English Language
English Language
A Level English Language: Creative Writing: Informing and Persuading

The Eiffel Tower: The identifiable symbol of France?

What exactly is this thing?; this towering edifice, built little over a century ago, but which has long since become the most instantly identifiable symbol of Paris, and, some would say, of France itself. Monstrous and useless: as its artistic critics described it? The worlds tallest flagpole: as implied by another critic, although this one an admirer

Perhaps the best that can be said is that it is an over elaborate telecommunications mast; after all, it was this usage that prevented the planned demolition of the Tower, only twenty years or so after its construction.

But no, nothing so dismissive can describe the Eiffel Tower. For me, it is apt that this iconic structure should be seen as the identifiable symbol of France. It stands as a physical representation of the pivotal point in French history.

Once the most esteemed royal court in Europe; and the bulwark of the Roman Catholic Church, and papal authority, France had spent the century preceding the construction of the Tower lurching, uncertainly, between monarchy, republic, and the imperial pretensions of the Bonaparte's. In an era of revolution, military defeats, and the dawning of the age of enlightenment, France, it seemed, was being torn down, and rebuilt anew.

The Franco- Prussian war, only twenty years or so before the building of the Tower, was to be the death knell of France's age of pomp and grandeur. A defeated France finally swept aside the institution of monarchy, and, with it, the French position of defender of papal and ecclesiastical authority. With the mystique, charisma and divinity of the Bourbons and their Capetian and Carolingian ancestors long since discredited; and with the failure of the imperil pretensions of the Bonaparte's, the French republic was, at last, able to take its first unopposed steps towards establishing a new, republican, secular France.

This was a time of national insecurity: coming in the wake of military defeats, and the ending of the power of the institutions that had defined French identity. It was a moment in history which required a monument: a physical symbolic link between the past and this new beginning. Without its ever being intended for this purpose, I suggest that the Eiffel Tower can, perhaps surely should, be seen as such a monument.

At night it is illuminated, so as to appear shimmering, golden, and jewel encrusted; resembling a royal sceptre: the symbol of royal authority, dominating the Parisian skyline: towering over all France.

Yet, by day it appears not other than a solid structure of iron girders; entirely the work of industry and the hard grafting endeavour of common people. 

It points heavenward, like the spire of some indefeasibly huge Gothic cathedral: as if to recall to the French psyche the towering authority, the iconic presence, of the Roman Catholic Church.

Yet it is squarely anchored to the Earth, and its 'salvation' was to come from its purely functional usefulness.

With its iron fabric, its construction of scaffold-like girders of heavy industrial appearance, and its sheer scale, the Tower may seem to be a monument to engineering, scientific ingenuity, and human sweat and toil; a secular cathedral to humanism and the enlightenment. Yet, with its use of geometric shapes, its angles, sweeping curves and lattice work appearance, the Tower must be seen as a work of art; and in its scale, and its contrasts and contradictions, it must, I believe, be considered not only a work of human endeavour and toil, but also of the human soul.

It is my view that, for France, the Eiffel Tower symbolises the nation's triumph over the most turbulent period in its history, and is an assertion of 
the new French national identity, and a pointer to the future; while, at the same time, it pays an affectionate and nostalgic homage to a glorious past. Considered in this way, this instantly recognised structure must, surely, be the identifiable symbol of France. 

Textual content ©Copyright MLM Arts 2008. Edited and re-posted: 11. 06. 2020

The illustrations and pictures in this article are from the following sources (in order of appearance):

1. www.bgfl.org
2. www.cartoonstock.com
3.www.solarnavigator.net/history/napoleon_bonaparte.htm
4. images.google.co.uk
5. www.multiroutecourier.co.
uk
6. www.nik.co.uk
7. www.googleearth.com
8. www.immediart.com
9.www.picturescolourlibrary. co.uk

TEACHING ENGLISH (Essay writing skills)

Here's advice that I always give to students:

When writing essays, keep your use of words uncomplicated (that's not to say overly simplistic), direct and to point (unless a more complex word is required); don't sprinkle around complex, advanced and / or too technical words, when a more commonly used word will suffice perfectly well.


Your work will flow more smoothly, and have a quicker and more even pace and rhythm - while still making the points that you want to make... 

(GCSE (10th. / 11th. Grade) students are often particularly likely to make the mistake of using unnecessarily complex language: being eager to show-off their expanding vocabulary... )

It's nice to know that one of my favourite writers said much the same. :)


(I found this meme on-line. My acknowledgement and thanks to the person who made this (name unknown to me.))

KEY STAGE (KS) 1 COMBINED LITERACY AND NUMERACY LESSON:

PUPPIES ADVENTURE...!


This is a lesson that I had to devize and deliver for a class of adults with Learning Difficulties (LD) who were working at KS 1 level (primary school Year 1 / 2). The lesson went very well and the class was very much engaed and entertained by the story and the learning process.


Consequently, I have used the same lesson successfully when supply teachinf at KS 1 mainstream primary schools.


Lesson and Textual content: © Copyright: MLM Arts 10. 10. 2022. Edited and re-posted: 09. 09. 2024

ENGLISH LANGUAGE: EDITING TO CUT DOWN WORD COUNT

This is an example of how to edit essay or other written work, such as reviews or articles, to significantly reduce word count: which ois a very necessary skill for achieving a tighter, better structured and more coherent, more focussed piece bof work; and of course, keeping within word limits is always part of writing tasks.

This is the opening paragraph / introduction from 'The Man Who Brought The Sun': a very good, imaginative and absorbing creative writing course work task, by a student of mine from a few years ago.

The first version is the original: below, is the edited version that I tutored the student through. The edit reduces the word count from the original by almost 1/3 - but keeps the style and story telling, while making for a quicker paced and more coherent narrative.

The Man Who Brought The Sun

It was Thursday April 23th at 12: 30 pm; at school I had PE, PE was a rare subject and happened once a week. As usual that day everyone brought their PE kits, but I did not. It was the month of Ramadan, so I was fasting, and thought it will be better to not take PE kits from home and do PE, so could not waste my energy; but the school instructed us to bring PE kits, and the law was strict. During that day when we gathered at the PE hall, I looked around and saw every student had their PE kit, but I did not. The teacher told us, ’those who have their kits go out and those who don’t have their kits to the detention room’. When heard this. I was shocked. So they took me to the detention room. At that moment I was heart-broken, as I wanted to go out and enjoy the weather, and because getting detention never happened to me before in my whole years of school.  I completed the 2 hours, as two years of my life. After school, I started to go home by bike, on the way my all imagination and focus was on the detention, which made me brook internally. After 10 minutes of cycling on the main road I reached a point where I was accidently hit by a car.

(Credited to: GCSE student; May 2021)

WORD COUNT: 239

EDIT:


The Man Who Brought The Sun


It was Thursday, April 23th - 12: 30 pm; at school I had my weekly PE lesson; as I was fasting for Ramadan, I thought it better to miss PE, so I didn’t bring my kit. But the school’s rule about bringing PE kits is strict; when we gathered for PE, I saw that I was the only student with no kit. The teacher told us that anyone without a PE kit must go to detention. I was shocked by this; but still I was taken to the detention room. I was heart-broken, as I wanted to go out and enjoy the weather, and because getting detention never, ever happened to me before.  I completed the two hours as two years of my life.  After school, I travelled home by bike. On the way, my mind was distracted by the detention. After ten minutes of cycling on the main road, I reached a point where I was accidently hit by a car.

WORD COUNT: 168

SAVING: 71 words.


Textual content: edit of text lesson © Copyright MLM Arts (tutoring / advising the student) 08. 05. 2021 (Original text / story conceived by and written by my GCSE student: acknowledgement to that  student. Edited and re-posted: 14. 09. 2024

Commentary On The Article

My purpose in writing this article was to persuade: I wanted to promote the status of The Eiffel Tower from that of tourist attraction, or, at best, iconic structure, to that of the identifiable symbol of France: the commemorative link between France's royal and ecclesiastical past, and republican, secular present. I attempt this by influencing the views of its audience through an informative yet persuasive appeal. I make an assumed knowledge of the audience, and its understanding of modern French political and social structure, but give brief factual historical information concerning the past traditions and institutions of France and how they came to be altered or abandoned in the shaping of modern France. I then describe how the Eiffel Tower was built at the pivotal point between the extinction of the old and the rise of the new: thus framing The Tower as a symbolic link in the audience's psyche.

The intended audience is people with interest in history, architecture, and/or travel, and an age range from late teens upwards. Possible publication targets are weekend newspaper supplements, on-board magazines and travel magazines.

The title introduces the contention; its punctuation with a question mark suggests a persuasive, rather than an evangelical, or purely informative piece.

My intended style was documentary narrative, aimed at being rhetorically persuasive. By use of contentious language: 'what is this thing?'; and rhetorical language: 'But no, nothing so dismissive can describe The Eiffel Tower... It stands as a physical representation of the pivotal point in French history', the audience is engaged in the issue, and the purpose of the article as a persuasive piece. Subsequent use of factual information is designed to underpin the rhetoric, and offer substantial background to the point that I am seeking to persuade the audience to accept. In a sense I use this as a pragmatic device: relating events in French history to the construction of The Tower, prior to my use of symbolic imagery, metaphor and allegory: (resembling a royal sceptre; like the spire of some unfeasibly huge gothic cathedral; a secular cathedral to humanism and the enlightenment); in this way suggesting the links to this imagery before they are made.

This use of evocative language assists the persuasive purpose of the piece by effectively depicting The Tower as at once symbolic of the institutions which defined French identity in the past, and those which have replaced them. 

The phonology and syntax alter to suit the intended symbolism: romantic words, mainly Latinate, multi syllabic, are used to describe the past: illuminated; jewel encrusted; heavenward; geometric; whilst more earthy, Anglo-Saxon mono or bi-syllabic words are mainly used to describe the succeeding era: squarely anchored; scaffold-like girders; sweat and toil. Yet, neither era is judged to be inferior to the other; The Tower is depicted as a symbol of French progressiveness, adaptability, and triumph over a changing world: '...a pointer to the future... an affectionate homage to a glorious past.' My confident use of these descriptions and comparisons adds to the persuasive quality of the piece.

I use a variety of sentence types in order to construct the article as a persuasive piece. I deliberately begin with the interrogative in my introduction, i.e.: 'What exactly is this thing?'; use examples of the imperative in the main body of the text, i.e.: '...the Tower must be seen as a work of a monument to engineering...humanism and the enlightenment'; and I close with the declarative: '...this instantly recognised structure must, surely be the identifiable symbol of France.' I have tried to foreground important specific topics through the use of the subordinate clause, e.g.: 'Once the most esteemed royal court in Europe...', to emphasise the importance of the institutions and traditions of France's past and, therefore, the significance of their passing. Using linguistic devices such as specific sentence structure gives relevance to the cohesive structure of the article.

My paragraph structure reflects my choice of sentence structure: My introduction is attention grabbing contention, which concludes by making the point of the piece. The first paragraphs of the main body of the text consist of formal historical background details, in an academic style, to give gravity to the point which I am trying to persuade the audience to accept. I then make use of descriptive, evocative language to describe the Tower as symbolic of France's past and future, and the contrasts and contradictions in the French psyche. I conclude with a strong assertion of the point that I am attempting to persuade the audience of.  

My choice of graphology is inspired by the layout of the types of magazine publication that the piece is aimed at: I have structured in columns, and with relevant pictures and illustrations which are carefully chosen to correspond to significant points in the text in a way which adds emphasis to the points being made by depicting them, e.g.: the cartoon picture of the Tower as a flagpole illustrates the description, and does so in the semi-satirical way that is was made; the cartoon of the French king and queen in chains, lamenting the decision to debate Robespierre, illustrates the point about the discrediting of the French royal house, and makes the link to revolutionary France; the closing photograph of the Tower amidst a spectacular firework display works well to compliment the comment: ' ...a pointer to the future; and an affectionate homage to a glorious past.  

Rough Guidance  Notes On The Commentary:

Purpose: inform and persuade.

Publish target: travel magazines? Historical supplements?

Audience: People interested in historical monuments / perhaps those visiting Paris in particular.

Paragraph structure: opens with attention grabbing contention; makes the point of the piece; gives background leading to significance of the construction of the Tower; very descriptive and evocative: how the tower symbolises the past and the future, and the contradictions in the French psyche; concludes with main point being reasserted.

Language: begins contentiously; then assertive: rhetorical. goes into documentary, academic mode: to inform the reader on the essential facts and points needed to anchor the point. The persuasion comes in the shift to more prosaic, evocative and romantic use of words: lots of symbolism implication the the Tower is a metaphor for the humanist, secular future, and the spiritual, regal past. Then round off with another blast of rhetoric: to drive home the point.

Textual content ©Copyright MLM Arts 2008. Edited and re-posted: 11. 06. 2020

ENGLISH: CREATIVE WRITING: UNDERSTANDING HOW TO WRITE FOR DIFFERENT AUDIENCES AND AGE GROUPS: STARTING WITH PRIMARY AGE KS 1 – 3


READERING TEXT COMPREHENSION: CORE TEXTS:


Three stories for children (presented as short plays): Jack and Jill; Little Red Riding Hood; Goldilocks and the Three Bears


Decide what age-group audience these stories were aimed at – and why.


Jack and Jill was for children aged ? -Why?


Little Red Riding Hood was for children aged between ? and ? -Why?


Goldilocks was for children aged between around ? and ? Why?


Discuss why: by looking at words. Jack and Jill had mostly monosyllabic or disyllabic words;  but Red Riding Hood and Goldilocks had a few polysyllabic words. Then look at sentence structure. Jack and Jill had mostly simple or compound sentences: which are easier for younger children; Goldilocks had one complex sentence.


Emotional Effect


Discuss the emotional effect of the stories – mostly, how scary they are: the more scary they are, the older the age group they should be aimed at: but none were VERY scary – and all had a happy ending.


Looking at how language is used:


Alliteration: makes some sentences fun to read, and it’s good for emphasising points.

Onomatopoeia: makes a story lively.

Sibilance: works in the same way as alliteration; but it’s also good to make a character’s way of speaking distinctive.

Anthropomorphism / Personification: gives animals or objects human characteristics: like talking. This is good in children’s stories.
Pathetic Fallacy: a bit like anthropomorphism, but it gives human moods and emotions to things like weather and scenery; for example: the mountains looked gloomy; the rain fell angrily; the sun was cheerful… Etc… (These are just some examples).


HOMEWORK TASK: Look back at the work you did last Thursday and Friday. Then plan and write a very short story or play – should be between one and five sides of paper – for primary school aged children.


GUIDANCE TO HELP YOU PLAN THE STORY:


Make a plan of the story or play begore you write it, by making rough notes. Think about:


What age group your story or play will be for.


What are the right length of words to use: monosyllabic; disyllabic (or bisyllabic: they mean the same thing); should you have one or two polysyllabic?


What are the right types of sentences to use: simple; compound; maybe one or two complex?

How scary should it be?:


Jack and Jill, is for very small children: it was not VERY scary: it was just about falling over and tumbling down a hill – a little bit scary – but Jack and Jill were OK in the end.


Goldilocks is for slightly older children:  was a bit more scary: Goldilocks made some bears angry, and had to run away fast; she escaped and was OK in the end.


Red Riding Hood is for the oldest children of this age group; it was more scary: there was a bad wolf, who ate Red Riding Hood and Grandma – but he was defeated in the end, and Red Riding Hood and Grandma were saved and were OK in the end.


How many characters: at least two, but not more than four is best.

At least one character should be an animal.

Who is the main character?

Who are the other characters?


How would you describe the characters – each in just one or two sentences?

How would you describe the scenery or / the weather / or the room(s) that the story or play takes place in?


How does the story or play start? (Jack and Jill were just going to fetch water; Red Riding Hood was just going to visit Grandma; Goldilocks was just having a walk in the woods: all very ordinary things to start these plays with).


What happens to make the story something exciting and a bit dangerous? In Red Riding Hood and Goldilocks, talking animals appeared: that was unusual and exciting; what they thought about Red Riding Hood and Goldilocks, and what they did, made those stories more exciting and a bit dangerous.


Remember to have a happy ending...!


Links to the Youtube videos of the stories. (Acknowledement: the above images came from these videos):


Jack And Jill: https://youtu.be/bxX3EkFuSe0?feature=shared


Red Ridinghood - and - Goldilocks: https://youtu.be/bxX3EkFuSe0?feature=shared


Textual content: © Copyright: MLM Arts 27. 03. 2020. Edited and re-posted: 07. 09. 2024

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