Pollan’s dramatic diction serves as an integral aspect of his recounting of his first successful hunt. First, Pollan expresses his unease at his lack of familiarity with the intense process of hunting. For example, he emphasizes an overall feeling of apprehension, asserting that “adrenaline surg[ed]” and he “shak[ed] violently” (Pollan 10-11). Here, Pollan dramatizes his emotional state through dynamic diction to demonstrate an emotional “surge” or rush of anxiety. In addition, the specific portrayal of his uncontrollable “shaking” emphasizes innate nervousness in a simple and concise manner. Furthermore, through the description of the “rioting” and “tumbling” of the pigs frantically scattering away, Pollan paints a clear, vivid image of chaos
Michael pollan is an American journalist, author and activist, and he is currently working as a professor of Journalism at the UC Berkeley Graduate school of Journalism. He completed his B.A. in English from Bennington in 1977 and an M.A. in English from Colombia in 1981. Michael pollen is author of many food and eating related books For Example, The omnivore’s dilemma, A natural history of four meals, Food rules, In defense of food and many others. In 2010, Michael pollan was named one of the top magazines top 100 most influential people. As we know obesity is common in Unites States and its rate is increasing day by day, this is the reason pollan made this argument to make people aware regarding this issue that what are the causes of obesity and many other
Where does the line of sport and murder intersect in hunting? Is it when the species being hunted is able to reason? Or is it when the species being hunted looks just like the hunter? In both movie and film, we see a man fight for his life and another going against all codes of ethics. While Connell’s “The Most Dangerous Game” and Ernest B. Schoedsack’s film adaptation both have several similarities, the difference are also apparent in each respective media.
The author uses diction in the passages to signify the effect of the author¡¯s meaning in story and often sway readers to interpret ideas in one way or another. The man in the story arrives to a ¡°[dry] desert¡± where he accosts an animal with ¡°long-range attack¡± and ¡°powerful fangs.¡± The author creates a perilous scene between the human and animal in order to show that satisfaction does not come from taking lives. With instincts of silence and distrust, both of them freeze in stillness like ¡°live wire.¡± In addition, the man is brought to the point where animal¡¯s ¡°tail twitched,¡± and ¡°the little tocsin sounded¡± and also he hears the ¡°little song of death.¡± With violence ready to occur, the man tries to protect himself and others with a hoe, for his and their safety from the Rattler. The author criticizes how humans should be ¡°obliged not to kill¡±, at least himself, as a human. The author portrays the story with diction and other important techniques, such as imagery, in order to influence the readers with his significant lesson.
As the sweltering, hot sun signified the start of a scorching afternoon, a young boy lay in the fields harvesting vegetables for another family. He had been enslaved to perform chores around the house for the family, and was only given very few privileges. While his stomach throbbed with pangs of hunger, he continued cooking meals for them. After the family indulged in the cozy heat from the fireplace, he was the one to clean the ashes. Despite his whole body feeling sore from all the rigorous work he completed, the young boy had been left alone to suffer. As months passed by, he desired independence. He wanted to cook his own food, make his own fire, harvest his own plants and earn money. The lad soon discovered that he needed faith and courage to break away from his restricted environment. When put in a suppressive situation, every person has the aspiration to escape the injustice. This is what Harrison Bergeron and Sanger Rainsford do to liberate themselves from the external forces that govern their lives. Harrison, the main character of “Harrison Bergeron” written by Kurt Vonnegut, is a strong, fourteen year old boy whose talents have been concealed by the government. Growing up in an environment where equality has restricted people’s thinking, Harrison endeavors to change society’s views. Rainsford, the main character of “The Most Dangerous Game” written by Richard Connell, is a skilled hunter who believes that animals were made to be hunted; he has no sympathy for them. Stranded on island with a killer chasing him, he learns to make rational choices. While both Harrison and Ranisford are courageous characters, Rainsford’s prudence enables him to overpower his enemy, whereas Harrison’s impulsive nature results in him being ...
In order to emphasize his recurring theme of reason versus instinct, Connell first sets the scene for the story’s setting, the setting Connell chooses for “The Most Dangerous Game” fits exceptionally well alongside both the story’s plot, as well as, its literary element of suspense. By introducing the idea of a mysterious island at the very start of the story through Rainsford’s friend Whitney, Connell instills in the reader a suspicion that can only be fed by reading further on (67). Connell set the story on a so-called abandoned island referred to as ship-trap-island. This island is a representation of a lawless region secluded from society, where the hunting of man by man is an acceptable sport in the eyes ...
(M.S. 5) Dillard and the other tourists watch a feeble deer struggle to escape from a trap. In her narrative, Dillard depicts the deer’s suffering, “The rope twanged; the tree leaves clattered; the deer’s free foot beat the ground” (Dillard, 1982, p.99). Dillard precisely structures the sentence for a verb to follow each noun such as, ‘the rope’, ‘the tree’, and ‘the deer’. The verbs following each noun, separated by a semicolon, includes, ‘twanged;’ ‘clattered;’ and ‘beats.’ This sentence structure decelerates the flow of the passage; therefore, stressing the deer’s slow, long, and painful suffering. Dillard continues to emphasize the deer’s agony to portray her awareness of its suffering. Dillard recalls, “Its hip jerked; its spine shook. Its eyes rolled; ...” (Dillard, 1982, p.99). Dillard’s parallel sentence structure begins by referring to the subject as ‘its’ and ends each sentence predicate with a verb such as, ‘jerked’, ‘shook’, and ‘rolled’. Dillard’s repetition of the subject intensifies the misery the deer experiences. Dillard’s description of the deer also leads to her confusion regarding the unpredictably of suffering; because the deer’s anguish contrasts her comfortable, yet vulnerable
First, the attitude of the speaker’s father creates a contrast with other hunter’s behaviours during hunting. When the speaker goes hunting with his father, his father often adopts the technique of “[sitting] silently, motionless and endlessly patient, waiting for deer to come down the paths” (2). They sit this way for hours and are usually rewarded because “there was always an abundance of less patient hunters … noisily crashing about, keeping the deer more or less constantly on the move” (2). The sound of
I first flew to the barn, rounding up the cows and bulls as I locked the iron hinges of the outside door. The thunder of footsteps became louder, and the clinking of the guns rattled my heart. I dared look back to see them darn Yankees, able to make out the dirt on their faces, and rusted presence of their bayonets. They were going to meet in the cornfield, my crop surely ruined by the end of this
...mselves at her.... Roger ran around the heap... Jack was on top of the sow stabbing downwards with his knife.... The sow collapsed under them and they were heavy and fulfilled upon her” (135). Indeed, the gruesome description is reserved for Jack and Roger; however, it is clear that all the hunters are vehemently piled on top of the sow as they are killing it with ubiquitous violence. In short, humans are elementally violent and Golding expresses this with vivid descriptions of the boys' vigour in several violent situations.
This tribe brings nothing but death and destruction to the island. Moreover, the newly formed group of warriors even develop a dance that they perform over the carcass of the dead pig. They become so involved in this dance that that warriors kill one of their own kind. By chance, Simon runs from the forest towards the group that is already shouting “‘Kill the beast! Cut his throat! Spill his blood!’” (152).
Michael Pollan presents many convincing arguments that strengthen his position on whether slaughtering animals is ethical or not. He believes that every living being on this planet deserves an equal amount of respect regardless of it being an animal or human, after all humans are also animals. “An Animal’s place” by Michael Pollan is an opinionated piece that states his beliefs on whether animals should be slaughtered and killed to be someone’s meal or not. In his article, Pollan does not just state his opinions as a writer but also analyzes them from a reader’s point of view, thus answering any questions that the reader might raise. Although Pollan does consider killing and slaughtering of animals unethical, using environmental and ethical
Throughout Orwell’s literary career, he avidly stood against totalitarian and imperialistic forms of government. His two most famous works (1984 and Animal Farm) both exemplify this point, but at the same time weaken it. These two works were written in protest of those governments, but in a fictional back ground. In Orwell’s essay Shooting an Elephant, he uses a personal experience to more clearly emphasize the impact of imperialism at the sociological and psychological level, in conjunction with other literary elements. This symposium of devices help drive the purpose of his paper and ultimately creates a more substantial impact on any reader.
The poem begins by describing the lunatic as a man with very animal tendencies, “with starting pace” and “with wide and hollow eyes” (lines 2-3) These characteristics alone give the reader a vivid image of how this man acts, and immediately sets low expectations for his character in a social and intellectual sense. His primitivism shows as “his cold bed upon the mountain turf” (6) is mentioned, furthering the image of a wildly sav...
In 1936 George Orwell wrote a short story titled "Shooting an Elephant.” In it he discusses a fictional story of a man who kills an elephant and the implications that arise afterward. He relates it to British Imperialism and uses the individual's experiences as a reference to larger experiences that we all face. Many issues of the societal pressures and morality of killing arise over the death of the elephant as well as how the narrator’s identity was altered by his environment. While it appears to be a story of a rampant elephant being euthanized, George Orwell uses the story as an analogy to describe man's inner struggle between acceptance, morality, and the pursuit of power.
Perhaps the most prominent and elusive of symbols in the text, the echo produced by the Marabar Cave, “entirely devoid of distinction” (163), helps to enkindle meaningful contemplation in the mind of the reader. Mentioning the disquieting nature that the “boum” of the echo has on Mrs. Moore, Forster writes, “…The echo began in some indescribable way to undermine her hold on life…It had managed to murmur, ‘Pathos, piety, courage – they exist, but are identical, and so is filth…’ If one had spoken vileness in that place, or quoted lofty poetry, the comment would have been the same – ‘ou-boum’” (165). In using the echo to elucidate the sudden change in Mrs. Moore, Forster mystifyingly requires the reader to define the symbol, representing nothingness, and then to relate it to the concrete transformation of the character. Other tangibles, such as the green bird that Adela and Ronny look to identify to “somehow solace their hearts” (91) also have symbolic qualities meant to represent abstract ideas. In discussing the wild bird, Forster subtly correlates it with the inexplicable qualities of India. As with the other symbols in the book, the reader is left to determine what the object signifies and how it relates to the text. Consequently, the utilization of symbolism in A