1. SIFTSEI METHOD for ANALYSIS "A poem points to nothing but itself. Information is relative. A poem is absolute", EM Forster,

2. Pieces of a Puzzle The act of analysis is literally the act of separating a whole into parts in order to understand that whole. The act of analysis is literally the act of separating a whole into parts in order to understand that whole.

4. S – Sense: What is the novel / work about? Basic paraphrasing. What is the novel / work about? Basic paraphrasing. At this point: Remember that the theme of a work of literature is the comment that the author makes about his subject matter, a revelation generally about the title At this point: Remember that the theme of a work of literature is the comment that the author makes about his subject matter, a revelation generally about the title

5. Theme The theme is the insight we gain from thinking about what we have read. To determine the theme of a work of literature, first identify and be able to thoroughly describe the major elements of that work: The theme is the insight we gain from thinking about what we have read. To determine the theme of a work of literature, first identify and be able to thoroughly describe the major elements of that work: plot plot characterizations characterizations point of view point of view setting setting patterns, symbols, any recurring images patterns, symbols, any recurring images That’s why we use SIFTSEI… to help us identify the major elements and literature devices that the author uses to convey their message. That’s why we use SIFTSEI… to help us identify the major elements and literature devices that the author uses to convey their message.

7. I - Intention: Why was this work written? What is the author trying to tell us? What is the purpose of this work? Motivation Why was this work written? What is the author trying to tell us? What is the purpose of this work? Motivation More importantly: HOW do I know this? What words tell me? How can I SHOW you how I know what the author’s intention is? More importantly: HOW do I know this? What words tell me? How can I SHOW you how I know what the author’s intention is?

9. F- Feeling (personal): How does this work make you feel about the content / personally and what makes you feel this way? How does this work make you feel about the content / personally and what makes you feel this way? How does the author manage to evoke these emotions in the reader? What devices does the author use to create these feelings in the reader? How does the author manage to evoke these emotions in the reader? What devices does the author use to create these feelings in the reader?

11. T – Tone: What tone or voice has the author used to convey his message? (Narrative) What tone or voice has the author used to convey his message? (Narrative) NOSTALGIC TONE. Reveals a kind of homesickness for the past, a desire to return to "the good ole days." NOSTALGIC TONE. Reveals a kind of homesickness for the past, a desire to return to "the good ole days." SENTIMENTAL TONE. Identifies that which is affectedly or extravagantly emotional instead of rational; it may also reveal romantic feelings. SENTIMENTAL TONE. Identifies that which is affectedly or extravagantly emotional instead of rational; it may also reveal romantic feelings. MORALIZING TONE. Attempts to explain or interpret good or bad features of something. It is explicitly and clearly trying to reform. There is no subtlety involved. MORALIZING TONE. Attempts to explain or interpret good or bad features of something. It is explicitly and clearly trying to reform. There is no subtlety involved. CYNICAL TONE. Reveals a sense of helplessness and hopelessness toward life--a feeling that nothing really can be changed, that evil will prevail, that man is basically selfish, incapable of being reformed. CYNICAL TONE. Reveals a sense of helplessness and hopelessness toward life--a feeling that nothing really can be changed, that evil will prevail, that man is basically selfish, incapable of being reformed.

13. S - Style / Symbol: What style does the author employ and how does this affect the work as a whole? What style does the author employ and how does this affect the work as a whole? One easy way to understand literary style is to think about fashion styles. Clothes can be formal and dressy, informal and casual, preppy, athletic, and so forth.   Style in literature is the literary element that describes the ways that the author uses words — the author's word choice, sentence structure, figurative language, and sentence arrangement all work together to establish mood, images, and meaning in the text. Style describes how the author describes events, objects, and ideas.   Example of style:   Original "No sich uh thing!" Tea Cake retorted. (Zora Neale Hurston. Their Eyes Were Watching God. Urbana: U of Illinois P, 1978, p. 205.)   Informal "Nothing like that ever happened," Tea Cake replied.   Formal "With great fortune, that happenstance did not become a reality," Tea Cake stated.   Journalistic, after Ernest Hemingway "It did not happen," Tea Cake said.   Archaic, after Nathaniel Hawthorne "Verily, it was a circumstance, to be noted, that appeared not to so much have been a reality as to have evolved as a thing that had not yet come to be," Tea Cake impelled.

14. Symbols Eliz England- anything round was perfect, and was a reference to God (compass, rings, circle imagery)

15. Symbols What symbols or symbolic concepts are evident in the work and how do they influence the work? What symbols or symbolic concepts are evident in the work and how do they influence the work? A symbol is something that represents something else, either by association or by resemblance. It can be a material object or a written sign used to represent something invisible. Language itself is a system of spoken or written symbols by which we communicate. Every word is a symbol; the five letters that form the word 'chair' represent a sound as well as a physical object. In writing, symbolism is the use of a word, a phrase, or a description, which represents a deeper meaning than the words themselves. This kind of extension of meaning can transform the written word into a very powerful instrument.

17. E – Emotion: What mood or emotions are evoked by the author’s usage of language / imagery and Literary / Poetic devices? What mood or emotions are evoked by the author’s usage of language / imagery and Literary / Poetic devices? Emotive Language Emotive Language Alliteration, assonance, emotive language, colloquial, slang, jargon, neologism, cliché, rhetorical questions Alliteration, assonance, emotive language, colloquial, slang, jargon, neologism, cliché, rhetorical questions Alliteration, assonance, emotive language, colloquial, slang, jargon, neologism, cliché, rhetorical questions Alliteration, assonance, emotive language, colloquial, slang, jargon, neologism, cliché, rhetorical questions Words used deliberately to create an emotional impact or response. Emotive language is particularly common in poetry, in which language is at its most condensed and evocative. Words used deliberately to create an emotional impact or response. Emotive language is particularly common in poetry, in which language is at its most condensed and evocative. Language which is charged with emotion e.g. love, hate, fear etc. Language which is charged with emotion e.g. love, hate, fear etc. language deliberately designed to arouse the emotions. (often to be found in tabloid newspapers) e.g. murderers described as 'beasts' or people who might have unusual views on something being described as 'raving lunatics' etc language deliberately designed to arouse the emotions. (often to be found in tabloid newspapers) e.g. murderers described as 'beasts' or people who might have unusual views on something being described as 'raving lunatics' etc

19. I – Imagery: What imagery and Literary Devices are employed by the author? Descriptive language of the senses What imagery and Literary Devices are employed by the author? Descriptive language of the senses Imagery: Imagery: 1. The formation of mental images, figures, or likenesses of things, or of such images collectively. 1. The formation of mental images, figures, or likenesses of things, or of such images collectively. 2.pictorial images. 2.pictorial images. 3.the use of rhetorical images. 4.figurative description or illustration; rhetorical images collectively. 5.Psychology. mental images collectively, esp. those produced by the action of imagination.

20. Alliteration, assonance, emotive language, colloquial, slang, jargon, neologism, cliché, rhetorical questions Alliteration, assonance, emotive language, colloquial, slang, jargon, neologism, cliché, rhetorical questions Alliteration, assonance, emotive language, colloquial, slang, jargon, neologism, cliché, rhetorical questions Alliteration, assonance, emotive language, colloquial, slang, jargon, neologism, cliché, rhetorical questions Simile, metaphor, idioms, personification, extended metaphor Simile, metaphor, idioms, personification, extended metaphor Simile, metaphor, idioms, personification, extended metaphor Simile, metaphor, idioms, personification, extended metaphor Hyperbole, allusion, symbolism, synechdoche, metonomy Hyperbole, allusion, symbolism, synechdoche, metonomy Hyperbole, allusion, symbolism, synechdoche, metonomy Hyperbole, allusion, symbolism, synechdoche, metonomy Sarcasm and irony Sarcasm and irony Sarcasm and irony Sarcasm and irony Satire and parody Satire and parody Satire and parody Satire and parody Subversion, appropriation, intertextuality Subversion, appropriation, intertextuality Subversion, appropriation, intertextuality Subversion, appropriation, intertextuality McAllister 2004. Acknowledgements: Swirks ; WITS; TUKKIES; PCE.