Oh, ahead. Hello, how are you? Good? Yeah. Have you had a good day? A good week? Quite chill day today. Yeah why was it so chilled? There was nothing much special today. Things all the teachers are stressed with mocks, aren't they? So all the retention is being taken over there at the moment. So you year nine to get a bit of an easy ride. But a good week nonetheless. Have you been able to get back out on your boat? No, not yet. Not yet. Oh, the rain will hopefully will go away soon. Right today we've got quite a bit to get through. We're gonna to be looking at some more lafeatso. I'm gonna take us back to help you with your peel paragraphs. As I said to you last week, you're making some good points. You're being able discuss it really analytically. You're being able to address what certain elements are. You're able to find the evidence, you're being able to closely analyze it. However, your paragraphs are not following a point. They're not always finding leading with the feat, the language feature itself. And we want na just give you a bit of confidence in structural things, in language features and kind of like the effect on the reader, because they all come in to your peor paragraph, your petal paragraph. Because what we don't want to do is start. We never start a paragraph when we're in an essay with a quotation. Just doesn't happen unless we are doing a thesis statement, which you're not going to do until you're in a level. So we're just not going to do them because at the moment that's what you're doing, is you're giving us a quote and then you're telling us the quote means, but you're not giving us the rounded point and you're not giving us necessarily the language feature. So we're gonna to have a look at language features. We're gonna to have a look at structural devices. We're going to be thinking about identifying and analyzing. We're going to with some of these. We're going to be thinking also about being down here, some petal sentence starters to help you to give you some ideas on how to analyze. We're going to give, think about zooming in on language. We're going to be thinking about building while paragraphs up. We're going to think about structural writing. We're going to think about writers intentions, all the things that you need to be able to succeed in any literature or language. And then we also have a short story with a question that will ask for a peel paragraph using everything that you have been learning. Okay, so let's first of all have a look at these language features. We've got metaphor, simile, personification, hyperbole, emotive language, imagery, semantic field, juxtaposition, symbolism and connotations. And then our definitions we've got on this side. So we're gonna to look at this first definition, a comparison with something is something else. I have a feeling though that these are all, Yeah, they have a, it's not been mixed up. And so it's fine. So we're just gonna to go over what these definitions are. They haven't actually given you a matching exercise. They've just given you a, this is the feature and this is the definition. So and metathought, a comparison with something is something else. The man is an elephant. Assimilmile, a comparison using like or as a personification, giving human qualities to non human things. Hyperbole, extreme exaggeration. Emotive language, words chosen to provoke strong feelings. Imagery, descriptive language, appealing to the senses. Semantic field, a group of words linked to a common theme. This could be fishing. It could be colors. It could be symbolism. It could be rage. It could be angry. It could be joy. Juxtaposition, two contrasting ideas placed close together, symbolism, an object representing a deeper meaning, and connotations the ideas or feelings of word suggest beyond its literal meaning. Okay, any of those, Edlin, that you're like? I wouldn't be able to find it. I wouldn't understand it if I saw it. Then I'm bit stuck on semantic field. Okay. So when you come to a semantic field, let's write something like. Okay, so in here I have a semantic bit. So the man hunted for the dagger as quickly as he could, trying to use this, his navigation skills to trace his steps in the woodland. There was no way that anyone could have got hold of these important items before he could. Knowing he could track down the animals at any moment with a strong sense of smell, he headed eastwards, hoping to find the dagger as soon as possible. And what do you think here might be the semantic field? Dagger and the man hunter for the dagger. You're on the the right path. But actually the semantic field is hunted navigation track and eastwards. What do these words all have in common? Looking for something Yeah sort of hunting hunting as a whole actually really. So these what you're looking for in semantic fields is you're looking for how the words might kind of be grouped together. So if I said you, well, what group of these are hunted? Yeah or looking or breaking or finding? Yeah any of those words would be used to group these together. Okay, so now let's let me think about another one I can do for you. Golfish whfilling about a niin the pet store commding their own business when the child smeared his dirty tunguwell over the glass. Not glass. The glass is feel like probably less smudge just looking at their confused faces. The pike at the end of the row were starting to get scared. Those fish have no idea how to handle such disturbance. The jellyfish began to pull the shatters down in their pond, and the rainbow fish were darting around pretending like they were twigs rather than delicious prey for the little family to pick up for their never ending entertainment. So what's the semantic field in this one, do you think? Swimming, Smith pull and darting. And what do you think this semantic field is? They are verbs. They are a group of verbs. Now, semantic field, unfortunately, though, does not cover this idea of a word class. Verbs are a word class. They're the whole thing by themselves. The semantic field in this one is fish, goldfish, pike fish, jellyfish, rainbow fish. So this semantic field in here, because it's all about this idea of the fish, because a semantic field has got to have a reason why is it here while it's showing the anxiety of the fish? Okay. If it was a piece about a classroom, it would be pupils, kids, child. So you have to find, unfortunately, as soon as it's adjectives or verbs, they're not they're a word class, they're not a semantic field. Yeah. So anything that's like adjectives, verb, adverb. Noun they would be known as the word classes. Whereas in this instance, a semantic field is a group of words linked to each other. Okay, so in this instance, finding and hunting in this instance, okay, let's try one more. I don't think now what else I can do. These are all coming out of my own end. So I'm trying to think of like different stories. Okay? Okay, the head teacher burst into the classroom annoyed that he had once again been called to deal with Daniel Smith. Daniel had arrived at the school over a week ago and had caused nothing but trouble for his English teacher. He had taken a dislike to her the moment he saw at 12:00p.m.twelve th of June to be exact, she had the cheek to call him up in front of the whole class and make him read all of a twist, the most boring book to have ever been written. As time passed I thought I would get over it, but here we are one week in and I can't seem to forgive her. The head teacher looked at me and pointed at my bag and told me I'd have to go and see him at lunchtime to talk about detention, but for now would have to wait in. The star Freeman to the class was over. Another month of detentions were coming. Okay. So what? Words here are kind of linked to each other. There's actually two semantic fields in here. School teacher, class and head teacher, well done teacher, classroom teacher, Yep, these are all related words, anything else? I'm going to put another one up for you. See if you can work it out. Okay. Arrived week 12:00p.m.twelve fjune and month. So what have these all got in common that all time phzes? Yeah, well done. They're all time phzes. Yes. So that means that we've got our semantic field, okay? So very different ways. There's so much scope for semantic field. There's so many things you can do with semantic field. Okay? Yeah. Wasn't adyeah they take a while to catch once you've got it theyland, Yeah, you'll start to read stuff and be like our semantic field. Oh, that one's got a smugic field of space. Oh, and then they can also be a foreshadow as well. So they can cross between quite a lot of a lot of things. Okay, let's have a look at our next ones, which is structural devices. So we've got an opening. Okay, so opening the way the text begins to engage the reader, is it on the character? Are we in the middle of an event? Is it giving us a setting? It is. Is it giving us a backstory? Yeah. Shift in tone. Is it a moody? Is it gloomy? Is it frightening? Is it scary? Is it suspensible? Is it joyful? Is it annoying? Is it frustrating? Like there's so many things when we talk about tone and mood, we're talking about how it makes us feel. Contrast, highlighting differences between ideas or characters. Maybe it's a hot, Sunny day with a very grumpy character. Therefore you've got a contrast. Maybe it's a really neat, drizzly day with a very happy character that's creating contrast, repetition, repeating words or phrases for emphasis, short sentences, brief sentences for impact. Obviously we've also got complex sentences and complex comparound sentences equiremember that in there climax, the most intense or important moment, this is, where's the peak of the story or the article or the extract? Where's the moment that something big happens, foreshadowing hints about what will happen later? Yeah with the story keeps centering around a river, it's most likely someone's gonna to die in it. If it keeps centering around grandma's house, it's probably because grandma's gonna to be the robber. She's going to be the identity of the big thief at the end of it. Yeah and cyliccal structure, the ending mirror ors the beginning. It starts in the post office. They go off an adventure, they come back to the post office. Okay, so that's what we call a circle structure, circular structure. Secular is also how it said as well. So anything in the structural devices that don't feel super clear. No, amazing. Okay, so now we're going to identify and analyze this peel focus, which will soon become, once you get a bit petal. What kind of is petal? But so identify one language or structural feature in this sentence and explain why the writer uses it. The corridor swallowed him as the lights flickered out. So how would we, what would we identify with this sentence? Personification ification and what is the effect of the personification? It emphasizes how the lights made him, how dark it was. Yeah, well, the corridor swallowthe lights for caadouts. Yeah how perhaps emphasizes how dark it became and how quickly. Also, what kind of feeling does it give us? The corridor swallowed him as the lights flickered out. What kind of atmosphere does this also create? More intense atmosphere Yeah creates an intense and spooky creepy, worriful, sorrowful, anxiety worried atmosphere. Makes it feel like he's about to be jumped by a ghost, doesn't it? Okay, he had dreamed of freedom, freedom, freedom. Okay. What kind of feature? There might be more than one feature here. What feature do we have here? Repetition. What else do you know? The other one, it's fit to using. Start off for shadowing. It's fat, but it is probably a little bit foreshadowing here. Actually, Adeline, I wouldn't say awalso, you've got an impact sentence because you've just got freedom, full stop. Freedom, full stop. Okay, let's talk about what's the effect of the repetition. It emphasize it. What does it emphasize? Emphasizes how much he wanted freedom. Yeah emphasizes the desperate need for freedom. Excellent. What does the foreshadowing do? Here's a hint of what happens next. Right. And what's the effect of the impact sentence? It telthe me of what his purpose was. Was purpose is. It also, again, I would say it goes with your repetition. It shows the desperate need. It's emphasizing it. It's making freedom very powerful. It's making it feel like an entity or by itself. Not only is it repeated, but it's repeated an impact sentence. So it's slowing the reader down. Whenever you've got an impact sentence, it's slowing us down. It's making us have to spell out freedom. Freedom because we're not reading it like he had a dream of freedom, freedom, freedom. It's he had a dream of freedom, freedom, freedom. So it's got like a drum beat to it. Yeah, bubum bubum. But it's also asking us the poor. So therefore, it's making it highly effective. The chapter opens with calm description, but ends in chaos. Subtle foreshadowing, yes. And what's the effect of this foreshadowing? It questions the reader and it. It gives the reader a little bit of. Am I? Hthe reader, something well, I think that might happen. Something bad is going to happen. Excellent. It's going to happen much better that something bad is going to happen. Excellent. The writer begins the chapter with peace. In quite a while, that's kind of the same thing. So we're now looking also at why this stands out and also the effect on the reader. So a paragraph made up of only one short sentence. It was over what structural devices. It was over. It's relish. It's very impactful because it's very short but effective. It's a short sentence. So that's its device, isn't it? And why does it stand out? Because. It has a lot of impact on its own because. Because there's no context around it. It's kind of out of context. So the readers kind of questioning everything it knows. It's also, it's blunt to the point. Yeah, it's clear, it's instructive. It's not, it's informative. It's not. It's not. We're not questioning. It's privquestioning everything we know, but it's not questioning that it's over, it was over. End up for ito. Yeah. And what effect does this have on the reader? It might be an ending of a book, and it might be, Whoa, hold on a minute, rewind. Could be to shock the reader or to have an ending that is. Yeah, is like a woe moment. Let's just call it a woe moment. The repeated phrase he knew the truth appears throughout the chapter. Repetition. There's repetition Yeah and why? What effect? What effect of repetition? It will. It tells the reader how important the sentence is, and it's trying to emphasize the fact that he knew it, he knew the truth. Yes, trying to repeat the idea, isn't it? So that when we find out the truth that we kind of like, well, he knew, didn't he? He knew. He knew. Yeah, excellent. And what's the writer's intention, perhaps? To subtell your reader might be like the end of the book when. She tells them the truth. Who was he knew it. Foreshadoing, what could happen? A little foreshadow of what could happen in the sybolic texexament. The story ends in the same place it began. What structural device is this? Repetition? No, this one is psyclical. So going in like a full circle, yes, that's what it's called. So a circular. Yes like like a cycle psysecular you. So a secular psystructure, if all is something else, you see. So what does this suggest? If the story ends up, it's a full circle, it starts off, and then it ends in the same place. Why? What does this suggest for the readers? Shows the reader that how important this place was in the beginning and how it is still important afterwards. Yeah it could also be showing the fact that we might have been told the ending before we were told the ending. You know, it could also be that we realithat the characters been in this has been at the place he needed to be all along. And what effect can this have on the reader? Could be, Oh, should I pay more attention to this place in the beginning? Is that they may or needed to have paid more attention to the beginning. The story. Yeah, excellent. Okay. All of those beautiful. Okay, so we've got the idea of what is that? And as I said, you're quite strong with this n anyway Edlin. But it's about realiising that we have to name that structure before we can say what that effect is. Okay, so well done. Now we're looking at these pel or sentence starters. So you can use sentence to turn your ideas into analysis. The writer uses the language feature of repetition. The writer uses the structural device or secular structure to suggest to suggest how important the place is in the beginning. The word this one doesn't go it, but the word over indicates that something can, implies that nothing can begin again. This makes the reader feel depressed because they've invested in the character throughout the whole story. Structurally, the writer has created a secular structure in order to show the audience that they missed clues at the beginning of the extract. Overall, this shows that the writer wanted to create a mysterious feeling. So we want to make sure that we're using varied sentence starters. But the biggest thing we want to do is we want to create that point. Yeah and we want to create this language feature. So in literature, before we even get to the writer uses ers, we want to state something like, John and Mary are living a busy life on the farm and are dealing with judgment and portrayal by the villagers. This is seen when the writer uses a simile to suggest they that they have fallen out with the neighbor. You know, the use of the word, the use of the words duperdou and duperdoo and duperdoo imply, imply that this has been going on for a long time structurally. The writer also foreshadows that Mary and John will lose their farm when she says, I looked at it thoughtfully. This overall shows that John and Mary have crossed the wrong people in the story. Don't know what this story is edthen, but there we are. John and Mary now live on a busy valbut. You can get the gist of what we're trying to create. There's your point, there's your analysis. Yeah and then this, the reader, the audience, the story shows, indicates implies for us. Let's see if I can copy this. Oh, I did copy it, but I didn't want to copy that. Anyway, let me copy it there either. Okay? Lots of things that class in will do and lots of things that class sin won't do. I'm just going to take it down to a blank page blblank section, let we go. And then what I'll do is I'll just change these. The use of the words deserted. Cruel. And frustrating imply there we go and then we've got that. You just see it, we are and there's a will, there's a way. So we want to build these paragraphs up, but we need to also zoom in on the language. And we need to think about, for example, the cold, lifeless house stood in silence. So what language feature is used here? Personification persongiving life, but it's also saying it's lifeless effect. Which word is most effective? Lifeless, okay. And what is its connotation? Dead. Gives us tatations of maybe a cold corpse. Hail drained out of color. I like that drained out of color and unloved in many ways. You know, how does this make the reader feel? Might feel a bit emotional and say, Oh no, what hahappened. Great. And so now we can build that paragraph up by just literally doing that. I can now create my peel, my point. Okay. So if I had something like, how does the writer show us that the theme of, how does the writer show the theme of desperation in the text or in the north? Let's just seand. I've picked this moment. I'll picked this particular thing. And I can say the writer, the writer shows desperation through the symbolism of houses. The writer states in a personification, the cold, lifeless house stood in silence. The use of lifeless connotates a feeling of something dead, of something dead, pale, drained out of coland, clearly unloved, indicating, as we read. The emotional impact and desperation of the character and questions and raises questions as to what has happened and why there is an atmosphere of loss. She can make the writing even smaller. I can't, though. Just by breaking that down, the writer shows desperation through the symbolism of houses. The writer states in a personification, the cold, the lifeless house stood in silence, the use of lifeless cannota feeling of something dead pale. That's my big writing fear there. That's why you shouldn't ever just rush or pale, drained out of colour and clearly in love, indicating as we read the emotional impact and desperation of the character, and raises questions as to what's happened and why this is an atmosphere of loss. But all I've done is taken that one word that you gave me. I've just taken everything you've said. I've just put it into a fancy paragraph now. Yeah. So we're going to try that before we finish today. We're going to build that up for yourself. Obviously we don't have the full text, so I can only assume a character has lost something. Like that's just a bit of assumption because I don't have a full text. We don't have the full text, right? So I'm just going with the idea that this is representing a character, but you'll get the gist of what we're doing. So let's have a look at this this one below then. So using exactly the idea, find that language feature, pick a word out what its connotation is, what is the readers feel? Make sure you're using the question. So we're going to think about appeal paragraphso. We've got one here. The crowd roared like a violent storm. So if had if you had a question here, how does the writer show the frustration in the character? How does the writer show the frustration in the characters in this novel? Let's just say that was the question. Okay? The crowd roared like a violent storm. Okay, so first of all, get that language feature. Make your point. Language feature. Break it down. So I want you to try this one. We don't know what the frustration is. Maybe he's a football player and he's frustrated at the school and he's he's in a boating race and he's losing. Let's just make that. Rob gives connotations of it's using. A lion hunting for prey, it gives connotations of. Impatience. People not listening. They're trying to they're trying to get heard. They're not being heard. Okay. We also know what kind of feature is it. It's a sibecause. You've got a like, it's a siand then you want to think about. So I want you to put this as a whole paragraph. We've got two minutes. I think we can do it. So I would like you to make your point reanalyze link it back to the question. You can use this to help you how I've written this in. Yeah. So pop it down here. You've got some space there. She's got pink highligharound. And make your point with that question. So how does the writer show the frustration in the character's novel? The writer shows the frustration through the character's novel, through the idea of frustration and anger within a crowd. That could be your point. Should I write this down? Yeah or I can write it. I can dictate ably you if you've not got over pen to do no. Yeah. So super put that best. So the writer shows frustration frustration through. Do the scene of a football crowor the oven crowd, okay, through the scene of a crowd, the author uses techniques such as personification. So I would saying this one, it's simile because you've got light, okay, simile. Demonstrate frustration also compares the crowd like a violent storm, which gives connotations of distressed. And. Trying to make themselves big. The author, the author also describes or shows frustration through the word rules, which gives connotations of. A lion and. Trying to be heard and impatient. Create this. What the factors does that have on the raer? This has the Factom reader of. This makes the reader feel. Make it feel angry, doesn't it? Make it feel empathized? Makes the Breer feel angry. It makes a feel feel angry for the way character is being perceived. Yeah, great. Excellent. Yeah much better. Getting that point makes a huge difference. And we'll come back to this year because it's just building that confidence in knowing how to place it all and wasn't then have a wonderful evening and I'll see see.