Crash Course

Crash Course (also known as Driving Academy) is a 1988 made for television teen film directed by Oz Scott.

Plot

Crash Course centers on a group of high schoolers in a driver’s education class; many for the second or third time. The recently divorced teacher, super-passive Larry Pearl, is on thin ice with the football fanatic principal, Principal Paulson, who is being pressured by the district superintendent to raise driver’s education completion rates or lose his coveted football program. With this in mind, Principal Paulson and his assistant, with a secret desire for his job, Abner Frasier, hire an outside driver’s education instructor with a very tough reputation, Edna Savage, aka E.W. Savage, who quickly takes control of the class.

The plot focuses mostly on the students and their interactions with their teachers and each other. In the beginning, Rico is the loner with just a few friends, Chadley is the bookish nerd with few friends who longs to be cool and also longs to be a part of Vanessa’s life who is the young, friendly and attractive girl who had to fake her mother’s signature on her driver’s education permission slip. Kichi is the hip-hop Asian kid who often raps what he has to say and constantly flirts with Maria, the rich foreign girl who thinks that the right-of-way on the roadways always goes to (insert awesomely fake foreign Latino accent) “my father’s limo”. Finally you have stereotypical football meathead J.J., who needs to pass his English exam to keep his eligibility and constantly asks out and gets rejected by Alice, the tomboy whose father owns “Santini & Son” Concrete Company. Alice is portrayed as being the “son” her father wanted.

Japanese sound symbolism

Japanese has a large inventory of sound symbolic or mimetic words, known in linguistics as ideophones. Sound symbolic words are found in written as well as spoken Japanese. Known popularly as onomatopoeia, these words are not just imitative of sounds but cover a much wider range of meanings; indeed, many sound-symbolic words in Japanese are for things that don't make any noise originally, most clearly demonstrated by しいんと shiinto, meaning "silently".

Categories

The sound-symbolic words of Japanese can be classified into four main categories:

These divisions are not always drawn: sound-symbolism may be referred to generally as onomatopoeia (though strictly this refers to imitative sounds, phonomimes); phonomimes may not be distinguished as animate/inanimate, both being referred to as giseigo; and both phenomimes and psychomimes may be referred to as gitaigo.

In Japanese grammar, sound symbolic words primarily function as adverbs, though they can also function as verbs (verbal adverbs) with the auxiliary verb する (suru, "do"), often in the continuous/progressive form している (shiteiru, "doing"), and as adjectives (participle) with the perfective form of this verb した (shita, "done"). Just like ideophones in many other languages, they are often introduced by a quotative complementizer と (to). Most sound symbolic words can be applied to only a handful of verbs or adjectives. In the examples below, the classified verb or adjective is placed in square brackets.

Jane Austen

Jane Austen (/ˈdʒeɪn ˈɒstɪn/; 16 December 1775 – 18 July 1817) was an English novelist whose works of romantic fiction, set among the landed gentry, earned her a place as one of the most widely read writers in English literature. Her realism, biting irony and social commentary as well as her acclaimed plots have gained her historical importance among scholars and critics.

Austen lived her entire life as part of a close-knit family located on the lower fringes of the English landed gentry. She was educated primarily by her father and older brothers as well as through her own reading. The steadfast support of her family was critical to her development as a professional writer. From her teenage years into her thirties she experimented with various literary forms, including an epistolary novel which she then abandoned, wrote and extensively revised three major novels and began a fourth. From 1811 until 1816, with the release of Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1815), she achieved success as a published writer. She wrote two additional novels, Northanger Abbey and Persuasion, both published posthumously in 1818, and began a third, which was eventually titled Sanditon, but died before completing it.

English literature

This article is focused on English-language literature rather than being limited merely to the literature of England, so that it includes writers from Scotland, the whole of Ireland, and Wales, as well as literature in English from former British colonies, including the US. However, until the early 19th century, it deals with the literature written in English in Britain and Ireland.

English literature is generally seen as beginning with the epic poem Beowulf, the most famous work in Old English, which was written in England some time between the 8th and the early 11th century. Despite being set in Scandinavia, Beowulf has become a national epic of England. The next landmark was the work of the poet Geoffrey Chaucer (c. 1343–1400), especially The Canterbury Tales. During the Renaissance, especially the late 16th and early 17th centuries, major drama and poetry was written by Edmund Spenser, William Shakespeare, Ben Jonson, John Donne and others. Another great poet, from later in the 17th century, was John Milton (1608–74), author of the epic poem Paradise Lost (1667). The late 17th and the early 18th centuries are particularly associated with satire, especially in the poetry of John Dryden and Alexander Pope, and the prose works of Jonathan Swift. The 18th century also saw the first British novels in the works of Daniel Defoe, Samuel Richardson, and Henry Fielding, while the late 18th and early 19th centuries were the period of the Romantic poets, such as Wordsworth, Coleridge, Lord Byron, Shelley and Keats.

Harry Baker

Harry Baker may refer to:

See also