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Street Haunting: A London Adventure

nhmhtduuhknknkn By Cassandra Cao Other things by me: Nothing. Who do you think I am, Steven King Spielberg VIIII?

Cassandra Cao

on 4 December 2012

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Transcript of Street Haunting: A London Adventure

Start Let's start from the top...literally! What is "street haunting"? It's just a walk in the city.

Don't overthink this, people. Figurative Woolf establishes early on that street haunting, which can be
considered a way of life, is basically stalling for time, and likens it to a game
through the use of similes. "As the foxhunter hunts to preserve the breed of foxes,
and the golfer plays in order that open spaces may be preserved..." Moments are very small and very quick. "The moment was stabilized, like a coin indelibly
among a million that slipped by imperceptibly." Mode: Narration and Description. Woolf personifies life itself and the human eye. "...Digging deeper than the eye approves..." "...Nature has been at pains to polish and preen herself..." "No one has ever felt passionately towards a lead pencil. But there are circumstances in which it can become supremely desirable to possess one..." It should also be noted that in using the term "lead pencil," you as the reader can form an idea of the time period. Strategies Evoke sympathy based on common humanity. Reasoning Woolf makes many comparisons and contrasts. Missing them
is like missing a stop sign. They're there and fairly obvious, so you really
shouldn't miss them. See how I made a reference to streets? Analogical. First, the author makes a point of contrasting Mantua, Italy with her precious streets of London, England. "windy" "cried" "quarrelled violently" "starving" "sociability" "brightness" "beautiful" Later, Woolf provides a living contrast through a female dwarf (dwarfess? dwarfelle?) escorted by two giantesses, with beautiful feet. She then proceeds to describe a young boy escorting two blind gentlemen. Coincidence? We think NOT! Also, Woolf changes point of view frequently, demonstrating her
characteristic literary technique of "darting". Throughout much
of the "adventure," she uses the pronoun "we" to guide the reader's
thoughts. During the dwarf's shoe scene. "And as this was the only occasion upon which she was not afraid of being looked at..." Appeal to reason from shared premises. The pencil. Invective. The flashback of Mantua. "We were leaving the shop when the sinister old woman..." " 'The man's a devil!' said Mr. Cummings..." Author verbs Purposes Produce reasoned agreement. The pencil. Produce increased understanding. By using the pronoun "we" and by changing perspectives throughout the essay, Woolf makes sure you see eye to eye. "As we step out of the house on a fine evening..." "...Accurately measuring out the precise number of spoons of tea which-- She looks at the door as if she heard a ring downstairs and somebody asking, is she in?" In one paragraph, Woolf uses the words "passing." "glimpsing," and "everything" before using the words "miraculously," "punctually," and "prosaically". She also uses present tense verbs to convey conversation without the formality of quotation marks. "She likes a hat to be practical, she says..." Present tense also puts you "in the moment," since putting oneself in the past is difficult when you are faced with the actual settings and the future is too uncertain. "A cat creeps along a garden wall..." "Love-making is going on sibilantly..." "Look at my feet, she seemed to be saying..." Finish. Virginia Woolf Cassandra Cao
P1 Language Produce awe or respect; honor/dignify ceremonially. The street people. "...Bright men and women, who, for all their poverty and shabbiness, wear a certain look of unreality, an air of triumph, as if they had given life the slip, so that life, deceived of her prey, blunders on without them."
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