1. The way that language is used in the world’s that are created
Featuring: how political and social protest writing affects audiences/readers and invites reflection on our own world

2. Harrison’s Poetry: ABOLISHING SOCIO-ECONOMIC DIVISIONS
Change?
“This pens all I have of magic wand. I know this world’s so torn but want no other except for dad who’d hoped from ‘the beyond’ a better life than this one, with my mother” ‘v’, pg. 219
L1 Harrison self-referential: his language suggests that a pen, or social protest writing is a way of changing worlds
Use of vivid imagery in the word “torn”. Creates an image of a dilapidated state, through an action, makes the political idea from an pragmatic everyday action. E.g. tearing paper. Also, links back to social divisions: how the world is ‘torn’ and divided into segregated groups.
Conflicting meanings shaped by Harrison’s second line: almost as if he himself is torn between wanting social change, but at the same time maintaining unique cultures, family environments etc.
Lots of ambiguity: less similar to rest of ‘v’. Does the pen represents protest, or Harrison’s socio- economic background and education, with social mobility, unlike his father, the Baker who hoped for a better life?

3. Social exclusion and division
“The Brown Ale drinkers watch me as I write: one front door orange in a row all blue!” Divisions, pg. 154
Use of colour to reflect backgrounds, the “blue” working class (blue collar) versus orange. Clearly orange stands out completely from the blue.
Strange: from working-class background, yet feels excluded? Is education exclusive? Or is there an inferiority complex within society that prevents social divisions being solved?
Interesting use of how all the doors (Or people) are “in a row” Harrison suggesting despite their appearances, we are all human. Perhaps also a comment on living co- operatively, not dividing people by appearance.
GENDER THEORY Furthered by “Brown Ale drinkers”, exclusive in itself. Harrison perhaps counter-intuitive here? Does reflect homo-sociality: bravado. A defensive reaction to how they probably mock his poetry, not seen as masculine. See ‘v’, and the skin’s reaction to poetry “ah bet yer wrote a poem yer wanker you!”. Harrison does seem to revolve this poem around social hierarchy, but also masculinity. He shows how the rejection of assimilation means social exclusion

4. Elitism and class
“ ’we say [s] not [uz], T.W!’ That shut my trap” Them & [uz], pg. 102
Language here very much shapes the elitist voice of one of Harrison’s ex-professors
Harrison actually pins down the exact pronunciation of “us” to clearly signpost the meaning he wants from the verse and poem: the petty, yet oppressing nature of language, pronunciation and dialect
The naming further reinforces ideas of elitism, but also marginalism: reducing a human being to just two letters.
Also: the speech is end-stopped with it, Harrison shaping a contemptuous line with an assertion of power of the professor over the student with some caesura.
The brief, stunted reply that Harrison shapes with his language “that shut my trap” portrays his subordinate position.
See also how he uses a colloquial phrase here: again distancing himself and being excluded from the elitist superiority of his professors.
Use of “we say” is also very condescending. May also be a majestic plural: along with uses of “us”. Again, all helping to preserve the power of the elite classes
Second movement of the poem: Harrison creates revelry in his dialect with “[uz] [uz] [uz]” the repetition of this language emphatically fighting back.
Using same technique for contrasting effect. E.g “RIP RP, RIP T.W.” as defiance against T.W. earlier, same with the use of the pronunciation markers [uz].

5. The kite Runner: Hosseini’s humanisation of Afghanistan
Rhetoric: Negative Repetition
The curious thing was, I never thought of Hassan and me as friends either. Not in the usual sense, anyhow. Never mind that we taught each other to ride a bicycle with no hands, or to build a fully functional homemade camera out of a cardboard box. Never mind that we spent entire winters flying kites, running kites. Never mind that to me, the face of Afghanistan is that of a boy with a thin boned frame, a shaved head, and low set ears, a boy with a Chinese doll face perpetually lit by a hare lipped smile.
Never mind any of those things. Because history isn't easy to overcome. Neither is religion. In the end, I was a Pashtun and he was a Hazara, I was Sunni and he was Shi'a, and nothing was ever going to change that. Nothing.
C4, pg. 24

6. Rhetoric: Negative Repetition
“Never mind” repetition. Key word: never=negative. Nothing= negative.
Hosseini combines negativity with positive ‘personal details’: points out the idiocy of racial divisions. Humanising manner: building the characters up.
Also repetition of previous imagery and details: see C2 pg 3 “a face like a Chinese doll”
Negativity and repetition here also used to convey a feeling of exasperation, but also bleak futility in struggling against such divisions in Afghanistan
Almost essay like: “history”, “religion”. This section refocuses the novel on REAL Afghanistan after personal details.
Overall Hosseini is commenting on how Afghanistan society is so rigid and divisive and wants the reader to reflect on their own society to break up cultural boundaries and divisions

7. Not just Afghanistan’s issues:
“under the pillow Reaganomics pressed to their [blue collar worker’s] faces” C11 pg. 116
Metaphorical language here is stark: referring to suffocation. Hosseini uses this language to condemn capitalist society and of the ‘trickle down’ policy. The rich get richer, whilst the poorest workers struggle. Humanises USA issues, global issues, expressing with such stark language choices the oppression of the underclasses. At the same time helping to convey what life is like under such oppressive conditions for other readers.
Comparisons
“lifting him [Sohrab] from the certainty of turmoil and dropping him in a turmoil of uncertainty” C25 Pg. 326
Hosseini frequently compares/contrasts Afghanistan and the USA: this phrase epitomises this commonality. In the last chapter, this acts as a denouement and a soundbite of all that he has compared so far
Use of chiasmus shows Afghanistan as a “certainty of turmoil”, referring to war, ethnic conflict and oppressive rule. Contrasted with USA “turmoil of uncertainty”, referring to opportunity, competition in a consumerist society. The way that “Lifting” and “dropping” is used to show the perception that life in Western countries is better, but ultimately there are issues in that society too

8. Blake’s Poetry: Freedom of the human spirit
Urban Restriction versus Country Freedom
“I wandered through each chartered street, Near where the chartered Thames does flow,” London, Songs of Experience pg. 40
“Such, such were the joys When we all- girls and boys-” Echoing Green, Songs of Innocence pg. 3
Oppressive power structure in the way that each street and even the Thames is “chartered”. Blake's language here is of constriction and repression. Layers of meaning are built up: the chartered river adds meaning to the chartered street, by suggesting the current only flows in one direction: constriction and uniformity.
Can be seen in the 39 Articles of the Established COE that Blake didn’t sign
However, in Echoing Green, there is also uniformity in the collection “we all”. Meaning is completely different because of overall semantic field of the poem associated with fun and freedom, such as “joys”, “Laugh”, “sing”, “merry” etc.
Less sterile because of use of pronoun we, as opposed to just “chartered street” and “chartered Thames”. Suggests consent and choice by including. Whereas “chartered” seems to suggest action from above: cold calculated prior planning.

9. Unity and Co-Existence
“My mother bore me in the southern wild, And I am black, but oh my soul is white! White as an angel is the English child, But I am black, as if bereaved of light.” The Little Black Boy, Songs of Innocence, pg. 5
In the second line, “but” by Blake to show shame or need to disclaim race. This is further shown in the colour contrast in the line: black and white. Here the language is that of the child who eagerly wishes to show how their intentions, soul and humanity is equal to any white persons. Blake wants this innocent child to be an example of how race is irrelevant, instead we are all human, and can unite to live peacefully.
Idea of segregation or disgrace at black child: born in a “southern wild”, e.g. away from civilisation because of exclusion. Post-colonial Theory would suggest Blake is presenting this boy as ‘Other’.
Simile of the angel and its brightness: a white person compared to a black child who is bereaved of light. Blake imbues his language with a sense of hierarchy here: an angel’s value and position much higher than the black child’s
Blake uses ‘but’ as a painful interrupting reminder of the racially divided society he lived in in the final line. The opening language presents a struggle in race and identity, trying to overcome racial barriers by integration.
Overall, Blake’s language explores the way that a racially marginalised figure in society perceives their identity, in a bid to integrate into society. The language shows the relentless efforts of the child to overcome racial divisions to try and live peacefully within a xenophobic society

10. Joyous Abandon vs Repression
“The little ones leaped, and shouted, and laughed, And all the hills echoed” Nurse’s Song, Songs of Innocence, pg. 17
“your spring and your day are wasted in play, And your winter and night in disguise.” Nurse’s Song, Songs of Experience, pg. 30
The significance of the language in terms of distance. Nurse’s Song 1- a comfortable distance established with the 3rd person, before panning out to the hills. Nurse’s Song 2- direct address via “your”, very abrasive and accusative language used by Blake. Blake highlighting the responsibility of parenting, or more senior members of society in preserving the innocent play and joy of children, rather than shoe horning them into ‘adult’ moulds, or even worse exploiting them during childhood- see Chimney Sweeper
Only one voice in second nurses song. Blake here embodies the contemporary doctrine that Children meant to be seen, not heard.
Manipulates the verses to embody the first section of Nurses Song 1, but using darkening language, such as "whispering" instead of "laughing", connoting oppression and the need to conceal oneself from overwhelming authority, versus freedom and happiness in laughter.
Again Blake also uses colour in Nurses Song 2, to bring to mind images of the Machiavellian figure, who by turning "green and pale" at the sound of laughter seems to disapprove and condemn freedom.