ϻ� noughts and crosses by malorie blackman the book is called noughts and crosses by malorie blackman. The two main characters which are also the first characters to be introduced in chapter 1 are called callum and sephy. ϻ� noughts and crosses teacher’s pack by frances gregory contents introduction 3 overview for scheme of work 4 navigator 5–6 lesson plans, ws 7–45 assessment 46 introduction english teachers don’t need to be told the enormous value and pleasure.

length: 1286 words 3.7 double spaced pages rating: purple price: $17.95 noughts and crosses ‘noughts and crosses by malorie blackman is a novel which follows the lives and experiences of two characters, callum and sephy. Throughout the book blackman deals with a number of issues including relationships, alcohol abuse, power abuse, depression and violence. These issues of racism and prejudice are conveyed through the narrative techniques of characterization, point of view, language, structure and setting. The author uses language as a tool to show the characters’ status in society as black or white. The words blanker used by blacks to describe whites and dagger used by whites to describe blacks are used repeatedly throughout the novel.

This use of language reflects the intolerant attitudes towards one another in blackman’s radical world. And dagger is used to depict a weapon that is capable of scratching and severing, reducing and disconnecting a person, or even bringing them to an end completely. I bet it was one of her blanker friends, they’re blank by name and blank by nature.

Through the difference of educated, formal language used by crosses and the sometimes tasteless, simple language of the noughts, the reader can see the grades in which noughts and crosse. Noughts and crosses is an in depth story which explores the issues of racism and prejudice and the effects they can have on society. Blackman has created a world of her own in complete contrast to the society we live in. By doing this she has impacted her readers, challenged our contexts and allowed the reader insight into the effects of racism and the suffering it can cause.

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Blackman has effectively used a range of narrative techniques to bring her world to life giving the white reader a taste of the discrimination blacks have suffered for centuries, provoking feelings of empathy and understanding. By turning the world upside down, blackman makes her readers see things more clearly. to view the full essay now, purchase below a book of love life is meaningless only if we allow it to be.

Each of us has the power to give life meaning, to make out time and our bodies and our words into instruments of love and hope. why love if losing hurts so much? we love to know that we are not alone. radical superiority is a mere pigment of the imagination. the two have been friends since early childhood. Until the first steps are taken towards more social equality and a limited number of noughts are allowed into cross schools… against a background of prejudice and distrust, intensely highlighted by violent terrorist activity by noughts, a romance builds between sephy and callum – a romance that is to lead both of them into terrible danger… extracts from this document. Introduction noughts and crosses by malorie blackman in this essay i intend to show how the relationship between the two main characters in malorie blackman's first book, noughts and crosses , matures and reflect on the difficulties they face in a society where people from different races are treated differently. Callum who tells the other half of the story and is a nought lives in a run down house and his family barely have enough money to get by. The first indication that the friends, sephy and callum, have feelings for each other comes straight away when callum says, can i kiss you? .

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Who previously went to a nought only school that have a lack of resources and funding, has managed to pass the entrance exam to a previously cross only school but has to join what he calls the baby class. This is because everyone in the class is at least a year younger than him and he feels frustrated over the amount of discrimination that he receives for being white skinned. This leads to callum telling sephy that he feels they are in different places and callum says us noughts are in one place and you crosses are in another with a huge, great wall between us. The emphasis on the 'us' and the 'you' illustrates how significant having different skin colour makes in the book.

It shows that the two friends will face problems just for being such good friends with members of the opposite skin colour. The idea of crosses and noughts mixing seems a bad idea to most of the world that callum and sephy live in. Her schoolmates tell her, stick to your own kind , and that noughts smell funny and everyone knows none of them are keen to make friends with soap and water. Another quote is found in the book that i feel highlights the kind of prejudices that can still be felt today is said by sephy's 'cross' classmates. Everyone knows they all belong to the liberation militia and all they do is cause trouble and commit crimes and stuff like that.

This is the type of thing said by some people today such as 'all iraqi's are bombers and terrorists and belong to the taliban. Sephy and callum are eventually driven apart although they still really love each other. The rest of the world does their best to split them up and to hurt them as much as they can. The above preview is unformatted text from peter barry, 'stylistics and the logic of intution: or, how not to pick a chrysanthemum', critical quarterly 27.4 december 1985 , 51 58. We are particularly grateful to peter barry and critical quarterly for permission to reproduce this piece. Critics who adopt the linguistic approach to literary criticism believe that their methods enable a reader to pass beyond responses which are merely 'intuitive' and 'impressionistic' to an objective and proven account of the text. Such critics or stylisticians, as they are now frequently called have not usually been well received in english departments, and it is often said that their own language is so out of key with the language of literature itself as to suggest a lack of literary sensitivity which calls into question the value of their work as literary criticism – whatever status it may have as applied linguistics.

These attacks on stylistics are necessarily seen, according to the reader's predisposition, as either devastating exposes of the hollowness at the centre of literary linguistics, or as further evidence of that incorrigible resistance to new methods which is the hallmark of conventional english criticism: that is to say, such essays seem to do little but confirm and deepen prejudices on both sides. Moreover, these essays fail to address what should be seen as the real problem, since the deepest failings in stylistics arise not from any supposed lack of literary sensitivity, but from a lack of intellectual rigour. While claiming to pass beyond impressionism, stylisticians frequently fail to argue consistently or weigh up evidence dispassionately. The linguistic scalpel, in a word, is often blunt, and the cuts merely optimistic or clumsy. If it can be shown that there is at least a case to answer in this respect, then perhaps a discussion could be started which would not result in the tediously automatic taking up of entrenched positions, for we all need to know the true intellectual worth of stylistics. In what follows a case is made against stylistics by using just one essay and identifying in it a series of false premises and false moves which suggest and typify weaknesses in the foundations of stylistics itself.

But these weaknesses, it cannot be too strongly emphasised, must not be assumed incurable. The new critical approaches are needed because the old ones are becoming jaded and complacent, and because boredom is inescapable in the course of an academic year unless there is some variety of method and it is therefore important that they be subjected to constructive criticism. In other words, you will have no reason for reading further if you have never doubted the worth of stylistics, or if you have never doubted its worthlessness. The essay discussed is 'on a passage from lawrence's 'odour of chrysanthemums'' by walter nash in ronald carter, ed. language and literature: an introductory reader in stylistics allen unwin, 1982 , which has been chosen for a number of reasons, the most important of which is that it is an interesting and thought provoking essay, not a convenient aunt sally. It is published, too, in a collection addressed to the literary student, not the linguistic specialist, a collection which is certain to be widely used as a course reader in colleges and universities. Its author, finally, takes a liberal and enlightened view of the language and literature question, rejecting the easily refuted philistinism which regards linguistic evidence as sufficient of itself in literary interpretation.