By Harry Collis
Юмористические загадки с комическими иллюстрациями помогут студентам, изучающим английский язык, получить новую способность проникновения в суть американского языка и культуры. Каждая загадка сопровождается поясняющим текстом, который помогает понять основные лингвистические и культурные причины забавности шутки.Humorous riddles with comedian illustrations support ESL scholars achieve new insights into American language and tradition. each one riddle is observed through textual content that is helping scholars grab and grasp the underlying linguistic and cultural explanation why the shaggy dog story is humorous.
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Additional resources for 101 American English Riddles: Understanding Language and Culture Through Humor
Beadle’s Dime Novels are known to have been preferred reading in the Union Army. Irish and German-minded variants suggest that such works had immigrant readers. Nineteenth-century reports on the laboring classes find story-papers prominent in working-class culture. Memoirs show such works to have been read by boys on farms. One wants to be careful not to unduly harden this opposition of audiences. In historical reality both the domestic and “cheap” literary markets must have contained a mix of social elements, and there was no doubt some overlapping of their readerships.
If we ask what did supply this gap we enter an almost wholly uncharted territory, but St. Elmo might help us to a speculative answer. The theme of the proper shape of woman’s career links this book to the first hugely successful domestic novels. Nevertheless, put next to The Wide, Wide World, or Uncle Tom’s Cabin or Ruth Hall, St. Elmo seems quite a different sort of work. The homemanagement obsession and evangelical piety so prominent in the earlier books are largely in remission in Evans’s novel; on the other hand, this book sponsors a degree of imaginative indulgence unknown to its predecessors.
In the wake of this development, different forms of reading took on the power to help differentiate their readers in social terms. ” When Harriet Beecher Stowe writes Alcott in 1872 that “In my many fears for my country and in these days when so much seductive and dangerous literature is pushed forward, the success of your domestic works has been to me most comforting,” Stowe all but explicitly uses the literary difference dangerous/domestic to mark the class boundary of the middle and lower classes.