Walking The Boundaries Quotes And Techniques

Diction is just one of the literary elements used in this short story which convey the narrator's attitude towards Bartleby.

The writer’s purpose in this excerpt is to entertain the readers. She makes the readers feel interested and want to continuously read more story. She uses many literary and rhetorical devices. First, she uses commas to give specific details. For example, “Dudley squeaked and ran to hide behind his mother, who was crouching, terrified, behind Uncle Vernon.” She also uses onomatopoeias to imitate natural sounds such as “BOOM” and “SMASH!” Imagery is another significant device because she makes the reader imagine what character or any element looks like. For instance, “A giant of a man was standing in the doorway. His face was almost completely hidden by a long, shaggy mane of hair and a wild, tangled beard, but you could make out his eyes, glinting like black beetles under all the hair.” The author influences the reader by the writer’s words and narrative with dialogs.

The techniques he uses to accomplish this are told in a story-like fashion, drawing the reader into the events. He uses powerful descriptions of what he calls his victims. Even his use of the word victim to describe the passersby on the street adds to the colorful and expressive style he uses to tell his story.

The narrator's characterization of McTeague as a gentle giant, with his use of candid diction, judicious handling of syntax and juxtaposed detail, reflects his impartial attitude towards McTeague. The narrator’s impartiality is conveyed most effectively through his use of candid diction. Though McTeague is characterized as a gentle giant, it is not so because the narrator finds him favorable. The narrator uses words such as “docile”, “obedient”, and “not vicious” to describe McTeague’s personality.

In the fictional novel, Exley, written by Brock Clarke, Miller states “I thought of the man I’d pretended was my dad, the man who was dead in the VA hospital” (301). This quote appears near the end of the novel when Miller is revealing the truth about his life and his father. He tells us that the man who he said was his father the during the course of the novel was not truly his father, just a man he found lying in a hospital bed on life support. Clarke uses the effect of this flashback to show that Miller is still thinking about what he did and his feelings of remorsefulness for using a strange man to fill the void that his father left. Miller tried to make himself believe that the man he discovered lying

Everyone dreams of living a happy and fulfilling life. Sometimes, we need a fresh start. In “Mammita’s Garden Cove,” Max daydreamed about a life where he could start over in Canada. He thought hard about his life in this new place. However, the situation didn’t unfold like he wanted. Cyril Dabydeen uses literary techniques such as diction, imagery, and irony to express Max’s intricate attitude towards his new home in Canada, and his old home on the island.

The “closure––” that is offered within the swamp momentarily of pauses the passage. The en dash leaves “closure” open-ended, yet nonetheless grounded to the swamp. The juxtaposition with the intention behind the rhetorical “closure” and the word’s physical connection to the en dash creates tension and an ambiguous dependency on the rest of passage, or the swamp itself. If the swamp metaphorically abstracts life, then Oliver’s transition from progressive to submerging voice mirrors one’s focus on the deeper layers of their life, where a profound interpretation exists beyond the surface. Ironically, the course of life that was considered “pathless” and “seamless” shifts when the individual provides meaning. Playing with scale offers descent into life’s core, as the “pathless, seamless, peerless mud,” encompasses every corner of the swamp. Though the “path” is still daunting and unclear, mere admittance of a “path[‘s]” nonetheless contextualizes its existence. Mentioning of the path may reflect Oliver’s own belief about fate and progress. The end is not clear, yet “peerless,” forward movement continues. Gradation of “foothold, fingerhold, mindhold,” physically embodies spiritual descent into the swamp. The drive to attain a stronger connection with an idea, an ultimate “mindhold,” are vulnerable approaches to appreciating the swamp, yet the humility within a slow pace provides means for full immersion and “sink[ing] silently,” into

Her choice of words paints vivid pictures and instills strong feelings appropriate to the situation written at hand. The diction reveals what the characters look like as well as their personality, or clues to their personality. It moves the story forward by showing how the events transition with her choice of words and in the way she reveals characters or happenings. Brooke Hauser's choice of figurative language conveys how dire a situation may be, how joyful it may be, and how the features of the characters appear to be in comparison to objects. Her use of figurative language makes it easier to picture the characters as well as obtain an idea of how the characters may feel at the time. The figurative language reveals, in detail, the appearance of the characters as well as their personality. An example would be on page forty-seven, which says, "...the farmer's face, its broad planes darkened in shadows like a field under a passing cloud." Brooke's use of figurative language moves the story forward by revealing new characters, the feelings of characters, and/or new locations. The author's use of sensory detail contributes greatly to the struggles and emotions of the students. In the way she uses it, she shows how horrific an event may be, how disheartening something may be, and/or how cheerful and jovial something may be. She uses sensory details to reveal the, typically physical, features of characters.

The tide was coming in and there was only a narrow strip of firm beach between the water and the white, stumbling stuff near the palm terrace. Ralph chose the firm strip as a path because he needed to think, and only here could he allow his feet to move without having to watch them. Suddenly, pacing by the water, he was overcome with astonishment. He found himself understanding the wearisomeness of this life, where every path was an improvisation and a considerable part of one 's waking life was spent watching one 's feet. He stopped, facing the strip; and remembering that first enthusiastic exploration as though it were part of a brighter childhood, he smiled jeeringly. He turned then and walked back toward the platform with the sun in his face. The time had come for the assembly and as he walked into the concealing splendors of the sunlight he went carefully over the points of his speech. There must be no mistake about this assembly, no chasing imaginary. . . .

When the reader is first introduced to this character it is through the listing of three declarative clauses in one of Stephen’s long, complex sentences. It is here that his fragmented memory is emphasised by the fragmented syntax where only glimpses of Mrs

In the perpetual battle between breaking tradition and embracing it, Lost Horizon helps present these opposing forces using various metaphorical devices to enliven the situational elements of character development. Shan-gri-la becomes the overarching metaphor for which

When reading Walking the boundaries, the first several pages introduce the scenery of a rural country town, that martin is visiting, to see his great grandfather old Ted. While Martian is visiting old ted, old ted has offered him the farm, if he can simply walk the boundaries of the farm, Ted explains that his family has been walking the boundaries for generations but many have not completed it, The way that the author Jackie French explains this, the reader becomes aware that old ted is disappointed in his family, his family lives a privileged city life, with no other motive to visit him, besides the money they would inherit once the farm was sold. Owning the farm is Martins ultimate goal, he

1.How doe he use description effectively? Give a couple examples of powerful use of language

In his latest novel, Jasper Jones (2009), Craig Silvey uses syntax, visual and olfactory imagery, personification and symbolism to describe the inside of Mad Jack Lionel’s dingy house, creating a sinister, gloomy and malicious mood. As this setting is observed through the youthful eyes of the Bildungsroman novel’s narrator, Charlie Bucktin, you receive the eye-opening thoughts and perceptions of a child combined with Silvey’s precisely crafted language, producing an impactful and evocative passage.

In the Robert Frost poem ‘’The Road Not Taken’’ there is a pervasive and in many ways intrinsic sense of journey throughout. In such, the poem explores an aspect associated with human decision, or indecision, relative to the oxymoron, that choices with the least the difference should bear the most indifference, but realistically, carry the most difficulty. This is conveyed through the use of several pivotal techniques. Where the first such instance is the use of an extended metaphor, where the poem as a whole becomes a literary embodiment of something more, the journey of life. The second technique used is the writing style of first person. Where in using this, the reader can depict a clear train of thought from the walker and understand