MA English – Paper II – Linguistic and Stylistic Analysis of Texts – Old course – April 2013
Q1) A and C - part answers
(You need write only the consonants or vowels when transcribing the lines as per the question)
‘The Swing’
How do you
like to go up in a
swing,
hau du: ju: laɪk
tu gəu ʌp ɪn eɪ/ə swɪŋ
Up in the air so blue?
ʌp ɪn ðə/ðɪ eə(r) səu blu:
Oh, I
do
think it the pleasantest thing
əu aɪ du: θɪnk ðə/ðɪ plez(e)ntest θɪŋ
Ever a
child can do!
evə(r) eɪ/ə ʧaɪld kæn du:
Up in the air and over the wall,
Till I can see so wide,
River and trees and cattle and all
Over the countryside--
Till I look down on the garden
green,
tɪl aɪ luk daun ɒn/ɔn
ðə/ðɪ ga:(r)den gri:n
Down on the roof so brown--
daun ɒn/ɔn ðə/ðɪ ru:f səu braun
Up in the air I go flying
again,
ʌp ɪn ðə/ðɪ eə(r) aɪ gəu flaɪŋ ageɪn
Up in the air and
down!
ʌp ɪn ðə/ðɪ eə(r) ænd
daun
- Robert Louis Stevenson
Q 1) a
– Any FIVE of the
following could
be given
by
the students:
|
Place
|
Manner
|
Type of Articulation
|
ʧ
|
Post alveolar
|
Affricate
|
Voiceless
|
w
|
Bilabial
|
Approximant / Semi - Vowel
|
Voiced
|
r (not preferred)
|
Alveolar
|
Approximant / Semi
- Vowel
|
Voiced
|
j
|
Palatal
|
Approximant / Semi
- Vowel
|
Voiced
|
s
|
Alveolar
|
Fricative
|
Voiceless
|
ð
|
Dental
|
Fricative
|
Voiced
|
θ
|
Dental
|
Fricative
|
Voiceless
|
h
|
Glottal
|
Fricative
|
Voiced
|
v
|
Labio dental
|
Fricative
|
Voiced
|
l
|
Alveolar
|
Lateral
|
Voiced
|
n
|
Alveolar
|
Nasal
|
Voiced
|
ŋ
|
Velar
|
Nasal
|
Voiced
|
d
|
Alveolar
|
Plosive
|
Voiced
|
t
|
Alveolar
|
Plosive
|
Voiceless
|
p
|
Bilabial
|
Plosive
|
Voiceless
|
b
|
Bilabial
|
Plosive
|
Voiced
|
k
|
Velar
|
Plosive
|
Voiceless
|
g
|
Velar
|
Plosive
|
Voiced
|
Q1) B)
Consonants – Effect
Predominant
– θ ŋ p g n s f w
(pleasantest, up, Swing, flying, thing, garden, green,
again, brown)
The
preponderance of voiceless fricatives (s) and plosives (p) add to the lyricism.
The focus is on vowels.
Nasals and
approximants – too empahsise effect of vowels and add to the mellifluousness of
the poem. Also the shrill, breathless excitement of a child is evidenced
through the use of the nasals.
Q1) C) Vowels / Diphthongs- Labels (Any 5)
- /i:/ -
long close front unrounded
/ spread vowel
- /ɪ/ -
short half-close front unrounded /spread vowel
- /e/ -
short half-open front unrounded / spread vowel
- /æ/ -
short open front unrounded / spread vowel
- /ə/ -
short half-open central Unrounded/ Neutral vowel
- /ʌ/ -
short open central unrounded/ Neutral vowel
- /u:/ -
long close back rounded vowel
- /
u/ - short half-close back rounded vowel (also shown by / ʊ /)
- /ɒ/- short open
back rounded vowel (also shown by / ɔ /
- /ɑ:/ -
long open back rounded vowel
Diphthongs
/aɪ/ - Back oriented diphthong
/au/ - Back oriented diphthong
/əu/ - Centre oriented diphthong
/eɪ/ - Front oriented diphthong
/eə/ - Front oriented diphthong
Q1) D) Vowels Effect
Predominant–
aɪ, au, u:
Cyclical nature – just as the swing moves up and down
shares joy with the world as
opposed to inward
looking front vowels.
Poem balanced by the presence of a few front and
centre vowels and
diphthongs as in /eə/ in
air or
/ɪ/ in swing or /i:/ in trees or green
that highlight a
reflective mood.
Q1) E) Short Note (Any 1)
Imagery
Visual
Colours – blue, brown, green
– as
in the upward and downward path
of the swing
Sights – cattle, river, trees, garden, roof -- countryside – near a house.
Top
view mostly emphasised. Few details of the ground view given.
Punctuation
- Begins with a
(?) – conversational tone – good
hook – typical of a child’s method for
initiating
conversation
- (!) – joy expressed
– repeated
– children
generally speak of in exclamatory sentences – plus
the
swing’s movement would make the child
breathless as well adding to the exclamation
- (-) – indicates more – seems to put in parentheses the view while the swing
comes down.
Almost as additional info.
_________________________________________________________________________________________________
Q2) A)
Hans Christian Andersen’s The Fir Tree MCL Types of SCLs
(S1) Se { < MCl [ The Tree beheld
all the beauty of the flowers, and the freshness in the garden ] ; MCl [ he beheld himself ] , and
MCl [ wished NCl [ he had remained in his dark
corner in the loft ] ] >} .
(S2) MCl [ He thought of his first
youth in the wood, of
the
merry Christmas-eve, and of
the
little Mice RCl [ who had
listened with so much pleasure to the story of Humpy-Dumpy ] ].
(S3) "MCl [ < NCl [ 'Tis over] – NCl ['tis past] > !" said the poor Tree ].
(S4) "MCl [ Had I but rejoiced ACl [ when I had
reason NCli [ to do so ] ] ]!
(S5) Se { < MCl [ The gardener's boy chopped the Tree into small pieces ]; MCl [ there was a whole heap RCling [ lying there ] ] > } .
(S6) MCl [ The wood flamed up
splendidly under the large brewing copper ] .
(S7) MCl [
It sighed so deeply ] !
(S8) MCl [ Each sigh was like a shot ] .
(S9) Se { < MCl [ All was over now ] : MCl [ the Tree gone ] , MCl [ the story at an end ] > }.
(S10) MCl [ Every tale must end at last ].
_____________________________________________________
Q2) b)
MCl -15
SCl – 06
NCl – 03
RCl – 01
RCling – 01
NCli – 01
ACl – 01
MCl – predominant - thus, easy to understand, simple passage / apt for children
SCl – NCL and RCl predominant – ideas and their description
dominate – the thought
of the tree expressed
– little action in the passage so ACls
not as prevalent.
_________________________________________________________________________________
Q3) Narratology
Narratology [Haircut by
Ring Lardner
(1885-1933)]
I got another barber that
comes over from Carterville and helps me out Saturdays, but the rest of the
time I can get along all right alone. You can see for yourself that this ain't
no New York: City and besides that, the most of the boys works all day and
don't have no leisure to drop in here and get themselves prettied up.
You're a newcomer, ain't you? I
thought I hadn't seen you round before. I hope you like it good enough to stay.
As I say, we ain't no New York City or Chicago, but we have pretty good times.
Not as good, though, since Jim Kendall got killed. When he was alive, him and
Hod Meyers used to keep this town in an uproar. I bet they was more laughin'
done here than any town its size in America.
Since Jim's gone, Hod tries to
hold his end up just the same as ever, but it's tough goin' when you ain't got
nobody to kind of work with.
a) Who is the narrator? Is S/he
different from the author? What linguistic factors help you to decide?
b) Does the passage use direct or
indirect discourse? Justify.
c) What is the setting of the passage?
d) What insights do you get about the
characters in the passage? What is the method of charaterisation used?
a)
It
is not possible to identify who the author is and if the author is present in
the passage.
The given extract is a one way
conversation that the owner of a barber shop in a small town has with a
customer of his. The narrator/author are one and the same as there is no
reference to any character who could act as the narrator in the passage. In
fact, the author/narrator might well be the protagonist, the unnamed barber.
But he could also be the customer or an observer in the shop. The presence of
the author/narrator in the passage is not evident, even thought the pronoun ‘I’
and ‘you’ have been used in the conversation, as these pronouns could merely be
a recounting of the conversation that the barber had with his customer.
However, the author/narrator of this extract has a very objective point of view
presented as only the conversation has been presented verbatim and no opinions
or unexpressed feelings or thoughts have been offered as an aside.
b)
The
author has used direct discourse here as the passage is basically a
conversation that the barber has with his unnamed, unknown customer, who likely
is a newcomer to the place as illustrated by the dialogue “You're a
newcomer, ain't you? I thought I hadn't seen you round before.” Furthermore, the author/narrator of
this extract has a very objective point of view presented as only the
conversation has been presented verbatim and no opinions or unexpressed
feelings or thoughts have been offered as an aside.
c)
The setting of the passage is a barber shop in a
small, unknown town or village located in America close to Carterville. This
conclusion is based on first paragraph of dialogue: “I got another barber that
comes over from Carterville and helps me out Saturdays, but the rest of the
time I can get along all right alone.” This line indicates that the shop is
one-man shop run by the protagonist and not a busy one. Furthermore, he says :
“You can see for yourself that this ain't no New York City and besides that,
the most of the boys works all day and don't have no leisure to drop in here
and get themselves prettied up.” The repeated reference to ‘this ain’t no New
York City” and to Chicago, both US cities as seen in the second paragraph as
well emphasises the fact that the shop must be located in a sleepy little place
in the States. Moreover, the protagonist also compares the town to another of
an equivalent size in the USA“I bet they was more laughin' done here than any
town its size in America.”
d) The
protagonist is a small time barber who owns a shop and has someone from
Carterville to help him out on Saturdays which must be the busiest period for
him. He is a garrulous man, who loves to talk as is evident by the fact that
the entire three paragraphs are almost a monologue as he gets no verbal
response from his customer. He is also a gossip as he observes that his
customer must be a new comer as he asks “You're a newcomer, ain't you?” and
answers the question himself as well “I thought I hadn't seen you round before”.
His speech is colloquial and peppered with Americanisms “ain’t”, “prettied up”
and “laughin”. The dropping of the “g” is indicative of speech patterns found
in the Southern states of the USA. He also is not very educated as he uses
double negatives in his sentences such as “we ain't no New York City or Chicago”
“don't have no leisure.” Despite the lack of education and lack of
sophistication as he constantly refers to the fact the town is unlike the big
cities, he is tolerant of others and has sympathy for his fellow residents as
he excuses the lack of customers in his shop by being understanding of the fact
that his clientele were hardworking men who had other concerns than being
“prettied up” and his ability to look beyond Hod’s shortcomings in trying to
entertain the town by perceiving that “it's
tough goin' when you ain't got nobody to kind of work with.”
He also recounts for a perfect stranger what
used to happen in the unnamed town and talks of two other characters Jim
Kendall and Hod Meyers who perhaps provided comic relief to the residents of
the place and how Jim was the more entertaining of the two, but that he was now
dead, in fact “killed”. Hod now tried to liven up the place, but failed because
he lacked company. So the reader gets a picture of two other characters who had
time enough on their hands to provide the town with some amusement with their
antics and comments. The protagonist seems to have liked them well enough,
which makes the reader disposed to liking them as well. Perhaps Jim Kendall was
killed in reaction to something he did or he was an unfortunate victim of a
crime. The protagonist’s commentary does not reveal anything, though the reader
is tantalised as one would suppose the customer is as well. Thus, the barber is also a good raconteur.
The customer is
unheard and unseen in the passage and is even more mysterious. All we know is
what we can read between the lines of the non-stop chatter of the barber. The
only response he might have made is perhaps confirming nonverbally the
assumption that the barber makes about the customer being a stranger to the town
as the next comment the barber makes is “I thought I hadn't seen you round
before.” and perhaps a pleasant man as the barber says “I hope you like it good
enough to stay”.
The method of characterization
refers to the modes by which information about individual characters is
conveyed.
In this extract the method used is indirect
presentation for the protagonist, and the customer, the only two agents in the
passage. The characters’ personalities are conveyed through:
·
Actions
(omission) – The customer does not speak as explained above
·
Characteristics
of Speech – Protagonist – as explained above
Jim Kendall and Hod Meyers, like the barber
from Carterville and the townfolk, are not agents in the passage. They are
presented through a direct definition of character by the protagonist as he
comments on them as he introduces them to the unnamed customer.
Q4) b) Teaching Questions [Expect Nothing]
Expect nothing. Live frugally
On surprise. become a stranger
To need of pity
Or, if compassion be freely
Given out
Take only enough
Stop short of urge to plead
Then purge away the need.
Wish for nothing larger
Than your own small heart
Or greater than a star;
Tame wild disappointment
With caress unmoved and cold
Make of it a parka
For your soul.
Discover the reason why
So tiny human midget
Exists at all
So scared unwise
But expect nothing. Live frugally
On surprise.
- Alice Walker
Additional - Just for explanation:
{ Alice Walker’s poem, “Expect Nothing”, is a poem about truly expecting nothing. She’s trying
to tell
her
readers to just live life without a
plan and to have fun
with it and that life should
be
a
surprise.
You
never know what life is going to bring
next and
I think that Alice wants her readers to
notice how true that is. She always has you notice how much
you
have compared
to what others don’t and
to
wish for smaller and more humble things than
what you already have. If you don’t
expect a
lot from life you can’t be disappointed. }
Questions could follow these suggested
guidelines:
1) Use
of imperatives – “take” “Wish” leading to Q2
2) Tone of the poem/poet – didactic / Sermonising
3) What type of
poem might this be?
– A homily.
4) Who might the audience be, based on the answers to the above questions?
5) The use of ‘OR’ – indicates choices.
6) What are these choices? Questions could
be
based on each stanza.
7) Are these choices real
possibilities?
8) Diction
used – over all simple to help
reader better understand
the
message
9) Can ask meanings of words such
as “frugally”, Caress, parka, midget
10) Metaphor – “heart” for small size and “star” for
large size
11) Tautology – “tiny human midget” – repeat idea emphasizes what?
12) Paradox – “Expect nothing”, “caress unmoved and cold”
13) Repetition
– “Expect nothing.
Live frugally/ On
surprise.” Why? Cyclical
– emphasize what?
14) Other content questions could be framed such
as:
a) Take
enough of
what? (1st stanza) – How do you think this is possible?
b) How can
a parka be made of disappointment? How can
the
soul be protected by
disappointment?
c) Who is the “tiny human midget” that the poet refers to –
an individual or
all mankind? d) Why does the poet describe the midget as scared and unwise? Is it given
in the poem?
e)
Is it possible to become wise? Is there a
solution that poet suggests?
15) Message of poem /
Suggest a title for the poem.
Justify.
16) What is the mood of the poem? (What mood
does it invoke in the reader?)