Bloody Hell Rhetorical Analysis

Firstly, Gilbert creates a critical representation of white Australian’s cynical sense of humour through the perspective of an Indigenous narrator. The repetition of the word “shame” is capitalised and used to highlight and emphasise the white Australians’ iconic, sarcastic humour creating a light and comical tone. Stating that it is a “Shame for talkin’ it up. Shame for the way [Indigenous people] are. Shame cause we ain't got a big flash house.” However, the narrator drops ending consonants sounds in words like “talkin’, ain’t and collectin’” to create an Indigenous voice but more importantly, harsh sounds to express the anger

People affected by Cronulla Riots in any manner were ‘out of the frying pan, and were into the fire’, when the documentary displayed Prime Minister John Howard declaring the riots as “un-Australian”. He made us believe that his view was optimistic and disagrees that there is underlying racism in Australia.

As a society in the ‘land down under’, certain personality profiles are viewed as the class clowns of the community, just by the way they act. Chris Lilley’s cleverly produced mockumentary, Summer Heights High (SHH), adopts these stereotypes presenting them as immensely exaggerated representations. Lilley’s show comprises of Ja’mie King, a snobby and manipulative private school girl, Mr G, a self-absorbed drama teacher, and Jonah Takalua, a rebellious 15 year old boy of Tongan descent, commonly associated with the phrase, “Puck you miss”. Although SHH is socially accepted as Australian comedy by the blokes and sheilas of ‘Straya, foreign countries don’t always align with our satirical gag shows.

In “Bring Back Flogging”, Jeff Jacoby addresses the problems within America 's criminal justice system. He gives many reasons why imprisonment simply does not work, and suggests that corporal punishment should be used as an alternative. Published in the Boston Globe, a newspaper well known for being liberal, Jacoby provides a conservative view and directs his argument towards those who strongly support imprisonment and view corporal punishment to be highly barbaric and inhumane. However, in order to shed light on our current situation, Jacoby discusses the dangers that we face though our criminal justice system a nd shows concern that imprisonment is doing more harm than good. In effect, Jacoby looks to the past for solutions, and

In this particular poem we understand through the persona’s tone, that they do not like Australia or the people and are therefore making a judgement of, and being of a negative opinion towards, the nation. The text begins with “You big ugly.” This is instantly causing proud Australians to take offence towards the poem, we know it is about Australia because of the title. The poem continues with lines such as “you bore me. Freckle silly children… you nothing much… you’re ugly… you copy…you big awful…” all against Australia.

The Australian setting in TWTWB appeals to many Australian teens because its where we are from. Wirrawee is a fictional rural town in New South Whales. Its a tight knit community with a farming culture. When Ellie and the gang go to hell for the first time they come across and notice the rocky, wild Australian landscape. “Hell is what’s on the other side of Tailor’s, a cauldron of boulders and trees and blackberries and feral dogs and wombats and undergrowth.” Australia is known for its wild bush growth, feral animals and amazing landscapes. Australian teens can relate to this because its a landscape we have all seen and lived among. We are from Australia and we have a better understanding and feel of the atmosphere the characters face, compared to another teenager who doesn’t live in Australia. John Marsden has made TWTWB

Kenny (2006) is an Australian mock documentary about a blue collar Aussie bloke, attempting to belong in social situations outside of Australia. But Kenny has taught me, that you can take an individual out of Australia, but you can’t take Australia out of an individual. The mock documentary had greater success in America than Australia. The depiction of work-class Australian men, in the film, showed the amount of pride Kenny takes in completing his dirty job well. Kenny’s character struggles to belong in his immediate setting, and seeks for his identity in the work that he undertakes. His Australian identity is obvious in the mass use of colloquial language that displayed Kenny’s stereotypical Aussie communication methods.

Keating's speech addresses the changing attitudes to war and to the Anzac legend. When he states: ‘ this Australia and the Australia he knew are like foreign countries’ he is using contrast to show us exactly how much has changed.

Australia’s identity has always been a complicated one. Starting with Aboriginal genocide, 1800’s cowboys and villains, two world wars and a bunch of poems describing them, it makes it difficult to conclude on what being an ‘Aussie’ really is. Thankfully, the two thought-provoking poems Nobody Calls Me a Wog Anymore by Komninos Zervos, and My Country by Dorothea Mackellar both use their discerning selection of themes to reflect modern attitudes in some extent. Along with their themes, Nobody Calls Me a Wog Anymore and My Country both use their story to capture the attributes modern Australians possess to some degree.

As well as emphasise on the faults within the stereotype, the use of recognisable characters in a production of The Removalists allows for an effective comment on the faults within Australian society. Through the use of stereotyped characters, the play provides a deeper insight into the serious personal and societal issues within the Australian community, without the distraction of character complexity. These themes, which are explored through stereotypes, are violence, abuse of authority, and sexism and sexuality.

Australian’s have a unique proud culture. This culture differentiates them from the British motherland. Through many decades Australia has formed a unique, which at its foundation is made from mateship. Mateship or friendship is the core of Australian identity as this was instilled into them through events such as war. WWII in particular demonstrates the level of mateship shown by Australians as many made the ultimate sacrifice in order to save a mate. The stories of ‘The Magic Pudding’ by Gary Crew & Shaun Tan and ‘Memorial’ by Norman Lindsay will demonstrate how mateship is a significant part of how Australians see

As technologies have advanced to make performing day-to-day tasks easier many have become divided on if technology is helping or hurting society. Many have taken to writing to state their polar stances on the issue. This includes Eric Weiner who wrote “The Cost of Saying Yes to Convenience” and David Cain who wrote “The Danger of Convenience”. They both have similar stances on the issue however present their arguments in different ways. “The Cost of Saying Yes to Convenience” by Eric Weiner is a more effective essay than “The Danger of Convenience” by Eric Weiner because it has a good balance of rhetorical appeals, strong diction, and is organized well which allows the reader to clearly understand it.

“Every Australia Day, we explore what it means to be Australian. Reflection about this national identity is invited on the 26th of January, a day that recalls a British invasion and is ‘celebrated’ as Survival Day by Indigenous Australians” ( find source). The ‘Australian way of life’ is seen as reflecting traditional virtues of egalitarianism, classlessness, ‘a fair go’, stoicism and again mateship. It is sometimes referred to as the ‘national ethos’ whereby a certain lifestyle is seen as central to the welfare of the whole community, not just one class of society.

It seems that a sad face served with “what a tragedy” and seasoned with taste of genuine sincerity is our best response when the TV screen shows an image of dead bodies strewn across a dead end street… U2’s Sunday Bloody Sunday is a protest song that provides a dominant reading, investigating the ignorant and indifferent attitude exhibited by society towards the Bloody Sunday incident in Northern Ireland. A quote from the text highlights the 1970s unawareness of this event, and other acts of conflict across the world, “And today the millions cry, We eat and drink while tomorrow they die”. As well as making use of a hyperbole, these two lines are very effective in criticising the lack of care that society has for anyone but themselves, and as a result, depicts us as arrogant and self-righteous. Because we can’t empathise

Before we embark on a detailed study concerning Cockney Rhyming Slang (henceforth CRS), we shall endeavor to define the relevant superordinate term, namely slang. Innocuous as it may seem at first sight, the term was initially perceived as a corruption of language, as evidenced by the preliminary data provided by OED, according to which [slang is] the special vocabulary used by any set of persons of a low or disreputable character; language of a low and vulgar type. The following meaning, which apparently originated in the 18th century among organized criminals (Ayto 2005), was soon extended to still fairly unfavorable sense of a language of a highly colloquial type, considered as below the level of standard educated speech […]. Nonetheless, after the mid-eighteenth century, the concept in question has gradually started to shed the pejorative patina (Mattiello 2008); therefore, currently many – or perhaps most – lexicographic works provide rather neutrally hued definitions of slang. As an illustration, let us now