Bridget Jones's Diary Extract:
Bridget first meeting Mark Darcy
By Helen Fielding
Sunday, 8 December 2013
Wednesday, 4 December 2013
Question 3: Language and Power
This leaflet was writen by Bishops Waltham Action Group (BWAG) for the residence of Bishops Waltham. As the obvious purpose of this text is to influence the reader to write a letter of apposal (of a new store) to the City Council, the presence of imperatives are prominent, "write a letter today" is an instruction which stresses the importance of the matter as they are given no other option, accompanying this is the lack of politeness markers which creates the sense of comand making the text have propaganda like essences throughout. The adverb "today" after the imperatives screams urgancy, this being a title stuns the reader by first glance into the thought chain what's so important i have to write a letter today? Not only does this cast the readers attension into the depths of the writing itself, but it makes the reader delve into another purpose of the text, the informing of issues in Bishop Waltham. By informing the reader it gives them the illusion of a sense of power of knowledge, by giving them this they feel they have the power to change the problem adressed in the text and are more likely to write the letter described. Next to this bold enlarged title designed to cling and draw in the readers focus, is a red clock. Pragmatically the colour red has connotations of danger this then attatches itself semantically into the readers memory of Bishops Walthams (BW) pending Sainsbury's, tagging itself to the connotation, so whenever the reader thinks Sainsburys in turn will think... danger! This use of semantics is designed to linger in the readers head, to slowly influence and indoctrinate them to think negatively and be more inclined to write a lettle of dissporoval.
Below is text adressed to the residence of BW, including clever choices of lexis "the real battle" not only is this clever as BW is a place of medival battles and is tied securaly to the residence sentamental emotions the word "battle" has stong connortaitons of destruction and grave loss, this isnt just a fight its a battle which is thought of as long tiresome and to no good comes out. This influences the reader to do the right thing they have been conditioned into as a human that such a cause of destruction is wrong, making them more likely to write a letter of apposal. Such uses of desfimism is cut with a short utterance breaking all rythem, "Our community has a voice." the use of persuasive pronoun "our" makes the BWAG appeal as a single person that each resident can create a relationship with instead of an organisation that appeals as cold which cant be seen as one of us. The use of Short utterance breaks all flow of the text, this perhaps could be a symbol of the destruction that would be caused by introducing a major brand into a delicate town such as BW, clearly residence wouldnt want such a tragedy and would do anything in there power to change it, influencing them to use their own power to gain what they want.
Naturally our eye is then drawn to the bold interrogative sentence below. "Is this a chance worth taking?" No doteful resident wants their towns livelyhood up to "chance", a word with uncertain unreliable outcomes, mainly assosiated with gambling which creates a villan for the residence to direct their disgust at which happens to be Sainsburys, this use of a scapegoat like character can be used as a reason for the residence to be scared, and tpyically BWAG is portrayed as the hero which residence turn to, and in tern are influenced to vote from the people with the answers.
Below is text adressed to the residence of BW, including clever choices of lexis "the real battle" not only is this clever as BW is a place of medival battles and is tied securaly to the residence sentamental emotions the word "battle" has stong connortaitons of destruction and grave loss, this isnt just a fight its a battle which is thought of as long tiresome and to no good comes out. This influences the reader to do the right thing they have been conditioned into as a human that such a cause of destruction is wrong, making them more likely to write a letter of apposal. Such uses of desfimism is cut with a short utterance breaking all rythem, "Our community has a voice." the use of persuasive pronoun "our" makes the BWAG appeal as a single person that each resident can create a relationship with instead of an organisation that appeals as cold which cant be seen as one of us. The use of Short utterance breaks all flow of the text, this perhaps could be a symbol of the destruction that would be caused by introducing a major brand into a delicate town such as BW, clearly residence wouldnt want such a tragedy and would do anything in there power to change it, influencing them to use their own power to gain what they want.
Naturally our eye is then drawn to the bold interrogative sentence below. "Is this a chance worth taking?" No doteful resident wants their towns livelyhood up to "chance", a word with uncertain unreliable outcomes, mainly assosiated with gambling which creates a villan for the residence to direct their disgust at which happens to be Sainsburys, this use of a scapegoat like character can be used as a reason for the residence to be scared, and tpyically BWAG is portrayed as the hero which residence turn to, and in tern are influenced to vote from the people with the answers.
Monday, 2 December 2013
Initiation-response-feedback (IRF)
Initiation-response-feedback, or IRF, is a pattern of discussion between the teacher and learner. The teacher initiates, the learner responds, the teacher gives feedback. This approach to the exchange of information in the classroom has been criticized as being more about the learner saying what the teacher wants to hear than really communicating.
Example: The teacher asks a learner for rules about use of the present perfect, the learner gives an answer, and the teacher says whether that is correct or not.
In the classroom
Although this approach has been criticized, it can provide a useful framework for developing meaningful communication in a controlled form. For example, there is room for authentic input in an IRF dialogue such as:
Example: The teacher asks a learner for rules about use of the present perfect, the learner gives an answer, and the teacher says whether that is correct or not.
In the classroom
Although this approach has been criticized, it can provide a useful framework for developing meaningful communication in a controlled form. For example, there is room for authentic input in an IRF dialogue such as:
- How many brothers have you got?
- Three!
- Oh so you've got three brothers! That's a big family! Etc
A factor is the size and ability of the class, as well as the type of lesson being taught. If the subject is more discussion oriented, or the class is smaller or of a higher ability, feedback may be less frquent or perhaps not occur at all, with multiple responses occuring instead to suit a more intellectual discussion as opposed to a strict question-answer structure typical of the model.
Monday, 18 November 2013
Task 14: Fairclough
Advertising builds a relationship between producer and receiver by constructing a product image that in tern helps to position the receiver as a potential consumer.
This Barnado's advert creates synthetic personalisation via dramatic graphological imagery making the audience feel emotionally connected and sympathetic. The image of a baby in a dirty room holding a needle is extremely shocking, no parent would want their child to be alone in such conditions so instantly a personal connection amongst the producer and the consumer (and deeper still, to the customer's children) is built, this applies to a wide customer base however feels incredibly personal to each individual. Another interesting aspect of this is the contrast between imagery and lexics, for example "Age 22" is placed above the image of the endangered baby, this pragmatically implies that as a result of neglect/abuse the individual is forever trapped in a state of vulnerability emotionally and in extreme cases individuals are scarred for life (various research into this has proved such a theory). Such a dramatic truth into abuse naturally pulls at anyone's heart strings, this builds an attachment for the audience/customer to the child in danger and further to the charity. For the charity to appeal approachable and not just a company the pronoun "we" is used repeatedly, this comforts the audience as the pronoun feels incredibly more personal and warming than say the company's name being repeated.
Now, an advert such as this Revlon advertisement has the same aspects to appeal to an audience and create a relationship however, uses said aspects to a differing affect. Instead of shocking and distressing imagery, because the aim is to sell a product, a beautiful celebrity who'd appeal to many and the public could feel attached to showcases the product. Pragmatics in graphology grow further to include the use of Red in text, red has connotations of sexuality and passion something women want, this would then transfer onto the actual product this personalisation for women forms an attachment between customer and producer as they feel understood. This advert also made use of the pronoun "you", this involves the reader as they feel they're being addressed personally, when the customer feels they are being spoken to instead of informed they are more likely to be attracted to the product as this would feel considerably friendlier and warmer.
Sunday, 10 November 2013
Asymmetrical Conversations
Equal in Power
Lauren: Hey babe
Louise: Hey lul
Lauren:You done the art work?
Louise:Fuck...
Lauren:Me neither
Lauren: Hahaha |
Louise: Hahaha |
Commentry: Equal power is shown by the use of cursives. Cursives give an undoubtable amount of informality common with situations of mutual power, especially between friends. Incomplete sentences also add to the informality "you done the art work?" the lack of the word "have" shows certain amount of comfortability between the participants, that wouldn't be present with someone of more or less power than yourself. Turn taking is equal, there is also no real difference in amount spoken between participants showing equality in conversational power.
Less power than myself
Louise: It would be nice if you were on time, for once.
Year 7: Errr (.) I'm sorry
Louise:Are you ready to read?
Year 7:Yes
Louise: Ok. When you're ready, start.
Year 7: What's that word?
Louise: That word is "Sometimes"
Year 7: Thank you.
Commentary: Asymmetrical conversation is shown by the presence of fillers such as "err" the participant with less power is typically more under pressure so nervous signs such as fillers are common. You can also clearly see who is control of topic by the interrogative sentences on Louise's part.
More power than myself
Teacher: Where is your homework?
Louise: I (.) er (.) Left it at home.
Teacher: Well thats unnaceptable.
Louise: I'm Sorry.
Teacher: I expect it on my desk tomorrow morning. You need to work harder. Do your homework on time.
Commentary: As before the conversation topic is controlled by interrogative sentences, as a result of the intimidation caused the less powerful participant is shown with fillers and pauses. The use of imperatives also gives a sense of power as it lacks politeness and orders show hierarchy between the two participants.
Lauren: Hey babe
Louise: Hey lul
Lauren:You done the art work?
Louise:Fuck...
Lauren:Me neither
Lauren: Hahaha |
Louise: Hahaha |
Commentry: Equal power is shown by the use of cursives. Cursives give an undoubtable amount of informality common with situations of mutual power, especially between friends. Incomplete sentences also add to the informality "you done the art work?" the lack of the word "have" shows certain amount of comfortability between the participants, that wouldn't be present with someone of more or less power than yourself. Turn taking is equal, there is also no real difference in amount spoken between participants showing equality in conversational power.
Less power than myself
Louise: It would be nice if you were on time, for once.
Year 7: Errr (.) I'm sorry
Louise:Are you ready to read?
Year 7:Yes
Louise: Ok. When you're ready, start.
Year 7: What's that word?
Louise: That word is "Sometimes"
Year 7: Thank you.
Commentary: Asymmetrical conversation is shown by the presence of fillers such as "err" the participant with less power is typically more under pressure so nervous signs such as fillers are common. You can also clearly see who is control of topic by the interrogative sentences on Louise's part.
More power than myself
Teacher: Where is your homework?
Louise: I (.) er (.) Left it at home.
Teacher: Well thats unnaceptable.
Louise: I'm Sorry.
Teacher: I expect it on my desk tomorrow morning. You need to work harder. Do your homework on time.
Commentary: As before the conversation topic is controlled by interrogative sentences, as a result of the intimidation caused the less powerful participant is shown with fillers and pauses. The use of imperatives also gives a sense of power as it lacks politeness and orders show hierarchy between the two participants.
Wednesday, 30 October 2013
Grouping Task
My first grouping of text is of A+D as these texts share similarity's in their use of pragmatics in graphology. Both texts focus on children pragmatically, obviously texts to warn are designed to catch ones eye so the presence of bright colours is of paramount importance, in text A this graphological aspect has been manipulated to replicate a child's felt tips. The use of red signifies danger, analytically speaking one could even argue it also carries symbolical imagery to the child's blood, an eye opening aspect of graphology for the reader and parents specifically. This is reinforced with the felt tip being smudged in every red coloured word of the scruffy basic handwriting of the child, one can only imagine this has been done to further symbolise the child's fatal injuries as a result of ignorance on the parents part. A also carries a conditional sentence "If" gives a huge sense of uncertainty, maybe your child will die maybe they'll survive? "If" also has connotations to luck, no parent will gamble their child's life so therefore this lexical choice is completely in tone with the warning atmosphere of the text, accompanying this is the presence of the pronoun "you" this makes the text personal, as the text (unlike D) can be aggressive as children wont be necessarily reading it, it means the parents being almost interrogated.
D carries manipulation of graphology in a slightly different way, in this text the use of graphology is designed to entertain the audience (which happens to be children) now bright colours are also used to capture the attention, however in this text its to spark imagination instead of to spark shock, this is executed by whimsical characters, in this instance friendly looking pirates, this makes it easier for the child to transfer text into an image in their mind enhancing the experience instead of creating a interrogative atmosphere. Enhancing the imagery further is the manipulation of phonology, shown in the presence of the onomatopoeia "whine", a whine is not just a cry its an exasperating excruciating wail, so to portray such a sound lexically a long vowel is perfect, as this elongates the sound and further elongates the word to symbolise such a long cry. An onomatopoeia allows the reader to not only picture but hear what is going on in the text, this allows a more vivid experience for the reader.
My second grouping is of texts B&C as these texts both use interrogative sentences to cause effect. The texts differ substantially in some aspects, one being a comical script and the other a persuasive advert despite this they share this specific similarity. In text B, a script of Blackadder Goes Forth, comedy is made by the constant use of questions, in this banter between Baldrick and Blackadder a stream of basic questions is presented to phonologically build the audience up for the winning line "And the chances of there being two bullets with my name on them are very small indeed". The short snappy questions keep the audience interested and constantly amused at the frequently ridiculous answers. Interrogative sentences when spoken create a fluctuating pitch, obviously risen at the end of every sentence, this means the audience remain on their toes and involved, with the audience anticipating the answers to the questions with there prior knowledge to these comical witty characters. Text B also creates imagery, although not through graphology, like text C, as its a script its typically formatted so there's an intro informing of the surroundings. "there is a general atmosphere of mud" this is peculiar lexically as an atmosphere is generally thought of as the surrounding mood/air, now to say the atmosphere is mud gives semantics of an incredible mess and dirtiness, this exaggeration gives the imagery of an accurate picture of what the trenches were like in WW1, complete devastation.
Now text C manipulates interrogative sentences for a different purpose, to persuade but also carries a pun. The semantic field to this text is clearly wood flooring, made present lexically and graphologically, so "Pining for a shiny new floor" amuses the reader with the manipulation of "pining" a word to describe an intense longing for something and "pine" the wood. This question almost works like a rhetorical question, giving you a sense of curiosity and the answer in one. Would you want wood flooring? Because we have it! This is the literal message for the reader. Text C also has vast amounts of imperatives commonly seen in persuasive texts, "sit" "lay down" "Roll over" strangely, are commonly used as instructions to dogs, now this is peculiar because Ikea are referring to their customers as dogs, on one hand you could take this as an offence however you could look deeper and argue that what Ikea are really saying is that their service is so simple even a dog could do it! Accompanying this message is the one/two syllable imperatives giving the process of their wood flooring service a huge sense of simplicity, something all customers want.
D carries manipulation of graphology in a slightly different way, in this text the use of graphology is designed to entertain the audience (which happens to be children) now bright colours are also used to capture the attention, however in this text its to spark imagination instead of to spark shock, this is executed by whimsical characters, in this instance friendly looking pirates, this makes it easier for the child to transfer text into an image in their mind enhancing the experience instead of creating a interrogative atmosphere. Enhancing the imagery further is the manipulation of phonology, shown in the presence of the onomatopoeia "whine", a whine is not just a cry its an exasperating excruciating wail, so to portray such a sound lexically a long vowel is perfect, as this elongates the sound and further elongates the word to symbolise such a long cry. An onomatopoeia allows the reader to not only picture but hear what is going on in the text, this allows a more vivid experience for the reader.
My second grouping is of texts B&C as these texts both use interrogative sentences to cause effect. The texts differ substantially in some aspects, one being a comical script and the other a persuasive advert despite this they share this specific similarity. In text B, a script of Blackadder Goes Forth, comedy is made by the constant use of questions, in this banter between Baldrick and Blackadder a stream of basic questions is presented to phonologically build the audience up for the winning line "And the chances of there being two bullets with my name on them are very small indeed". The short snappy questions keep the audience interested and constantly amused at the frequently ridiculous answers. Interrogative sentences when spoken create a fluctuating pitch, obviously risen at the end of every sentence, this means the audience remain on their toes and involved, with the audience anticipating the answers to the questions with there prior knowledge to these comical witty characters. Text B also creates imagery, although not through graphology, like text C, as its a script its typically formatted so there's an intro informing of the surroundings. "there is a general atmosphere of mud" this is peculiar lexically as an atmosphere is generally thought of as the surrounding mood/air, now to say the atmosphere is mud gives semantics of an incredible mess and dirtiness, this exaggeration gives the imagery of an accurate picture of what the trenches were like in WW1, complete devastation.
Now text C manipulates interrogative sentences for a different purpose, to persuade but also carries a pun. The semantic field to this text is clearly wood flooring, made present lexically and graphologically, so "Pining for a shiny new floor" amuses the reader with the manipulation of "pining" a word to describe an intense longing for something and "pine" the wood. This question almost works like a rhetorical question, giving you a sense of curiosity and the answer in one. Would you want wood flooring? Because we have it! This is the literal message for the reader. Text C also has vast amounts of imperatives commonly seen in persuasive texts, "sit" "lay down" "Roll over" strangely, are commonly used as instructions to dogs, now this is peculiar because Ikea are referring to their customers as dogs, on one hand you could take this as an offence however you could look deeper and argue that what Ikea are really saying is that their service is so simple even a dog could do it! Accompanying this message is the one/two syllable imperatives giving the process of their wood flooring service a huge sense of simplicity, something all customers want.
Sunday, 13 October 2013
Sound Symbolism Poetry
Wilfred Owen: Exposure extract
1 Our brains ache, in the merciless iced east winds that knife us ...
2 Wearied we keep awake because the night is silent ...
3 Low drooping flares confuse our memory of the salient ...
4 Worried by silence, sentries whisper, curious, nervous,
5 But nothing happens
Owen manipulates the use of his vowel lengths to explore the forever changing conditions soldiers faced during World War 1. Line one contains short sharp sounding vowels, "iced" for example creates a blunt atmosphere surrounding the readers imagination whilst picturing the conditions dictated in this poem. Not only does the short vowel create a cold air about the poem, it also symbolises the brutality involved and what Owen himself endured.
When read, this line also has clever control of sibilance. The use of the consonants constant "s" sound in "merciless iced east" creates dangerous imagery as a representation of the exact same conditions in WW1. The "s" is a trademark alarming sound as a result of its presence in words like snake, an animal feared by many. For the reader making such sounds means a fast high energy pace, symbolising a busy and dangerous environment.
Completely contrasting is line 3's "drooping" the long vowel changes the mood of the poem from high sharp energy to a deep dark symbolism of night. The long vowel makes the readers rhythm slow considerably, instead of the sharp blunt sounding short vowels the long vowel stretches, which calms the atmosphere and therefore the energy of the poem, making an effective way of symbolising the night, specifically symbolising silence.
Wilfred Owen: Anthem For Doomed Youth extract
What passing-bells for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs,
The shrill, demented choirs of wailing shells;
This extract is riddled with onomatopoeia creating vast amounts of sound symbolism as a result. Firstly, Owen uses "rattle" to describe vividly the sound the speaker is experiencing at this moment in the poem, which happens to be the disturbing noise of riffles firing. The harsh tones created by the sound imagery helps the reader understand the symbolism of the WW1 poem considerably more and understand how disturbing/mind altering it must have been for those involved. Accompanying the onomatopoeia is once again the presence of a short vowel, the sound produced by a rifle is quick and sharp so to perfectly replicate this noise in writing the same sound should be made lexically, therefore a short vowel which speeds the pace and creates a choppy rhythm is perfect in "rattle" making it ever so easy for the reader to create the sound when spoken and therefore the imagery the poem entails.
Another example of sound imagery is "wailing". Owen gives the noun human characteristics to create a terrifying air, a wail is an awful cry heard typically when someone is in great pain, it is arguable that the presence of such a word in a traumatic poem should not be taken literally, it is possible that as a result of shell shock, the speaker is hearing the cry of dying men and has mentally designated this to the constant intensity of bombardment and fighting produced in war, either way the trauma this would create has been channelled through to the onomatopoeia which creates the same sound imagery. The long vowel sound created by "ai" adds to the ordeal as this drags the word out considerably. A wail is not a short cry, it's an exhausting lengthy howl of pain, so to replicate the same needs to be said lexically. To draw out the vowel in tern elongates the word when spoken, this makes the reader feel the enduring suffering felt by the soldiers, symbolising perfectly the ordeal of such agony.
1 Our brains ache, in the merciless iced east winds that knife us ...
2 Wearied we keep awake because the night is silent ...
3 Low drooping flares confuse our memory of the salient ...
4 Worried by silence, sentries whisper, curious, nervous,
5 But nothing happens
Owen manipulates the use of his vowel lengths to explore the forever changing conditions soldiers faced during World War 1. Line one contains short sharp sounding vowels, "iced" for example creates a blunt atmosphere surrounding the readers imagination whilst picturing the conditions dictated in this poem. Not only does the short vowel create a cold air about the poem, it also symbolises the brutality involved and what Owen himself endured.
When read, this line also has clever control of sibilance. The use of the consonants constant "s" sound in "merciless iced east" creates dangerous imagery as a representation of the exact same conditions in WW1. The "s" is a trademark alarming sound as a result of its presence in words like snake, an animal feared by many. For the reader making such sounds means a fast high energy pace, symbolising a busy and dangerous environment.
Completely contrasting is line 3's "drooping" the long vowel changes the mood of the poem from high sharp energy to a deep dark symbolism of night. The long vowel makes the readers rhythm slow considerably, instead of the sharp blunt sounding short vowels the long vowel stretches, which calms the atmosphere and therefore the energy of the poem, making an effective way of symbolising the night, specifically symbolising silence.
Wilfred Owen: Anthem For Doomed Youth extract
What passing-bells for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs,
The shrill, demented choirs of wailing shells;
This extract is riddled with onomatopoeia creating vast amounts of sound symbolism as a result. Firstly, Owen uses "rattle" to describe vividly the sound the speaker is experiencing at this moment in the poem, which happens to be the disturbing noise of riffles firing. The harsh tones created by the sound imagery helps the reader understand the symbolism of the WW1 poem considerably more and understand how disturbing/mind altering it must have been for those involved. Accompanying the onomatopoeia is once again the presence of a short vowel, the sound produced by a rifle is quick and sharp so to perfectly replicate this noise in writing the same sound should be made lexically, therefore a short vowel which speeds the pace and creates a choppy rhythm is perfect in "rattle" making it ever so easy for the reader to create the sound when spoken and therefore the imagery the poem entails.
Another example of sound imagery is "wailing". Owen gives the noun human characteristics to create a terrifying air, a wail is an awful cry heard typically when someone is in great pain, it is arguable that the presence of such a word in a traumatic poem should not be taken literally, it is possible that as a result of shell shock, the speaker is hearing the cry of dying men and has mentally designated this to the constant intensity of bombardment and fighting produced in war, either way the trauma this would create has been channelled through to the onomatopoeia which creates the same sound imagery. The long vowel sound created by "ai" adds to the ordeal as this drags the word out considerably. A wail is not a short cry, it's an exhausting lengthy howl of pain, so to replicate the same needs to be said lexically. To draw out the vowel in tern elongates the word when spoken, this makes the reader feel the enduring suffering felt by the soldiers, symbolising perfectly the ordeal of such agony.
Monday, 30 September 2013
Adjective/Adverb Travel Writing
Another interesting lexical choice is the adjective, "amazing". The writer's main focus is to make this hotel stand out as superior to the hundreds of others, which has been executed perfectly by using an adjective with connotations of astonishment, convincing the customer that they will indeed be astounded with how luxurious this holiday destination really is.
Firstly, this piece is interesting in that from the outset a premodifier/adjective has been effectively used. "Gorgeous" illustrates a scenic lavish holiday destination, something extremely desirable when browsing for the perfect hotel.
This is then accompanied by another lexically intriguing adjective "unique", to advertise such a luxurious costly hotel the writer needs to make the reader feel like this experience is not available anywhere else, so "unique" a word that connotes something completely and undeniably individual, in a league of its own and one of a kind has been perfectly chosen.
Saturday, 28 September 2013
Connotative Advertising
"Proven" has connotations of reliability and something that is verified without a doubt, it doesn't just supposedly work (like so many creams on the market) it has been proven, persuading the reader to buy the product.
Wednesday, 18 September 2013
Headline Homework
http://www.dailymail.co.uk/tvshowbiz/article-2424385/Rosie-Huntington-Whiteley-cuts-lonely-figure-returns-hotel-Jason-Statham-amid-split-rumours.html "Rosie Huntington-Whiteley cuts a lonely figure as she returns to her hotel
without Jason Statham amid split rumours" Firstly, being a Victoria Secrets model comes with a wide fan base from both females and males (of course) so by using her name (proper noun) from outset insures plenty of interest. This is equally as influential when her love interest "Jason Statham" is later mentioned, to have split with such a sought after women can only mean more interest from public.
http://www.dailymail.co.uk/tvshowbiz/article-2424458/Beyonc-spends-65-000-mansion-whilst-tour-Brazil.html "Beyoncé drops a staggering $65,000 to stay in an 18-bedroom mansion for 10 days during Brazilian leg of world tour" Once again, using Beyoncé's famous name (proper noun) from the outset creates a crowd of interest. Then to follow that, a duet of 2 concrete nouns in large quantity's, for example 18-bedroom sounds extremely luxurious and some may arguable ridiculous, which would make the reader want to read to see what reasoning could possibly be behind such diva-ish behaviour.
http://www.dailymail.co.uk/tvshowbiz/article-2424447/Golden-girl-Blake-Lively-steals-clinging-mustard-leather-dress-Gucci-event-Milan-Fashion-Week.html "Golden girl! Blake Lively steals the show in clinging mustard leather dress at Gucci event for Milan Fashion Week" The pre modifier "Golden" in "Golden girl!" Sparks curiosity, who is this "golden girl"? Then we see yet another proper noun used to rouse interest by using a well known name. Another intriguing aspect of this headline is the use of the verb "steal", that has usual connotations of negativity where as, in this headline it has quite the opposite which equates to an engaging composition of a headline.
http://www.dailymail.co.uk/tvshowbiz/article-2424236/Kim-Kardashian-gets-work-dressing-gown-filming-festive-special--resist-selfie.html "Kristmas come early! Kim Kardashian gets back to work in her dressing gown filming festive special... but can't resist a 'selfie' " What's striking about this headline is the manipulation of the noun "Christmas" to a celebrity's last name, which happens to be a famous women that has just had a baby with her famous other half, what can be more interesting than that? ay?
http://www.dailymail.co.uk/tvshowbiz/article-2424378/Katie-Price-confirms-police-arrested-somebody-theft-sexually-explicit-pictures.html "Katie Price confirms police made an arrest over theft of sexually explicit pictures" Katie Price (proper noun) is a well known ex-page 3 model, which comes with a crowed of interest whatever she does, but to have an provocative noun in the headline( "sexually-explicit pictures") only rouses more curiosity from the public.
http://www.dailymail.co.uk/tvshowbiz/article-2424198/Eddie-Murphy-model-girlfriend-Paige-Butcher-indulge-PDA.html "Surely you have a few rooms to do that in, Mr Millionaire? Eddie Murphy and model girlfriend Paige Butcher indulge in PDA " Firstly, the 2 proper nouns of the famous names once again cause a certain amount of curiosity as to what they were doing that was so affectionate, secondly the collective noun "few rooms" intrigues the reader of Eddie Murphy's wealth. This is followed by the joke noun "Mr Millionaire" to give the reader just a clue of how rich he really is.
http://www.dailymail.co.uk/tvshowbiz/article-2424458/Beyonc-spends-65-000-mansion-whilst-tour-Brazil.html "Beyoncé drops a staggering $65,000 to stay in an 18-bedroom mansion for 10 days during Brazilian leg of world tour" Once again, using Beyoncé's famous name (proper noun) from the outset creates a crowd of interest. Then to follow that, a duet of 2 concrete nouns in large quantity's, for example 18-bedroom sounds extremely luxurious and some may arguable ridiculous, which would make the reader want to read to see what reasoning could possibly be behind such diva-ish behaviour.
http://www.dailymail.co.uk/tvshowbiz/article-2424447/Golden-girl-Blake-Lively-steals-clinging-mustard-leather-dress-Gucci-event-Milan-Fashion-Week.html "Golden girl! Blake Lively steals the show in clinging mustard leather dress at Gucci event for Milan Fashion Week" The pre modifier "Golden" in "Golden girl!" Sparks curiosity, who is this "golden girl"? Then we see yet another proper noun used to rouse interest by using a well known name. Another intriguing aspect of this headline is the use of the verb "steal", that has usual connotations of negativity where as, in this headline it has quite the opposite which equates to an engaging composition of a headline.
http://www.dailymail.co.uk/tvshowbiz/article-2424236/Kim-Kardashian-gets-work-dressing-gown-filming-festive-special--resist-selfie.html "Kristmas come early! Kim Kardashian gets back to work in her dressing gown filming festive special... but can't resist a 'selfie' " What's striking about this headline is the manipulation of the noun "Christmas" to a celebrity's last name, which happens to be a famous women that has just had a baby with her famous other half, what can be more interesting than that? ay?
http://www.dailymail.co.uk/tvshowbiz/article-2424378/Katie-Price-confirms-police-arrested-somebody-theft-sexually-explicit-pictures.html "Katie Price confirms police made an arrest over theft of sexually explicit pictures" Katie Price (proper noun) is a well known ex-page 3 model, which comes with a crowed of interest whatever she does, but to have an provocative noun in the headline( "sexually-explicit pictures") only rouses more curiosity from the public.
http://www.dailymail.co.uk/tvshowbiz/article-2424198/Eddie-Murphy-model-girlfriend-Paige-Butcher-indulge-PDA.html "Surely you have a few rooms to do that in, Mr Millionaire? Eddie Murphy and model girlfriend Paige Butcher indulge in PDA " Firstly, the 2 proper nouns of the famous names once again cause a certain amount of curiosity as to what they were doing that was so affectionate, secondly the collective noun "few rooms" intrigues the reader of Eddie Murphy's wealth. This is followed by the joke noun "Mr Millionaire" to give the reader just a clue of how rich he really is.
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