Interpritation Ragtime free essay sample

Doctor and is centered on a black jazz pianist, Schoolhouse Walker Jar. The text contains a detailed narration of the way Schoolhouse Walker Jar. Made his appearance at a certain house In which a white family lived. We are given neither the names of the family, nor their ages, nor any other details. The author calls them Mother, Father, Grandfather, Mothers Younger Brother and the boy, but they do not play an important part in the story. It is, a young black woman Sarah, living with the family, who Is the focus of the narration.It Is for her sake Schoolhouse keeps vaulting the house and does not seem discouraged at her constant refusals to see him. The author gives very scanty information about Sarah. We come to know she had a baby, but we are in the dark about her life story, her relatives and friends. The author does not present any direct facts, the reader has to read between the lines. We will write a custom essay sample on Interpritation Ragtime or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page As we can gather from the extract Schoolhouse and Sarah loved each other and must have been on intimate terms. But later her lover abandoned her and she bore his child.The author does not explain the mans behavior in any way and it is left for the deader to guess the reason for his actions. But nonetheless, the reader does not make an unpleasant Judgment. It seems Schoolhouse had left the woman he loved not because he did not care or was irresponsible; from Schoolhouses own words, the reader can conclude that he had to make a living, and he could not have done it staying in one place. It is important, he said, for a musician to find a place that was permanent, a Job that required no traveling. .. I am through traveling, he said, I am through going on the road. In this extract, schoolhouse appeared after some erne had passed. He had obviously found his place in the sun, having become rather well-to- do. He could afford to have a family of his own and wanted Sarah to be with him. He wanted to make amends, for he felt a sense of remorse for having abandoned her, and he had never stopped loving her. But Sarah, who had suffered too much, did not feel forgiving. The plot of the passage is not of major importance, and the action proceeds slowly. The narration itself is precise but dry. The writer does not express his opinion about the events and his characters conduct, but he simply states the facts.He sounds aloof and detached. The ending is not clear, it is ambiguous and vague, and leaves room for suggestion. The text belongs to a psychological type of writing, as the writer is more Interested in his characters feelings and relations reflected In their behavior than In the narration of events. The main characters are Schoolhouse Walker Jar. And Sarah, though very little is said about the girl. The other characters serve only as the background; they are not even given names. It enables the author to concentrate all the attention on the conflict between the pianist and Sarah.The reader gets an Idea that their conflict Is very deep underneath, though nothing Is expressed explicitly. Most information is left behind the lines. What is implied outweighs what is expressed. 1 OFF with the story, and its emotional mood the reader finds himself involved into their conflict and is ready to share their feelings and to sympathize with them. The narration centers around Schoolhouse. The author describes in detail and with much precision his visits to the family, the attitude of the family members towards him, his playing the piano, the music he played, and its impact on the listeners.The author uses few epithets and metaphors to describe Schoolhouses appearance and conduct. But he underlines time and again Schoolhouses reserve, calm and politeness, employing adjectives respectful, courteous, correct, solemn and stiff. Despite his outer calm Schoolhouse was very nervous and tense, but he managed to restrain himself. The simile (he had) large dark eyes, so intense as to suggest they were about to cross reveals Schoolhouses real state of mind: he was suffering a great nervous anxiety. In this way the author creates an atmosphere of suspense, and the reader is intrigued as to the possible reasons for this nervousness.The mood of the following narration becomes tense, the psychological strain keeps growing, the impression being augmented by the entire structure of the excerpt. The lines describing Sarah are in the same strained key. One gains this impression from such epithets as: (standing) rigidly, (said) softly, mute and unforgiving. On the whole, the main characters act and speak little: The girl said nothing. ; The girl shook her head. ; The pianist responded with a tense shake of the head. . It is not their actions and words that matter but their inner feelings, sufferings and anguish.They seem to be conducting a silent dialogue. Schoolhouse is pleading with Sarah to forgive him, and she is making a great effort to refuse him. At first sight, the extract is very simple in plot and style. But a more thorough analysis shows that a serious problem is raised here. Moreover, the structural pattern on which the narration is built appears to be very complex. The passage is based on contrasts of different types which concern composition, style and language means employed in it. In addition, the writer reflects the peculiarities of Jazz music in his text firstly, because the main character is a Jazz pianist.Secondly, Jazz had become very popular at that time in America, therefore the whole structure of the text is suggestive of the atmosphere of that period. Finally, the ragged nervous rhythm of ragtime is very effective in revealing the characters strong emotions in a compact and dynamic way. The imitation of the ragtime rhythm in the text can be observed in the syntax of the excerpt. The abrupt changes from short simple sentences to long expanded and complex ones with lots of participial constructions and subordinate clauses resemble the irregular and throbbing melody of ragtime. Some places sound ere dry and memo sonless. One can hardly find any imagery at all, but the other lines are full of repetitions, ellipsis, parallel constructions and inversion, all of which reveal deep feelings: l am through traveling, he said. I am through going on the road (repetition). Such was the coming of the colored man in the car to Broadside Avenue. His name was Schoolhouse Walker Jar. Beginning with that Sunday he appeared every week, always knocking at the back door. Always turning away without complaint upon Sarahs refusal to see him. (inversion, repetition, ellipsis). All this contributes to he effect of great emotional tension.In general, the mood of the passage is tense, and in the course of the narration the tension keeps growing. The strained other thing that strikes the reader is the incongruity between an everyday and ordinary situation and the bookish literary words used to describe the situation: reside, affection, presume, depart, exhilarate, intransigence, propriety, deferential, delineate, entire, locate, secure, perceive, respond, etc. It is also necessary to consider the peculiar way in which Doctor presents the speech of his characters. There are no inverted commas to single out their utterances, which form an integral part of the narration.The characters speech is something intermediate between direct and uttered represented speech. Thus, the author emphasizes that what is said by this or that character does not matter very much. Their words do not reflect their thoughts and feelings, they have other means of transmitting them. The main contrast ( I. E. The contrast between the painful and dramatic inner struggle of the main characters and their outer calm and reserve) is developed in several ways. For example, the author opposes Schoolhouses cool and reserved behavior awards a piece of music he played.The sentences narrating the story are very dry, devoid of any imagery, there is hardly any adjective used, but they abound in verbs of action. As a result, the tempo of the narration is rather fast. These devices create a strained atmosphere and the suspense which keeps growing throughout the following sentences. Besides, the writer resorts to very few epithets to depict the pianist. But in contrast, the description of the ragtime he played is rich in all kinds of tropes: similes Small clear chords hung in the air like bouquets. There seemed to be o other possibilities for life than those delineated by the music. ; epithets small clear chords, thumping octaves, robust composition, vigorous music, metaphors chords hung in the air, clusters of chords, the music filled the stairway, (the music) never stopped a moment. The same concerns the syntactic stylistic devices. At this point the syntax becomes very complicated, the sentences are long, mostly complex and with developed participial constructions: The pianist sat stiffly at the keyboard, his long dark hands with their pink nails seemingly with no efforts producing the clusters of syncopating words and the thumping octaves. But the music ends, and the syntactic pattern of the narration changes abruptly. The sentences are simple, short and parallel: Schoolhouse Walker was solemn. Everyone was standing. There was a silence. Father cleared his throat. The sentences describing the music are very colorful and beautiful, because beautiful was the music itself and passionate was Schoolhouses performance. He expressed himself through his music, giving free rein to his repressed feelings. He tried to incite Sarah, to show her what he thought and felt, how much he suffered ND how remorseful he was.The music Schoolhouse played was his passionate monologue addressed to Sarah. Here is the climax of the whole passage, the peak of its emotional development, the point of the highest strain and greatest passion and, perhaps, the turning point in the lives of the characters. Their behavior is not going to be the same as it was before. Something is to happen and to change their lives. The reader knows that Sarah listened to Schoolhouse and she heard his message, because her door was kept open and the music filled the whole house.

S ubject Outline Essays - Education, Euthenics, Knowledge Sharing

S ubject Outline Essays - Education, Euthenics, Knowledge Sharing S ubject Outline Subject Name : Financial Institutions and Markets Subject Code: BX2032 . Study Period: SP 5 2 , 201 7 Study Mode: Internal Campus: Singapore Subject Coordinator: M r Richard Kent Subject Lecturer : D r T Y Thong Pre-requisites: BU 1003 https://secure.jcu.edu.au/app/studyfinder/?subject=BU1003 OR EC 1005 https://secure.jcu.edu.au/app/studyfinder/index.cfm?subject=EC1005year=2010 EC 1001 https://secure.jcu.edu.au/app/studyfinder/index.cfm This subject outline has been prepared by Dr Ray McNamara for the College of Business, Law and Governance , Division of Tropical Environments and Societies , James Cook University. Updated DATE \@ "d MMMM yyyy" \* MERGEFORMAT 14 July 2017 . Q1. This subject is offered across more than one campus and/or mode and/or teaching period within the one calendar year . Yes FORMCHECKBOX No FORMCHECKBOX Q2. If yes [Q1], the design of all offerings of this subject ensure the same learning outcomes and assessment types and weighting s . Yes FORMCHECKBOX No FORMCHECKBOX Q3. If no [Q2], _________________________ has authorised any variations , in terms of equivalence . Copyright 201 4 This publication is copyright. Apart from any fair dealing for the purpose of private study, research, criticism, or review as permitted under the Copyright Act, no part may be reproduced by any process or placed in computer memory without written permission. Contents TOC \h \z \t "Head 1,1,Head 2,2" Section 1. Subject at a Glance PAGEREF _Toc398277663 \h 4 1.1 Staff contact details PAGEREF _Toc398277664 \h 4 1.2 Student participation requirements PAGEREF _Toc398277665 \h 4 1.3 Key dates PAGEREF _Toc398277666 \h 5 Section 2. Subject Details PAGEREF _Toc398277667 \h 5 2.1 Subject description PAGEREF _Toc398277668 \h 5 2.2 Subject and course learning outcomes PAGEREF _Toc398277669 \h 5 2.3 Learning and teaching in this subject PAGEREF _Toc398277670 \h 6 2.4 Student feedback on subject PAGEREF _Toc398277671 \h 6 2.5 Subject resources and special requirements PAGEREF _Toc398277672 \h 6 Section 3. Assessment Details PAGEREF _Toc398277673 \h 7 3.1 Requirements for completion of subject PAGEREF _Toc398277674 \h 7 3.2 Feedback on student learning PAGEREF _Toc398277676 \h 7 3.3 Assessment Tasks PAGEREF _Toc398277677 \h 7 Section 4. Other Information about Assessment and Student Support PAGEREF _Toc398277678 \h 10 4.1 Submission and return of assessment PAGEREF _Toc398277679 \h 10 4.2 Plagiarism and referencing PAGEREF _Toc398277680 \h 10 4.3 Important advice relating to examinations PAGEREF _Toc398277681 \h 10 4.4 Student support PAGEREF _Toc398277682 \h 10 Section 5. Subject Calendar PAGEREF _Toc398277683 \h 12 Section 6. Assessment Criteria Sheets (Rubric) PAGEREF _Toc398277684 \h 12 Section 1. Subject at a Glance The following summary provides a quick reference to the most important aspects of this subject. Please ensure that you have read the entire subject guide in full. 1.1 Staff contact details The following staff members are responsible for the preparation or delivery of this subject. Please contact the relevant staff member if you have any concerns during the study period. Teaching team Staff member Room Phone# Email Consultation times* Subject Coordinator Mr Richard Kent [emailprotected] Lecturer Dr T Y Thong C03-01 +65 6709 3725 [emailprotected] By appointment Tutor Dr T Y Thong C03-01 +65 6709 3725 [emailprotected] *Other consultation times by appointment only. # other contact modes - Skype address 1.2 Student participation requirements The JCU Learning, Teaching and Assessment Policy (4.3) indicates that, "a 3 credit point subject will require a 130 hour work load of study-related participation (including class attendance) over the duration of the study period, irrespective of mode of delivery". This work load comprises timetabled hours and other attendance requirements, as well as personal study hours, including completion of assessment requirements. Note that "attendance at specified classes may be a mandatory requirement for satisfactory completion of some subjects" (Learning, Teaching and Assessment Policy, 5.9); and that additional hours may be required per week for those students in need of English language, numeracy or other learning support. For external mode, there will be a minimum of four (4) online tutorial sessions for this subject. These will be conducted using Collaborate' in LearnJCU. It is highly recommended that you attend these sessions. How these sessions are run is largely dependent upon the attendance and participation of external students. The content of these sessions will focus on the questions selected by the subject coordinator and any other problems students may be facing. Potential, dates, times and class activities will be discussed via the LearnJCU bulletin board once semester commences prior to each