Download Free で検索おすすめ
Sexton Lovecraft vs The Zargs Episode Two
Art Project - How to use the site
mecha006
http://www.falcoware.com/
無料のsoftがある模様
下記アンケートに答える必要があるようです安全性未確認です
Short Survey
短い調査
Who owns this computer?
コンピュータの所有者はだれですか
What is the head of household's current occupation?
what is the total annual income of your household?
How many childen (17 years or younger) live in your house?
How many childen (17 years or younger) use this computer?
Spot welding is one of the oldest welding processes. It is used in a wide range of industries but notably for the assembly of sheet steel vehicle bodies. This is a type of resistance welding where the spot welds are made at regular intervals on overlapping sheets of metal. Spot welding is primarily used for joining parts that are normally up to 3 mm in thickness. Thickness of the parts to be welded should be equal or the ratio of thickness should be less than 3:1. The strength of the joint depends on the number and size of the welds. Spot-weld diameters range from 3 mm to 12.5 mm.
How spot welding works
Spot welding is one form of resistance welding, which is a method of welding two or more metal sheets together without using any filler material by applying pressure and heat to the area to be welded. The process is used for joining sheet materials and uses shaped copper alloy electrodes to apply pressure and convey the electrical current through the workpieces. In all forms of resistance welding, the parts are locally heated. The material between the electrodes yields and is squeezed together. It then melts, destroying the interface between the parts. The current is switched off and the "nugget" of molten materials solidifies forming the joint.
To create heat, copper electrodes pass an electric current through the workpieces. The heat generated depends on the electrical resistance and thermal conductivity of the metal, and the time that the current is applied. The heat generated is expressed by the equation: E=I2*R*t
where E is the heat energy, I is the current, R is the electrical resistance and t is the time that the current is applied.
Copper is used for electrodes because it has a low resistance and high thermal conductivity compared to most metals. This ensures that the heat is generated in the workpieces instead of the electrodes.
Materials suitable for spot welding
Steel has a higher electrical resistivity and lower thermal conductivity than the copper electrodes, making welding relatively easy. Low carbon steel is most suitable for spot welding. Higher carbon content or alloy steel tend to form hard welds that are brittle and could crack. Aluminium has an electrical resistivity and thermal conductivity that is closer to that of copper. However, aluminium's melting point is much lower than that of copper, making welding possible. Higher levels of current must be used for welding aluminium because of its low resistivity.
Galvanized steel (i.e. steel coated with zinc to prevent corrosion) requires a different welding approach than uncoated steel. The zinc coating must first be melted off before the steel is joined. Zinc has a low melting point, so a pulse of current before welding will accomplish this. During the weld, the zinc can combine with the steel and lower its resistivity. Therefore, higher levels of current are required to weld galvanized steel.
How to determine welding parameters for spot welding?
1.The best policy for us to observe is to mind our own business.
私達が守るべき最善の策は、人のことには口出ししないことだ。
ソース www.kingsoft.jp
2.I'm not a Muslim and so I have no obligation to observe the fast but as long as I'm living in the same apartment having consideration for such a custom is important.
私はムスリムではないので断食を守る義務はないのだが、同じアパートで暮らす以上、そうした慣習に配慮することは大事なことだ。
3.The boy decided to observe and record bees in detail.
少年はミツバチを詳しく観察して記録することにした。
4.The pupils are supposed to observe rigid discipline.
生徒たちは厳しい規則を遵守することになっている。
5.The doctor continued to observe the patient's behavior.
医者は患者の行動を観察し続けた。
6.He pointed out how important it is to observe the law.
彼は法を守ることがいかに大切かを指摘した。
7.The boy decided to observe and record honeybees in detail.
少年はミツバチを詳しく観察して記録してみることにした。
8.You are to observe traffic rules.
交通規則は守るべきです。
9.Just observe your cat and you will get to know him.
お宅の猫を観察してご覧なさい。そうすればその猫の事がよく分かりますよ。
1.Just observe your cat and you will get to know him.
お宅の猫を観察してご覧なさい。そうすればその猫の事がよく分かりますよ。
1.The best policy for us to observe is to mind our own business.
私達が守るべき最善の策は、人のことには口出ししないことだ。
2.I'm not a Muslim and so I have no obligation to observe the fast but as long as I'm living in the same apartment having consideration for such a custom is important.
私はムスリムではないので断食を守る義務はないのだが、同じアパートで暮らす以上、そうした慣習に配慮することは大事なことだ。
3.The boy decided to observe and record bees in detail.
少年はミツバチを詳しく観察して記録することにした。
4.The pupils are supposed to observe rigid discipline.
生徒たちは厳しい規則を遵守することになっている。
5.The doctor continued to observe the patient's behavior.
医者は患者の行動を観察し続けた。
6.He pointed out how important it is to observe the law.
彼は法を守ることがいかに大切かを指摘した。
7.The boy decided to observe and record honeybees in detail.
少年はミツバチを詳しく観察して記録してみることにした。
8.You are to observe traffic rules.
交通規則は守るべきです。
9.Just observe your cat and you will get to know him.
お宅の猫を観察してご覧なさい。そうすればその猫の事がよく分かりますよ。
1.Patricia will organize the tournament.
パトリシアがそのトーナメントを組むでしょう。
2.They are trying to organize a new political party.
彼らは新しい政党を作ろうとしている。
3.He has poor ability to organize.
彼は組織立てる能力が弱い。
4.We hope to organize a tennis club.
私たちはテニス部を作りたいと思っている。
5.They will organize a labor union.
彼らは労働組合を組織するだろう。
6.We'll have to organize the drinking party all over again. The section chief is sick.
部長の都合が悪くなってしまったので、飲み会の日程は仕切り直しだね。
1.We must observe the rules.
規則は守らなければならない。
2.We should observe the speed limit.
我々はスピード制限を守らなくてはならない。
3.We must observe the traffic regulations.
我々は交通法規を守らなければならない。
4.It goes without saying that we must all observe traffic signals.
われわれ全部が交通信号を守らねばならないことは言うまでもない。
5.It is necessary that every member observe these rules.
すべての会員はこれらの規則を守ることが必要である。
6.Please fasten your seat belt and observe the "NO SMOKING" sign until it is turned off.
シートベルトを締め、「禁煙」のサインが消えるまで喫煙はご遠慮下さい。
7.I'm not a Muslim and so I have no obligation to observe the fast but as long as I'm living in the same apartment having consideration for such a custom is important.
私はムスリムではないので断食を守る義務はないのだが、同じアパートで暮らす以上、そうした慣習に配慮することは大事なことだ。
8.Let's observe sunspots.
太陽の黒点を観察しよう。
9.One must observe the rules.
人は規則を守らなければならない。
10.Observe his facial reaction when we mention a price.
価格について触れたときに彼の顔に出る反応を観察しなさい。
1.Please advise us, if possible, of the company which has developed graphic handling software.
画像処理のソフトウエアを開発した会社をご存知でしたら教えてください。
2.Note the function of the background layers of these graphic designs.
これらのグラフィック・デザインの背景に配置されているレイヤーの機能に注目しよう。
1.Write your name in capital letters.
大文字で名前を書く。
1.You must be more careful about spelling and punctuation.
綴りと句読法にもっと気を付けなくてはいけませんよ。
1.We shipped the following to you last week.
下記は先週出荷しました。
2.The meeting was adjourned until the following week.
会議は次週再開の予定で散会した。
3.You have to think of the example you're setting. You'll never be able to lead if you don't set an example worth of following.
まずは自ら見本を示す。そういった率先垂範の気持ちがなければ誰も君には付いてこないよ。 [M]
4.The following is a summary of the President's speech.
以下は大統領の演説の要旨だ。
5.I would like to place an order for the following.
以下の通り注文いたします。
6.The following is his story.
以下は彼の話です。
7.Have a large following.
愛読者が多い。
8.The work wasn't finished at 11:00PM Friday, so they decided to carry it over to the following Monday.
仕事は金曜日の11時に終わらなかったので、次の月曜日に持ち越すことにした。
9.We suggested to her that we should go on a picnic the following Sunday.
今度の日曜にピクニックに行こうと私たちは彼女に行った。
10.The analysis gives the following results.
この分析では次の結果が出ている。
account
[əkáunt]
名詞
計算(書), 勘定(書)
口座
取引
説明, 弁明
記事, 話
理由
根拠
評価, 価値
考慮
利益
顧客.
品詞の変化
自動詞
と思う；説明する (；)；(行為)に責任を持つ (；)；[Spoken-English]殺す (；)；の割合を占める (；).；
熟語
bring [call] to account
説明[弁明]を求める；しかる.
by [from] all accounts
誰の言うところでも.
cast accounts
計算する.
find one's account in
に価値を見出す；を引き合うと思う.
for account of
(ある人)の勘定で.
give a good account of
のことをよく言う；(敵)を負かす, 仕止める.
hand in one's account(s)
死ぬ.
keep accounts
帳簿をつける；会計係を務める.
leave … out of account
…を考慮[勘定]に入れない.
make much [little, no] account of
を重[軽]んじる.
of great [no] account
重大な[つまらぬ].
on account
内金として.
on account of
のために.
on all accounts
どう考えても, ぜひとも.
on a person's account
人の費用で；人のために.
on no account
どうしても…ない.
on one's own account
自分の利益のために；独立して.
on that account
そのため(に), それ故.
put … down to a person's account
…を人の勘定につける.
settle [square] accounts with
と貸借なしにする；に仕返しをする.
take account of,
or
take into account
を考慮する.
take no account of
を無視する.
the great [last] account
最後の審判(の日).
turn [put] to (good) account
利用する.
ポケコン英和辞典（旺文社）
account
[əkáunt]
［名］
１説明（書）；報告（書）, 記事；報告, 始末書
２理由；根拠
３重要性, 価値
４考慮
５評価；判断
６預金（額）, 口座；取引関係
７貸借勘定, 会計；掛け勘定；計算［勘定］書, 会計簿
８利潤, 利益
９（主に米・カナダ）顧客, 得意先
１０（音楽の）演奏
━［動］(他)
１…を（…と）考える, 思う, 見なす
２…を（…に）帰する, 負わせる〈 to〉
熟語
bring ［or call］ a person to account
人に弁明［説明］を求める；人を責める
by ［or from］all accounts；according to all accounts
皆の話だと, どこで聞いても
by one's own account
自分自身の言うところによると
find one's ［no］account in ...
…は割に合う［合わない］
for account of a person
人の勘定で；人のために
for the account
英先渡しで
give a bad［or poor］account of ...
…をけなす
give a good account of ...
（１） …を立派に処する（２） 〔敵・相手〕を負かす, 仕止める（３） …をほめる
go to one's （long, last）account
米死ぬ
hold ... in great ［little］account
…を大いに重んじる［…を軽んじる］
make much ［little, no］account of ...
…を重要視する［ほとんど重要視しない, 全く無視する］
on account
（１） 内金として（２） 掛売りで, 分割払いで
on a person's account
人のために；人の勘定［費用］で
on account of ...；俗account of ...
…のため, …のせいで
on ［or at］ all accounts；on every account
ぜひとも；いずれにせよ
on no account；not ...on any account
決して…しない［…でない］
on one's own account
自前［自力］で；自分の利益のために
render an account of ...
（１） …の決算報告［説明］をする（２） …の申し開きをする
square［or settle］accounts with ...
（１） …と勘定を清算する（２） …に仕返しをする
take account of ...；take ... into account
…を考慮する, …を勘定に入れる
turn ［or put, use］ ... to（good）account
…を利用する, 活用する
account for ...
（１） （…の理由）を明らかにする, 説明する（２） （行動などに）責任をもつ（３） 原因となる（４） （人・動物などを）殺す；（敵を）打ち破る（５） （割合などを）占める（６） …を考慮に入れる；（予算に）…を組み込む（７） …の所在が分かっている
be accounted for（in ...）
（予算などに）計上する
be much［little］accounted of
重んじ［軽んじ］られる
English-Japanese 例文 (10件)
1.I cannot account for what has happened.
何が起こったのか説明できない。
2.The picnic was held in the gym on account of the rain.
雨が降ったため、ピクニックは体育館で開かれた。
3.We should take into account that the train was delayed.
汽車が遅れたことは考慮してやるべきでしょう。
4.The chairman should take the minor opinion into account.
議長は小数意見を考慮に入れるべきだ。
5.Send me the account.
鑑定書を送ってください。
6.I've used up my wages, but I have my bank account to fall back on.
給料を使い果たしてしまったが、私にはいざというときに頼る銀行預金がある。
7.On no account should you let out the secret.
どんな事情があっても決してその秘密をもらしてはいけない。
8.You must not take it on any account.
どんなことがあってもそれを受け取ってはいけない。
9.I couldn't go out on account of the bad weather.
悪天候のため私は出かけられなかった。
10.We were held up for two hours on account of an accident.
私たちはある事故のために2時間遅れた。
ポケコン英和辞典（旺文社）
following
[fálouiŋ]
［形］
１（thefollowing）次の, あとに続く
２追い風の, 順風の；（潮が）船の進む方向に流れる
━［名］
１（the following）次に述べる［記す］もの
２（集合的）随行員；信奉者；家来；ファン
━［前］…に次いで, …のあとで；…の結果
1.We shipped the following to you last week.
下記は先週出荷しました。
2.The meeting was adjourned until the following week.
会議は次週再開の予定で散会した。
3.You have to think of the example you're setting. You'll never be able to lead if you don't set an example worth of following.
まずは自ら見本を示す。そういった率先垂範の気持ちがなければ誰も君には付いてこないよ。 [M]
4.The following is a summary of the President's speech.
以下は大統領の演説の要旨だ。
5.I would like to place an order for the following.
以下の通り注文いたします。
6.The following is his story.
以下は彼の話です。
7.Have a large following.
愛読者が多い。
8.The work wasn't finished at 11:00PM Friday, so they decided to carry it over to the following Monday.
仕事は金曜日の11時に終わらなかったので、次の月曜日に持ち越すことにした。
9.We suggested to her that we should go on a picnic the following Sunday.
今度の日曜にピクニックに行こうと私たちは彼女に行った。
10.The analysis gives the following results.
この分析では次の結果が出ている。
Deadline 締め切り
You must finish this book and all related assignments by: Wednesday, June 6th.
終了する必要がありますこの本と課題に関係する全てを：6月6日（水曜日）までに
Literature Circle Notes
文学サークルの注意事項
Jim Burke 2000. For more information on this and other such Tools for Thoughtvisit www.englishcompanion.com
Name
Topic
Date
Class/
Suject
Here, in the Connections Column, you
might write one or more of the
following:
• Categories
• Causes of WW II
• Parts of a Cell
• Questions
• What caused WW II?
• What are the parts of a cell?
• Vocabulary words
• Holocaust
• synthesis
• Review/test alerts!
• WW II causes and names of allies
will definitely be on exam!
• Parts of a Cell
• Connections
• check the Owens poem for
his comments on war
• similar to process westudied in last
unit
• Reminders
• Be sure to check the meaning of
variant.
Sample Question and Notes
What should I write down when I take
notes?
Write down only important information. Look for:
• bold, underlined, or italicized words
• information in boxes or with an icon/symbol
• headers/subheaders on the page
• information the book or teacher repeats
• words, ideas, or events that might be on a test
• quotes, examples, or details you might be able to use later in a
paper or presentation
Down here write one of the following; summary of what you read/lecture; the five most important points of
the article/chapter/lecture; questions you still need to answer.
• abbreviate familiar words/use symbols (+, -->, #)
• take notes in bullets and indents; not formal outlines
• cut unnecessary words
• use telegraphic sentences: “America enters war 12/44”
How can I take notes faster?
C
Name
Subject
Date
Period
Says/Does
Means/Implies
Directions: Find six quotes or examples that reveal important or different aspects of your subject. Then in the outer strand,
explain what they mean. Be sure, when possible, to include page citations for your quotes.
Making Inferences: Using the notes from your target, draw some conclusions about yoru subject. If you are writing about
a fictional character, for example, explain what kind of person they are. Be sure to use direct quotations and citation
information (e.g., I, ii, 35-40) when supporting your analysis.
Inference Notes
Subject
Name
Subject
Date
Period
Says
Means
Iago: “I follow him
to serve my turn
upon him.” I, i, 42.
Iago explains why he continues to serve
Othello, even when he hates him. His
motivation is to get revenge on Othello
for the imagined insults of being
overlooked for promotion and possibly
having had an affair with Iago’s wife
(I,iii, 370)
Directions: Find six quotes from or about Iago that reveal his character. Then in the outer strand, explain what they mean.
Be sure to include citation information (Act, Scene, line #)
Making Inferences : Using the notes from your target, explain what kind of person Iago is. Be sure to
use direct quotations and citation information (e.g., I, ii, 35-40) when supporting your analysis.
Making Inferences: Using the notes from your target, draw some conclusions about yoru subject. If you are writing about
a fictional character, for example, explain what kind of person they are. Be sure to use direct quotations and citation
information (e.g., I, ii, 35-40) when supporting your analysis.
Judge’s Notes
Introduction
During an interview about a major trial, the state supreme court judge said he took different kind of notes than he
usually did. In one column, he wrote down the questions he thought would help him make the right decision and
understand the issues in the case. In another column he jotted down personal observations and responses about the
defendants (Bill Gates and his legal team). In a third column he noted evidence or other details that would support
his final decision. Use this graphic organizer in the same way; these notes will prepare you to write a subsequent
paper in which your state your opinion and support your argument with evidence from your notes.
Questions Observations/Reactions Support/Evidence
Name
Topic
Date
Assigned Role
Lit Circle Notes Intro
Directions: In this column write the
following, depending on your role; be sure
to include page and paragraph numbers:
1. Discussion Director: develop questions about “big ideas” for the group to discuss; should be of compelling interest to all.
2. Illustrator: Draw an idea, event, or sequence to help them understand; use cartoons, graphs, webs, charts, maps.
3. Connector: Connect what you read to the world; use recent events, familiar people and places, “real life” events.
4. El Lector: Find sections you/your group want to hear read aloud; decide how to present or perform for group or class.
5. Word Watcher: Find words that the group must/should know: new, difficult, interesting, important, strange
6. Summarizer: Prepare a brief summary of today’s reading and discussion.
Down here you should review, retell, or reflect on what you read so far. (Use the back if necessary).
Directions: In this area, you write the following:
• Discussion Director: Questions
• Illustrator: Drawings, diagrams
• Connector: Connections
• El Lector: Passages/quotes to read aloud
• Word Watcher: Vocabulary words
• Summarizer: Key events, scenes, ideas.
Discussion Director: Response or answers to the questions you asked.
Illustrator: Explanation of the drawing or diagram you drew on the back.
Connector: Explanation and/or discussion of the connections you made.
El Lector: Reasons you picked these passages to read aloud.
Word Watcher: Definitions, sentences in which the word is used.
Summarizer: Description and discussion of the events, scenes, ideas.
Assignment for Tomorrow: page _______ – page_______
Assignment for Today: page _______ – page_______
Topic to be carried over to tomorrow:
Lit Circle Notes: Introduction
Group Members
1.
2.
3.
4.
5.
6.
Deadline
You must finish this book and all related assignments by: Wednesday, June 6th.
Assessment
You will be assessed according to:
`• the quality of your contributions to your lit circle discussion
`• the extent to which you keep up with your responsibilities to your group
`• the quality of your ideas on your Lit Circle Notes
`• the quality of your group’s discussion
Assignments
Your group must:
`• assign itself the reading for each night, pacing yourselves so you get it done by June 6th.
`• hold each member accountable for work, contributions to discussion, and respectful participation
`• rotate the assigned roles so that each night someone has a different responsibility; when you
complete one cycle through the group, begin again as you think appropriate, rotating jobs daily.
Schedule
Here is the schedule for each week:
`•Monday
` •LC (Lit Circles)
` •Groups meet
`•Tuesday
` •LC (Lit Circles)
` •Read and roles
`•Wednesday
` •LC (Lit Circles)
` •Groups meet
`•Thursday
` •LC (Lit Circles)
` •Read and Roles
`•Friday
` •LC (Lit Circles)
` •Groups meet
Source: I must credit Harvey Daniels with the idea of Lit Circles. Though I have taken small liberties
with the ideas and roles, and created my own Lit Circle Notes pages, the core ideas and
technique are his, not mine. To learn more, read Harvey Daniels’s book Literature Circles: Voice
and Choice in the Student-Centered Classroom (Stenhouse1994)
Lit Circle Notes: Overview of the Roles
Illuminator: You find passages your group
would like to/should hear read aloud.
These passages should be memorable,
interesting, puzzling, funny, or important.
Your notes should include the quotations
but also why you chose them, and what
you want to say about them. You can either
read the passage aloud yourself or ask
members of your group to read roles.
Sample Questions
What were you thinking about as you read?
What did the text make you think about?
What do you think this text/passage was about?
How might other people (of different backgrounds) think about this text/passage?
What one question would you ask the writer if you got the chance? Why?
What are the most important ideas/moments in this text/section?
What do you think will happen next---and why?
What was the most important change in this section? How and why did it happen?
Illustrator: Your role is to draw what you read.
This might mean drawing a scene as a cartoonlike sequence, or an important scene so readers
can better understand the action. You can draw
maps or organizational trees to show how one
person, place, or event relates to the others.
Use the notes area to explain how your drawing
relates to the text. Label your drawings so we
know who the characters are. Make your
drawing on the back of this page or on a
separate sheet of paper.
Sample Questions
Ask members of your group, “What do you think this picture means?”
Why did you choose this scene to illustrate?
How does this drawing relate to the story?
Why did you choose to draw it the way you did?
What do we see---i.e., who and/or what is in this picture?
What, if anything, did drawing it help you see that you had not noticed before?
What did this quotation/passage make you think about when you read it?
What are you trying to accomplish through this drawing?
Connector: Your job is to connect what
you are reading with what you are studying
or with the world outside of school. You
can connect the story to events in you own
life, news events, political events, or
popular trends. Another important source
of connections is books you’ve already
read. The connections should be meaningful
to you and those in your group.
Sample Questions
What connections can you make to your own life?
What other places or people could you compare this story to?
What other books or stories might you compare to this one?
What other characters or authors might you compare to this one?
What is the most interesting or important connection that comes to mind?
How does this section relate to those that came before it?
Word Watcher: While reading the
assigned section, you watch out for words
worth knowing. These words might be
interesting, new, important, or used in
unusual ways. It is important to indicate the
specific location of the words so the group
can discuss these words in context.
Sample Questions
Which words are used frequently?
Which words are used in unusual ways?
What words seem to have special meaning to the characters or author?
What new words do you find in this section?
What part of speech is this word?
What is the connotative meaning of this word?
What is the denotative meaning of this word?
Discussion Director: Your role demands
that you identify the important aspects of
your assigned text, and develop questions
your group will want to discuss. Focus on
the major themes or “big ideas” in the text
and your reaction to those ideas. What
interests you will most likely interest those
in your group. You are also responsible for
facilitating your group’s discussion.
Sample Questions
What were you thinking about as you read?
What did the text make you think about?
What do you think this text/passage was about?
How might other people (of different backgrounds) think about this text/passage?
What one question would you ask the writer if you got the chance? Why?
What are the most important ideas/moments in this text/section?
What do you think will happen next---and why?
What was the most important change in this section? How and why did it happen?
Summarizer: Prepare a brief summary of
the day’s reading. Use the questions to the
right to help you decide what to include. In
some cases, you might ask yourself what
details, characters, or events are so
important that they would be included on
an exam. If it helps you to organize the
information, consider
Summarizer: Prepare a brief summary of
the day’s reading. Use the questions to the
right to help you decide what to include. In
some cases, you might ask yourself what
details, characters, or events are so
important that they would be included on
an exam. If it helps you to organize the
information, consider making a numbered
list or a timeline.
Sample Questions
What are the most important events in the section you read?
What makes them so important?
What effect to these events have on the plot or the other characters?
What changes---in plot, character, or tone---did you notice when you read?
What questions might appear on an exam about this section you read?
What might be a good essay topic for this section of the story?
Lit Circle Notes: Examplars and Reminders
Down here you should review, retell, or reflect on what you read so far. (Use the back if necessary).
Illuminator
“I was told by my father that I had no
free will, no control whatsoever over
my destiny, that each minute detail
about my life, my existence---before
now and to come---were all contained
in a big scroll made of my life, over
which my ancestors pondered day and
night as they alternately tossed random
situations into my life...” (p. 126, ¶4,
from Kaffir Boy)
Response
This quote is important because it makes you think about your future.
When I was reading this, I stopped for a second and thought about
my destiny. There is no way you can avoid the future. Every second
counts. In a few seconds you can make a wrong decision. Sooner or
later those seconds turn into minutes, which turn into hours that turn
into days... Your destiny is something you come up with by making
those decisions. What if someone just scrambled a few obstacles
together and then put them in our destiny book? We must learn to
make correct choices. They might just change some obstacles in the
destiny book. We might be able to overcome those challanges that were
put in the future. (Jessica Perez about Kaffir Boy)
Connector
What other places can you compare
this to?
Response
This passage reminds me of Germany during the Holocaust. The
police in South Africa are just like the Nazis banging on the
Jewish doors and looking for the Jewish star or other required
identification papers; this is how they use the blacks’ passbooks in
South Africa. (Jen Lescher about Kaffir Boy)
Summarizer
What are the most important events?
Prepare for a Test: Make Your Own
Mr. Burke/Fall 2001
Overview What is on a big test is rarely a surprise if you take time to think about it.
Sure the teacher might throw in a few curveballs, sneak in a few questions
you had not expected, but most of the time what they ask will be no
surprise if you are prepared. The following steps will prepare you for any
a quiz or exam in any class. This exercise get you ready for your exam, but
will also show you how to be an effective student. One last point: Though
this seems like a long and complicated process, you soon begin to read
and listen differently, identifying those events and ideas likely to be on
the test as you read.
Step One Gather Essential Information. Ask the teacher what will be on the test
and whether it is permissible to use notes, books, or other tools (e.g.,
calculator, dictionaries, computers) on the test. Here are some ways you
might ask such questions if your teacher does not offer the information up
front:
· “Could you please tell us what to expect on the test so we will
know how to prepare?”
· “Will this test cover all that we have studied this whole semester,
or just the units from this quarter?”
· “Would you be willing to allow us to prepare a page of notes or
perhaps use our book when we take the exam?”
· “Could you tell us how the test breaks down: Are there multiple
choice questions? If so, how many? Short answer? An essay
question? Any matching?”
· “Will you be offering any study sessions or additional materials
(e.g., study guides, old tests, outlines, suggestions) prior to the
exam in order to help us prepare?”
· “When preparing for the exam, should we focus on anything in
particular?”
Step Two Assemble Available Resources. Prepare to create your own exam. To do
this you will need the following materials:
· all your notes, chapter study guides, and old tests and quizzes
· the textbook or other primary documents/texts on which the exam
will be based
· study guides, word lists, or other preparation materials your
teacher has given you to help you prepare for this specific exam
· your answers to the questions in step one: i.e., will you be able to
use notes in class? If so, that might determine what you should
study and the format of your notes
Probability Continuum
When evaluating the likelihood of a question or information appearing on the exam, consider
the following probability chart to help you decide:
0% 25% 50% 75% 100%
Impossible ‡ Unlikely ‡ Possible ‡ Probable ‡ Certain
Why is this important?
Response
He was being rude to the “shit men” and they made him get in
a bucket of night soil. Also they had to move out of their shack and
into another one and Alexandra will soon be torn down. He
almost died from the braziere being inside.
It taught him not to make fun of people, especially for their
jobs because they don’t want to do what they are doing. Moving
into another shack is important because it shows how poor they are
and how they do whatever the whites say, including picking up
their lives and leaving. They do what they say because they fear
being arrested. (Jen Lescher about Kaffir Boy)
Discussion Director
Did they depend on witchcraft and
vodoo so they don’t have to take
ownership of bad things that happened?
Response
Yes, they depended very much on vodoo and witchcraft. They seemed
to blame everything bad on the witches and evil ancestral spirits.
They blamed no money, not being able to find a job, the police. They
were all some sort of evil spirit. It was never the fault of the living
person, but always the doing of a nonliving spirit. [They believed
this because... I also noticed that when x would happen, they
believed...] (Jennifer Edl, about Kaffir Boy)
Johannes goes to the tribal land at this point in the book. He goes with his father and finds his witchdoctor.
His family leaves to another part of the city because Alexandra got bulldozed. They move to another place
where they are in poverty. Johannes turns to begging. Mother gets upset and talks with Johannes. He is now
paranoid about police raids and witches. (Jessica Perez, about Kaffir Boy)
Lit Circle Notes: Examplars and Reminders
Down here you should review, retell, or reflect on what you read so far. (Use the back if necessary).
Illuminator
“I was told by my father that I had no
free will, no control whatsoever over
my destiny, that each minute detail
about my life, my existence---before
now and to come---were all contained
in a big scroll made of my life, over
which my ancestors pondered day and
night as they alternately tossed random
situations into my life...” (p. 126, ¶4,
from Kaffir Boy)
Response
This quote is important because it makes you think about your future.
When I was reading this, I stopped for a second and thought about
my destiny. There is no way you can avoid the future. Every second
counts. In a few seconds you can make a wrong decision. Sooner or
later those seconds turn into minutes, which turn into hours that turn
into days... Your destiny is something you come up with by making
those decisions. What if someone just scrambled a few obstacles
together and then put them in our destiny book? We must learn to
make correct choices. They might just change some obstacles in the
destiny book. We might be able to overcome those challanges that were
put in the future. (Jessica Perez about Kaffir Boy)
Connector
What other places can you compare
this to?
Response
This passage reminds me of Germany during the Holocaust. The
police in South Africa are just like the Nazis banging on the
Jewish doors and looking for the Jewish star or other required
identification papers; this is how they use the blacks’ passbooks in
South Africa. (Jen Lescher about Kaffir Boy)
Summarizer
What are the most important events?
Why is this important?
Response
He was being rude to the “shit men” and they made him get in
a bucket of night soil. Also they had to move out of their shack and
into another one and Alexandra will soon be torn down. He
almost died from the braziere being inside.
It taught him not to make fun of people, especially for their
jobs because they don’t want to do what they are doing. Moving
into another shack is important because it shows how poor they are
and how they do whatever the whites say, including picking up
their lives and leaving. They do what they say because they fear
being arrested. (Jen Lescher about Kaffir Boy)
Discussion Director
Did they depend on witchcraft and
vodoo so they don’t have to take
ownership of bad things that happened?
Response
Yes, they depended very much on vodoo and witchcraft. They seemed
to blame everything bad on the witches and evil ancestral spirits.
They blamed no money, not being able to find a job, the police. They
were all some sort of evil spirit. It was never the fault of the living
person, but always the doing of a nonliving spirit. [They believed
this because... I also noticed that when x would happen, they
believed...] (Jennifer Edl, about Kaffir Boy)
Johannes goes to the tribal land at this point in the book. He goes with his father and finds his witchdoctor.
His family leaves to another part of the city because Alexandra got bulldozed. They move to another place
where they are in poverty. Johannes turns to begging. Mother gets upset and talks with Johannes. He is now
paranoid about police raids and witches. (Jessica Perez, about Kaffir Boy)
Overview: Few people are developing their ideas; few are following the Cornell format; few are doing what
I would call complete work. Nearly all are running great discussions. Use these exemplars to help you
improve your notes this week. It’s the end of the year: I expect daily evidence of all you’ve learned to do.
.
Word Watcher: While reading the
assigned section, you watch out for words
worth knowing. These words might be
interesting, new, important, or used in
unusual ways. It is important to indicate the
specific location of the words so the group
can discuss these words in context.
Sample Questions
Which words are used frequently?
Which words are used in unusual ways?
What words seem to have special meaning to the characters or author?
What new words do you find in this section?
What part of speech is this word?
What is the connotative meaning of this word?
What is the denotative meaning of this word?
Assignment for Tomorrow: page _______ – page_______
Assignment for Today: page _______ – page_______
Topic to be carried over to tomorrow:
In this column, write the word, and the
page and paragraph numbers. Write the
definition and any explanation about
why you chose the words in the notes
section to the right. >>>)
metaphor (met-AH-for) [from the Gk. carrying one place to another]: a type of figurative language in which a statement is made that says that one thing is something else but, literally, it is not. In connecting one object, event, or place, to another, a metaphor can uncover new and intriguing qualities of the original thing that we may not normally notice or even consider important. Metaphoric language is used in order to realize a new and different meaning. As an effect, a metaphor functions primarily to increase stylistic colorfulness and variety. Metaphor is a great contributor to poetry when the reader understands a likeness between two essentially different things. In his Poetics, Aristotle claims that for one to master the use of metaphor is “…a sign of genius, since a good metaphor implies an intuitive perception of the similarity in dissimilars” (The Poet's Dictionary). A metaphor may be found in a simple comparison or largely as the image of an entire poem. For example, Emily Dickinson’s poem “My Life had stood – a Loaded Gun” makes use of a series of comparisons between the speaker and a gun. Dickinson opens the work with the following: “My Life had stood – a Loaded Gun - / In corners – till a Day / The Owner passed – identified - / And carried me away”. Of course, the narrator is not really a gun. The metaphor carries with it all the qualities of a “Loaded Gun”. The speaker in the poem is making a series of comparisons between themselves and the qualities of a gun. The narrator had been waiting a long time before their love found them. The narrator loves her fellow so desperately that she feels as a protective gun that would kill anyone wishing to harm him. To this effect, Dickinson writes, "To foe of His – I’m deadly foe –." Dickinson’s poem ends up being one extended comparison through the use of metaphor between herself and a gun with “…but the power to kill.” See A Handbook to Literature, The Poet’s Dictionary, or A Glossary of Literary Terms (7th edition). Andy Stamper, Student, University of North Carolina at Pembroke
metonymy (me-TAH-nah-me): a figure of speech which substitutes one term with another that is being associated with the that term. A name transfer takes place to demonstrate an association of a whole to a part or how two things are associated in some way. This allows a reader to recognize similarities or common features among terms. It may provide a more common meaning to a word. However, it may be a parallel shift that provides basically the same meaning; it is just said another way. For example, in the book of Genesis 3:19, it refers to Adam by saying that “by the sweat of your brow, you will eat your food.” Sweat represents the hard labor that Adam will have to endure to produce the food that will sustain his life. The sweat on his brow is a vivid picture of how hard he is working to attain a goal. Another example is in Genesis 27:28 when Isaac tells Jacob that “God will give you...an abundance of grain and new wine.” This grain and wine represents the wealth that Jacob will attain by stealing the birth right. These riches are like money that is for consumption or material possessions to trade for other goods needed for survival. Furthermore, in the play Othello, Act I Scene I features metonymy when Iago refers to Othello as “ the devil” that “will make a grandsire of you.” This phrase represents a person that is seen as deceitful or evil. An understanding of metonymy aids a reader to see how an author interchanges words to further describe a term’s meaning. See A Handbook to Literature; Literature: An Introduction to Fiction, Poetry, and Drama; Literature: An Introduction to Fiction, Poetry, and Drama; or Merriam Webster Collegiate Dictionary. Melanie Stephens, Student, University of North Carolina at Pembroke
motif (moh-TEEF): a recurring object, concept, or structure in a work of literature. A motif may also be two contrasting elements in a work, such as good and evil. In the Book of Genesis, we see the motif of separation again and again throughout the story. In the very first chapter, God separates the light from the darkness. Abraham and his descendants are separated from the rest of the nation as God's chosen people. Joseph is separated from his brothers in order that life might be preserved. Another motif is water, seen in Genesis as a means of destroying the wicked and in Matthew as a means of remitting sins by the employment of baptism. Other motifs in Genesis and Matthew include blood sacrifices, fire, lambs, and goats. A motif is important because it allows one to see main points and themes that the author is trying to express, in order that one might be able to interpret the work more accurately. See A Handbook to Literature, The Concise Oxford Dictionary of Literary Terms. Robert Bean, Student, University of North Carolina at Pembroke
myth (mith): any story that attempts to explain how the world was created or why the world is the way that it is. Myths are stories that are passed on from generation to generation and normally involve religion. M.H. Abram refers to myths as a “religion in which we no longer believe.” Most myths were first spread by oral tradition and then were written down in some literary form. Many ancient literary works are, in fact, myths as myths appear in every ancient culture of the planet. For example you can find them in ethnological tales, fairy tales as well as epics. A good example of a myth is The Book of Genesis, which recounts tales of the creation of the universe, the Earth and mankind. See A Glossary to Literary Terms, Webster’s Encylopedia of Literature. Becky Davis, Student, University of North Carolina at Pembroke
N
narrative (na-RAH-tiv): a collection of events that tells a story, which may be true or not, placed in a particular order and recounted through either telling or writing. One example is Edgar Allen Poe's "The Tell-Tale Heart." In this story a madman resolves to kill his landlord because he fears the man's horrible eye. One night he suffocates the landlord and hides the body beneath the floorboards of the bedroom. While fielding questions from the police in the bedroom where the body is hidden, the madman thinks he hears the heart of the victim beating beneath the floorboards. Scared that the police hear the heartbeat too, the madman confesses. This is a narrative because of two things, it has a sequence in which the events are told, beginning with murder and ending with the confession, and it has a narrator, who is the madman, telling the story. By understanding the term "narrative,” one begins to understand that most literary works have a simple outline: the story, the plot, and the storyteller. By studying more closely, most novels and short stories are placed into the categories of first-person and third-person narratives, which are based on who is telling the story and from what perspective. Other important terms that relate to the term "narrative,” are "narrative poetry," poetry that tells a story, and "narrative technique" which means how one tells a story.
narrative poem (nar-RAH-tiv po-EM): a poem that tells a story. A narrative poem can come in many forms and styles, both complex and simple, short or long, as long as it tells a story. A few examples of a narrative poem are epics, ballads, and metrical romances. In western literature, narrative poetry dates back to the Babylonian epic of Gilgamesh and Homer's epics the Iliad and the Odyssey. In England and Scotland, storytelling poems have long been popular; in the late Middle Ages, ballads-or storytelling songs-circulated widely. The art of narrative poetry is difficult in that it requires the author to possess the skills of a writer of fiction, the ability to draw characters and settings briefly, to engage attention, and to shape a plot, while calling for all the skills of a poet besides. See A Handbook of Literature and Literature: An Introduction to Fiction, Poetry, and Drama. Melissa Houghton, Student, University of North Carolina at Pembroke
narrator (nar-RAY-ter): one who tells a story, the speaker or the “voice” of an oral or written work. Although it can be, the narrator is not usually the same person as the author. The narrator is one of three types of characters in a given work, (1) participant (protagonist or participant in any action that may take place in the story), (2) observer (someone who is indirectly involved in the action of a story), or (3) non participant (one who is not at all involved in any action of the story). The narrator is the direct window into a piece of work. Depending on the part of the character of the narrator plays in the story, the narrator may demonstrate bias when presenting a piece of work. In the Book of Matthew, the narrator Matthew, probably presented some bias when giving his accounts of the events that took place during that time. See Introduction to Literature, A Handbook to Literature. Heather Cameron, Student, University of North Carolina at Pembroke
O
P
parable (PAIR-uh-buhl): a brief and often simple narrative that illustrates a moral or religious lesson. Some of the best-known parables are in the Bible, where Jesus uses them to teach his disciples. For example, in "The Parable of the Good Seed," a farmer plants a garden. As the farmer sleeps, someone sows weeds in his field to destroy the farmer's crops. However, when he learns of his misfortune, he does not demolish his entire garden just to remove the weeds. The farmer waits patiently until harvest time and gathers his wheat after the weeds have first been collected and destroyed. The lesson to be learned in this parable is to not be quick to annihilate evil; it will in deserving time receive its punishment. Some other parables in the Bible are "The Parable of the Prodigal Son" and "The Parable of the Mustard Seed." See The Encyclopedia of Literature, A Handbook to Literature. Starlet Chavis, Student, University of North Carolina at Pembroke
persona (per-SO-na): In literature, the persona is the narrator, or the storyteller, of a literary work created by the author. As Literature: An Introduction to Fiction, Poetry, and Drama puts it, the persona is not the author, but the author’s creation--the voice “through which the author speaks.” It could be a character in the work, or a fabricated onlooker, relaying the sequence of events in a narrative. Such an example of persona exists in the poem “Robin Hood and Allin a Dale,” in which an anonymous character, perhaps one of Robin’s “merry men,” recounts the events of the meeting and adventures of Robin Hood and Allin a Dale. After telling of their initial introduction in the forest, the persona continues to elaborate on their quest to recover Allin’s true love from the man she is about to marry. Robin and his entourage succeed and then proceed to marry her and Allin a Dale. The persona’s importance is recognized due to the more genuine manner in which the events of a story are illustrated to the reader―with a sense of knowledge and emotion only one with a firsthand view of the action could depict. See A Handbook to Literature, Merriam-Webster’s Encyclopedia of Literature, Literature: An Introduction to Fiction, Poetry, and Drama. Stephanie White, Student, University of North Carolina at Pembroke
personification {PER-son-E-fih-ka-shEn): A figure of speech where animals, ideas or inorganic objects are given human characteristics. One example of this is James Stephens’s poem "The Wind" in which wind preforms several actions. In the poem Stephens writes, “The wind stood up and gave a shout. He whistled on his two fingers.” Of course the wind did not actually "stand up," but this image of the wind creates a vivid picture of the wind's wild actions. Another example of personification in this poem is “Kicked the withered leaves about….And thumped the branches with his hand.” Here, the wind is kicking leaves about, just like a person would and using hands to thump branches like a person would also. By giving human characteristics to things that do not have them, it makes these objects and their actions easier to visualize for a reader. By giving the wind human characteristics, Stephens makes this poem more interesting and achieves a much more vivid image of the way wind whips around a room. Personification is most often used in poetry, coming to popularity during the 18th century. Jennifer Winborne, Student, University of North Carolina at Pembroke
point of view (point ov veww): a way the events of a story are conveyed to the reader, it is the “vantage point” from which the narrative is passed from author to the reader. The point of view can vary from work to work. For example, in the Book of Genesis the objective third person point of view is presented, where a “nonparticipant” serves as the narrator and has no insight into the characters' minds. The narrator presents the events using the pronouns he, it, they, and reveals no inner thoughts of the characters. In Edgar Allan Poe’s short story “The Cask of Amontillado” the first person point of view is exhibited. In this instance the main character conveys the incidents he encounters, as well as giving the reader insight into himself as he reveals his thoughts, feelings, and intentions. Many other points of view exist, such as omniscient (or “all knowing”) in which the narrator “moves from one character to another as necessary” to provide those character’s respective motivations and emotions. Understanding the point of view used in a work is critical to understanding literature; it serves as the instrument to relay the events of a story, and in some instances the feelings and motives of the character(s). See A Handbook to Literature, Literature: An Introduction to Fiction, Poetry, and Drama. Stephanie White, Student, University of North Carolina at Pembroke
protagonist (pro-TAG-eh-nist) A protagonist is considered to be the main character or lead figure in a novel, play, story, or poem. It may also be referred to as the "hero" of a work. Over a period of time the meaning of the term protagonist has changed. The word protagonist originated in ancient Greek drama and referred to the leader of a chorus. Soon the definition was changed to represent the first actor onstage. In some literature today it may be difficult to decide who is playing the role of the protagonist. For instance, in Othello,we could say that Iago is the protagonist because he was at the center of all of the play's controversy. But even if he was a main character, was he the lead character? This ambiguity can lead to multiple interpretations of the same work and different ways of appreciating a single piece of literature. See Merrian Webster Encyclopedia of Literature, Benet’s Readers Encyclopedia of Literature. Khalil Shakeel, Student, University of North Carolina at Pembroke
Q
R
rhyme (rime): repetition of an identical or similarly accented sound or sounds in a work. Lyricists may find multiple ways to rhyme within a verse. End rhymes have words that rhyme at the end of a verse-line. Internal rhymes have words that rhyme within it. Algernon C. Swinburne (1837-1909), a rebel and English poet, used internal rhymes in many of his Victorian poems such as “sister, my sister, O fleet sweet swallow.” There are cross rhymes in which the rhyme occurs at the end of one line and in the middle of the next; and random rhymes, in which the rhymes seem to occur accidentally in no specific combination, often mixed with unrhymed lines. These sort of rhymes try to bring a creative edge to verses that usually have perfect rhymes in a sequential order. Historically, rhyme came into poetry late, showing in the Western world around AD 200 in the Church Latin of North Africa. Its popularity grew in Medieval Latin poetry. The frequently used spelling in English, r*h*y*m*e , comes from a false identification of the Greek word “rhythmos.” Its true origin comes from Provencal, which is a relation to Provence, a region of France. The traditional Scottish ballad, “Edward,” uses end rhymes to describe what he has done with his sword and property:
And what wul ye doe wi’ your towirs and your ha’
That were sae fair to see, O?
Ile let thame stand tul they doun fa’
Rhyme gives poems flow and rhythm, helping the lyricist tell a story and convey a mood. See A Handbook to Literature, Benet’s Reader’s Encyclopedia, Webster’s Third New International Dictionary (unabridged), A Glossary of Literary Terms. Nancy Bullard, Student, University of North Carolina at Pembroke
rhyme scheme (rime skeem): the pattern of rhyme used in a poem, generally indicated by matching lowercase letters to show which lines rhyme. The letter "a" notes the first line, and all other lines rhyming with the first line. The first line that does not rhyme with the first, or "a" line, and all others that rhyme with this line, is noted by the letter "b", and so on. The rhyme scheme may follow a fixed pattern (as in a sonnet) or may be arranged freely according to the poet's requirements. The use of a scheme, or pattern, came about before poems were written down; when they were passed along in song or oral poetry. Since many of these poems were long, telling of great heroes, battles, and other important cultural events, the rhyme scheme helped with memorization. A rhyme scheme also helps give a verse movement, providing a break before changing thoughts. The four-line stanza, or quatrain, is usually written with the first line rhyming with the third line, and the second line rhyming with the fourth line, abab. The English sonnet generally has three quatrains and a couplet, such as abab, cdcd, efef, gg. The Italian sonnet has two quatrains and a sestet, or six-line stanza, such as abba, abba, cde, cde. Rhyme schemes were adapted to meet the artistic and expressive needs of the poet. Henry Howard Surrey is credited with introducing the sonnet form to England. This form differed from the Italian form because he found that there were fewer rhyming words in English than there were in Italian.
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May.
And summer's lease hath all too short a date.
Excerpt from Shakespeare's "Sonnet XVIII", rhyme scheme: a b a b.
See Benet's Reader's Encyclopedia, Dictionary of Literary Terms, A Dictionary of Literary Terms and Literary Theory, Microsoft Encarta Encyclopedia 2000. Nancy Bullard, Student, University of North Carolina at Pembroke.
S
setting (set-ting): the time, place, physical details, and circumstances in which a situation occurs. Settings include the background, atmosphere or environment in which characters live and move, and usually include physical characteristics of the surroundings. Settings enables the reader to better envision how a story unfolds by relating necessary physical details of a piece of literature. A setting may be simple or elaborate, used to create ambiance, lend credibility or realism, emphasize or accentuate, organize, or even distract the reader. Settings in the Bible are simplistic. In the book of Genesis, we read about the creation of the universe and the lives of the descendants of Adam. Great detail is taken in documenting the lineage, actions, and ages of the characters at milestones in their lives, yet remarkably little detail is given about physical characteristics of the landscape and surroundings in which events occurred. In Genesis 20, we learn that because of her beauty, Sarah’s identity is concealed to prevent the death of her husband, Abraham. Yet, we have no description of Sarah or Abraham’s hair, eye or skin color, height, weight, physical appearance, or surroundings. Detailed settings that were infrequent in some ancient writings like the Bible are common in today’s literature. In recent literature, settings are often described in elaborate detail, enabling the reader to vividly envision even imaginary characters and actions like the travels of Bilbo Baggins in The Hobbit by J.R.R. Tolkien. Settings have a way of drawing the reader into a piece of literature while facilitating understanding of the characters and their actions. Understanding the setting is useful because it enables us to see how an author captures the attention of the reader by painting a mental picture using words. See Literature, An Introduction to Reading and Writing. Kate Endriga, Student, University of North Carolina at Pembroke
simile (sim-EH-lee): a simile is a type of figurative language, language that does not mean exactly what it says, that makes a comparison between two otherwise unalike objects or ideas by connecting them with the words "like" or "as." The reader can see a similar connection with the verbs resemble, compare and liken. Similes allow an author to emphasize a certain characteristic of an object by comparing that object to an unrelated object that is an example of that characteristic. An example of a simile can be seen in the poem “Robin Hood and Allin a Dale”:
With that came in a wealthy knight,
Which was both grave and old,
And after him a finikin lass,
Did shine like glistening gold.
In this poem, the lass did not literally glisten like gold, but by comparing the lass to the gold the author emphasizes her beauty, radiance and purity, all things associated with gold. Similarly, in N. Scott Momaday’s simple poem, “Simile.” he says that the two characters in the poem are like deer who walk in a single line with their heads high with their ears forward and their eyes watchful. By comparing the walkers to the nervous deer, Momaday emphasizes their care and caution. See A Handbook to Literature or Literature: An Introduction to Fiction, Poetry, and Drama. Crystal Burnette, Student, University of North Carolina at Pembroke
short story (short store-ey): a prose narrative that is brief in nature. The short story also has many of the same characteristics of a novel including characters, setting and plot. However, due to length constraints, these characteristics and devices generally may not be as fully developed or as complex as those developed for a full-length novel. There are many authors well known for the short story including Edgar Allan Poe, Sherwood Anderson and Ernest Hemingway. According to the book Literary Terms by Karl Becksonand Arthur Ganz, “American writers since Poe, who first theorized on the structure and purpose of the short story, have paid considerable attention to the form” (257). The written “protocol” regarding what comprises a short versus a long story is vague. However, a general standard might be that the short story could be read in one sitting. NTC’s Dictionary of Literary Terms quotes Edgar Allan Poe’s description as being ‘a short prose narrative, requiring from a half-hour to one or two hours in its perusal’ (201). Please refer to Literary Terms by Karl Beckson and Arthur Ganz and NTC’s Dictionary of Literary Terms by Kathleen Morner and Ralph Rausch for further information. Susan Severson, Student, University of North Carolina at Pembroke
slant rhyme (slänt rime) is also known as near rhyme, half rhyme, off rhyme, imperfect rhyme, oblique rhyme, or pararhyme. A distinctive system or pattern of metrical structure and verse composition in which two words have only their final consonant sounds and no preceding vowel or consonant sounds in common. Instead of perfect or identical sounds or rhyme, it is the repetition of near or similar sounds or the pairing of accented and unaccented sounds that if both were accented would be perfect rhymes (stopped and wept, parable and shell). Alliteration, assonance, and consonance are accepted as slant rhyme due to their usage of sound combinations (spilled and spoiled, chitter and chatter). By not allowing the reader to predict or expect what is coming slant rhyme allows the poet to express things in different or certain ways. Slant rhyme was most common in the Irish, Welsh and Icelandic verse and prose long before Henry Vaughn used it in English. Not until William Butler Yeats and Gerald Manley Hopkins began to use slant rhyme did it become regularly used in English.Wilfred Owen was one of the first poets to realize the impact of rhyming consonants in a consistent pattern. A World War I soldier he sought a powerful means to convey the harshness of war. Killed in action, his most famous work was written in the year prior to his death.
Now men will go content with what we spoiled
Or, discontent, boil bloody, and be spilled,
They will be swift with the swiftness of the tigress.
None will break ranks, though nations trek from progress.
Courage was mine, and I had mystery,
Wisdom was mine, and I had mastery:
To miss the march of this retreating world
Into vain citadels that are not walled.
See Benet's Reader Encyclopedia, Handbook to Literature,Literature: An Introduction to Fiction, Poetry, and Drama. Michael Prevatte, Student, University of North Carolina at Pembroke
sonnet (sonn-IT): a sonnet is a distinctive poetic style that uses system or pattern of metrical structure and verse composition usually consisting of fourteen lines, arranged in a set rhyme scheme or pattern. There are two main styles of sonnet, the Italian sonnet and the English sonnet. The Italian or Petrarchan sonnet, named after Petrarch (1304-1374) a fourteenth century writer and the best known poet to use this form, was developed by the Italian poet Guittone of Arezzo (1230-1294) in the thirteenth century. Usually written in iambic pentameter, it consists first of an octave, or eight lines, which asks a question or states a problem or proposition and follows the rhyme scheme a-b-b-a, a-b-b-a. The sestet, or last six lines, offers an answer, or a resolution to the proposed problem, and follows the rhyme scheme c-d-e-c-d-e.
When I consider how my light is spent
Ere half my days, in this dark world and wide,
And that one talent which is death to hide
Lodged with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide;
"Doth God exact day-labor, light denied?"
I fondly ask; but Patience to prevent
That murmur, soon replies, "God doth not need
Either man's work or his own gifts; who best
Bear his mild yoke, they serve him best. His state
Is kingly. Thousands at his bidding speed
And post o'er land and ocean without rest:
They also serve who only stand and wait."
John Milton, "When I Consider How My Light Is Spent"
The sonnet was first brought to England by Thomas Wyatt and Henry Howard, Earl of Surrey, in the sixteenth century, where the second sonnet form arose. The English or Shakespearean sonnet was named after William Shakespeare (1564-1616) who most believed to the best writer to use the form. Adapting the Italian form to the English, the octave and sestet were replaced by three quatrains, each having its own independent rhyme scheme typically rhyming every other line, and ending with a rhyme couplet. Instead of the Italianic break between the octave and the sestet, the break comes between the twelfth and thirteenth lines. The ending couplet is often the main thought change of the poem, and has an epigrammatic ending. It follows the rhyme scheme a-b-a-b, c-d-c-d, e-f-e-f, g-g.
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all to short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm’d:
And every fair from fair sometime declines,
By chance, or nature’s changing course, untrimm’d.
By thy eternal summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wandered in his shade,
When in eternal lines to time thou growest:
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
Shakespeare, Sonnet XVIII. See Benet’s Readers Encyclopedia, Handbook to Literature, Literature: An Introduction to Fiction, Poetry, and Drama. Michael Prevatte, Student, University of North Carolina at Pembroke
symbol (sim-bol): a symbol is a word or object that stands for another word or object. The object or word can be seen with the eye or not visible. For example a dove stands for Peace. The dove can be seen and peace cannot. The word is from the Greek word symbolom. All language is symbolizing one thing or another. However when we read the book of Genesis it talked about a few symbols. In the story of Adam and Eve when Eve ate the apple, the apple stood for sin. Another reading Cain and Able. The two brothers stood for good and evil, humility and pride. Cain pulled Able to the fields and killed him. In this it is a hidden symbol. It is showing that Cain stands for the bad and Able stands for the good. See The Encyclopedia of Literature and A Handbook to Literature. Misty Tarlton, Student, University of North Carolina at Pembroke
T
theme (theem): a common thread or repeated idea that is incorporated throughout a literary work. A theme is a thought or idea the author presents to the reader that may be deep, difficult to understand, or even moralistic. Generally, a theme has to be extracted as the reader explores the passages of a work. The author utilizes the characters, plot, and other literary devices to assist the reader in this endeavor. One theme that may be extracted by the reader of Mark Musa’s interpretation of Dante’s The Divine Comedy Volume I: Inferno is the need to take account of one’s own behavior now, for it affects one's condition in the afterlife. One example of this theme can be found in Canto V - “...when the evil soul appears before him, it confesses all, and he [Minos], who is the expert judge of sins, knows to what place in Hell the soul belongs: the times he wraps his tail around himself tells just how far the sinner must go down” (7-12). In addition, Dante’s use of literary techniques, such as imagery, further accentuates the theme for the consequences of not living right, for he describes “the cries and shrieks of lamentation” (III:22), “…the banks were coated with a slimy mold that stuck to them like glue, disgusting to behold and worse to smell” (XVIII:106-108) and many other terrifying examples of Hell. In truly great works of literature, the author intertwines the theme throughout the work and the full impact is slowly realized as the reader processes the text. The ability to recognize a theme is important because it allows the reader to understand part of the author’s purpose in writing the book. See Literature: An Introduction to Fiction, Poetry and Drama, NTC’s Dictionary of Literary Terms, and Literary Terms: A Dictionary. Susan Severson, Student, University of North Carolina at Pembroke
U
unreliable narrator (un-re-LIE-ah-bel nar-ra-AY-tor): one who gives his or her own understanding of a story, instead of the explanation and interpretation the author wishes the audience to obtain. This type of action tends to alter the audience’s opinion of the conclusion. An author quite famous for using unreliable narrators is Henry James. James is said to make himself an inconsistent and distorting “center of consciousness” in his work, because of his frequent usage of deluding or deranged narrators. They are very noticeable in his novella The Turn of the Screw, and also in his short story, “The Aspern Papers.” The Turn of the Screw is a story based solely on the consistency of the Governess’s description of the events that happen. Being aware of unreliable narrators are essential, especially when you have to describe the characters and their actions to others, since the narrator, unreliable as they are, abandons you without the important guidance to make trustworthy judgments. See The Turn of the Screw and A Dictionary of Literary Terms and Literary Theory. Starlet Chavis, Student, University of North Carolina at Pembroke
Character Card Bookmark
The following two pages contain a set of four bookmarks. The pages are intended to be photocopied back to back (they SHOULD line up)
and when cut should make four bookmarks. This bookmark is designed specifically to be used with narratives, especially those that contain
many names and places. One side of the bookmark contains spaces in which students should write the character’s (or place’s) name and,
below that, a brief description. The back side of the bookmark includes “Core Skills” and the questions or prompts students can use to
develop those skills.
The Character Card Bookmark is free and should be shared with other teachers, though I do ask that you let them know where you found it.
This and ot her helpful resources can be found at: www.englishcompanion.com.
The Character Card Bookmark was created by Jim Burke. For more information about this and other resources, please go to
www.englishcompanion.com or write to me at jburke@englishcompanion.com
Useful Literary Terms
便利な文学用語
• allusion 引喩
• analogy 類似（点）, 相似, 近似；共通性
• antagonist 反対語
• character
• conflict
• convention(s)
• diction
• exposition
• imagery
• irony
• motif
• narrator
• persona
• plot
• point of view
• protagonist
• setting
• theme(s)
• tone
• voice
Character Card
Useful Literary Terms
• allusion
• analogy
• antagonist
• character
• conflict
• convention(s)
• diction
• exposition
• imagery
• irony
• motif
• narrator
• persona
• plot
• point of view
• protagonist
• setting
• theme(s)
• tone
• voice
Character Card
Useful Literary Terms
• allusion
• analogy
• antagonist
• character
• conflict
• convention(s)
• diction
• exposition
• imagery
• irony
• motif
• narrator
• persona
• plot
• point of view
• protagonist
• setting
• theme(s)
• tone
• voice
Character Card
Useful Literary Terms
• allusion
• analogy
• antagonist
• character
• conflict
• convention(s)
• diction
• exposition
• imagery
• irony
• motif
• narrator
• persona
• plot
• point of view
• protagonist
• setting
• theme(s)
• tone
• voice
ASK QUESTIONS
• Who is involved? 関与しているのは誰ですか？
• What are they doing? (Why?) 何やっているの？（なぜ？）
• What do they want very badly? (Why?) 彼らは非常に不器用に何をしたいですか？（なぜ？）
• What is the situation or problem? 状況や問題とは何ですか？
• Who is telling the story? (Why?) 誰が話をしますか？ （なぜ？）
• How is the story designed? (Why?) 物語はどのように設計されています？ （なぜ？
• What is the source of tension? 緊張の源は何ですか？
• Can you trust the narrator? あなたは、語り手を信頼できますか？
• I wonder why....
1.I wonder why it's so crowded here today.
どうして今日はこんなに混んでいるのかしら。 [F]
ソース www.kingsoft.jp
2.I wonder why he was absent.
彼はなぜ休んだのかしら。 [F]
3.I wonder why tennis is played in mini-skirts?
テニスウェアってなんでミニスカートなのかしら？ [F]
4.I wonder why it is that some plants become annuals and others perennials?
なぜ一種の植物が一年生の草本になったり、多年生の木本になったりするのでしょうか。
5.I wonder why she didn't tell him about it.
彼女はどうしてそのことを彼に話さなかったのだろう。
6.I wonder why he did not come to the party.
彼はなぜパーティーにこなかったのだろう。
7.I wonder why they took my name off the list.
どうしてリストから私の名前を外したのかしら。 [F]
ソース www.kingsoft.jp
8.I wonder why karaoke is so popular.
どうしてカラオケがこんなに人気があるのかしら。 [F]
9.I wonder why she is so worried.
彼女がなぜそんなに心配しているのかしら。 [F]
10.I wonder why he is late.
彼の帰りの遅いのが気になる。
• What caused...
What caused it
4.What do you think caused him to lose his job?
何故彼は失業したと思いますか。
ソース www.kingsoft.jp
5.What was it that caused you to change your mind?
君が心を変えたのは何故ですか。 [M]
ソース www.kingsoft.jp
6.What do you think has caused the present trade friction between Japan and the U.S?
現在の日米貿易摩擦の原因は何であると思いますか。
• I think...
I Think | If knowledge is power, should truth be useful?
I think I love you
I think that as long as I don't overeat I will certainly lose weight.
食べすぎさえしなければ、必ず痩せると思います。
4.Summer vacation is near. Can you think of a good place for the holidays?
夏休みも近いけど、どこかいいところ思い当たりますか。
ソース www.kingsoft.jp
5.I think you'd better take an umbrella in case it rains.
雨が降るといけないから傘を持っていったほうがいい。
6.I think it is my business to study hard.
一生懸命に勉強するのが私の仕事だと思う。
7.I think a movie is more entertaining than any book.
映画の方がどんな本より面白いと思う。
• This is similar to...
1.This watch is similar to mine I lost yesterday.
この時計は昨日なくした私のものと似ている。
ソース www.kingsoft.jp
2.This one is similar to that one.
これはあれに似ている。
3.This game is similar in some ways to today's American football.
この競技はいくつかの点で現在のアメリカン・フットボールと似ています。
4.The important point to note is both parties offered similar solutions to this problem.
注目すべき重要な点は、両方の政党がこの問題に対しては似たような解決策を提示したことである。
• This is important because...
The Weiner Story Is Important Because...
Why Is Teacher Development Important?: Because Students ...
.This is because their jobs are secure.
これは彼らの仕事がしっかりしているからです。
ソース www.kingsoft.jp
2.This is because they are trying to prove they are somewhat independent.
このような（子供の）態度は、自分たちがある程度独立していることを示そうとしての結果なのである。
ソース www.kingsoft.jp
3.This is because of the difference between Japanese politeness and American politeness.
これは日本の礼儀正しさとアメリカの礼儀正しさとの間の違いによるものです。
ソース www.kingsoft.jp
4.This is true partly because non-Westerners have begun to take pride in their own cultures and partly because those areas of the world where forks are not used have some of the highest birth rates.
一つには、西洋人ではない人々が自分たち独自の文化に誇りを持ち始めてきたためと、また一つには、フォークを使わないそれらの地域は最も高い出生率の地域を抱えているという理由から、このことは当たっている。
ソース www.kingsoft.jp
5.This puppy is crying, because it is homesick for its mother.
この子犬は里心がついて泣いているんだ。
6.I want to buy this book not because it is cheap, but because it is useful.
安いからではなく、役に立つから私はこの本を買いたい。
7.I like this picture, not just because it is famous, but because it really is a masterpiece.
私がこの絵が好きなのは、単に有名だからではなくて本当に傑作だからだ。
8.I like this picture, not because it is a masterpiece, but because it has charm.
私がこの絵が好きなのは、名画だからではなくて人をひきつけるからだ。
9.This is definitely, 'The good you do for others is good you do yourself'! It's a reward because I was helpful!
これは絶対、情けは人のためならず！いいことしたからご褒美なんだよ！
ソース www.kingsoft.jp
10.Because this is such a highly technical subject, I would like to point out in advance the likelihood that some of what I'm about to say may include information that is incorrect.
高度に専門的な話題で、多分に誤った情報が含まれる可能性があることはあらかじめお断りしておきます。
ソース www.kingsoft.jp
• What do they mean by...
What does that mean?―What do you mean by that?―What is meant by that?
それはどういうことか - 斎藤和英大辞典
What do you mean by that?
あれって何のこと - 斎藤和英大辞典
What do you mean by that?―Say that again.
なんだと - 斎藤和英大辞典
• What I find confusing is...
• What will happen next is...
次に何が起こるか
• I can relate to this because...
PREDICT
• What will happen next?
• Why do you think that?
• What effect will that have on the story
or the characters?
SUMMARIZE
• What happened?
• What is essential to tell?
• What was the outcome?
• Who was involved?
• Why did this happen?
• Is that a detail or essential information?
CLARIFY
• Read ahead if you have a basic
understanding of the text
• Ask questions
• Re-read what you don’t understand
• Identify what you don’t understand so
you know what to ask help on
SYNTHESIZE
• Three important points/ideas are...
• These are important because...
• What comes next...
• The author wants us to think...
• At this point the article/story is about...
• I still don’t understand...
• What interested me most was...
• This means that...
post.thing.net
headlines | about |
Occupy Wall Street, What Do They Want?
categories: anti-capitalism | demands | marxism | new york | occupy | protest | wall street
For the past week, Occupy Wall Street has been the focus of much media coverage, and community concern in New York City. Many people, myself included, have asked "Just what is it they want?" I received this unattributed missive, from a friend who knew I was looking for more specific information on OWS's goals, and post it here as a subject for consideration. This is not an "Official Document". To this point, as far as I know, there have been no "official documents" released from OWS, but this communiqué does present general concerns and demands.
What Do They Want?
You’re going to pretend you don’t know what they want? Okay. I’ll humor you.
They want jobs. There aren’t enough, because small businesses can’t afford to stay in business, or hire them, or pay for healthcare or retirement plans or the other typical parts of a compensation package that it takes to maintain a standard of living suitable for living in a first-world country. They’ve done everything they were supposed to do to earn a decent living and now they want the rewards that make the work worthwhile.
Let’s break that down.
Because of the cost of healthcare and credit, small businesses can’t compete with corporate giants. Corporate giants can outsource labor overseas at a fraction of the price. And are happy to do so.
Because of the greed of Wall Street, because of outright fraud from trusted financial institutions, because of the insane avarice of the five hundred family dynasties that have captured half the wealth from the sweat of an entire nation by decades and decades of constant niggling and lobbying and legislation from pet powermad senators and representatives and justices and key committee members for whom they’ve bought positions of influence…. Because of this, the system we should count on for justice, for providing equal footing among children no matter who their parents are, is warped beyond repair, draining every last penny from the pockets of those who are the most defenseless into the bulging wallets of those that have thousands of times more than they need. Because of this, there is, finally, just not enough money to go around, and the people ― the flesh-and-blood human beings whose sweat is the lubrication for all of this mighty machinery ― are starting to falter, and starve, and lose all hope for any reward worth their work.
Because of this, it’s finally starting to hit the children of those who were rewarded for integrity and hard work. And retirees. And veterans.
Parents can’t afford to pay for worthwhile education for their children.
People can’t afford medical care or nursing care for their elderly parents.
Students can’t afford to pay back the loans they have to take out to get even a basic degree.
Students with degrees ― and advanced degrees, which we’ve been preaching for ages is the key to success and a reasonable standard of living ― can’t get jobs that would allow them to have a place to live AND food AND pay back their loans, and now there is no way to defer those payments or even seek the crippling relief of bankruptcy. Because you THOUGHT you were voting for “personal fiscal responsibility”, and what you ACTUALLY voted for was for the vampire banks to be able to suck the last drop of life out of your children.
The 40-hour work week ― not a luxury, but a target for a good balance of work life and private life and social life and mental and physical health ― is a joke. Some people can’t find one job, while others work themselves to death with one and a half, or two, or three ― and still can’t afford healthcare or daycare or sick days, vacation days, or dropping spare coins into a savings plan. Or whatever joke a retirement plan would be. Everybody has something on the side to try to fill in the gaps and it’s not paying off. It just makes people literally sicker.
Look up the figures. Worker productivity: all-time high. Worker salaries: decreasing. Unemployment: sky-high. And STILL there is actual growth, but none of the proceeds make it to any American who isn’t a company officer. And if your share does increase, it’s at the expense of someone below you on the food chain.
“Work hard and you can get ahead,” is what we’ve been telling our kids since we pulled out of The Great Depression. But working hard doesn’t get you ahead anymore. It’s treading water at best. And maybe the reason you don’t hear the voices of all of those people behind you who have already fallen down the slope is because you’re concentrating so hard on not losing your footing while you watch your own feet slide backwards.
Trust me, though. You’re next. All it takes is an expensive, lingering death in the family. An illness that your own private death panel of an insurance company won’t cover. A car wreck. A fire. An altercation at work. A spurious lawsuit. A branch office closing. A corporate merger that eliminates YOUR job. Even bad weather. These are inevitabilities. You have already taken a number. You’re just waiting for your number to be called.
If you’re wondering why the media hasn’t been covering it, first, think of who owns them. The Free Press has all been bought up by corporations that are either owned by banks or owe money to them. Second, you really don’t want to hear about poverty, sickness, and starvation. You’ve been telling the press that for years. The media only reports on blood, sports, and celebrities because you have zero interest in anyone else’s pain or troubles. You have enough troubles of your own. You don’t want to hear it. You’ve ignored it. And now it’s in your own goddamn house and you still ignore it.
“How do we get out of this mess?” you ask. “Does anyone have a plan other than whining and chanting slogans and making broke-ass cities pay their cops overtime?”
Well, yes. There is a plan. And it’s a simple one.
1) Reinstate all the restrictions on banking and securities that have been removed since The Great Depression, seeing as those restrictions were put in place to prevent another one. You can see what’s happened with them gone.
2) Figure out why healthcare has gotten so damn expensive ― in the USA alone of all the countries in the world ― and fix that. I guarantee you that the insurance companies and drug manufacturers are at the bottom of it, so I suggest you start looking there.
3) Revoke any idea of the “personhood” and “rights” of a corporation. They don’t need freedom of speech ― all of their constituent members already have that. They don’t need ANY rights ― until they can also be held as responsible and accountable as an actual human being, who can be imprisoned and stripped of possessions and, in some cases, executed for the levels of villainy we’ve been seeing.
4) If a corporation makes money from US labor, resides on US land, uses US agricultural resources, manufactures products or improves materials to be later used in production in the US, provides services to US residents using US infrastructures of road and pipes and wires and satellites, excretes wastes into US environmental resources of land or air and water, then it should pay taxes to the US people for the use, upkeep, and repair of the commonwealth and its valuable infrastructure. NO EXCEPTIONS. Practices allowing shuffling of assets overseas to prevent paying owed taxes should be banned as fraudulent.
5) The tax burden on individuals should be rebalanced. People need a certain amount of spare cash to live and eat and have a roof. Above that, the more you make, the more you should be taxed. Let’s be serious: If you can afford a car, you can afford to buy a bike for someone less fortunate so he can get to work and back. If you can afford a yacht, then you can afford to buy a couple of buses for your city municipal transit system so a hundred people can get to work and back. Everyone should pay their taxes. NO EXCEPTIONS.
6) The government is NOT FOR SALE. Huge campaign donations from individuals and corporations are nothing but bribes. EVERYONE KNOWS THIS, yet the Supreme Court says this kind of bribery is a right of free speech for corporations. MY ENTIRE ASS. Everyone knows this is a crock. Every two years, every four years, every six years, our elected officials go trick-or-treating for enough dribblings from the corporations and the wealthy ― basically begging for their bribes ― to buy television spots and talk shit about one another. They do this campaigning INSTEAD OF DOING THEIR JOBS. Every two years, every four years, every six years, people are elected based on the shininess of their ads and the cleverness of their sound bites and the number of newspapers they could get pictures of their faces in and, amazingly enough, nobody knows what anyone stands for. Except they’d really like you to buy a $1000 plate of spaghetti to help fund it all. Seriously, figure out where to draw the line and arrest anyone who crosses it. Dissolve any corporation that crosses it.
7) Who are we at war with again and why? Playing supercop policeman to the world is an expensive hobby. If our friends out there want us to do this, then they can help finance it. If we’re going to do it, we should do it for good reasons ― not so we can sloppily slide tax revenues into the back pockets of our friends who make weapons and bunkers and tanks and jet fighters and armored transports or sell us oil on the cheap. As a non-economic aside, anyone who takes part in these things, as soldiers or US contractors or foreigners in US employ, should be held to our criminal codes, our Constitution and Bill of Rights, and our rules of civilized society no matter whose soil they’re standing on, or whether they’re in international waters ― or any other lame excuse for weaseling out of being a human being and acting like animals.
8) Stop encouraging people to profit from someone else’s misery. This is just a guideline to measure things by. This means looking at the effects of rulings and legislation and corporate practices to make sure the people who are hit hardest aren’t the ones already at the bottom end of the economic spectrum, the sick, the young, the elderly, the disabled, cultural minorities, etc. Every time something slips past this test, our humanity takes another knife to the neck. People die from being poor, disadvantaged, depressed. Unchecked greed literally kills people.
So this is what those people out there chanting want. Maybe they’re not eloquent enough to say it ― or maybe they’re just too angry to be coherent. Or maybe this stuff is too complex for a kid with nothing under his or her belt but a watered-down public high school education to even understand without a good run-up. But they have no hope of ever being paid what they’re worth, of being rewarded on scale with their work, of ever getting out from under the crushing debt you encouraged them to take on, and they’re unhappy.
And they’re doing all this for you, because you’re next.
Join them from your chair ― or keep waiting until you have no choice but to join them on the street. Your choice.
PS:
If you think these words speak for you, use them. I don’t care about credit or attribution or any of that stuff. Just say what needs saying. Put it out there. Link, rephrase, cut-and-paste ― whatever you need, whatever works. And good luck.
» James Kalm's blog | login or register to post comments
THE THING, INC is a 501 (c) (3) non-profit organization. Donations are tax deductible to the extent of the law.
whatもthatと同じく主格と目的格は同形で所有格はありません。先行詞を兼ねた、あるいはそれ自身に先行詞を含んだ関係代名詞で、「・・・のこと（もの）」（＝the thing(s) which）、「・・・はすべて〔どんなものでも〕」（＝all〔anything〕that）の意味を表します。
whatが導く節は名詞節で、主語・補語・目的語の働きをします。
なお、whatには限定用法のみで、継続用法はありません。
What you can see here is only a part of the property.
（ここにあるものは資産のごく一部にすぎない）
This is just what I wanted to know.
（これこそ私が知りたいと思っていたことだ）
I will do what I can (do) for you.
（きみにしてやれることはなんでもやろう） 〔主 語〕
〔補 語〕
〔目的語〕
1.For that reason the outcome of the primary nursing care requirement authorization has to relate to the amount of nursing care required.
そのため、要介護認定の結果は介護サービスの量と関係している必要があります。
ソース www.kingsoft.jp
2.It is difficult to relate to someone who has different values from you.
価値観の違う人とうまくやっていくのは難しい。
ソース www.kingsoft.jp
3.Being active at night may relate to the behavior of seals, which feed at night on various fish that come up closer to the surface.
アザラシは、海面近くまで上がってくるさまざまな魚を夜食べるのである。
ソース www.kingsoft.jp
4.I see no reason why he doesn't relate to the firm.
彼が会社になじめないとは理由が分からない。
