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free guidance notes on writing skills and English Language, sample pages, How-to guides, and study resources

free guidance notes on writing skills and English Language, sample pages, How-to guides, and study resources

Plagiarism in essays

August 24, 2009 by Roy Johnson

sample from HTML program and PDF book

1. Plagiarism in essays occurs when you take someone else’s ideas or words and try to pass them off as your own original work. In its worst form this happens when someone is stuck for ideas and lifts a passage from a textbook, hoping that the use of this ‘borrowed’ material will not be noticed. [It is usually very noticeable.]

2. Sometimes this can happen unintentionally, because the student uses a passage from someone else’s work – but forgets to put quote marks around it. These lifted passages are easily noticeable because of the sudden shift in tone in the writing.

3. You should always acknowledge the original source of any words or ideas which you use in your own work. Any attempt to pass off work which is not your own is regarded as cheating in academic circles, and is usually severely censured.

4. You can either acknowledge any idea you use in summary form:

This is what the critic Stanley Fish has called ‘interpretive communities’ (1) as a strategy in his argument that …

5. Alternatively, you can interrupt your own argument to briefly quote a passage from the original source. As Stanley Fish suggests:

Interpretive communities are made up of those who share interpretive strategies not for reading (in the conventional sense) but for writing texts, for constituting their properties and assigning their intentions. (1)

6. In both cases you must acknowledge that original source, either in a footnote or an endnote, which is shown as follows:

NOTES
1. Stanley Fish, Is There a Text in this Class, Harvard University Press, 1980, p.169.

7. Unless you have specifically been asked to discuss or summarise other people’s arguments, you should avoid composing an essay by stringing together accounts of other writers’ work.

8. More difficult instances occur when dealing with ideas that are in the public domain. For instance, you might not know who first thought of a concept you wish to bring into play. In such a case you should simply acknowledge the fact that the idea is not your own.

What follows is the rather stringently worded code on plagiarism from a typical university handbook.


Plagiarism

Plagiarism is the theft or appropriation of someone else’s work without proper acknowledgement, presenting the materials as if they were one’s own. Plagiarism is a serious academic offence and the consequences are severe.

a) Course work, dissertations, and essays submitted for assessment must be the student’s own work, unless in the case of group projects a joint effort is expected and indicated as such.

b) Unacknowledged direct copying from the work of another person, or the unacknowledged close paraphrasing of somebody else’s work, is called plagiarism and is a serious offence, equated with cheating in examinations. This applies to copying both from other student’s work and from published sources such as books, reports or journal articles.

c) Use of quotations or data from the work of others is entirely acceptable, and is often very valuable provided that the source of the quotation or data is given. Failure to provide a source or put quotation marks around material that is taken from elsewhere gives the appearance that the comments are ostensibly one’s own. When quoting word-for-word from the work of another person quotation marks or indenting (setting the quotation in from the margin) must be used and the source of the quoted material must be acknowledged.

d) Paraphrasing when the original statement is still identifiable and has no acknowledgement, is plagiarism. A close paraphrase of another person’s work must have an acknowledgement to the source. It is not acceptable to put together unacknowledged passages from the same or from different sources link these together with a few words or sentences of your own and changing a few words from the original text: this is regarded as over-dependence on other sources, which is a form of plagiarism.

e) Direct quotation from an earlier piece of the student’s own work, if unattributed, suggests that the work is original, when in fact it is not. The direct copying of one’s own writings qualifies as plagiarism if the fact that the work has been or is to be presented elsewhere is not acknowledged.

f) Sources of quotations used should be listed in full in a bibliography at the end of the piece of work and in a style required by the student’s department.

g) Plagiarism is a serious offence and will always result in imposition of a penalty. In deciding upon the penalty the University will take into account factors such as the year of study, the extent and proportion of the work that has been plagiarised and the apparent intent of the student. the penalties that can be imposed range from a minimum of zero mark for the work (without allowing resubmission) through to downgrading of degree class, the award of a lesser qualification (eg a Pass degree rather than Honours, a certificate rather than a diploma) to disciplinary measures such as suspension or expulsion.

© Roy Johnson 2003

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Planning a Dissertation

February 21, 2015 by Roy Johnson

planning, structure, headings, and creating order

Planning a dissertation – what is it?

A dissertation is a piece of academic writing normally submitted as part of a Bachelors or a Masters degree (BA or MA). In some cases the term ‘dissertation’ might be used interchangeably with thesis, which (in the UK) is normally reserved to describe work at PhD level.

A dissertation can comprise anything from 8,000-10,000 words up to as many as 20,000 words, depending on the subject, and is normally shorter than a PhD thesis. It is written to show that you can produce an original idea, engage in academic research, and follow the conventions of argument and written presentation at this level.

The main problem for most people is that they’re unlikely to have written such a long piece of work before. Dealing with large amounts of information and producing a long and coherent piece of writing isn’t an easy task. The conceptual skills required and the burden of generating so much writing can seem overwhelming. For this reason it is vital that you create a plan before you start.

Planning a dissertation

The following guidance notes give an explanation of what’s required and a template to help you make that plan. The notes are a series of headings which will help you to clarify your ideas and create the outline or structure for what you have to do. They are not a timetable and they don’t cover the reading and research work involved in producing a dissertation. That part of the process is covered under Managing a dissertation.

Use these headings to generate an outline plan before you start any serious writing. The plan can be modified or enhanced as you go along – but at any given time you will have an overview of the project. This will help you to identify (name) any writing on which you’re working and decide its relevant position within the overall scheme. It will also save you from feeling ‘lost’ amongst your notes and your research materials.

It’s helpful to create your initial writing as chunks, or parts of the whole piece, rather than conceiving of the finished object at this stage. This gives you the opportunity to work on any one chunk whenever it’s convenient for you without becoming overwhelmed.


The title

You should have at least a rough idea of what you are going to write about. The provisional title does not have to be exact, and you can change it slightly as you go along. The act of creating a title forces you to clarify in your own mind the most important elements of your project.

It’s possible to start out with a long and possibly a slightly hazy title. But as you do more work generating the dissertation, the title should become shorter and more clearly expressed. [Some science subjects might require longer titles because of the complex names of chemicals or biological processes.]

The prime importance of the title is that it should specify exactly what your dissertation is about. Its secondary purpose is to act as a reminder while you’re writing that each part of the work should be directly related to its stated purpose. Your dissertation might be –

  • an argument
  • a survey
  • an investigation
  • a project
  • an analytic study

But the title is the most succinct expression of its subject and purpose.


The summary

Many dissertations also require an abstract or summary. This is a digest or a shorter version of the work as a whole. The abstract draws out in shortened form what’s contained in the complete thesis. It might also be known as a précis or a synopsis.

This might well be one of the last things you finalise. A summary is difficult to write before you’ve produced the work as a whole. But even a provisional summary will help you to keep the overall project in mind This too can be modified and updated as your work progresses.


The introduction

As in the case of the title and summary, the introduction might be something you only finish writing after you’ve done the main work of the dissertation. After all, it’s not easy to introduce something that’s not yet been written. However, you should have some idea of how you will introduce the main body of the work. It might be something like any of the following:

  • a description of what follows
  • the historical context to the subject
  • the origins of a problem to be studied
  • a summary of recent opinions
  • a digest of current research

Once again, even if you decide to change part of the dissertation as your work progresses, it’s better – at any given point – if you have a stated intention of how you propose to introduce the main body of your work. This ‘intention’ will help you to conceptualise the work as a whole and keep its structure alive in your mind.


Literature review

If the regulations call for it, you’ll need to include a section or chapter offering a literature review. This is a survey of the recent research findings on your topic or subject. You need to show not only that you have read the latest studies, but that you are able to digest their findings and arguments.

This is something that you can quite easily work on and store separately whilst you’re working on the rest of your dissertation. The exact position of the review in your plan will be determined by the conventions of your subject. It usually precedes the methodology, and will almost certainly come before any results.


Methodology

Planning a DissertationThis is an optional section, depending on the subject of your dissertation. Subjects that involve any sort of scientific or quantitative investigation will require an account of the methods used. This account will include an explanation of how the research has been designed and implemented, and why the particular collection of data and the method of analysis has been chosen. The methodology might be qualitative, quantitative, or experimental, and it might involve gathering information and subjecting it to close scrutiny and analysis. Arts and humanities subjects tend not to have quasi-scientific methodologies, but rely on the close examination and analysis of materials and texts, followed by the your own persuasive arguments.


Structure

A dissertation is often organised into a number of parts or chapters. The subject under enquiry might suggest or determine what these parts or chapters could be. Splitting your work into separate parts will make the process of composition easier. It means that whilst working on one part, you can temporarily separate it from the others. The arrangement of these parts might be determined by –

  • chronological order
  • logical progression
  • steps in a process
  • narrative sequence
  • equal significance
  • category groupings

The following are three practical examples based on this notion of creating structure. One further advantage of following this procedure is that the total word-count for the dissertation can be (roughly) divided between these sections or chapters (plus the introduction and conclusion) to produce a well-balanced whole.

  • A historical study of economic depression in the 1930s might be split into four main chapters covering the years 1930-1933, 1934-1936, 1937-1939, and 1939-1940
  • A study of Shakespeare’s tragedies might have four separate main chapters, one each on Hamlet, Othello, King Lear, and Macbeth
  • A study of inner-city pollution might be structured by separate sections on traffic density, open green spaces, air pollution, and housing density

Conclusion

You might not know the final conclusion of your dissertation project until you finish writing, but you can fill in this section with what you think or hope it might be.

This is a very good case where the title of your dissertation might be of help. If your dissertation title includes ” … show the influence of X on the work of Y …” you know that your conclusion must discuss examples of the work of Y and should reveal instances of the influence of X.


Bibliography

Colleges and universities usually have their own house guidelines for the manner in which bibliographic information is presented. In addition to this, various subjects and disciplines follow their own conventions – or they might adopt internationally recognised systems such as the Modern Humanities Research Association (MHRA), the Harvard System, or the Modern Language Association (MLA) system for bibliographic presentation.

It’s very important that you acquaint yourself with the system used for your subject and make sure you know all the small details of referencing, citation, and the listing of sources – including references to materials on the Internet.

Fortunately, this part of the dissertation is easy to produce, because you simply add to the list of texts and secondary sources you have used as you go along. The bibliography might even be divided up into primary and secondary sources.


Planning a dissertation – related study guides

How to fail your dissertation
Comic but very useful tips on how to avoid common mistakes

How to write a thesis abstract
A tutorial on how to create a one-page summary for longer works

How to solve research problems
Study tips for recovering from common errors and bad planning

Definitions of a thesis at Wikipedia
Structure, style, and variations by country, plus web links

How to write a thesis and which software tools to use
Data management, mind maps, creating structure, and bibliographies

© Roy Johnson 2015


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Planning essays

August 24, 2009 by Roy Johnson

sample from HTML program and PDF book

1. Planning essays – strategy
You can approach planning essays using a number of different writing strategies. Some people like to start writing and wait to see what develops. Others work up scraps of ideas until they perceive a shape emerging. However, if you are in any doubt at all, it’s a good idea to plan your work. The task of writing is usually much easier if you create a set of notes which outline the points you are going to make. Using this approach, you will create a basic structure on which your ideas can be built.

2. Plans
This is a part of the essay-writing process which is best carried out using plenty of scrap paper. Get used to the idea of shaping and re-shaping your ideas before you start writing, editing and re-arranging your arguments as you give them more thought. Planning on-screen using a word-processor is possible, but it’s a fairly advanced technique.

3. Analyse the question
Make sure you understand what the question is asking for. What is it giving you the chance to write about? What is its central issue? Analyse any of its key terms and any instruction terms. If you are in any doubt, ask your tutor to explain what is required.

4. Generate ideas
You need to assemble ideas for the essay. On a first sheet of paper, make a note of anything which might be relevant to your answer. These might be topics, ideas, observations, or instances from your study materials. Put down anything you think of at this stage.

5. Choosing topics
On a second sheet of paper, extract from your brainstorm listings those topics and points of argument which are of greatest relevance to the question and its central issue. Throw out anything which cannot be directly related to the essay question.

6. Put topics in order
On a third sheet of paper, put these chosen topics in some logical sequence. At this stage you should be formulating a basic response to the question, even if it is provisional and may later be changed. Try to arrange the points so that they form a persuasive and coherent argument.

7. Arrange your evidence
All the major points in your argument need to be supported by some sort of evidence. On any further sheets of paper, compile a list of brief quotations from other sources (together with page references) which will be offered as your evidence.

8. Make necessary changes
Whilst you have been engaged in the first stages of planning, new ideas may have come to mind. Alternate evidence may have occurred to you, or the line of your argument may have shifted somewhat. Be prepared at this stage to rearrange your plan so that it incorporates any of these new materials or ideas. Try out different arrangements of your essay topics until you are sure they form the most convincing and logical sequence.

9. Finalise essay plan
The structure of most essay plans can be summarised as

  • Introduction
  • Arguments
  • Conclusion

State your case as briefly and rapidly as possible, present the evidence for this case in the body of your essay, then sum up and try to ‘lift’ the argument to a higher level in your conclusion. Your final plan should be something like a list of half a dozen to ten major points of argument. Each one of these points will be expanded to a paragraph of something around 100-200 words minimum in length.

10. Relevance
At all stages of essay planning, and even when writing the essay, you should keep the question in mind. Keep asking yourself “Is this evidence directly relevant to the topic I have been asked to discuss?” If in doubt, be prepared to scrap plans and formulate new ones – which is much easier than scrapping finished essays. At all times aim for clarity and logic in your argument.

11. Example
What follows is an example of an outline plan drawn up in note form. It is in response to the question ‘Do you think that depictions of sex and violence in the media should or should not be more heavily censored?’. [It is worth studying the plan in its entirety. Take note of its internal structure.]


Sample Plan

QUESTION: ‘Do you think that depictions of sex and violence in the media should or should not be more heavily censored?’

Introduction

Sex, violence, and censorship all emotive subjects

Case against censorship

1. Aesthetic: inhibits artistic talent, distorts art and truth.

2. Individual judgement: individuals have the right to decide for themselves what they watch or read. Similarly, nobody has the right to make up someone else’s mind.

3. Violence and sex as catharsis (release from tension): portrayal of these subjects can release tension through this kind of experience at ‘second hand’.

4. Violence can deter: certain films can show violence which reinforces opposition to it, e.g. – A Clockwork Orange, All Quiet on the Western Front.

5. Censorship makes sex dirty: we are too repressed about this subject, and censorship sustains the harmful mystery which has surrounded us for so long.

6. Politically dangerous: Censorship in one area can lead to it being extended to others – e.g., political ideas.

7. Impractical: Who decides? How is it to be done? Is it not impossible to be ‘correct’? Any decision has to be arbitrary

Case for censorship

1. Sex is private and precious: it should not be demeaned by representations of it in public.

2. Sex can be offensive: some people may find it so and should not have to risk being exposed to what they would find pornographic.

3. Corruption can be progressive: can begin with sex and continue until all ‘decent values’ are eventually destroyed.

4. Participants might be corrupted: especially true of young children.

5. Violence can encourage imitation: by displaying violence – even while condemning it -it can be legitimised and can also encourage imitation amongst a dangerous minority.

6. Violence is often glorified: encourages callous attitudes.

Conclusion

Case against censorship much stronger. No necessary connection between the two topics.

© Roy Johnson 2003

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Point of View

February 19, 2015 by Roy Johnson

the perspective of authors, narrators, and characters

Point of view – what is it?

An important part of analysing fictional narratives is to take into account the point of view from which a story is being told. Point of view is the manner or perspective from which events and characters are seen or being depicted. The term should not be confused with its everyday meaning of ‘a personal opinion’.

The point of view can be created and controlled in a number of different ways. For instance, by –

  • the author’s attitude towards the events and characters – which could be comic, serious, or satirical
  • the attitude of a narrator towards the events and characters being described
  • the perspective of characters as they participate in the events of the narrative

Point of view


Point of view – the author

A typical example of authorial point of view is the well-known ironic and witty opening of Jane Austen’s Pride and Prejudice (1813). She is poking gentle fun at her characters in a mild satirical manner:

It is a truth universally acknowledged that a single man in possession of a good fortune, must be in want of a wife.

Pride and PrejudiceThis way of seeing things influences very strongly the way in which readers are likely to understand the novel. It would be difficult almost to the point of impossibility to see Pride and Prejudice as anything other than a comedy of manners. So the point of view is a powerful factor in our understanding and interpretation of this narrative.

This example is an authorial point of view because Austen has chosen a traditional third person omniscient narrative mode. Readers can be confident that such remarks reflect the author’s own attitudes to characters and events – because she does not create any distancing effects between herself as author and herself as omniscient narrator. Direct authorial comment giving a point of view is sometimes referred to as ‘authorial generalisation’.


Point of view – the narrator

This occurs when the author creates a separate character to tell the story – who is called the narrator. And the narrator can be objective, biased, or even unreliable in relaying information, depending on how the author wishes to affect the reader. The narrator may or may not be an active participant in the events of the narrative. The important thing to keep in mind is that the author and the narrator are not necessarily one and the same.

Fyodor Dostoyevski chose the first person narrative mode for his novella Notes from Underground (1864). The protagonist and narrator is a fictional character who is not even given a name, and whose ‘story’ is a long tirade against society and even against himself:

I am a sick man … I am a spiteful man. I am an unattractive man. I believe my liver is diseased. However, I know nothing at all about my disease, and do not know for certain what ails me. I don’t consult a doctor for it, and never have, though I have a respect for medicine and doctors. Besides, I am extremely superstitious, sufficiently so to respect medicine, anyway (I am well-educated enough not to be superstitious, but I am superstitious). No, I refuse to consult a doctor from spite.

Russian novels - Notes from UndergroundDostoyevski is now seen as one of the precursors of the movement in philosophy known as existentialism, and this novella is an exploration of an individual who is stripping away all comforting ideas and exposing his personal inner-demons in an age which is losing the reassurance of religious belief.

The importance of point of view in this case is that the reader is forced to accept this rather perverse and unpleasant man’s vision of the world, because no alternative is made available to us. Dostoyevski makes no attempt to present his character as attractive or likeable. We are simply being invited to consider his peculiar and often contradictory views.

When authors create first person narrators in this way, there is often a temptation to think that the narrator reflects the author’s own views. In some fiction (usually of poor quality) this might be the case; but in general (and certainly in good quality work) this is not or may not be true.

Many traditional ‘life history’ fictions use a first person narrator – such as Daniel Defoe’s Robinson Crusoe (1719) Jonathan Swift’s Gulliver’s Travels (1726) and Charles Dickens’ David Copperfield (1850). This device usually has the effect of drawing the reader close to the narrator as a fictional character and lending credulity to their account of events.The reader is being encouraged to think of the character as a ‘real’ person.


Studying FictionStudying Fiction is an introduction to the basic concepts and technical terms you need when making a study of stories and novels. It shows you how to understand literary analysis by explaining its elements one at a time, then showing them at work in short stories which are reproduced as part of the book. Topics covered include – setting, characters, story, point of view, symbolism, narrators, theme, construction, metaphors, irony, prose style, tone, close reading, and interpretation. The book also contains self-assessment exercises, so you can check your understanding of each topic.
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Point of view – the character

It is also perfectly normal for authors to give an account of events from the perspective of a character (or characters) in their narratives. This enables the author to create a credible vision of the world in which the character exists, and to invite readers to share (or reject) their personal point of view. This view can shift from one character to another, or it can stay with one character.

Franz Kafka’s dark and expressionistic novel The Trial (1925) opens with an innocent man being arrested:

Somebody must have been telling lies about Joseph K, for one morning, without having done anything wrong, he was arrested. Frau Grubach’s cook, who brought him his breakfast every day, did not appear. That had never happened before. For while K waited—from his pillow he saw the old woman who lived opposite watching with, for her, quite unusual curiosity—but then, both perplexed and hungry, he rang. Immediately there was a knock at the door and a man he had never seen in the apartment came in. He was slimly yet solidly built and was wearing a close-fitting black suit which, like an outfit for travelling, was equipped with a variety of pleats, pockets, buckles, buttons, and a belt that made it appear especially practical without its precise purpose being clear.

The TrialAfter the opening sentence of the narrative, all the information we are given is delivered from Joseph K’s point of view. The non-appearance of his breakfast; the absence of the cook; his being observed (whilst in bed!) by an old lady opposite; and the sudden appearance of a stranger in his room – who has come to arrest him. Sometimes authors use the points of view of a number of characters in order to create a multi-dimensional account of reality which might be more complex and therefore more convincing than an account from a single perspective.

William Faulkner uses an interesting version of this mode in his novel As I Lay Dying (1930) in which members of a poor southern American family are transporting their dead mother in a coffin to be buried in a distant town. The narrative is a series of interior monologues in which each of the the characters reflect in turn on the others. This even includes the dead mother, from inside her coffin.

Strategies of this kind become in effect a series of overlapping first person narratives. The English novelist Laurence Durrell pushed this approach even further in his sequence of novels The Alexandria Quartet (1957-1960). Four novels cover the same set of events as seen (largely) from the point of view of the four characters – Justine, Balthazar, Mountolive, and Clea – who are involved in them.

Virginia Woolf developed an approach to narrative which used this device at a micro level. In her novel Mrs Dalloway, the reader is invited to view events largely from the point of view of her protagonist Clarissa Dalloway, but from time to time the view shifts momentarily to that of other characters:

She stiffened a little on the kerb, waiting for Dornall’s van to pass. A charming woman Scrope Purvis thought her (knowing her as one does know people who live next door to one in Westminster); a touch of the bird about her, of the jay, blue-green, light, vivacious, though she was over fifty, and grown very white since her illness. There she perched, never seeing him, waiting to cross, very upright.

Virginia Woolf Mrs DallowayThe character Scrope Purvis never appears again in the novel, but for this single paragraph as they pass each other in the street we are invited to share his view of Clarissa. We see her from the point of view of a close neighbour, who knows she has been ill, and who admires her appearance and her manner. Later we will see her from the point of view of a close friend, an old admirer, and from the slightly antagonistic view of her own daughter.

This fluctuating point of view helps to generate what might be called a ‘three-dimensional’ view of the character, and it is closely associated with Virginia Woolf’s belief in the fluidity and relativity of human character – that a person can be one thing to one person and somebody quite different to another.

© Roy Johnson 2015


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Point of view – how to understand it

September 12, 2009 by Roy Johnson

free pages from our English Language software program

Point of view – definition

point of view ‘Point of view’ is a term from literary studies which describes the outlook from which events are related.

redbtn It is used of a statement which offers a particular viewpoint or perspective on something.

redbtn This viewpoint might be that that held personally by the writer or speaker, but it could also be that of a deliberately created fictional character.


Examples
  • I think Bill’s taste in clothes is appalling.
    [My point of view.]
  • “I think Bill’s taste in clothes is appalling” John said sneeringly.
    [John’s point of view.]
  • She tried desperately to persuade me of her husband’s honesty.
    [My point of view.]

Use

redbtn ‘Point of view’ is an important concept in analysing and understanding both speech and writing.

redbtn Point of view may be overt and explicit, or it may be subtly implied.

redbtn It is often used to create character by presenting recognisable opinions.

redbtn It may also be used to present psychology in depth by revealing unconscious thoughts.

redbtn Information may often be presented from a particular point of view without revealing the source – which the observer is invited to guess.

redbtn It may also be mischevously imitated for ironic effect.

redbtn NB! Point of view is more than just an ‘opinion’. It also implies an identifiable source.

redbtn The concept of ‘point of view’ is essentially concerned with identifying the source of information.

redbtn This is not always a straightforward matter, because statements may contain more than one point of view.

redbtn In the first example – I think Bill’s taste in clothes is appalling – we are given only one point of view: that of the ‘I’ who is making the statement. We have no way of putting this view into any other perspective. Strictly speaking, we do not know if Bill’s taste is bad or not. We only know the opinion of ‘I’ about the matter.

redbtn In the second example – “I think Bill’s taste in clothes is appalling” John said sneeringly – the same statement is made by John, and this is reported to us by someone else – the narrator. The narrator informs us that the statement was made ‘sneeringly’. This casts John’s opinion into a critical light, because the term ‘sneering’ carries very negatives overtones.

redbtn Thus in this second example we have two points of view – John’s and the narrator’s. One is passing comment on the other. This gives the reader more information with which to make judgements.

redbtn In the third example – She tried desperately to persuade me of her husband’s honesty – there are again two points of view, though the second is less obvious this time.

redbtn The first point of view is that of the ‘me’ recounting events. This person – the narrator – controls what we know. The second point of view is that of the ‘she’ who is discussing her husband. This view however comes to us from the narrator – the ‘me’.

redbtn The terms ‘desperately’ and ‘persuade’ suggest that this effort is being made under emotional pressure – and that the attempt is not succeeding.

redbtn But the person recounting this event [the narrator] might have a bias of some kind, or prejudice against the woman. We tend to believe that narrators are telling the truth, but what if this person were a robber who had just broken into the house and was stealing the family jewels?

redbtn The point here is that we cannot know if the husband is actually honest or not. We only have two points of view – that of the wife who is trying to persuade a narrator, and failing. [It’s a complex business, isn’t it?]

redbtn Sometimes a point of view may be implied rather than directly stated. Consider the following example, from a story which concerns a young girl making a journey at night:

A faint wind blowing off the water ruffled under Fenella’s hat, and she put up her hand to keep it on. It was dark on the Old Warf, very dark; the wool sheds, the cattle trucks, the cranes standing up so high, the little squat railway engine, all seemed carved out of solid darkness. Here and there on a rounded wood pile, that was like the stalk of a huge black mushroom, there hung a lantern, but it seemed afraid to unfurl its timid, quivering light in all that blackness; it burned softly, as if for itself.

[KATHERINE MANSFIELD]

redbtn Here the first point of view is that of a narrator – telling the story of Fenella, the young girl. But then in the second sentence, starting with terms such as ‘cranes standing up so high’ and ‘the little squat railway engine’, the events are narrated from the young girl’s point of view – as they might seem to her.

redbtn This is a very typical example of a writer using ‘point of view’ to offer readers an imaginative experience – in this case seeing the world as it would be perceived by a young girl.

redbtn Point of view may also be impersonated, assumed, or mischevously implied in both speech and writing for ironic effect.

redbtn To summarise, point of view is important because we need to place any statement into a context before we can evaluate it properly.

Self-assessment quiz follows >>>

© Roy Johnson 2003


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Prepositions – how to understand them

September 12, 2009 by Roy Johnson

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Prepositions – definition

prepositions Prepositions express a relationship between nouns (or pronouns) and some other part of the sentence.

redbtn It usually tells us where something is.


Examples
with out in
under over around

Use

redbtn A preposition is used with a noun or pronoun.

The child ran around the snowman.

Jack and Jill went up the hill.

redbtn However, the same words are adverbs in the following statements:

Let’s take a walk around.

My lucky number came up.

He came over to me.

redbtn They are adverbs because they tell us about the verb.

redbtn NB! Prepositions often tell us about position, so don’t underestimate them.

redbtn Prepositions are mainly used in English to form adverbial and adjectival phrases, as in the following:

Adverbial phrases

‘Marseilles is in France’
[‘in France’ tells us where Marseilles is]

‘Hastings stands on the south coast of England’
[‘on the south coast of England’ tells us where Hastings stands]

‘The grocer marvelled at the arrival of the boxes’
[‘at the arrival’ tells us when the grocer marvelled]

‘She left the hall with a toss of her head’
[‘with a toss of her head’ tells us the manner in which she left]

redbtn All the prepositions above are used adverbially to tell us more about the verb in each case.

redbtn The following are examples of adjectival phrases. In each case the preposition describes a noun:

Adjectival phrases

‘The first cable across the Atlantic was laid in 1838′
[‘across the Atlantic’ describes the cable]

‘I love the sound of the sea’
[‘of the sea’ describes the sound]

‘I believe that the man in the moon exists’
[‘in the moon’ describes the man]

‘We all enjoyed the cheese on toast that our mother gave us’
[‘on toast’ describes the cheese]

redbtn Prepositions are usually used, as in the two sets of examples above, with a noun or a pronoun.

redbtn Examples of nouns from the sentences given above are ‘the arrival’, ‘a toss’, ‘ the moon’ and ‘toast’.

redbtn Prepositions can also be used as adverbs without an accompanying noun or pronoun.

Come in Turn round Go up
Jump off Look around Go under

Self-assessment quiz follows >>>

© Roy Johnson 2003


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Presentation of essays

August 24, 2009 by Roy Johnson

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1. Presentation
The presentation of your finished work is an important part of its success. You should deliver your work as clearly and as neatly as possible. Try to observe the following general guidelines to create an attractive page layout. You may not necessarily gain marks for good presentation, but you are likely to loose them for work which is untidy.

2. Paper
Use A4 size paper. This is now accepted as the international standard for most printed and written materials in the fields of education and commerce.

3. Writing
Word-processed or typewritten work is becoming the norm. Remember that standards of presentation are being driven up all the time. Some tutors might deduct marks for bad handwriting or untidy work.

4. Margins
Leave margins of at least one-and-a-half inches at each edge of your text and at least one inch at the top and bottom of each page. This might seem over-generous at first, but it will almost certainly enhance the appearance of what you produce.

5. White space
The purpose of all this white space is to leave plenty of room in which your tutor can write detailed comments or corrections. These comments will offer you direct guidance on what you have written. This is very valuable feedback which should help you improve
the quality of your work.

6. Line Spacing
If the document is a normal essay, use one-and-a-half or double line spacing. This too will create space for tutor comment. If the document is one which will be read at greater length, such as a report or a dissertation, use normal single line spacing. The comments on such work are sometimes made on separate sheets.

7. Paragraphs
Leave extra space between paragraphs. If you follow this rule you do not need to indent the first line of the paragraph. This enhances page layout, and it will also help you to organise the structure of your argument.

8. Pages
Print on one side of a page only. Leave the other side blank. Remember to number each of the pages. This will lessen the chance of your work becoming disordered. The blank pages are available for additional comments if necessary.

9. Headings
Headings or question rubrics should be separated from the body of the essay text. Emphasis should be given by using bold or (less desirable) italics. There is no need to underline titles or headings, and do not create them in continuous capitals.

No punctuation marks (other than question marks) should be used after headings or sub-headings.

10. Titles
Choose italics to indicate the titles of book-length publications, and remember to be consistent throughout your document.

11. Presentation
When submitting your essay, keep the pages together by using one of the transparent plastic document holders which are now increasingly popular. Securing by one staple in the top left-hand corner is acceptable, but do not fasten pages together with pins. These are a hazard for all concerned.

12. Postage
If you need to post work back to your tutor, use large A4 size envelopes. Avoid folding your written work, and do not use small sized envelopes which are designed for letters.

13. Security
You might wish to take a photocopy of your work as a precaution against loss. This could be useful if you are a distance learning student using the post, or if you have a particularly long or valuable essay on which you have spent a lot of time. If you are using a word-processor, keep a backup copy of your work on disk.

14. Photocopying tip
If you have a typed essay which contains a lot of mistakes, here is a tip for improving the appearance of your work. First, blank out mistakes with correction fluid, make your alterations – then take a photocopy of the final draft. Submit the photocopy and keep the original.

© Roy Johnson 2003

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Print Culture bibliography

October 27, 2009 by Roy Johnson

book history, bibliographic studies, and textual culture

Abdurgham, Alison. Women in Print: Writing and Women’s Magazines from the Restoration to the Accession of Victoria. London: Allen & Unwin, 1972.

Altick, Richard Daniel. The English Common Reader: A Social History of the Mass Reading Public, 1800-1900. 2nd ed. Columbus: Ohio State UP, 1998.

Armbruster, Carol, ed. Publishing and Readership in Revolutionary France and America. Westport, CT: Greenwood Press, 1993.

Anderson, Benedict R. O’Gorman. Imagined Communities: Reflections on the Origins and Spread of Nationalism. Rev. ed. London: Verso, 1991.

Anderson, Patricia. The Printed Image and the Transformation of Popular Culture 1790-1860. Oxford: Clarendon P of Oxford UP, 1991.

Armstrong, Adrian. Technique and Technology: Script, Print, and Poetics in France 1470-1550. New York: Oxford UP, 2000.

Barker, Hannah and David Vincent. Language, Print, and Electoral Politics, 1790-1832: Newcastle-under-Lyme Broadsides. Rochester, NY: Boydell P/Parliamentary History Yearbook Trust, 2001.

Baron, Naomi S. Alphabet to Email: How Written English Evolved and Where It’s Heading. London: Routledge, 2000.

Barton, David and Nigel Hall, eds. Letter Writing as a Social Practice. Philadelphia: John Benjamins, 2000.

Bazerman. Charles. The Languages of Edison’s Light. Cambridge, MA: Massachusetts Institute of Technology P, 1999.

—. Shaping Written Knowledge. Madison: U of Wisconsin P, 1988.

Bell, William, Laurel Brake, and David Finkelstein, eds. Nineteenth-Century and the Construction of Identities. New York: St. Martin’s P, 2000.

Besnier, Niko. Literacy, Emotion, and Authority. Cambridge, UK: Cambridge UP, 1995.

Birkerts, Sven. The Gutenberg Elegies: The Fate of Reading in an Electronic Age. Winchester, MA: Faber and Faber, 1994.

Blaney, Peter W. M. The First Folio of Shakespeare. Washington, DC: Folger Library Publications, 1991.

Bobrick, Benson. Wide as the Waters: The Story of the English Bible and the Revolution It Inspired. New York: Simon & Schuster, 2001.

Bolter, Jay David. Writing Space: Computers, Hypertext and the Remediation of Print. 2nd ed. Hillsdale, NJ: Lawrence Erlbaum Associates, 2001

Bolter, Jay David and Richard Grusin. Remediation: Understanding New Media. Cambridge, MA: Massachusetts Institute of Technology, pp.295, 1999.

Borgmann, Albert. Holding on to Reality: The Nature of Information at the Turn of the Millennium. Chicago: U of Chicago P, 1999.

Brewer, John. The Pleasures of the Imagination: English Culture in the Eighteenth Century, New York: Farrar, Straus and Giroux, 1997.

Burke, Sean, ed. Authorship: From Plato to the Postmodern: A Reader. Edinburgh: Edinburgh UP, 1995.

Cadman, Eileen, Gail Chester, and Agnes Pivot. Rolling Our Own: Women as Printers, Publishers and Distributors. London: Minority P Group, 1981.

Carlson, David R. English Humanist Books: Writers and Patrons, Manuscript and Print, 1475-1525. Toronto: U of Toronto P, 1993.

Cavallo, Guglielmo and Roger Chartier, eds. A History of Reading in the West. Trans. Lydia G. Cochrane. Amherst: U of Massachusetts P, 1999.

Certeau, Michel de. The Practice of Everyday Life. Trans. Steven Rendall. Berkeley: U of California P, 1984.

Chambers, Douglas. The Reinvention of the World: English Writing 1650-1750. London: Arnold/Hodder Headline Group, 1996.

Chambers, Douglas. The Reinvention of the World: English Writing 1650-1750. London: Arnold/Hodder Headline Group, 1996.

Chartier, Roger. The Cultural Uses of Print in Early Modern France. Trans. Lydia G. Cochrane. Princeton: Princeton UP, 1988.

—, ed. The Culture of Print: Power and the Uses of Print in Early Modern Europe. Trans. Lydia G. Cochrane. Princeton: Princeton UP, 1989.

—. The Order of Books: Readers, Authors, and Libraries in Europe Between the Fourteenth and Eighteenth Centuries. Trans. Lydia G. Cochrane. Stanford: Stanford UP, 1994.

Chaytor, H. J. From Script to Print: An Introduction to Medieval Vernacular Literature. London: W. Heffer and Sons, 1945.

Crain, Patricia A. The Story of A: The Alphabetization of America from The New England Primer to The Scarlet Letter. Stanford: Stanford UP, 2000.

Crosby, Alfred W. The Measure of Reality: Quantification and Western Society, 1250-1600. Cambridge, UK: Cambridge UP, 1997.

Cuddihy, John Murray. The Ordeal of Civility: Freud, Marx, Levi-Strauss, and the Jewish Struggle with Modernity. 2nd ed. Boston: Beacon P, 1987.

Darnton, Robert. The Forbidden Best-Sellers of Pre-Revolutionary France. New York: Norton, 1995.

Darnton, Robert and Daniel Roche. Revolution in Print: The Press in France, 1775-1800. Berkeley: U of California P, 1989.

Davidson, Cathy N. Revolution and the Word: The Rise of the Novel in America. New York: Oxford UP, 1986.

DeRitter, Jones. The Embodiment of Characters: The Representation of Physical Experiences on Stage and in Print, 1728-1749. Philadelphia: U of Pennsylvania P, 1994.

Dock, Julie Bates. The Press of Ideas: Readings for Writers on Print Culture and the Information Age. Boston: Bedford Books/St. Martin’s P, 1996.

Dolan, Frances E. Whores of Babylon: Catholicism, Gender and Seventeenth-Century Print Culture. Ithaca: Cornell UP, 1999.

Eberly, Rosa A. Citizens Critics: Literary Public Spheres. Urbana: U of Illinois P, 2000.

Eisenstein, Elizabeth L. Grub Street Abroad: Aspects of the French Cosmopolitan Press from the Age of Louis XIV to the French Revolution. Oxford: Clarendon P of Oxford UP, 1992.

—. The Printing Press as an Agent of Change. 2 vols. Cambridge, UK: Cambridge UP, 1979.

Eliot, Simon. Some Patterns and Trends in British Publishing, 1800-1919. London: Bibliographical Society, 1994.

Elsky, Martin. Authorizing Words: Speech, Writing, and Print in the English Renaissance. Ithaca: Cornell UP, 1989.

Ezell, Margaret J. M. Social Authorship and the Advent of Print. Baltimore: Johns Hopkins UP, 1999.

Farrell, Thomas J. Walter Ong’s Contributions to Cultural Studies: The Phenomenology of the Word and I-Thou Communication. Cresskill, NJ: Hampton, 2000.

Febvre, Lucien Paul Victor and Henri-Jean Martin. The Coming of the Book: The Impact of Printing, 1450-1800. Trans. David Gerard. Ed. Geoffrey Nowell-Smith and David Wootton. London: Verso, 1997.

Ford, Worthington Chauncey. The Boston Book Market, 1679-1700. New York: Burt Franklin, 1972. Reprint of 1917 ed.

Fox, Adam. Oral and Literate Culture in England, 1500-1700. New York: Oxford UP, 2000.

Frasca-Spada, Marina and Nicholas Jardine, eds. Books and the Sciences in History. Cambridge, UK: Cambridge UP, 2000.

Freedman, Joseph S. Philosophy and the Arts in Central Europe, 1500-1700: Teaching and Texts in Schools and Universities. Aldershot, UK: Ashgate, 1999.

Fuller, Mary C. Voyages in Print: English Travel to America 1576-1624. Cambridge, UK: Cambridge UP, 1995.

Gilmartin, Kevin. Print Politics: The Press and Radical Opposition in Early Nineteenth-Century England. Cambridge, UK: Cambridge UP, 1996.

Gitelman, Lisa. Scripts, Grooves and Writing Machines: Representing Technology in the Edison Era. Stanford: Stanford UP, 1999.

Goggin, Maureen Daly, ed. Inventing a Discipline: Rhetoric Scholarship in Honor of Richard E. Young. Urbana, IL: National Council of Teachers of English, 2000.

Goody, Jack. The Logic of Writing and the Organization of Society. Cambridge, UK: Cambridge UP, 1986.

—. The Power of the Written Tradition. Washington, DC: Smithsonian Institution P, 2000.

Graff, Harvey J. The Labryrinths of Literacy: Reflections on Literacy Past and Present. Rev. ed. Pittsburgh: U of Pittsburgh P, 1995.

—. The Legacies of Literacy: Continuities and Contradictions in Western Culture and Society. Bloomington: Indiana UP, 1987.

—. Literacy in History: An Interdisciplinary Research Bibliography. New York: Garland, 1981.

—. The Literacy Myth: Cultural Integration and Social Structure in the Nineteenth-Century City. New York: Academic P, 1979.

—, ed. Literacy and Social Development in the West: A Reader. New York: Cambridge UP, 1981.

Grafton, Anthony, April Shelford, and Nancy G. Siraisi. New Worlds, Ancient Texts: The Power of Tradition and the Shock of Discovery. Cambridge, MA: Belknap P of Harvard UP, 1992.

Gray, Floyd. Gender, Rhetoric, and Print Culture in French Renaissance Writing. Cambridge, UK: Cambridge UP, 2000.

Green, Ian. Print and Protestantism in Early Modern England. New York: Oxford UP, 2001.

Greetham, D. C. Textual Scholarship: An Introduction. New York: Garland, 1992. Includes extensive bibliography.

Gronbeck, Bruce E., Thomas J. Farrell, and Paul A. Soukup, eds. Media, Consciousness, and Culture: Explorations of Walter Ong’s Thought. Newbury Park, CA: Sage Publications, 1991.

Habermas, Jurgen. The Structural Transformation of the Public Sphere. Trans. Thomas Burger and Frederick Lawrence. Cambridge, MA: Massachusetts Institute of Technology P, 1989.

Harrison, Peter. The Bible, Protestantism, and the Rise of Natural Science. Cambridge, UK: Cambridge UP, 1998.

Hart, James David. The Popular Book: A History of America’s Literary Taste. New York: Oxford UP, 1950.

Havelock, Eric A. The Muse Learns to Write. New Haven: Yale UP, 1986.

Hayes, Kevin J. Poe and the Printed Word. Cambridge, UK: Cambridge UP, 2000.

Headrick, Daniel R. When Information Came of Age: Technologies of Knowledge in the Age of Reason and Revolution, 1700-1850. New York: Oxford UP, 2000.

Heim, Michael. Electric Language: A Philosophical Study of Word Processing. New Haven: Yale UP, 1987.

Hindman, Sandra L., ed. Printing the Written Word: The Social History of Books, circa 1450-1520. Ithaca: Cornell UP, 1991.

Hobart, Michael E. and Zachary S. Schiffman. Information Ages: Literacy, Numeracy, and the Computer Revolution. Baltimore: Johns Hopkins UP, 1998.

Howard-Hill, T. H. British Literary Bibliography and Textual Criticism, 1890-1969. Volume 6 of and index to British Literary Bibliography. Oxford: Clarendon P of Oxford UP, 1980.

Isaac, Peter and Barry McKay, eds. The Mighty Engine: The Printing Press and Its Impact. New Castle, DE: Oak Knoll P, 2000.

Ivins, William. Prints and Visual Communication. Cambridge, MA: Harvard UP, 1953.

Jagodzinski, Cecile M. Privacy and Print: Reading and Writing in Seventeenth-Century England. Charlottesville: UP of Virgina, 1999.

Johns, Adrian. The Nature of the Book: Print and Knowledge in the Making. Chicago: U of Chicago P, 1998.

Johnson-Eilola, Johndan. Nostalgic Angels: Rearticulating Hypertext Writing. Norwood, NJ: Ablex, 1997.

Jordan, John O. and Robert L. Patten, eds. Literature in the Marketplace: Nineteenth-Century British Publishing and Reading Practices. Cambridge, UK: Cambridge UP, 1995.

Kaestle, Carl F., Helen Damon-Moore, Lawrence C. Stedman, Katherine Tinsley, and William Vance Trollinger, Jr. Literacy in the United States: Readers and Reading Since 1880. New Haven: Yale UP, 1991.

Kaufer, David S. and Kathleen M. Carley. Communication at a Distance: The Influence of Print on Sociocultural Organization and Change. Hillsdale, NJ: Lawrence Erlbaum Associates, 1993.

Keller-Cohen, Deborah, ed. Literacy: Interdisciplinary Conversations. Cresskill, NJ: Hampton P, 1994.

Kernan, Alvin. Samuel Johnson and the Impact of Print. Princeton: Princeton UP, 1989.

Kilgour, Frederick G. The Evolution of the Book. New York: Oxford UP, 1998.

Kintgen, Eugene R. Reading in Tudor England. Pittsburgh: U of Pittsburgh P, 1996.

Knoppers, Laura Lunger. Constructing Cromwell: Ceremony, Portrait, and Print, 1645-1661. Cambridge, UK: Cambridge UP, 2000.

Kramnick, Jonathan Brody. Making the English Canon: Print-Capitalism and the Culture of the Past, 1700-1770. Cambridge, UK: Cambridge UP, 1998.

Lanham, Richard A. The Electronic Word: Democracy, Technology and the Arts. Chicago: U of Chicago P, 1993.

—. Literacy and the Survival of Humanism. New Haven: Yale UP, 1983.

Laspina, James Andrew. The Visual Turn and the Transformation of the Textbook. Mahwah, NJ: Lawrence Erlbaum Associates, 1998.

Leith, Philip. Formalism in AI and Computer Science. Chichester, UK: Ellis Horwood, 1990.

Logan, Robert. The Alphabet Effect: The Impact of the Phonetic Alphabet on the Development of Western Civilization. New York: William Morrow, 1986.

—. The Sixth Language: Learning & Living in the Internet Age. Toronto: Stoddart Publishing, 2000..

Love, Harold. The Culture and Commerce of Texts: Scribal Publication in Seventeenth-Century England. Amherst: U of Massachusetts P, 1998.

Luke, Carmen. Pedagogy, Printing, and Protestantism: The Discourse on Childhood. Albany: State U of New York P, 1989.

Manguel, Alberto. A History of Reading. New York: Penguin, 1996.

Marotti, Arthur F. Manuscript, Print, and the English Renaissance Lyric. Ithaca: Cornell UP, 1995.

Marotti, Arthur F. and Michael D. Bristol, eds. Print, Manuscript, and Performance: The Changing Relationships of the Media in Early Modern England. Columbus: Ohio State UP, 2000.

Martin, Henri-Jean, The History and Power of Writing, Chicago: University of Chicago Press, 1995, trns. Lynda G. Cochrane, pp.591, ISBN 0226508366

—. Print, Power, and People in Seventeenth-Century France. Trans. David Gerard. Metuchen, NJ: Scarecrow, 1993.

Mayer, Thomas F. and D. R. Woolf, eds. The Rhetorics of Life-Writing in Early Modern Europe: Forms of Biography from Cassandra Fedele to Louis XIV. Ann Arbor: U of Michigan P,1995.

Mazzio, Carla and Douglas Trevor, eds. Historicism, Psychoanalysis, and Early Modern Culture. New York: Routledge, 2000.

McGrath, Alister. In the Beginning: The Story of the King James Bible and How It Changed a Nation, a Language and a Culture. New York: Doubleday, 2001.

McIntosh, Carey. The Evolution of English Prose: Style, Politeness, and Print Culture. Cambridge, UK: Cambridge UP, 1998.

McKenzie, D. F. Bibliography and the Sociology of Texts. New York: Cambridge UP, 1999.

—. Oral Culture, Literacy, and Print in Early New Zealand: The Treaty of Waitangi. Wellington, NZ: Victoria UP, 1985.

McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. Toronto: U of Toronto P, 1962.

—. Understanding Media: The Extensions of Man. New York: McGraw-Hill, 1964.

Melendez, A. Gabriel. So All Is Not Lost: The Poetics of Print in Nuevomexicano Communities, 1834-1958. Albuquerque: U of New Mexico P, 1997.

Miller, Perry. The New England Mind: The Seventeenth Century. Cambridge, MA: Harvard UP, 1939.

Milton, John. ‘A Fuller Course in the Art of Logic Conformed to the Method of Peter Ramus’. Ed. and Trans. Walter J. Ong and Charles J. Ermatinger. Complete Prose Works of John Milton: Volume 8. Ed. Maurice Kelley. New Haven: Yale UP, 1982. 206-407

Mitch, David F. The Rise of Popular Literacy in Victorian England: The Influence of Private Choice and Public Policy. Philadelphia: U of Pennsylvania P, 1992.

Mitchell, W. J. T. Iconology: Image, Text, Ideology. Chicago: U of Chicago P, 1987.

—. Picture Theory. Chicago: U of Chicago P, 1995.

Morison, Samuel Eliot. The Founding of Harvard College. Cambridge, MA: Harvard UP,
1935.

—. Harvard College in the Seventeenth Century. 2 vols. Cambridge, MA: Harvard UP,
1936.

Moss, Ann. Printed Commonplace Books and the Structuring of Renaissance Thought. Oxford: Clarendon P of Oxford UP, 1996. Also see Yeo; Rechtien.

Oliphant, Dave and Robin Bradford, eds. New Directions in Textual Studies. Austin: Harry Ransom Humanities Research Center, U of Texas.

Ong, Walter J. The Barbarian Within: And Other Fugitive Essays and Studies. New York: Macmillan, 1962.

—. Faith and Contexts. 4 vols. Ed. Thomas J. Farrell and Paul A. Soukup. Atlanta: Scholars Press, 1992-1999; now distributed by Rowman & Littlefield.

—. Interfaces of the Word: Studies in the Evolution of Consciousness and Culture. Ithaca: Cornell UP, 1977.

—. ‘Literature, Written Transmission of.’ The New Catholic Encyclopedia. Ed. William J. McDonald. 15 vols. New York: McGraw-Hill, 1967. Reprinted in An Ong Reader; Challenges for Further Inquiry.

—. An Ong Reader: Challenges for Further Inquiry. Ed. Thomas J. Farrell and Paul A. Soukup. Cresskill, NJ: Hampton P, forthcoming.

—. Orality and Literacy: The Technologizing of the Word. London: Methuen, 1982.

—. The Presence of the Word: Some Prolegomena for Cultural and Religious History. New Haven: Yale UP, 1967.

—. Ramus, Method, and the Decay of Dialogue: From the Art of Discourse to the Art of Reason. Cambridge, MA: Harvard UP, 1958.

—. Review of Butler’s The Origin of Printing in Europe. The Historical Bulletin 19 (Mar. 1941): 68.

—. Review of McLuhan’s The Gutenberg Galaxy. America 107 (Sept. 15, 1962): 743, 747. Reprinted in An Ong Reader: Challenges for Further Inquiry.

—. Rhetoric, Romance, and Technology: Studies in the Interaction of Expression and Culture. Ithaca: Cornell UP, 1971.

Perkinson, Henry J. How Things Got Better: Speech, Writing, Printing, and Cultural Change. Westport, CT: Bergin & Garvey, 1995.

Peters, Julie Stone. Theatre of the Book 1480-1880: Print, Text and Performance in Europe. New York: Oxford UP, 2000.

Popkin, Jeremy D. The Press, Revolution, and Social Identities in France, 1830-1835. University Park: Pennsylvania State UP, 2001.

—. Revolutionary News: The Press in France, 1789-1799. Durham: Duke UP, 1990.

Postman, Neil. Amusing Ourselves to Death: Public Discourse in the Age of Show Business. New York: Viking Penguin, 1985.

Price, Leah. The Anthology and the Rise of the Novel from Richardson to George Eliot. Cambridge, UK: Cambridge UP, 2000.

Radway, Janice A. A Feeling for Books: The Book-of-the-Month Club, Literary Taste, and Middle-Class Desire. Chapel Hill: U of North Carolina P, 1997.

Rechtien, John G. Thought Patterns: The Commonplace Book as Literary Form in Theological Controversy during the English Renaissance. Diss. St. Louis U, 1975. Ann Arbor: UMI, 1975.

Rhodes, Neil and Jonathan Sawday, eds. The Renaissance Computer: Knowledge Technology in the First Age of Print. London: Routledge, 2000.

Richardson, Brian. Printing, Writers and Readers in Renaissance Italy. Cambridge, UK: Cambridge UP, 1999.

Rose, Mark. Authors and Owners: The Invention of Copyright. Cambridge, MA: Harvard UP, 1993.

Schmidt, Leigh Eric. Hearing Things: Religion, Illusion, and the American Enlightenment. Cambridge, MA: Harvard UP, 2000.

Schulte, Henry F. The Spanish Press, 1470-1966: Print, Power, and Politics. Urbana: U of Illinois P, 1968.

Secord, James A. Victorian Sensation: The Extraordinary Publication, Reception, and Secret Authorship of Vestiges of the Natural History of Creation. Chicago: U of Chicago P, 2000.

Sharpe, Kevin. Reading Revolutions: The Politics of Reading in Early Modern England. New Haven: Yale UP, 2000.

Sharratt, Peter. ‘The Present State of Studies on Ramus.’ Studi francesi 47-48 (1972): 201-13.

—. ‘Ramus 2000.’ Rhetorica: A Journal of the History of Rhetoric 18 (2000): 399-455.

—. ‘Recent Work on Peter Ramus (1970-1986).’ Rhetorica: A Journal of the History of Rhetoric 5 (1987): 7-58.

Solomon, Harry M. The Rise of Robert Dodsley: Creating the New Age of Print. Carbondale: Southern Illinois UP, 1996.

Spufford, Margaret. Small Books and Pleasant Histories. Athens: U of Georgia P, 1982.

Stephens, Mitchell. The Rise of the Image, the Fall of the Word. New York: Oxford UP, 1998.

Street, Brian V. Literacy in Theory and Practice. Cambridge, UK: Cambridge UP, 1984.

Sutherland, John A. Fiction and the Fiction Industry. London: Athlone, 1978.

—. Victorian Fiction: Writers, Publishers, Readers. New York: St. Martin’s P, 1995.

Taylor, Mark C. and Esa Saarinen. Imagologies: Media Philosophy. London: Routledge, 1994.

Tebeaux, Elizabeth. The Emergence of a Tradition of Technical Writing in the English Renaissance, 1475-1640. Amityville, NY: Baywood Publishing, 1997.

Topham, Jonathan R. ‘Scientific Publishing and the Reading of Science in Nineteenth-Century Britain: A Historiographical Survey and Guide to Sources.’ Studies in the History and Philosophy of Science 31 (2000): 559-612. Includes extensive bibliography.

Treglown, Jeremy and Bridget Bennett, eds. Grub Street and the Ivory Tower: Literary Journalism and Literary Scholarship from Fielding to the Internet. New York: Clarendon P of Oxford UP, 1998.

Ulmer, Gregory. Teletheory: Grammatology in the Age of Video. New York: Routledge, Chapman & Hall, 1989.

Tyson, Gerald P. and Sylvia S. Wagonheim, eds. Print and Culture in the Renaissance: Essays on the Advent of Printing in Europe. Newark: U of Delaware P/Associated U Presses, 1986.

Warner, Michael. The Letters of the Republic: Publication and the Public Sphere in Eighteenth-Century America. Cambridge, MA: Harvard UP, 1990.

Watt, Ian. The Rise of the Novel: Studies in Defoe, Richardson, and Fielding. Berkeley: U of California P, 1957.

Watt, Tessa. Cheap Print and Popular Piety, 1550-1640. Cambridge, UK: Cambridge UP, 1991.

Weber, Harold M. Paper Bullets: Print and Kingship under Charles II. Lexington: UP of Kentucky, 1996.

Welch, Kathleen E. Electric Rhetoric: Classical Rhetoric, Oralism, and a New Literacy. Cambridge, MA: Massachusetts Institute of Technology P, 1999.

Wheale, Nigel. Writing and Society: Literacy, Print and Politics in Britain, 1590-1660. London: Routledge, 1999.

Williams, Gordon. Shakespeare, Sex and the Print Revolution. London: Athlone, 1996.

Woolf, Daniel. Reading History in Early Modern England. Cambridge, UK: Cambridge UP, 2000.

Wyss, Hilary E. Writing Indians: Literacy, Christianity, and Native Community in Early America. Boston: U of Massachusetts P, 2000.

Yeo, Richard. Encyclopaedic Visions: Scientific Dictionaries and Enlightenment Culture. Cambridge, UK: Cambridge UP, 2001. Includes commonplace books.

Zaret, David. Origins of Democratic Culture: Printing, Petitions, and the Public Sphere in Early Modern England. Princeton: Princeton UP, 2000.

Ziff, Larzer. Writing in the New Nation: Prose, Print, and Politics in the Early United States. New Haven: Yale UP, 1991.

Zboray, Ronald J. and Mary Saracino Zboray. A Handbook for the Study of Book History in the United States. Washington, DC: Center for the Book, Library of Congress, 2000; available from Oak Knoll Books. Includes extensive bibliography.

© Roy Johnson 2009


Reproduced with the permission of the author –

Thomas J. Farrell, Associate Professor, Department of Composition, University of Minnesota at Duluth; Duluth, MN


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Print Journalism

June 30, 2009 by Roy Johnson

essays on journalism – from print to the Internet

More than 12.5 million national newspapers are sold in Britain every day. The figure goes up to 14 million on Sundays. And for every copy of the Guardian sold each day, ten copies of the Sun cross the counter – which is what led former Sun editor Kelvin McKensie to rather cruelly call the Guardian ‘the world’s worst newspaper’. This publication covers every possible aspect of print journalism, and I suspect it has been produced in the hope of becoming a standard text in departments of journalism and media studies.

Print Journalism The chapters are written by ex-journalists now teaching at four universities – City London, Sheffield, Cardiff, and Lincoln – so it seems there must be a regular career path leading out of the Street of Shame and showing other people the best way to get there. Articles in the first section deal with the history, structure, and the financing of print media. Who owns what; which titles sell most copies; and how they make a profit.

There’s a certain amount of overlap and repetition here, but it’s not necessarily a bad thing, because the newspaper and magazine publishing business is a lot more complex than it appears on the surface. The second section gets straight down to practical advice for would-be journalists: how to be a reporter; how to conduct interviews; what makes a good news story; how to write good introductions and structure paragraphs.

Then, moving into the newsroom itself, there are chapters on the role of news editor, what sub-editors do, and how pictures are captioned. The individual essays could profit enormously from more illustrative examples, and almost every page is crying out for graphics.

The would-be journalist is given a detailed breakdown of news features, and more importantly how to successfully pitch your ideas to editors, then how to write them if and when they are accepted.

Once you have written your piece and checked it several times over for style, content, accuracy, spelling, and grammar, it then goes to a features editor who will edit it all over again. There’s a whole chapter explaining this process. It’s a tough world, and this is required reading for anybody who wants to make a success of freelance writing.

You are unlikely to be invited to write comment or opinion pieces, but you could break into print via reviewing. How to write them is explained in detail – and these days its as likely to be reviewing radio and TV programmes as traditional books and theatre performances.

Print journalism is now as we know being challenged by the online world – though you are even less likely to earn income from it. There are essays which analyse the differences between newspapers’ print and online versions, and technical advice on how monitor screen and web browsers affect how and what we read on screen.

There’s also advice on writing blogs and wikis, before the collection winds up with essays on the ethics and law in journalism, copyright, and intellectual property rights – which is one of the best short explanations of a complex issue I have seen for quite some time.

© Roy Johnson 2005

Print Journalism   Buy the book at Amazon UK

Print Journalism   Buy the book at Amazon US


Richard Keeble (ed), Print Journalism: a critical introduction, London: Routledge, 2005, pp.347, ISBN: 0415358825


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Pronouns – how to understand them

September 12, 2009 by Roy Johnson

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Pronouns – definition

pronouns Pronouns stand instead of nouns (to avoid repeating them).


Examples

redbtn Personal pronouns stand instead of names:

I me you
he him we
us they them

redbtn Relative pronouns act as reference links:

which who that

Use

redbtn Pronouns are frequently used in both speech and writing .

redbtn By using them we are able to avoid frequent repetition of a name. Compare these statements.

redbtn First, the proper noun John is used throughout.

John’s in the Army and John looks good in John’s uniform as John strides along.

redbtn Second, the proper noun is used initially and followed by pronouns.

John’s in the Army and he looks good in his uniform as he strides along.

redbtn NB! Fasten your safety belt. There’s a lot more on this topic.

redbtn There are several different kinds of pronouns. These can be classified as personal, possessive, reflexive, emphatic, demonstrative, interrogative, exclamatory, relative, and pronouns of amount and number.

redbtn Personal pronouns derive from the grammatical term ‘person’. This itself is of Latin origin [dramatis personae] meaning characters in a play. This term has been transferred to the characters in a story or dialogue, which may be shown as follows:

Singular Plural
I we
NOMINATIVE you you
he, she, it they
me us
ACCUSATIVE you you
him, her, it them

redbtn Possessive pronouns denote possession as in the following example:

The dress was mine and now its hers.

redbtn Possessive pronouns follow the same pattern as the personal pronouns:

Singular Plural
mine
yours
hers, his, its
mine
yours
theirs

redbtn Reflexive pronouns are often used as objects of verbs. For example:

I found myself rolling down the hillside.

He gave himself a pat on the back.

redbtn Reflexive pronouns are also used with prepositions, as in:

I felt the sadness sweeping over me.

She pulled the blanket over her.

Bring your friends with you.

redbtn After a preposition, the pronoun looks like a plain personal pronoun; but the context is reflexive. The archaic usage perhaps makes this case more clear, as in:

Now I lay me down to die

redbtn Emphatic pronouns are used in such contexts as:

I’d like a glass of wine please, and (you) have one yourself.
(emphasising who must have one)

She herself wanted to join the company.
(emphasising the subject of the sentence)

redbtn Demonstrative pronouns are used for pointing things out to the listener. They are:

this, these (nearby)
that, those (at some distance)
such (meaning ‘such as’)
same (meaning ‘the same as’)

These are the best flowers in the shop.
Those are the Alps in the distance.
They have such exciting parties.
I asked for a box and was sent the same.

redbtn Interrogative pronouns are used to ask questions. They are:

who? whom?
whose? which? what?

Who was at the party?
Whom did you see at the party?
Whose friend was the woman in the red dress?
Which dish did you most enjoy?
What did you do all evening?

redbtn Exclamatory pronouns. The word ‘what’ is often used to exclaim on an issue in the following way:

What a night!
What she could have achieved!

redbtn Relative pronouns are as follows:

who whom whose
which that what as

Those who arrive early can begin.
The woman whom I met sent me a postcard.
We met the couple whose house we bought.
Those tins which we brought came in useful.
I always write about topics that interest me.
I always mean what I say.
It was as beautiful a garden as ever I saw.

redbtn Pronouns of number are as follows:

one more
few neither enough

One of them was ill.
Neither of the girls had a raincoat.
Few people understand the value of money.
More people may join the club next week.
Enough is as good as a feast.

redbtn Pronouns of amount are as follows:

anyone nobody
something everybody

redbtn These are used as in the following statements:

Anyone who had a heart would take her.
Everybody gathered round the lake.
Something will have to be done about the food.

Self-assessment quiz follows >>>

© Roy Johnson 2003


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Filed Under: English Language Tagged With: English language, Grammar, Parts of speech, Pronouns

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