A distinctive voice creates an emotional response to texts through its ability to connect with an audience and position them to understand their purpose through the use of a range of written techniques. The two speeches “I have a dream” by Martin Luther King and “Address to the Plenary Session” by Severn Cullis-Suzuki and the song “dear Mr president” composed by pink will be used throughout to help show you how a distinctive voice creates an emotional response to texts. “ I Have a Dream” by Martin
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that everyone has distinctive voices and by exploring and analyzing different people’s voices it is easy to realize that they convey everything you need to know about a person. Undoubtedly Andrew Paterson‚ Kylie Mole‚ Martin Luther King Jr. and Earl Spencer’s texts demonstrate their distinctive voices through their beliefs and contexts‚ creating an underlying meaning. It is with each and every word that these characters create meaning through their distinctive voices. It is without question that
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What is the Australian Identity? Introduction For years‚ many sociologists defined national identity simply as shared feelings of understanding‚ national sense of self and cultural heritage. In 2012‚ Holmes‚ D.‚ Hughes‚ K. & Julian‚ R. (2012) made a compelling statement that national identity‚ while reinforcing a shared sense of character and uniqueness‚ creates a rather singular identity that not all people within the country will necessarily share. In Australia‚ national identity has become
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own ideas and mythology. Some have very unique ideas that pretty much define that culture and what it’s people stand for. Australian Aboriginal mythology has almost been wiped out due to the invasion of other cultures like Christianity. However‚ there is a small percentage of people who still believe in their culture and preserve it to this day (Australian Mythology). Australian mythology aims to explain the creation of nature as well as the idea of a single connectivity between all creations‚ creators
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INTERPRETATIONS OF VOICE: Voice is a key issue in both the studying of and carrying out of qualitative research‚ as are the issues of power‚ reflexivity‚ silence‚ objectivity and so on. In qualitative research‚ voice can be interpreted in different lights. It can mean the voice of the subject being studied- whether individual or collective‚ or even situational. It can also mean the voice of the researcher who in turn is voicing the data‚ the case‚ and the respondents. A third voice is the tacit voice of culture
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Australian Aboriginal art‚ song and dance has been the corner stone of culture since the beginning of their existence. Having no form of written language Aboriginal art‚ songs‚ and dances passed down through the generations have been the heartbeat that has kept this ancient culture alive. Even though the art‚ medium‚ song‚ and dance of each Aboriginal tribe may be completely different‚ they all serve the same purposes; create ceremony‚ and to inform each member of the tribe of their history‚ spiritual
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Active and Passive voice Grammar: Active and Passive voice The formula of active voice is a common structure of a sentence; it should consist of subject‚ verb and object. If we want to change the structure into passive voice‚ we should change some of the elements in the sentence. The formula both of the voices are shown below: Active voice S + V + O + adjective/adverb Examples of the sentences 1. Agus gives Rany a present in her birthday. 2. They punched the thief
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Experience Through Language “Distinctive Voices” Analysis Table – Pygmalion (NOTES TO USE IN ESSAYS / EXTENDED RESPONSES) |Technique |Evidence (include Act/page number) |EFFECT in relation to “Distinctive Voices” | | | |Consider how “voice” and Shaw’s use of language:
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The Day the Voices Stopped By Ken Steele The voices arrived without warning on an October night in 1962‚ when I was fourteen years old. Kill yourself....Set yourself afire. I stirred‚ thinking I was having a nightmare‚ but I wasn’t asleep; and the voices–low and insistent‚ taunting and ridiculing–continued to speak to me from the radio. Hang yourself. The world will be better off. You’re no good‚ no good at all. Terrified‚ I turned off the radio‚ got out of bed‚ and crept down the hallway
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about the voice remind us that the history of altered voices in films differs profoundly from the history of altered bodies. If you examine cases in recent films‚ you notice that the most striking and memorable examples are not those in which someone invented a brand new vocal texture or timbre‚ but in which a strong correlation has been created between the voice and the body‚ the voice and face. This is the relationship through which the terrifying effect is achieved‚ and not in the voice taken in
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