Group 2 members

Prepaired by: Joyce Callos

Members: 
Royell Albino
Jacky lyn Castro
Shiela Mae Villanueva
Gwyneth Maranan
Loen James Acuña
Rachell Roma
Joel Malacaman
Jonald Janaban
Daisyree Juanitee
Fredilyn Dequillia

KInds of Camera Shot

Format in writing a Student's Resume

Your contact information

First and Last Name
Address
Phone/Email Address

Education
In the Educated Section of your resume, list the schools you attended, the degrees you attained, and any special awards and honors you earned.

College, Degree
Awards, Honors

Special Training

(Sport )

Include skills related to the position/career field that you are applying for, such as computer skills or language skills.

Extra-cullicular Activities

(such as clubs )

References

the people that have contact to you.it should be not connected to your blood.(such as special friends etc.)

Reference:https://www.jobscan.co/resume-formats

Example Format of a Business letter

Your Name
Your Address
Your City, State, Zip Code
Your Phone Number
Your Email Address

Date

Contact Information (The person or company you are writing to)

Name
Title
Company
Address
City, State, Zip Code

Greeting 

Dear Mr./Ms. Last Name: (Use a formal salutation not a first name unless you know the person well)

Body of Letter

When writing a letter, your letter should be simple and focused, so the purpose of your letter is clear. Single space your letter and leave a space between each paragraph. Left justify your letter. Use a plain font like Arial, Times New Roman, or Verdana. The font size should be 10 or 12 points.

The first paragraph of your letter should provide an introduction as to why you are writing.

Then, in the following paragraphs, provide more information and specific details about your request or the information you are providing. Explain why you are writing so it's easy for the reader to understand what you are asking.

The last paragraph of your letter should reiterate the reason you are writing and thank the reader for reviewing your request.

Leave a blank line after the salutation, between each paragraph, and before the closing.

Closing

Best Regards, 
Signature

Handwritten Signature 

Typed Signature

Reference:http://www.gingersoftware.com

Wole Soyinka and David Diop

                                   Wole Soyinka 
was born on 13 July 1934 at Abeokuta, near Ibadan in western Nigeria. After preparatory university studies in 1954 at Government College in Ibadan, he continued at the University of Leeds, where, later, in 1973, he took his doctorate. During the six years spent in England, he was a dramaturgist at the Royal Court Theatre in London 1958-1959. In 1960, he was awarded a Rockefeller bursary and returned to Nigeria to study African drama. At the same time, he taught drama and literature at various universities in Ibadan, Lagos, and Ife, where, since 1975, he has been professor of comparative literature. In 1960, he founded the theatre group, "The 1960 Masks" and in 1964, the "Orisun Theatre Company", in which he has produced his own plays and taken part as actor. He has periodically been visiting professor at the universities of Cambridge, Sheffield, and Yale.

                               David Mandessi Diop
                   is a Poet from Senegal.(1927-1960)

David Diop was one of the most promising French West African young poets, whose short career, however, ended in an air-crash off Dakar in 1960. Diop lived an uprooted life, moving frequently from his childhood onwards between France and West Africa. In Paris Diop joinded the négritude literary movement, which championed and celebrated the uniqueness of black experience and heritage. Diop's work reflects his hatred of colonial rulers and his hope for an independent Africa.

"Africa tell me Africa
Is this you this back that is bent
This back that breaks under the weight of humiliation
This back trembling with red scars
And saying yes to the whip under the midday sun "
(from 'Africa')

David Diop was born in Bordeaux, France, July 9,1927 of a Senegalese father and a Cameroonian mother. After his father died, he was raised by his mother. Diop had his primary education in Senegal, and then he attended the Lycée Marcelin Berthelot in Paris during World War II. At home Diop read the works of Aimé Césaire and debuted as a poet while still at school. Several of his poems were published in Léopold Senghor's famous Anthologie de la nouvelle poésie nègre et malgache (1948), which became an important landmark of modern black writing in French.

Reference:https://en.wikipedia.org

Telephone Conversation

The price seemed reasonable, location
Indifferent. The landlady swore she lived
Off premises. Nothing remained
But self-confession. "Madam" , I warned,
"I hate a wasted journey - I am African."
Silence. Silenced transmission of pressurized good-breeding. Voice, when it came,
Lipstick coated, long gold-rolled
Cigarette-holder pipped. Caught I was, foully.
"HOW DARK?"...I had not misheard...."ARE YOU LIGHT OR VERY DARK?" Button B. Button A. Stench
Of rancid breath of public hide-and-speak.
Red booth. Red pillar-box. Red double-tiered
Omnibus squelching tar.
It was real! Shamed
By ill-mannered silence, surrender
Pushed dumbfoundment to beg simplification.
Considerate she was, varying the emphasis-
"ARE YOU DARK? OR VERY LIGHT" Revelation came
"You mean- like plain or milk chocolate?"
Her accent was clinical, crushing in its light
Impersonality. Rapidly, wave-length adjusted
I chose. "West African sepia"_ and as afterthought.
"Down in my passport." Silence for spectroscopic
Flight of fancy, till truthfulness chaged her accent
Hard on the mouthpiece "WHAT'S THAT?" conceding "DON'T KNOW WHAT THAT IS." "Like brunette."
"THAT'S DARK, ISN'T IT?"
"Not altogether.
Facially, I am brunette, but madam you should see the rest of me. Palm of my hand, soles of my feet.
Are a peroxide blonde. Friction, caused-
Foolishly madam- by sitting down, has turned
My bottom raven black- One moment madam! - sensing
Her receiver rearing on the thunderclap
About my ears- "Madam," I pleaded, "wouldn't you rather
See for yourself?"

Characters:

landlady and african man

Conflict:

the african man was looking for appartment.

setting:

City in America

Tone:

Sarcasm/Irony-continued throwing insulting word in opposite.

Theme:

Racism-> Discrimination

Attributes of prosody

Attributes of prosody

In the study of prosodic aspects of speech it is usual to distinguish between auditory measures (subjective impressions produced in the mind of the listener) and acoustic measures (physical properties of the sound wave that may be measured objectively). Auditory and acoustic measures of prosody do not correspond in a linear way. The majority of studies of prosody have been based on auditory analysis using auditory scales.

There is no agreed number of prosodic variables. In auditory terms, the major variables are

• the pitch of the voice (varying between low and high)
• length of sounds (varying between short and long)
• loudness, or prominence (varying between soft and loud)
• timbre (quality of sound)

in acoustic terms, these correspond reasonably closely to

• fundamental frequency (measured in hertz, or cycles per second)
• duration (measured in time units such as milliseconds or seconds)
• intensity, or sound pressure level (measured in decibels)
• spectral characteristics (distribution of energy at different parts of the audible frequency range)

Different combinations of these variables are exploited in the linguistic functions of intonation and stress, as well as other prosodic features such as rhythm, tempo and loudness. Additional prosodic variables have been studied, including voice quality and pausing.

Phonology

Prosodic features are said to be suprasegmental, since they are properties of units of speech larger than the individual segment. It is necessary to distinguish between the personal, background characteristics that belong to an individual’s voice. and the independently variable prosodic features that are used contrastively to communicate meaning. Personal characteristics are not linguistically significant. It is not possible to say with any accuracy which aspects of prosody are found in all languages and which are specific to a particular language or dialect.

Intonation

Some writers have described intonation entirely in terms of pitch, while others propose that what we call intonation is in fact an amalgam of several prosodic variables. The form of English intonation is often said to be based on three aspects:

• The division of speech into units
• The highlighting of particular words and syllables
• The choice of pitch movement (e.g. fall or rise)

Stress

From the perceptual point of view, stress functions as the means of making a syllable prominent; stress may be studied in relation to individual words or in relation to larger units of speech (traditionally referred to as "sentence stress" but more appropriately named "prosodic stress"). Stressed syllables are made prominent by several variables, singly or in combination. Stress is typically associated with the following:

• pitch prominence, that is, a pitch level that is different from that of neighbouring syllables, or a pitch movement
• increased length
• increased loudness
• differences in timbre: in English and some other languages, stress is associated with aspects of vowel quality Unstressed vowels tend to be centralized relative to stressed vowels, which are normally more peripheral in quality.

Types of Prosody

There are four distinguishable prosodic metrical patterns which are:

• Syllabic Prosody – Syllabic prosody counts a fixed number of syllables in each line, while accent, tone and quantity play a secondary role.
• Accentual Prosody – It measures only the accents or stresses in a line of verse, while the overall number of syllables may vary in a line. It is very common in Germanic, old English and in modern English verses.
• Accentual-syllabic Prosody – It counts both number of syllables and accents in each line. We commonly find it in English poetry.
• Quantitative Prosody – It does not measure the number of syllables rather depends upon duration of syllables, which we can determine by amount of time used on pronunciation such as a free verse poem that consists of unmeasured lines. We find this type of prosody in Roman and classical Greek poetry while we find very rarely it in English poetry.

Reference:https://en.wikipedia.org