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18 Jul 2015, 04:13
Kudos
Bookmarks
In veritas Blog on an another Forum I read that authors tone can be classified into 3 main categories -
Descriptive
Analytical
Opinionated
I read the same things in Ron purewal's Comment on Manhattan Gmat forum.
Quite Often I have seen that RC passages explanation uses this terminology: Positive, negative or neutral Tone.
This is confusing me how are two tone terminology inter related to each other.
Positive, Negative or neutral tone is the sub category of the main Tone classification(Descriptive, Analytical or Opinionated) or something else.
I will be rally thankful if you reply this post with examples. I thank you promptly in advance for solving my query.
Descriptive
Analytical
Opinionated
I read the same things in Ron purewal's Comment on Manhattan Gmat forum.
Quite Often I have seen that RC passages explanation uses this terminology: Positive, negative or neutral Tone.
This is confusing me how are two tone terminology inter related to each other.
Positive, Negative or neutral tone is the sub category of the main Tone classification(Descriptive, Analytical or Opinionated) or something else.
I will be rally thankful if you reply this post with examples. I thank you promptly in advance for solving my query.
18 Jul 2015, 06:50
Kudos
Bookmarks
I think you are misrepresenting information just slightly. The categories of types of passages you will see are:
Descriptive
Analytical
Opinionated
The tone of voice the author uses can be:
positive
negative
neutral
Usually the the tone will be positive or negative when having an opinion and neutral when being descriptive or analytical. Obv, there are outliers.
Hope that helps.
Descriptive
Analytical
Opinionated
The tone of voice the author uses can be:
positive
negative
neutral
Usually the the tone will be positive or negative when having an opinion and neutral when being descriptive or analytical. Obv, there are outliers.
Hope that helps.
18 Jul 2015, 21:31
Kudos
Bookmarks
Veritas,
There is a passage I find it one of the toughest passage of all time -
Asian American poetry from Hawaii, the Pacific island state of the United States, is generally characterizable in one of two ways: either as portraying a model multicultural paradise, or as exemplifying familiar Asian American literary themes such as generational conflict. In this light, the recent work of Wing Tek Lum in Expounding the Doubtful Points is striking for its demand to be understood on its own terms. Lum offers no romanticized notions of multicultural life in Hawaii, and while he does explore themes of family, identity, history, and literary tradition, he does not do so at the expense of attempting to discover and retain a local sensibility.
For Lum such a sensibility is informed by the fact that Hawaii’s population, unlike that of the continental U.S., has historically consisted predominantly of people of Asian and Pacific island descent, making the experience of its Asian Americans somewhat different than that of mainland Asian Americans.
In one poem, Lum meditates on the ways in which a traditional Chinese lunar celebration he is attending at a local beach both connects him to and separates him from the past. In the company of new Chinese immigrants, the speaker realizes that while ties to the homeland are comforting and necessary, it is equally important to have “a sense of new family” in this new land of Hawaii, and hence a new identity—one that is sensitive to its new environment.
(30) The role of immigrants in this poem is significant in that, through their presence, Lum is able to refer both to the traditional culture of his ancestral homeland as
well as to the flux within Hawaiian society that has been integral to its heterogeneity. Even in a laudatory poem to famous Chinese poet Li Po (701–762 A.D.),
which partly serves to place Lum’s work within a distinguished literary tradition, Lum refuses to offer a stereotypical nostalgia for the past, instead pointing
out the often elitist tendencies inherent in the work of (40) some traditionally acclaimed Chinese poets.
Lum closes his volume with a poem that further points to the complex relationships between heritage and local culture in determining one’s identity.
Pulling together images and figures as vastly disparate as a famous Chinese American literary character and an old woman selling bread, Lum
avoids an excessively romantic vision of U.S. culture, while simultaneously acknowledging the dream of this culture held by many newly arrived immigrants.
(50) The central image of a communal pot where each person chooses what she or he wishes to eat but shares with others the “sweet soup / spooned out at
the end of the meal” is a hopeful one; however, it also appears to caution that the strong cultural emphasis in the U.S. on individual drive and success
that makes retaining a sense of homeland tradition difficult should be identified and responded to in ways that allow for a healthy new sense of identity to
be formed.
Can we use this passage to analyse tone, Please?
There is a passage I find it one of the toughest passage of all time -
Asian American poetry from Hawaii, the Pacific island state of the United States, is generally characterizable in one of two ways: either as portraying a model multicultural paradise, or as exemplifying familiar Asian American literary themes such as generational conflict. In this light, the recent work of Wing Tek Lum in Expounding the Doubtful Points is striking for its demand to be understood on its own terms. Lum offers no romanticized notions of multicultural life in Hawaii, and while he does explore themes of family, identity, history, and literary tradition, he does not do so at the expense of attempting to discover and retain a local sensibility.
For Lum such a sensibility is informed by the fact that Hawaii’s population, unlike that of the continental U.S., has historically consisted predominantly of people of Asian and Pacific island descent, making the experience of its Asian Americans somewhat different than that of mainland Asian Americans.
In one poem, Lum meditates on the ways in which a traditional Chinese lunar celebration he is attending at a local beach both connects him to and separates him from the past. In the company of new Chinese immigrants, the speaker realizes that while ties to the homeland are comforting and necessary, it is equally important to have “a sense of new family” in this new land of Hawaii, and hence a new identity—one that is sensitive to its new environment.
(30) The role of immigrants in this poem is significant in that, through their presence, Lum is able to refer both to the traditional culture of his ancestral homeland as
well as to the flux within Hawaiian society that has been integral to its heterogeneity. Even in a laudatory poem to famous Chinese poet Li Po (701–762 A.D.),
which partly serves to place Lum’s work within a distinguished literary tradition, Lum refuses to offer a stereotypical nostalgia for the past, instead pointing
out the often elitist tendencies inherent in the work of (40) some traditionally acclaimed Chinese poets.
Lum closes his volume with a poem that further points to the complex relationships between heritage and local culture in determining one’s identity.
Pulling together images and figures as vastly disparate as a famous Chinese American literary character and an old woman selling bread, Lum
avoids an excessively romantic vision of U.S. culture, while simultaneously acknowledging the dream of this culture held by many newly arrived immigrants.
(50) The central image of a communal pot where each person chooses what she or he wishes to eat but shares with others the “sweet soup / spooned out at
the end of the meal” is a hopeful one; however, it also appears to caution that the strong cultural emphasis in the U.S. on individual drive and success
that makes retaining a sense of homeland tradition difficult should be identified and responded to in ways that allow for a healthy new sense of identity to
be formed.
Can we use this passage to analyse tone, Please?
