1. Y12 English Language and Literature
Date: Monday and Tuesday 9th May 2017
Teacher: Mr Cole-Savidge
Room: 117
L.O.: to assimilate key aspects of research throughout the unit and to prioritise areas of revision in preparation for your exam
Exam 1 – (AM) Friday 19th May - (7706/1) – Views and Voices (Imagined Worlds, Poetic Voices)
Exam 2 – (PM) Wednesday 24th May – (7706/2) – People and Places (Remembered Places, Re-creative Writing)

2. AS: Specification at a glance
Slide 6
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3. Assessment objectivesAO
Description
AO1
Apply concepts and methods from integrated linguistic and literary study as appropriate, using associated terminology and coherent written expression
AO2
Analyse ways in which meanings are shaped in texts
AO3
Demonstrate understanding of the significance and influence of the contexts in which texts are produced and received
AO4
Explore connections across texts, informed by linguistic and literary concepts and methods
AO5
Demonstrate expertise and creativity in the use of English to communicate in different ways
Frameworks
terminology
Analysis of texts
context
connections
Creativity
Slide 9
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5. Read Text A (‘Breathless: An American Girl in Paris’ (Nancy Miller) from the chapter ‘Waiting For Godard’) and Text B (‘Travelling to Paris with a grandchild’ (Gransnet)). Compare and contrast how the writers and speakers in these extracts present Paris. You should refer to both extracts in your answer and consider the language choices made and their likely effects, the different audiences and purposes of the texts, and aspects of mode.
WWW
EBI

6. English Language and Literature Key terms Glossary
Literary and Stylistic
Phonology
Discourse
Grammar/Syntax
Lexis/Semantics
Pragmatics
Simile
Metaphors
Repetition
Personification
Rhetorical question
Symbols and motifs
List of three
Hyperbole
Anecdote
Alliteration
Onomatopoeia
Sibilance
Plosives
Turn taking
Adjacency pair
Cooperative/competitive overlapping ( when people speak over each other)
Interruptions ( when one person interrupts another’s turns and speaks)
Violation of turn taking
Holding the floor
Goal orientation
Tag interrogatives
Imperatives
Declaratives
Exclamatives
Interrogatives
Adjectives/Verbs
Ellipsis
Lengths of sentences
Clauses – subordinate clauses
Abstract nouns/Concrete
Modal verbs
Pre/post modifiers (all adjectives and adverbs)
Semantic fields
Connectives
Elision
Colloquialism/ Standard English
Idiolect
Pronouns
Phatic talk
Irony
Connotations
Euphemism
Back channelling
Sarcasm
Humour
Puns (double meaning)
hedging
What types of texts does the Anthology contain?
Travel memoirs
Advertisements
Video travel guides
Personal narratives
Autobiographies
Online guides
Websites – online forums
Guidebooks
Newspaper articles
Pathe news reports
Letters
Conversations
History books
Travel blogs

7. Literary and Stylistic
Definitions
Literary and Stylistic
Simile - a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid.
Metaphors - a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable.
Repetition - the action of repeating something that has already been said or written.
Personification - the attribution of a personal nature or human characteristics to something non-human, or the representation of an abstract quality in human form.
Rhetorical question - a question asked in order to create a dramatic effect or to make a point rather than to get an answer.
Symbols and motifs - A symbol is a mark, sign, or word that indicates, signifies, or is understood as representing an idea, object, or relationship. A motif is a dominant or recurring idea in an artistic work.
List of three - The rule of three is a writing principle that suggests that things that come in threes are funnier, more satisfying, or more effective than other numbers of things. The reader or audience of this form of text is also thereby more likely to remember the information.
Hyperbole - exaggerated statements or claims not meant to be taken literally.
Anecdote - a short amusing or interesting story about a real incident or person.

8. Phonology (speech sounds)
Definitions
Phonology (speech sounds)
Alliteration - he occurrence of the same letter or sound at the beginning of adjacent or closely connected words.
Onomatopoeia - the formation of a word from a sound associated with what is named.
Sibilance - is a literary device where strongly stressed consonants are created deliberately by producing air from vocal tracts through the use of lips and tongue. Such consonants produce hissing sounds.
Plosives - a plosive speech sound. The basic plosives in English are t, k, and p (voiceless) and d, g, and b (voiced).

9. Definitions
Discourse (Discourse has various definitions but one way of thinking about it is as any piece of extended language, written or spoken, that has unity and meaning and purpose.)
Turn taking - Turn-taking is a type of organization in conversation and discourse where participants speak one at a time in alternating turns. (Counterpoint = violation of turn taking). 
Adjacency pair - An adjacency pair is a unit of conversation that contains an exchange of one turn each by two speakers.
Cooperative/competitive overlapping – when people speak over each other.
Interruptions – when one person interruptions another’s turn and speaks.
Holding the floor - to speak to a group of people, often for a long time, without allowing anyone else to speak
Goal orientation - individual disposition toward developing or validating one's ability in achievement settings.
Saving face - to one's own sense of dignity or prestige in social contexts (relates to Politeness Theory and Face Negotiation Theory).

10. Grammar/syntax Definitions
Tag interrogatives - A question tag or tag question (also known as tail question) is a grammatical structure in which a declarative statement or an imperative is turned into a question by adding an interrogative fragment (the "tag"). For example, in the sentence "You're John, aren't you?", the statement "You're John" is turned into a question by the tag "aren't you".
Imperatives – command verb. An imperative sentence or command tells someone to do something (and if done strongly may be considered both imperative and exclamatory): "Go to work." or "Go to work!"
Declaratives - A declarative sentence or declaration, the most common type, commonly makes a statement: "I have to go to work."
Exclamatives - An exclamatory sentence or exclamation is generally a more emphatic form of statement expressing emotion: "I have to go to work!"
Interrogatives - An interrogative sentence or question is commonly used to request information—"Do I have to go to work?"
Adjectives/verbs – describing words/doing words.
Ellipsis - is a series of dots (…) that usually indicates an intentional omission of a word, sentence, or whole section from a text without altering its original meaning, or the long passing of time.
Lengths of sentences – one word, simple, compound, complex.
Clauses – subordinate clauses - modify the independent clause of a sentence or serve as a component of it
Abstract nouns/concrete - Concrete nouns refer to physical entities that can be observed by at least one of the senses (for instance, chair, apple, Janet, rock, tree, universe or atom). Abstract nouns, on the other hand, refer to abstract objects; that is, ideas or concepts (such as justice or hatred).
Modal verbs A modal auxiliary verb gives information about the function of the main verb that it governs. Modals have a wide variety of communicative functions, but these functions can generally be related to a scale ranging from possibility ("may") to necessity ("must"), in terms of one of the following types of modality: - epistemic modality, concerned with the theoretical possibility of propositions being true or not true (including likelihood and certainty) - deontic modality, concerned with possibility and necessity in terms of freedom to act (including permission and duty) - dynamic modality,which may be distinguished from deontic modality, in that with dynamic modality, the conditioning factors are internal – the subject's own ability or willingness to act. The following sentences illustrate epistemic and deontic uses of the English modal verb must: - epistemic: You must be starving. ("It is necessarily the case that you are starving.") - deontic: You must leave now. ("You are required to leave now.")

11. Definitions
Lexis/semantics
Pre/post modifiers (all adjectives and adverbs) - In academic writing, most nouns are preceded or followed by one or more words or phrases known as modifiers. In many cases, nouns have both pre-modifiers (occurring before the noun) and post-modifiers (occurring after the noun).
Semantic fields - a lexical set of semantically related items, for example verbs of perception.
Connectives - a word or phrase whose function is to link other linguistic units.
Elision - the omission of a sound or syllable when speaking
Colloquialism/Standard English – varying levels of formality.
Idiolect - the speech habits peculiar to a particular person.
Pronouns - a word that can function as a noun phrase used by itself and that refers either to the participants in the discourse (e.g. I, you ) or to someone or something mentioned elsewhere in the discourse (e.g. she, it, this ).

12. Pragmatics Definitions
Phatic talk - Phatic communication is verbal or non-verbal communication that has a social function, such as to start a conversation, greet someone, or say goodbye, rather than an informative function
Irony - the expression of one's meaning by using language that normally signifies the opposite, typically for humorous or emphatic effect.
Connotations - an idea or feeling which a word invokes for a person in addition to its literal or primary meaning.
Euphemism - a mild or indirect word or expression substituted for one considered to be too harsh or blunt when referring to something unpleasant or embarrassing.
Back channelling - The predominant channel is that of the speaker who directs primary speech flow. The secondary channel of communication (or backchannel) is that of the listener which functions to provide continuers or assessments, defining a listener's comprehension and/or interest.
Sarcasm - the use of irony to mock or convey contempt.
Humour - the quality of being amusing or comic, especially as expressed in literature or speech.
Puns (double meaning) - a joke exploiting the different possible meanings of a word or the fact that there are words which sound alike but have different meanings.
Hedging - a joke exploiting the different possible meanings of a word or the fact that there are words which sound alike but have different meanings.

13. Can you give a definition for each of these terms?
Paper 2 People and Places Section A Remembered Places: key terms and concepts
Key terms for this section are
Genre:
a way of grouping texts based on expected shared conventions
Representation:
the portrayal of events, people and circumstances through language and other meaning-making resources to create a way of seeing the world
Point of view:
the perspective(s) used in a text through which a version of reality is presented
Register:
a variety of language that is associated with a particular situation of use
Literariness:
the degree to which a text displays ‘literary’ qualities along a continuum rather than being absolutely ‘literary’ or ‘non-literary’
Can you give a definition for each of these terms?
Slide 25

14. Paper 2 People and Places Section B: re-creative writing (AS only)
Students should be encouraged to
consciously shape their narratives, and work with particular genre conventions
creatively re-cast texts to take on the role of a writer presenting a place, controlling interpretative effects through considered language choices
analyse their own re-creative writing closely and confidently, drawing on a range of frameworks to support their analyses.
Key terminology:
Recast: to reshape a text into an entirely new and original piece
Slide 27
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15. Paper 2 People and Places Section B: AS re-creative writing task
Question from the specimen assessment material
Refer to Text A from The Most Beautiful Walk in the World: A Pedestrian in Paris by John Baxter.
Recast this as the section of the Café Danton’s website where the café’s location is described.
You might consider:
what will appeal to visitors about the location
how the local area might best be described.
You should write about 200 words.
Slide 28

16. Paper 2 People and Places Section B: AS re-creative commentary task
AO2 (5 marks)
Analyse ways in which meanings are shaped in texts
AO3 (10 marks)
Demonstrate understanding of the significance and influence of the contexts in which texts are produced and received
AO5 (5 marks)
Demonstrate expertise and creativity in the use of English to communicate in different ways
Identify four specific examples of language in your writing and explain
your reasons for using them.
You should write about 200 words.
Slide 29

19. What is the examiner looking for
What is the examiner looking for? Look at an indicative contents on a past mark scheme
AO3: • context of tourism (Text A) • knowledge of Paris streets and culture (boulevard Saint-Germain) (Text A) • conventions of the memoir (Extract A) • likely situation of viewing and opportunity to view on a number of devices – tablet, smartphone, laptop (Extract B) • reasons why readers and viewers might want to read the extracts (Extracts A and B). AO4: • similarities and differences in likely readerships and situations of reading • similarities and differences in purpose and genres of texts (Text A: a memoir, Text B: to inform but also to persuade - both to visit France and to buy more of the video company’s products) • ways in which Paris is made to appear attractive • distinction between own culture/society and Paris • Paris as intriguing and worthy of narrative attention • any other connections that are linked by narrative presentation and conventions.
AO1: Text A • use of first person narrator and past tense to recount experience • use of third person pronouns ‘they’, ‘them’ to present the walkers as ‘others’ • use of simple/orthographic sentences for effect ‘The walkers’ • negatively-oriented lexis to describe the walkers, ‘uncertain’, ‘huddled’ • representation of tourists as out of place in Paris. Indicative Content Text B • use of third person narrator • shifts from present to past tense to explain history • use of second person pronoun to directly address the viewer • instructional/invitational verb phrases – ‘take’, ‘stroll’ • lexical choices made to influence viewer and present Paris as attractive – ‘epitome of romance’, ‘each with its own personality’, ‘grand boulevards’ • use of well-known proper nouns related to Paris and France to give authority to video – ‘Louvre’, ‘Arc de Triomphe’, ‘Napoleon’.

20. Example Answer
Text A’s main purpose as an account is to entertain and inform. On the other hand, Text B’s main purpose is to guide and similarly inform with a secondary purpose to entertain. Text A entertains through its use of humour and metaphors. The writer refers to the cemetery as “a fashionable address for the afterlife.” This is funny because we associate addresses as places where the living live which is ironic because it is where the dead live. It also serves its other main purpose to inform by using facts such as “1804” and listing who is buried there. The list contains a semantic field of the famous dead “Gertrude Stein, Edith Piaf, Oscar Wilde, Pissarro and Proust.” Similarly, Text B has a main purpose of informing and also used lists to present famous works of art. The semantic field of art work is appropriate because the Louvre is an art museum. Text A is mainly targeted at adults who enjoy nonfiction travel writing as a literary form. Whereas text B is for travellers who are planning to visit the Louvre museum. Text A in order to meet the demands of its audience uses adjectives which create a picturesque scene of the cemetery. Adjectives such as, “winding” and “tree lined” create a semantic field of a beautiful city scape. The audience who may be armchair travellers may not have seen the place and these adjectives create a vivid powerful description of the cemetery for them to imagine. It makes the cemetery ironically seen as romantic. Text B engages with the audience and builds a relaxed relationship through the use of synthetic personalisation. He does this through an informal greeting “hi” and the use of his first person pronoun “I” to refer to himself and the second person pronoun “you” to refer to the audience. By using the second person pronoun “you” it almost feels as if he is building an intimate relationship with one listener. Because this is meant to be heard because it is a podcast, Rick Steve’s voice which will be heard through an earphone piece will seem like a friendly personal guide talking them through their own private tour.

26. Articles
Stories are Waiting in Paris (Eurostar) X
Ten Things My Kids Say They Will Miss About Paris (Just Another American in Paris)
Mile by Mile London to Paris (extract) (R. Pigott and M. Thompson)
Travelling to Paris with a grandchild (Gransnet)
Neither Here Nor There: Travels in Europe (extract) (Bill Bryson)
Paris for Children (extract from the Rough Guide to Paris (Rough Guides)
The Most Beautiful Walk in the World: A Pedestrian in Paris (extract) (John Baxter)
Introduction (extract from NOT-FOR-PARENTS: PARIS – Everything you ever wanted to know) (Klay Lamprell)
Personal narrative: Anna
Inside Out and Upside Down (extract from NOT-FOR-PARENTS: PARIS – Everything you ever wanted to know) (Klay Lamprell)
Personal narrative: Zara
Dem Bones (extract from NOT-FOR-PARENTS: PARIS – Everything you ever wanted to know) (Klay Lamprell)
Breathless: An American Girl in Paris (extract) (Nancy Miller)
Cruise the Carousels (extract from NOT-FOR-PARENTS: PARIS – Everything you ever wanted to know) (Klay Lamprell)
Around the World in 80 Dates (extracts from City Lit Paris) (Jennifer Cox)
On Paris (extract) (Ernest Hemingway)
What do you wish someone had told you – Paris Iile de France (Trip Advisor)
Foreign Correspondent: Paris in the Sixties (extract) (Peter Lennon)
Visiting Paris (Mike and Sophia)
Paris Riots 1968 (British Pathe) x
Rick Steves’ Walking Tour of the Louvre Museum (Rick Steves)
Seven Ages of Paris (extract) (Alistair Horne)
French Milk (extract) (Lucy Knisley)
Letters From France (extract from Travel Writing : An Anthology) (Helen Maria Williams)
Understanding Chic (extract from Paris was Ours) (Natasha Fraser-Cavassoni)
Paris: Fine French Food (Lonely Planet)
Memories of Places in Paris (Isabelle and Sophia)
The Sweet Life in Paris: Delicious Adventures in the World’s Most Glorious and Perplexing City (extract) (David Lebowitz)
Encore Une Fois (Just Another American in Paris)
Eating in Paris (Isabella, Mike and Sophia
18 Months Later… (Just Another American in Paris)

27. Main themes throughout the Anthology
To be truly ‘Parisian’.
French cultural references – liberal, Jewish, French New Wave films, Renaissance painting history
Chic fashion
The tourist’s perception

28. Stories are Waiting in Paris (Eurostar)
Mode – Spoken, Standard English, multi-modal. Genre – Video Advertisement. Audience – Tourists, travellers to Paris. Purpose – to advise and to promote.
Plosive syllables to create strong sounds with word selection.
Repetition – “maybe” – encourages possibilities and chance.
Planned pauses – dramatic punctuation.
Sibilance – “kissing” – emphasising that Paris is the ‘city of love’.

29. Mile by Mile London to Paris (extract) (R.Piggott and M. Thompson)
Mode – Written (formal) Genre – Non-fictional, historical Audience – Older demographic (including historians) Purpose – to inform and entertain
Declaratives – “it has a long and interesting history” – statements of authority to emphasise the critical formality of the writing.
Adjectives – “golden arrow” – explaining the look.
Mood/tone – functional and matter-of-fact.

30. Neither Here Nor There: Travels in Europe (extract) (Bill Bryson)
Mode – Written (varying formality) Genre – Memoir (travel writing) Audience – Tourists, literature enthusiasts Purpose – to entertain and to inform
Whimsical writing style – mild swearing for comedic shock factor - “shit” - varying levels of formality (from blunt to formal and vice versa in a matter of sentences)
Short, sharp sentences – “there’s too much traffic” – he judges and analyses places he visits (expert travel writer).
Repetition of emotive language (adjectives and adverbs) – “foolishly…aggressive…weakly…wimpering” – expressive writing style.

31. How does Bryson present Paris?
Bryson presents Paris as a chaotic city full of hustle and bustle. Bryson uses a series of dynamic verbs “swishing”, “flying” and “hurrying” to convey the city’s frenzied nature created by its transportation system and the people moving within it. The layering of dynamic verbs within this complex sentence emphasises the speed in which the city and its people move. Bryson’s uses a simile describing people “flying out of Metro stations like flocks of startled birds”, suggesting a level of wild panic in the mornings.
Success Criteria:
Accurate linguistic terminology throughout
Embedded quotations
Answer question clearly in point
Multiple interpretations of evidence
Can develop analysis with another quote
Always find something interesting to say about the language – meanings/ effect on audience/ different interpretations
Now, write your own analytical paragraph answering the question above. Remember to use relevant terminology (AO1).

32. The Most Beautiful Walk in the World: A Pedestrian in Paris (extract) (John Baxter)
Mode – Written, formal, sophisticated Genre – Literary Audience – those searching to become Parisian Purpose – to inform and to entertain
Quote from Charles Gros (“splendour of the landscape”) to give the article a grandiose philosophical signpost.
Variety of sentence structures for dramatic emphasis.
Declaratives – “At number 12, Sylvia Beach ran Shakespeare and Company” – factual information to inform and create a contextual understanding of Paris.
Many geographical references of Parisian locations – in italics – shows the writer’s expertise and knowledge about the city.
Alliteration – “Brooklyn, Brettwood and Birmingham” – snappy writing style.
Humility of the writer – “I feel like a fraud” – shows that he sometimes does not match the myth of what it is to be ‘Parisian’.

33. Paris City Guide (Lonely Planet)
Mode – Spoken (script) – high degree of planning Genre – Advert Audience – Adults wanting to travel to Paris Purpose – to inform and advise
Tourist information guide – expressive, promoting and advertising the best spots of the city – highlight reel of key venues.
Declaratives – “epitome of romance” and “you’re best exploring Paris on foot” gives an authoritative and a certain and confident tone which puts the traveller at ease that ‘Lonely Planet’ are experts in articulating what the city of Paris is all about and how best to have a city experience.
Words in bold (emphasis in spoken language) – city, epitome, two, heart, grand, almost total, more, any other city on Earth, Louvre, Middle Ages, mighty, greatest military victories, famous, Parisians, you, Rue du Faubourg Saint-Honore, fashionable, locals, bread, cheese, this, perfect, best, half – the majority of words emphasised are emotive or superlative.

34. Personal Narrative: Anna
Mode – Spoken Genre – Transcript/audio-diary/memoir Audience – Herself and family Purpose – Informative and personalised

35. Personal Narrative: Zara
Mode – Spoken/recorded. Genre – Transcript/audio-diary/memoir. Audience – Herself and family. Purpose – Informative and personalising Paris.

36. Breathless: An American Girl in Paris (extract) (Nancy Miller)
Mode – Written, sophisticated, intertextual. Genre – Autobiography. Audience – Culturally bohemian film geeks. Purpose – To entertain and to inform – rites-of-passage text between adolescence and adulthood.
Theme – yearning for liberty and rebelling against over-protective parents.
References – Film - French New Wave (Nouvelle Vague) and Cahiers du Cinema, Jean Seberg, Jean-Paul Belmondo, Jean-Luc Godard, Brecht, Resnais, Les Liaisons Dangereuse - homage (“I studied my expression in the bathroom mirror as she did” – mimicking a key scene of Jean Seberg in Godard’s French New Wave film ‘Breathless’) - Clichéd and at times derogatory allusions to Jewish culture – Shylock (Merchant of Venice), “Jewish Stockholm Syndrome”, Barnard in NY,
Ideology – Liberal Feminist - “France was my hedge against the Marjorie Morningstar destiny that haunted American girls in the 1950s: marriage to a successful man and then the suburbs with children.” - “daring to ask the writer whether he thought women had a role to play in the modern world.” - Sartre and Beauvoir – “the template for the intellectual life that included sex while excluding marriage.” - “who at Barnard were majoring in virginity” (private women’s liberal arts college in NY).
Language – subordinate clauses (“who sported dark glasses and a hat”) - homage (“I studied my expression in the bathroom mirror as she did” – mimicking a key scene of Jean Seberg in Godard’s French New Wave film ‘Breathless’) - pejoratives (“demi-vierges” meaning loose women) - rhetorical questions (“was going away to school a waste of money? Was I too young?”) – repetition of rhetorical questions becomes a motif where an enigma is developed by the narrator’s uncertainty about the future. - personification (“Seberg veiled her ambition behind her own sunglasses”) - post-modern, self-conscious hyperbole (“I wanted to know what the hyperbole (wonderful, marvellous, fantastic!!!) and the exclamation marks – my favorite form of punctuation – were masking”

37. Key references in Breathless: An American in Paris - ‘Waiting For Godard’ (Nancy Miller)
Alain Resnais
Bertolt Brecht
Jean-Paul Sartre
Simone de Beauvoir
Jean Seberg
Jean-Paul Belmondo
Jean-Luc Godard
Les Liasons Dangereuses (epistolary novel written by Pierre Choderlos de Laclos (1782)
Shylock’s ‘pound of flesh’ in Shakespeare’s ‘The Merchant of Venice’
Waiting For Godot (by Samuel Beckett)
An American In Paris
French New Wave

38. Roommates (unknown writer)
Mode – Written (formal)
Genre – First person narration,
Audience – Liberal adult demographic
Purpose – To inform (to personalise Parisian experience)
Art references - Chagall, Bellini, Renaissance paintings, madonnas,
Feminist ideology - “we didn’t want to be perfect housewives”. - liberal bluntness and free sexual expression - “we wanted to have orgasms when we had sex.”

39. Around the World in 80 Dates (extract from City-lit Paris) (Jennifer Cox)
Mode – Written (formal). Genre – First person narration, travel writing . Audience – fans of 70s rock, travellers, Generation X types. Purpose – to entertain and inform.
The persona of the mythologised rock star, Jim Morrison (buried at the Pere Lachaise): - “as a boyfriend Jim Morrison would have been an absolute nightmare - unfaithful, self-indulgent and often cruel” - “lithe sex god”, “the affinity I felt with him ran deep” - “Jim Morrison’s grave was unimposing” – the mundane reality beyond the myth.
Significance of the Pere Lachaise cemetery in Paris: – the home of graves of many famous people. - a strange but profound tourist attraction.
Tone – playfully mocking the fandom around Morrison: - “every mourner stepped up to the grave with a sense of the theatrical, individual players each feature in their own one-act drama”. - “a woman in her twenties, dreadlocked and comprehensively tattooed, stood in the shadows, looking angry and smoking a joint. With each deep inhalation she stared moodily at Jim’s grave, her face a furious mask of intimate thoughts.” - “As I read the dedications, I wondered why I – and all these other people – nurtured such enduring love for Jim Morrison?”

40. What do you wish someone had told you – Paris Ile de France (Trip Advisor)
Mode – Written (with features of spoken language, colloquial, informal). Genre – Message in internet forum. Audience – Young adults, net surfers, travellers. Purpose – To advice – personalised and tailored.
SPAG errors: - motif of double commas - “Wow,,”, “do so,,”, “ignore ignore ignore,,”, “in a stall,,”, “demanding tourist once,,”, “they hate you,,”, “(they think its weird there),,”, “something to them,,”, “weird,,”, “bench,,”, - motif of incorrect ellipses and use of colloquial speech - “or give you a ring.. lol.”, “in restos..get wine”, “French history.. I loved” - spelling - “Musuem”, “english”, “Its”.
Use of inverted commas for sarcasm or emphasis – ‘strangers wanting to “chat”’, ‘to sit in tub and “shower”’ – an edge an inference developed.
Advice – personalised from experience - “Try stinky cheeses” - “Ignore ignore ignore” - “Showing respect is important” - “plan a picnic on a bench” (at Luxembourg gardens)
Perception of French personality - “there is a reserve that is cultural and does not mean they hate you” - “the revolution meant something to them,, lol so just walking up and demanding something is a no no..” - “they will likely give it to you, but there will be an air about it”

41. Visiting Paris (Mike and Sophia)
Mode – Spoken Language Genre – Transcript / Interview Audience – Those interested in a variety of first- hand perspectives on visiting Paris Purpose – To inform
Fillers emphasise informality of interview

42. Spoken Language Features

43. Rick Steves’ Walking Tour of the Louvre Museum (Rick Steves)
Mode – Script/spoken Genre – Podcast Audience – Tourists/visitors Purpose – To inform

44. French Milk (extract) (Lucy Knisley)
Mode – Multi-modal Genre – Visual journal (website blog) Audience – Teenagers and young adults Purpose – To entertain

45. Understanding Chic (extract from Paris Was Ours) by Natasha Fraser-Cavassoni
Mode – Well written and sophisticated tone, with a friendly chatty manner Genre – Non-fiction, autobiographical. Audience – adolescents on the cusp of adulthood, keen to explore the world and escape the control of their parents. Adults, educated/ middle class Purpose – to convey Parisian culture, particularly within the arts and its liberal philosophy.
POV – Personal POV, Paris and its people through the eyes of the writer but from two perspectives – as a teenager and then her adult self looking back to add and develop her view
Definition of ‘chic’ - elegantly and stylishly fashionable.
French word used since 1870s (featured in Gustave Flaubert’s ‘Madame Bovary’ as ‘chicard’ meaning one who is stylish, and is often used as slang to mean ‘classy’, ‘pretentious’ and ‘bourgeois’.
Think Audrey Hepburn in Breakfast at Tiffany’s, think Vogue fashion, thinking bohemian and beatnik, hipster and alternative.

46. Memories of places in Paris (Isabelle and Sophia)
Mode – Spoken Genre – Transcript (conversation between friends) Audience – Friend on train Purpose – Friendly, chatty, formal discussion

47. Encore Une Fois (Just Another American in Paris)
Mode – Written, formal Genre – Website (blog) Audience – Family for Thanksgiving Purpose – To inform and entertain

48. 18 Months Later… (Just Another American in Paris)
Mode/ register – Well written and sophisticated tone, the tone set will be more informal
Genre – Blog/ travel writing piece
Audience – affluent adults/ travellers/ perhaps more appealing to mothers or female audience
Purpose – To entertain/ inform/ advise people visiting Paris (travel tips)
POV – Personal POV and experiences

49. Ten Things My Kids Say They Will Miss About Paris (Just Another American in Paris)
Mode – Written Genre – Blog Audience – Parents Purpose – To share experiences (to entertain/advise)
Use of numbered lists to order best experiences.
Simile – “like pulling teeth” (humour).
Rhetorical question with colloquial speech – “Rough life, huh?”

50. Travelling to Paris with a grandchild (Gransnet)
Mode – Multi-modal
Genre – Website forum
Audience – Grandparents, tourists
Purpose – To share memoirs (to advise)
Variety of posts from various users – JaneAnn, HildaW, grannyactivist, HappyNanna, Bez, Tegan, CariGransnet (GNHQ), annodomini, jeanie99, j08
Series of tourist attraction recommendations – Musee d’Orsay, Louvre, Riverboat pass on Seine, Arc de Triomphe, Pompidou Centre, Montmartre, Sacre Coeur, Eiffel Tower, Versailles, Galleries Lafayette, Luxembourg Gardens, Pere Lachaise, Rue Mouffetard, Tuileries Gardens, Champs Elysees, Notre Dame, Musee de l’Orangerie, Bateaux Parisians, Gare Du Nord.
Incorrect spelling from ‘j08’ – “guesticulation”

51. Paris for Children (extract from The Rough Guide To Paris) (Rough Guides)
Mode – Multi-modal
Genre – Audioscript
Audience – Tourists
Purpose – Informal advice

52. Introduction (extract from NOT-FOR-PARENTS: PARIS – Everything you ever wanted to know) (Klay Lamprell)
Mode – Multi-modal
Genre – Audioscript
Audience – Tourists
Purpose – Informal advice

53. Inside Out and Upside Down (extract from NOT-FOR-PARENTS: PARIS – Everything you ever wanted to know) (Klay Lamprell)
Mode – Genre - Audience – Purpose -

54. Dem Bones (extract from NOT-FOR-PARENTS: PARIS – Everything you ever wanted to know) (Klay Lamprell)
Mode – Multi-modal Genre – Travel guide Audience – Children, not parents Purpose – To entertain and inform

55. Cruise The Carousels (extract from NOT-FOR-PARENTS: PARIS – Everything you ever wanted to know) (Klay Lamprell)
Mode – Multi-modal Genre – Travel guide Audience – Children Purpose – To entertain and inform

56. On Paris (extract) (Ernest Hemingway)
Mode – Written
Genre – Newspaper article (journalism)
Audience – Toronto demographic (culture)
Purpose – To inform, entertain and advise
Cynical, contemptuous depictions of Parisian tourists and of renowned hotspots full of ‘poseurs’ – he is highly critical of pretentiousness.
Callous tone indicative of an expert.
Written for the The Toronto Star Weekly in American Bohemians in Paris - Wild Night of Music in Paris - The Mecca of Fakers
Hemingway’s pet hate is pretentiousness.

57. The Toronto Star’s writing guidelines for journalists - Excerpts From The Star Copy Style (1915) 
Use short sentences. Use short first paragraphs. Use vigorous English. Be positive, not negative.
Never use old slang. Slang to be enjoyable must be fresh.
Eliminate every superfluous word as "Funeral services will be at 2 o'clock Tuesday," not "The funeral services will be held at the hour of 2 o'clock on Tuesday." He said is better than he said in the course of conversation.
Be careful of the word also. It usually modifies the word it follows closest. "He, also, went" means "He, too, went." "He went also" means he went in addition to taking some other action.
Be careful of the word only. "He only had $10," means he alone was the possessor of such wealth; "He had only $10," means the ten was all the cash he possessed.
Avoid the use of adjectives, especially such extravagant ones as splendid, gorgeous, grand, magnificent, etc.
Say "She was born in Ireland and came to Jackson County in 1874," not "but came to Jackson County." She didn't come here to make amends for being born in Ireland. This is common abuse of the conjunction.
Don't say "He had his leg cut off in an accident." He wouldn't have had it done for anything.
"He suffered a broken leg in a fall," not "he broke his leg in a fall." He didn't break the leg, the fall did. Say a leg, not his leg, because presumably the man has two legs.
In writing of animals, use the neuter gender except when you are writing of a pet that has a name.
A long quotation without introducing the speaker makes a poor lead especially and is bad at any time. Break into the quotation as soon as you can, thus: "I should prefer," the speaker said, "to let the reader know who I am as soon as possible."
Try to preserve the atmosphere of the speech in your quotation. For instance, in quoting a child, do not let him say "Inadvertently, I picked up the stone and threw it."
Such words as "tots," 'urchins," "mites of humanity" are not to be used in writing of children. In such cases, where "kid" conveys the proper shading and fits the story, it is permissible.
He died of heart disease, not heart failure--everybody dies of "heart failure."
Resolutions are adopted, not passed. Bills are passed and laws are enacted. The house or senate passed a bill; congress or the legislature enacted a law.
Both simplicity and good taste suggest house rather than residence, and lives rather than resides.
A Woman of the Name of Mary Jones--Disrespect is attached to the individual in such cases. Avoid it. Never use it even in referring to street walkers.

58. Mode / Genre / Audience / Purpose
Linguistic
Title: Ernest Hemingway - On Paris Objective: to annotate and interpret Hemingway ‘On Paris’ articles in preparation for a comparative ‘Remembered Places’ question
Lexical choices, semantic field, register, mode, verb phrase, compound adjective, verb process, modality…
structure
Read the first article and try to sum up the tone in 10 words or fewer
What style techniques were you expecting and found?
What are his views of Paris: Parisians, artists and tourists?
Nitty Gritty:
Purpose
Context
Representation of Paris
Literary
Metaphor/similes, narrative voice, genre, personification, use of senses, vocabulary choices, analogy – describes one thing as another, juxtaposition, contrasts.
Can you find 3 quotes – literary and linguistic to show how these areas are shown in the text?

59. Foreign Correspondent: Paris In The Sixties (extract) (Peter Lennon)
Mode – Genre - Audience – Purpose -

60. Paris Riots 1968 (British Pathe)
Mode – Spoken Genre – News Report Audience – Adults Purpose – to inform

61. Seven Ages of Paris (extract) (Alistair Horne)
Mode – Genre - Audience – Purpose -

62. Letters From France (extract from Travel Writing : An Anthology) (Helen Maria Williams)
Mode – Genre - Audience – Purpose -

63. Paris: Fine French Food (Lonely Planet)
Mode – Genre - Audience – Purpose -

64. The Sweet Life in Paris: Delicious Adventures in the World’s Most Glorious and Perplexing City (extract) (David Lebowitz)
Mode – Genre - Audience – Purpose -

65. Eating in Paris (Isabelle, Mike and Sophia)
Mode – Genre - Audience – Purpose -