Monday, May 18, 2020
Antimetabole - Definition and Examples in Rhetoric
In rhetoric, a verbal pattern in which the second half of an expression is balanced against the first but with the words in reverse grammatical order (A-B-C, C-B-A) is called antimetabole. Pronounced as an-tee-meh-TA-bo-lee, it is essentially the same as chiasmus. The Roman rhetorician Quintilian identified antimetabole as a type of antithesis. Antimetabole comes from the Greek phrase, turning about in the opposite direction. Examples and Observations The following are excellent examples of antimetaboles used in notable literature: I can write better than anybody who can write faster, and I can write faster than anybody who can write better.(A. J. Liebling)Women forget all those things they dont want to remember, and remember everything they dont want to forget.(Zora Neale Hurston, Their Eyes Were Watching God, 1937)Stops static before static stops you.(Advertising slogan of Bounce fabric softener sheet, 1990s)We didnt land on Plymouth Rock; Plymouth Rock landed on us.(Malcolm X)Hate destroys a mans sense of values and his objectivity. It causes him to describe the beautiful as ugly and the ugly as beautiful, and to confuse the true with the false and the false with the true.(Dr. Martin Luther King, Jr.)It is not how old you are, but how you are old.(Jules Renard)If a conservative is a liberal who has been mugged, a liberal is a conservative who has been indicted.(Jeffrey Rosen, The New Yorker)A government that seizes control of the economy for the good of the people, ends up seizing control of the people for t he good of the economy.(Senator Robert Dole in his acceptance speech for the Republican nomination for president, San Diego, August 1996) The Difference Between Antimetabole and Chiasmus [T]hose of us who have been granted a disproportionate ability to express ourselves may not always have the best selves to express.(Clive James, North Face of Soho, 2006)The only distinguishing feature of the antimetabole is that at least two terms from the first colon change their relative places in the second, appearing now in one order, now in reversed order. In the process of changing their syntactic position in relation to each other, these terms change their grammatical and conceptual relation as well. Thus in St. Augustines declaration of a semiotic principle--[E]very sign is also a thing . . . but not every thing is also a sign--sign and thing switch places in propositions claiming, first, that the set of all signs is a subset of the set of all things, but, second, that the reverse conceptual relation dictated by the reverse syntax does not hold . . .. Seventeen hundred years later, a journalist used the same form to complain about the unfortunate relationship between members of his own profession and the politicians they report: Our cynicism begets their fakery and their fakery begets our cynicism . . .. In each of these examples, separated by almost two thousand years, the arguer builds on the conceptual reversal created by the syntactic and grammatical reversal.A variant of the antimetabole, to which the name chiasmus is sometimes applied, abandons the constraint of repeating the same words in the second colon yet retains a pattern of inversion . . .. Instead of repetition, this variant uses words related in some recognizable way--perhaps as synonyms or opposites or members of the same category--and these related words change positions.(Jeanne Fahnestock, Rhetorical Figures in Science. Oxford Univ. Press, 1999)I, too, was born in the slum. But just because youre born in the slum does not mean the slum is born in you, and you can rise above it if your mind is made up.(Jesse Jackson, speech at 1984 Democratic National Convention)You have to know how to accept rejection and reject acceptance.(Ray Bradbury) The Lighter Side of Antimetabole The Sphinx: He who questions training, only trains himself in asking questions. . . . Ah yes, work well on your new costumes my friends, for when you care for what is outside, what is inside cares for you. . . . Patience, my son. To summon your power for the conflict to come, you must first have power over that which conflicts you.Mr. Furious: Okay, am I the only one who finds these sayings just a little bit formulaic? If you want to push something down, you have to pull it up. If you want to go left, you have to go right. Its . . .The Sphinx: Your temper is very quick, my friend. But until you learn to master your rage . . .Mr. Furious: . . . your rage will become your master? Thats what you were going to say. Right? Right?The Sphinx: Not necessarily.(Wes Studi and Ben Stiller in Mystery Men, 1999)
Wednesday, May 6, 2020
How The Harlem Renaissance Shaped Literature - 1596 Words
Marie Eggly 12/9/2014 ENG 320 Hoeppner How the Harlem Renaissance Shaped Literature The Harlem Renaissance was a revolutionary time for African Americans in the Twentieth Century. It lasted from around 1918 until 1937 and is described as ââ¬Å"the nationââ¬â¢s first self-conscious black literary and artistic movementâ⬠(Tindall 804), but the ideas cultivated within those years are still relevant in todayââ¬â¢s society. In New York the city of Harlem had a rapidly growing population of African Americans due to the Great Migration and it was also the destination for immigrants from other areas of the United States. Once people began hearing about the Harlem Renaissance even more writers, photographers, musicians, and scholars moved to the area. Due to the large population of African Americans here, a sense of common identity and cultural expression were apparent and this led to the embracing of their own culture separate from what white people had defined it as. A path was laid out for new African American lite rature and had a huge impact on all of the black literature to follow. The early stages of the Harlem Renaissance took off due to several plays, poems, and a newspaper. Three Plays for a Negro Theatre was written by Ridgely Torrence, a white playwright, and his play showed African American actors expressing complex yearnings and emotions instead of the usual stereotypes of blackface and minstrel shows. Then in 1917 Hubert Harrison created The Voice, a newspaper that focused onShow MoreRelatedThe Harlem Renaissance Movement By Zora Neale Hurston, Langston Hughes, And Ralph Waldo Ellison931 Words à |à 4 PagesKnown as one the most impactful movements on African American arts, the Harlem Renaissance Movement represented a period of artistic and intellectual change that initiated a new identity on black culture. Often called the ââ¬Å"New Negroâ⬠Era, the Harlem Renaissance opened doors for African American to express themselves in the form of visual arts, musical elements, and even performing arts during the 1920s. Due to this movement, Harlem became the city that ââ¬Å"gave African Americans a physical cultural centerRead MoreLangston Hughes : The Face Of Harlem Literacy1147 Words à |à 5 Pages The Face of Harlem Literacy James Mercer Hughes, most commonly known as Langston Hughes, was a notorious writer during the Harlem Renaissance period. The Harlem Renaissance is considered a cultural explosion of African American cultures during the 1920ââ¬â¢s. Hughes was an important figure and supporter during the Harlem Renaissance era. Through Hughes literature and activism during the 1920ââ¬â¢s he created a positive change within the black community. The Harlem Renaissance coincided with theRead MoreImpact Of Langston Hughess Contribution To Harlem Renaissance1697 Words à |à 7 PagesLangston Hughes contribution to Harlem Renaissance Harlem was founded back in the 17th century as a Dutch outpost. Harlem adjoins New York City and host a large population of the African American Community. The blacks found New York City to be more accommodative to their culture and ideologies, during the great migration of the early 1900s, Harlem became the major destination and it became home to many African Americans. [1] Harlem received over time, Harlem developed from a farming village to becomeRead More`` Walls Of Jericho ``999 Words à |à 4 Pagesthe floor to dance I am lost in a sea of white facesâ⬠¦Time was when white people went to Negro cabarets to see how Negroes acted; now Negroes go to these same cabarets to see how white people act.â⬠African-American physician, radiologist, musician and novelist Rudolph Fisher was coupled with the Harlem Renaissance, whose fiction credibly illustrated black urban life, particularly in Harlem. In his first novel, Walls of Jericho, Fisher humorously and satirically presented a hopeful vision that AfricanRead MoreThe Harlem Renaissance Of The 1920s1557 Words à |à 7 Pagespeople, we decide what hue is intriguing, how it makes us feel, and unfortunately how it makes us different. We are calmed by the blueness of water, and we are awakened by the yellowness of the sun. It was not until the evil intentions of slavery crossed mankindââ¬â¢s thoughts that hue became our downfall, our separator. White supremacy eroded the idea of equality, and darker hues began to symbolize worthlessness, inferiority, and ugliness. The Harlem Renaissance of the 1920s evoked the idea of black consciousnessRead MoreBlack And Blues - Langston Hughes1623 Words à |à 7 PagesKelsee Robinson Mrs. Fiene English 12 14 March 2017 Black and Blues ââ¬â Langston Hughes The Harlem Renaissance was a time in history when the African American culture had one of its most influential movements by using creativity and the arts (Hutchinson 1). This movement took place between 1918 and 1937 and was shaped by both African American men and women through writing, theatre, visual arts, and music. The purpose of this movement was to change the white stereotypes that were associated withRead MoreThe Harlem Renaissance : An Important Piece Of History For America1473 Words à |à 6 PagesThe Harlem Renaissance, originally called the New Negro Movement, was a movement that shook the 1920ââ¬â¢s in the United States of America. The Harlem Renaissance spanned between the years of 1918 all the way to the mid 1930ââ¬â¢s. This movement was a movement of the arts. It has been said that this time period was a rebirth to the African American arts. The Harlem Renaissance is an extremely important piece of history for America. The Harlem Renaissance took place soon after the ââ¬Å"Great Migration.â⬠At thisRead MoreThe Poetry Of Langston Hughes1727 Words à |à 7 PagesLangston Hughes is arguably one of the best known American writers of the twentieth century. He played an important influential part in the Harlem Renaissance, his poetry and other literary works helped pave way to a new wave of African American culture and literature. Hughes had a wide variety of works, he was much more than just a poet; he was a short-story writer, novelist, and playwright (Brucker). He was also very involved in the Black Arts Movement, and had works published in ââ¬Å"The Crisisâ⬠theRead MoreAnalysis Of Langston Hughes And His Harlem Dream1639 Words à |à 7 Pagesand His Harlem Dream The 1900s found many African Americans migrating from the south to north of the United States in an event called the Great Migration. Many Southern African-Americans migrated to a place called Harlem and this is where the Harlem renaissance originated from. The Harlem renaissance began just after the first world war and lasted into the early years of the great depression. Harlem became the cynosure for blues and jazz and birthed forth a Negro Artist era called the Harlem RenaissanceRead MoreEssay on Modernism at Its Finest in Literature756 Words à |à 4 Pagesthe twentieth century, literature changed and focused on breaking away from the typical and predicate patterns of normal literature. Poets at this time took full advantage and stretched the idea of the mindââ¬â¢s conscience on how the world, mind, and language interact and contradict. Many authors, such as Fitzgerald, Steinbeck, and Twain, used the pain and anguish in first hand experiences to create and depict a new type of literature, modernism. In this time era, literature and art became a larger
A British Muslim Essay Example For Students
A British Muslim Essay Thus we want to change or even break free from the way that others perceive us, but we are also guilty of forming perceptions of others. By doing so we encourage the cycle to continue, and thus prevent others from changing or expressing their true identity at the same time that they prevent us. OTHER KEY CONCEPTS One must avoid the danger of focusing attention on identity at the expense of ignoring the other key concepts that are interrelated in the understanding of identity, namely insecurity, power and equality. One may come to question their identity if they experience feelings of insecurity. Alternatively, can argue that the reverse holds true, so that feelings of insecurity can stem from the identity that we possess. As we progress through our lives we take on different roles, each of which may call upon (projecting) different aspects of our identity. Movement between these roles (periods of transition) can trigger off insecurity over our identities. Similarly, lack of role gives us insecurity in social system that is based on institutionalisation of expectations. For example, if upon graduation I decide against entering the world of work, others may see me as lazy and unambitious. the way we perceive ourselves as an individual is largely dependant on societys reflection of us and thus I can experience feelings of insecurity . The fear of inconsistency between roles can lead to cognitive dissonance that manifests itself in the form of heightened tension and insecurity. One looks to resolve this to form a more grounded identity. e. g I can resolve my earlier problem by entering the labour market. CHANGING IDENTITY Last year I interrupted my studies to undertake a gap placement with an investment bank in London. Living alone, away from home for the first time, I was free from parental influence and restrictions, thus I had the opportunity to break out of my conventional mould and in effect, create a new identity. But I found myself changing very little. Those restrictions which I felt were the attitudes of my parents projected on me had become internalised over time and came to constitute a significant part of my being. Therefore as much as I may have been tempted to go wild, I could not bring myself to do so, as by letting go I felt like I would lose myself my identity. Theorists such as Fromm (1980) may explain this in terms of the fear of freedom resulting from (amongst other things) the insecurity attached to the uncertainty of the unknown. Sociologists such as Berger may describe my situation in terms of inability to change due to ingrained social expectations. IDENTITY AND RELIGION As a practising Muslim, my belief in God shapes my attitude and my behaviour by setting guidelines for the way I live my life. Thus one may view this cornerstone of my identity as a prison. However, maybe it isnt a prison as much as a safety net, ensuring that I dont go astray! That I lead my life in the way that I have been brought up to believe is just and right, normal for a British Muslim. But from this stems the argument that living up to the label acts as a prison in itself, which has been created both within and by a social structure. By conforming I am repressing my true identity and suppressing to my communities expectations (based on Friere, 1972). As a British Muslim I am expected to blend into the Western way of living whilst maintaining my ethnic roots/ culture. This can cause a state of unbalance that may manifest itself in anxiety and feelings of insecurity over competing identities. This reasoning leads me to question to what extent my identity as a British Muslim is a psychic prison? Am I trapped by the conflicting roles that are within me? The extent to which identity is a prison depends on whether one looks at the having or being mode of existence. This is best explained if looked at in a context, and thus will now look at it in terms of another key concept of security/insecurity. In the Having mode, security sees it as a possession ELABORATE IF TIME. In contrast, in the Being mode there is no insecurity attached to losing what one has. .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 , .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 .postImageUrl , .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 .centered-text-area { min-height: 80px; position: relative; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 , .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2:hover , .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2:visited , .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2:active { border:0!important; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 .clearfix:after { content: ""; display: table; clear: both; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2:active , .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 .centered-text-area { width: 100%; position: relative ; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2:hover .ctaButton { background-color: #34495E!important; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2 .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5b2f3bdd9f3ac64bbddd7fe5f88d0ad2:after { content: ""; display: block; clear: both; } READ: Volunteering EssayIf I am who I am and not what I have, nobody can deprive me of or threaten my security and my sense of identity. (Fromm). Thus, identity is a framework (rather than a prison) that is built to accommodate the individual through its flexible rather than restrictive nature. At an academic level Friere (1972) sees the banking system of education as a mechanism for restricting expression of identity due to its dehumanising nature. Those who take on the role/identity as students, such as myself, lose their sense of individuality in the classroom. They are transformed into passive recipients of information as opposed to knowledge that would encourage them to grow and question their perception of the world around them and try to discover where they fit into it. i. e. their identity. Thus the place that I am studying at can be seen as an institution set up with the purpose of moulding students into managers of the future. This creates a sense of identity Im a graduate and a purpose I will become a successful manager. This carries with it expectations from others, e. g. she successful manager. must be intelligent, hardworking and ambitious, traits which we may feel obliged to fulfil, reiterating the psychic prison analogy. SOCIAL IDENTITY We tend to migrate towards others who are similar to ourselves, such as those who share similar interests, values and attitudes. One may argue that such groups can limit our identity, which is restricted to operating within the given expected framework of the group to which we belong. Thus the group can be said to represent the bars surrounding our identity. SIT makes distinction between personal identity (defined by traits) and social identity (defined by stereotypes).
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