strong point. Why might a writer use a compound sentence? When she/he is trying to show how ideas are balanced and related in terms of equal importance, a compound sentence can convey that to the reader. Several compound sentences in a row can tell the reader that the writer is the kind of person who takes a balanced view of challenging issues. Sentences: Why Should I Care? To show more complicated relationships between ideas, complex and compound-complex sentences can communicate the intricacies of the author’s thinking. Sentences: A second method of analyzing sentences looks at them in terms of another important structural distinction: Loose sentences or Periodic Sentences. – Sentences vary along the loose-periodic continuum according to how they incorporate extra details in relation to basic sentence elements. • Here is a sentence with just two basic elements: Abraham Lincoln wept. A loose sentence is a basic sentence with details added immediately at the end of the basic sentence elements. Sentences: Loose sentence: Abraham Lincoln wept, fearing that the Union would not survive if the southern states seceded. Abraham Lincoln wept (basic elements), fearing that the Union would not survive if the southern states seceded (added details). Sentences: Periodic Sentence: A sentence in which additional details are placed in one of two positions, either before the basic sentence elements or in the middle of them. Details are placed before: Alone in his study, lost in somber thoughts about his beloved country, dejected but not broken in spirit (details), Abraham Lincoln wept (basic elements). Sentences: Details are placed in the middle: Abraham Lincoln, (basic element) alone in his study, lost in somber thoughts about his beloved country, dejected but not broken in spirit (details), wept (basic element). Sentences: Writers use loose and periodic sentences to effect changes in meaning and to vary sentence structure for emphasis. The structure of the sentence also affects the pacing of a text. A loose sentence moves quickly, and a periodic sentence works with delay.
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