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Second semester  final exam review So what do you know already?
High context/Low context <ul><li>The business card exchange… </li></ul>
M-time/P-time <ul><li>Come to dinner… It’s at six o’clock…  </li></ul>
Physical Appearance <ul><li>Do “clothes make the man”? </li></ul>
Silence <ul><li>When is it golden in the U.S.? </li></ul><ul><li>When is it awkward? </li></ul>
Olfactics <ul><li>What’s your favorite aroma?  What does it communicate? </li></ul>
Kinesics <ul><li>Signals of assent </li></ul><ul><li>Signals of dissent </li></ul>
Oculesics <ul><li>The failure to “look me in the eye” </li></ul>
Vocalics <ul><li>Keeping the phone channels open… </li></ul>
Proxemics <ul><li>The arrangement of chairs in the classroom </li></ul>
Haptics <ul><li>Sympathy in the U.S. </li></ul>
CITATIONS AND INCORPORATIONS <ul><li>“Indeed he was a corpse.”  Ivan Turgenev  Fathers and Sons,  page 169 </li></ul><ul><...
“ Indeed he was a corpse.”  Ivan Turgenev  Fathers and Sons,  page 169 <ul><li>Using a colon – </li></ul><ul><li>In  Fathe...
CITATIONS AND INCORPORATIONS <ul><li>“Neither a borrower nor a lender be.” William Shakespeare,  Hamlet,  Act 1, scene 3, ...
“ Neither a borrower nor a lender be.” William Shakespeare,  Hamlet,  Act 1, scene 3, line 87 <ul><li>Using a colon – </li...
Candide <ul><li>Lit approaches </li></ul><ul><li>Archetypal </li></ul><ul><li>Socio-historical </li></ul><ul><li>Structura...
Hamlet <ul><li>Structures of the acts: </li></ul><ul><li>1 – Background of story & character relationships </li></ul><ul><...
Hamlet <ul><li>The traps…. </li></ul>
Hamlet <ul><li>Seems versus is </li></ul>
Hamlet <ul><li>Character development </li></ul><ul><li>The foils </li></ul><ul><li>The womenfolk </li></ul>
Fathers and Sons <ul><li>The best way to live… </li></ul>
Fathers and Sons <ul><li>Irony, irony, irony </li></ul>
Fathers and Sons <ul><li>Realism—the balance </li></ul>
INDIAN LIT <ul><li>Sacred text —Bhaghvad Gita </li></ul><ul><li>Epic-- Ramayana </li></ul>
JAPANESE LIT <ul><li>Prose </li></ul><ul><li>Diary </li></ul><ul><li>Parables  </li></ul>
JAPANESE LIT <ul><li>Poetry </li></ul><ul><li>Waka </li></ul><ul><li>Haiku </li></ul><ul><li>Tanka </li></ul><ul><li>Senry...
ARABIC LIT <ul><li>Poetry </li></ul><ul><li>Qu’ran </li></ul><ul><li>Thousand and One Nights </li></ul>
PERSIAN LIT <ul><li>Rumi poems </li></ul><ul><li>Saadi anecdotes and aphorisms </li></ul>
CHINESE LIT <ul><li>Prose </li></ul><ul><li>Analects </li></ul><ul><li>Anecdotes  </li></ul>
CHINESE POETRY <ul><li>Book of Songs </li></ul><ul><li>Li Po </li></ul><ul><li>Tu Fu </li></ul>
WRITING <ul><li>Be creative in your thinking…. </li></ul><ul><li>Follow the directions... </li></ul><ul><li>Provide specif...
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2010 second semester final exam review

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Transcript of "2010 second semester final exam review"

  1. 1. Second semester final exam review So what do you know already?
  2. 2. High context/Low context <ul><li>The business card exchange… </li></ul>
  3. 3. M-time/P-time <ul><li>Come to dinner… It’s at six o’clock… </li></ul>
  4. 4. Physical Appearance <ul><li>Do “clothes make the man”? </li></ul>
  5. 5. Silence <ul><li>When is it golden in the U.S.? </li></ul><ul><li>When is it awkward? </li></ul>
  6. 6. Olfactics <ul><li>What’s your favorite aroma? What does it communicate? </li></ul>
  7. 7. Kinesics <ul><li>Signals of assent </li></ul><ul><li>Signals of dissent </li></ul>
  8. 8. Oculesics <ul><li>The failure to “look me in the eye” </li></ul>
  9. 9. Vocalics <ul><li>Keeping the phone channels open… </li></ul>
  10. 10. Proxemics <ul><li>The arrangement of chairs in the classroom </li></ul>
  11. 11. Haptics <ul><li>Sympathy in the U.S. </li></ul>
  12. 12. CITATIONS AND INCORPORATIONS <ul><li>“Indeed he was a corpse.” Ivan Turgenev Fathers and Sons, page 169 </li></ul><ul><li>Using a colon </li></ul><ul><li>Using a comma </li></ul><ul><li>Using no punctuation </li></ul>
  13. 13. “ Indeed he was a corpse.” Ivan Turgenev Fathers and Sons, page 169 <ul><li>Using a colon – </li></ul><ul><li>In Fathers and Sons, Bazarov’s condition was eloquently presented: “Indeed he was a corpse” (Turgenev 169). </li></ul><ul><li>Using a comma – </li></ul><ul><li>The narrator in Fathers and Sons says, “Indeed he was a corpse” (Turgenev 169). </li></ul><ul><li>No punctuation – </li></ul><ul><li>The narrator in Fathers and Sons makes the point by saying “Indeed he was a corpse” (Turgenev 169). </li></ul>
  14. 14. CITATIONS AND INCORPORATIONS <ul><li>“Neither a borrower nor a lender be.” William Shakespeare, Hamlet, Act 1, scene 3, line 87 </li></ul><ul><li>Using a colon </li></ul><ul><li>Using a comma </li></ul><ul><li>No punctuation </li></ul>
  15. 15. “ Neither a borrower nor a lender be.” William Shakespeare, Hamlet, Act 1, scene 3, line 87 <ul><li>Using a colon – </li></ul><ul><li>Polonius offers his son the following advice: “Neither a borrower nor a lender be” ( Hamlet . I.3.87). </li></ul><ul><li>Using a comma – </li></ul><ul><li>Polonius says, “Neither a borrower nor a lender be” ( Hamlet . I.3.87). </li></ul><ul><li>No punctuation – </li></ul><ul><li>Polonius makes the point by saying “Neither a borrower nor a lender be” ( Hamlet . I.3.87). </li></ul>
  16. 16. Candide <ul><li>Lit approaches </li></ul><ul><li>Archetypal </li></ul><ul><li>Socio-historical </li></ul><ul><li>Structural </li></ul>
  17. 17. Hamlet <ul><li>Structures of the acts: </li></ul><ul><li>1 – Background of story & character relationships </li></ul><ul><li>2 – Knowledge through indirect means </li></ul><ul><li>3 – Awareness of truth/action </li></ul><ul><li>4 – Results of abortive revenge </li></ul><ul><li>5 – Confrontation of opposing forces </li></ul>
  18. 18. Hamlet <ul><li>The traps…. </li></ul>
  19. 19. Hamlet <ul><li>Seems versus is </li></ul>
  20. 20. Hamlet <ul><li>Character development </li></ul><ul><li>The foils </li></ul><ul><li>The womenfolk </li></ul>
  21. 21. Fathers and Sons <ul><li>The best way to live… </li></ul>
  22. 22. Fathers and Sons <ul><li>Irony, irony, irony </li></ul>
  23. 23. Fathers and Sons <ul><li>Realism—the balance </li></ul>
  24. 24. INDIAN LIT <ul><li>Sacred text —Bhaghvad Gita </li></ul><ul><li>Epic-- Ramayana </li></ul>
  25. 25. JAPANESE LIT <ul><li>Prose </li></ul><ul><li>Diary </li></ul><ul><li>Parables </li></ul>
  26. 26. JAPANESE LIT <ul><li>Poetry </li></ul><ul><li>Waka </li></ul><ul><li>Haiku </li></ul><ul><li>Tanka </li></ul><ul><li>Senryu </li></ul>
  27. 27. ARABIC LIT <ul><li>Poetry </li></ul><ul><li>Qu’ran </li></ul><ul><li>Thousand and One Nights </li></ul>
  28. 28. PERSIAN LIT <ul><li>Rumi poems </li></ul><ul><li>Saadi anecdotes and aphorisms </li></ul>
  29. 29. CHINESE LIT <ul><li>Prose </li></ul><ul><li>Analects </li></ul><ul><li>Anecdotes </li></ul>
  30. 30. CHINESE POETRY <ul><li>Book of Songs </li></ul><ul><li>Li Po </li></ul><ul><li>Tu Fu </li></ul>
  31. 31. WRITING <ul><li>Be creative in your thinking…. </li></ul><ul><li>Follow the directions... </li></ul><ul><li>Provide specifics... </li></ul><ul><li>Check your work before submitting... </li></ul>
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