nicknicknickadam: October 2016

Sunday, 30 October 2016

Omar, Brother Mouzone

The Wire Best Opening Season 3 Omar Brother Mouzone Standoff S3 Ep11 from Mr Sloan on Vimeo.

Brother Mouzone

That's far enough.

Drop your laundry and turn slowly.

Omar

So, you gonna rob me now? I need to remind you who I am?

Brother Mouzone

Omar, isn't it? Pull it slowly.

Then toss it.

Omar

Oh, I will move slow.

But I ain't tossin' nothin' bow tie.

So whatever you gonna do you might as well go ahead and make it quick.

I knew you'd come back.

Brother Mouzone

I trust you didn't lose sleep over it.

Omar

Worryin' about you would be like wonderin' if the sun's gonna come up.

I ain't about to wild out over it.

Brother Mouzone

What I want to know is how you find me? Your boy, he didn't give you up easy.

Omar

Ain't sugar-water runnin' through them veins.

- You kill him?

Brother Mouzone

He's resting.

I see you favor a 45.

Tonight I do.

And I keeps one in the chamber, in case you ponderin'.

Nice show piece you got there.

Brother Mouzone

Walther PPK.

Omar

Hear them walthers like to jump some.

Brother Mouzone

As will you, with one in your elbow.

Omar

That gun ain't got enough firepower to make my joint useless.

It definitely won't stop me from emptyin' out half my mag.

Brother Mouzone

You might not hit me.

Omar

This range? And this caliber? Even if I miss, I can't miss.

Brother Mouzone

I admire a man with confidence.

Omar

I don't see no sweat your brow neither, bro.

Brother Mouzone

I suppose we could stand here all night.

Omar

S'pose we could.

Or settle this once and forever.

Brother Mouzone

I want to ask you something, brother.

Omar

Omar listenin'.

Rhetoric of…

LOGOS – reason

Rhetorical question

Comparison

Contrast

Juxtaposition

Antithesis– contrasting ideas sharpened by the use of opposite or noticeably different meanings.

Paradox

Irony

Specific detail

Jargon

Listing

Instruction

Exaggeration

Hyperbole

Understatement

Bathos

The big lie

Reference

· Quote

· Allusion (Biblical, Classical, Literary, Historical)

· Intertextuality

Repetition

Of words

Of phrases or patterns

· Anaphora – the repetition of a word or group of words at the beginning of a succession of clauses

· Epistrophe – a figure of speech in which each sentence or clause ends with the same word

PATHOS – Emotion

Desire

Empathy

Insult

Patriotism

Loaded language

Naming

Belonging

Fear

Hate

Indignation (righteous anger)

Bathos

ETHOS – Ethics, Religion, that guy

Morality

Ideology

Faith

transference......

Monday, 24 October 2016

The paragraph

-Hook
- Introduction
-Thesis
-Example (2-3 maximum)
-Explanation (50-70 % of the paragraph, including context)
-Conclusion/link to next paragraph

Look it up. Pick good sources!

choose one diaspora

write an awesome paragraph describing it.
source it with your two (or more) good sources.

then write another paragraph discussing the current situation. Do you think it can be considered a diaspora? (There is no absolute answer as long as you prove your answer)

Diaspora homework for Thursday

Get your two definitions from our dictionary sources

write your own definition based on what you see.

What do you think would be some good sources to understand what a Diaspora is?

Post 3, with one sentence explanations of why for each.

For Monday

1 paragraph describing a particular diaspora with an example or two of that type.

For Tuesday

1 paragraph discussing the 'Migration crisis' as a diaspora

conclusion paragraphs

Syntax & Diction

Syntax

1 a: the way in which linguistic elements (as words) are put together

to form constituents (as phrases or clauses)

b: the part of grammar dealing with this

2: a connected or orderly system : harmonious arrangement of parts

or elements

the grammatical arrangement of words in sentences

Diction

: choice of words especially with regard to correctness, clearness, or effectiveness

Diction, in its original, primary meaning, refers to the writer's or the speaker's distinctive vocabulary </wiki/Vocabulary>

and style of expression.

Diction has multiple concerns; register — words being either formal </wiki/Formality> or informal </wiki/Colloquialism> in social

context — is foremost. Literary diction analysis reveals how a passage establishes tone </wiki/Setting_tone> and characterization,

e.g. a preponderance of verbs relating physical movement suggests an active character, while a preponderance of verbs relating

states of mind portrays an introspective character. Diction also has an impact upon word choice and syntax.

analysing Shakespeare

Variations in iambic pentameter are used for dramatic effect. There are rhythm breaks or irregular lines where a stressed word is placed in a normally unstressed position or an extra syllable is added. Words that break the meter are important words and must be emphasized. They give clues as to how the line should be read.

Common variants to the iambic foot include

the trochee, a stressed syllable followed by an unstressed syllable
a spondee, two stressed syllables that comprise one foot.

Students need to be aware of patterns that may be caused by variants, especially the use of the feminine ending.

A feminine ending is a weak extra syllable (an eleventh syllable) added to an iambic pentameter line, as in Hamlet’s soliloquy, which begins, “To be, or not to be—that is the question.” (The stressed syllables are in bold. Some actors, however, stress “that” instead of “is,” making that one foot a trochaic foot.) The “-tion” is an unstressed syllable or feminine ending. The use of the feminine ending forms a pattern in this speech, denoting the uncertainty of Hamlet. Once he has made up his mind to live, the speech reverts to regular iambic lines. He is now in control.

A shared line is a regular metric line that is shared by two or possibly three actors. The line must be spoken without pauses or breaths between the actors’ lines. These shared lines create a rhythm. This rhythm may show tension in the scene, as with the lines shared between Macbeth and Lady Macbeth after the murder of Duncan (II.2).

Another variant of the normal iambic pentameter line is the use of the short line.

A short line is an iambic line that has fewer than five metric feet. The actor must “fill” missing feet in the line with an action or a reaction. In Hamlet, the Ghost’s line, “I am thy father’s spirit,” is two stresses or three syllables short. This dramatic pause is for reaction time for Hamlet (I.5.9-20). Additional examples from this same scene include lines 46- 48:

Ghost: The serpent that did sting thy father’s life

Now wears his crown.

Hamlet: O, my prophetic soul! My uncle!

The short line by the Ghost allows Hamlet time to register what the Ghost is saying and react to this realization.

An additional variation of the iambic pentameter line is the long line.

A long line is a six-foot line (hexameter). If there is a caesura or pause (discussed in a later paragraph) after the third stress, it is called an Alexandrine. The use of the Alexandrine is to make the line symmetrical, to give it balance. It may be that the character is emotionally overloaded and can’t express his or her emotions adequately in a five-foot line. In Hamlet, Claudius’ guilt and loss of control is seen in his speech to Hamlet in Act I, scene 2, lines 90-121. The speech is made up primarily of eleven and twelve syllable lines. Claudius is talking about the death of his brother, Hamlet’s father, and Hamlet’s obsessive grief. Hamlet’s dislike of his uncle has been made plain, so Claudius tries to bluster his way through this scene that is being played out in front of the entire court. He is trying to gain control over Hamlet as well as his own emotions or guilt, and, in doing so, he goes overboard. This lack of control and frustration is seen through the use of lines with feminine endings and the use of the Alexandrine or long line.

Other terms relate directly to the pauses and breaths taken in a speech.

An end-stop line is a line in which both the metric and grammatical endings occur at the end of the line. There is usually a period or semicolon. There should be a full pause and possibly a breath.
If the sense of a line carries over to the next line, it is an enjambed line. With an enjambed line, there should be only a slight pause after the last word in the line is emphasized. McEvoy adds that a colon is used as an emphatic pause and capital letters were used for both proper names and for words that were particularly important in the context of the speech and should be stressed (41). Another place for a pause occurs at a caesura, a break or sense pause in the middle of a line of poetry, often at the end of the sense meaning of an enjambed line. Although an actor should pause at a caesura, short breaths should be taken only when planned and necessary. A caesura allows words preceding it to “sink in,” places focus on the word or phrase following it, slows the language down, or separates phrases and allows the listener to hear and digest them one at a time (Van Tassel, 28).

Although blank verse is supposed to be unrhymed, Shakespeare does use rhyme in his plays, more often in his early plays like The Taming of the Shrew than in the later plays like Hamlet. Rhyme can sometimes be used for comic effect or to create a light-hearted or teasing tone. It can be also be used to show a bantering or challenging tone. In addition, rhyme can be used seriously. Regardless of the purpose of the rhyme, the actor must play to the rhyme and emphasize it. It is there for a purpose. Rhymed couplets are also used to indicate the end of scenes or to mark a passage as distinctive from the rest of the verse that surrounded it (McEvoy, 49-50).

Prose is also used in Shakespeare’s plays. Prose was often used for letters and proclamations, low status characters, an expression of madness, or comedy (Gibson, Acting Shakespeare, 71). However, Shakespearean prose was very lyrical and rhythmic. Shakespeare made use of imagery, repetition, antithesis, and parallelism in his prose. It was not merely everyday speech.

As Shakespeare matured as a playwright, he used more prose for serious speeches. Switching from verse to prose may indicate that a character is losing control or becoming confused, but not necessarily. An example of prose that is used seriously is in Hamlet’s exchange with Rosencrantz and Guildenstern in the “What a piece of work is man” speech (II.2.317-334). Hamlet is speaking the language of Rosencrantz and Guildenstern, but his meaning in this serious speech is over their heads.