...Family should have peaceful relations to ensure mutual love, keep balance, and prevent madness from becoming a deadly power. Antigone by Sophocles uses conflict and allusion to describe how the protagonist feels about uniting family rather than dividing and letting power choose family’s destiny. To commence with, families do seem to find problems with each other, yet in this story or play the protagonist (Antigone, (Obeying all her instincts of love, loyalty, and humanity)(Taplin). seeks a way to stop Creon’s madness, her royal uncle, from becoming the ultimate king of Thebes. Sophocles inserts conflict within the characters to resemble how Antigone wants to show the people of Thebes that not all laws and orders that her uncle demands, should...
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...books should all be available at your local library or bookstore (you may also order online). *If you do not already own a copy of How to Read Literature Like a Professor, you should get a copy. We will be referring to it throughout the year as we dissect and discuss literary works. ^^I have provided .PDF copies of these works through Edmodo. Please do NOT print copies of these works. #This book is a great resource to have for college, particularly if you are going to be an English major. To help you retain the content of the summer reading, annotate each work thoroughly and take analytical notes using whatever method works best for you. There will be a summer reading test at the start of the school year based on the Mythological Allusion list provided for you as well as on the plot and characterization found within MacBeth (it will be...
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...From 550 BC to 220 BC, the theatre of Ancient Greece blossomed. The god Dionysus was honored in a festival called Dionysia – from which the dramatic genres of tragedy, comedy and satyr were born. In this essay I will focus on Greek tragedy, with reference to Antigone, by outlining the basic use of dramatic style, staging including the use of masks in costume; as these features are typical of Greek theatre, but in particular I have chosen to illustrate the developments and changes in the genre of ancient Greek Tragedy, principally through the Aristotle’s commentary on the matter. Sophocles’ tragedy Antigone is an important and influential aspect of Greek theatre as he was one of the most celebrated dramatists in Athens. Antigone was written...
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...World Mythology March 5th, 2012 Arabian Nights Essay Fantasy our Daily Determination The art of storytelling is the oldest and most captivating art form man has ever produced. Each and every one of us has been lead on a path by a story so unique that each path can only be traveled once with no chance of return or pause along the way. The reason these stories create a one-time offer is due to the mysterious element of fantasy that no man can ever lack or cease to exist. Fantasy is a genre of fiction that commonly uses magic and other supernatural phenomena as a primary element of plot, theme, or setting. Though formal in definition the fantasy defined above is only the tip of the iceberg because fantasy can be created in one’s mind at a moments notice. Kieran Egan an education professor at Simon Fraser University states that, “fantasy is the most valuable attribute of the human mind; it enriches children’s spiritual development, and is the most important tool for orienting ourselves to reality”(3). This quote pinpoints why fantasy stories have been with us since the start of man and why books like “The Arabian Nights” are so popular thousands of years after there first dictations. Each story read from “Arabian Nights” has different fantasy elements in it, these elements captivate us and bring us inside the stories and are exactly what we connect to, not as a form of “escapism” but to help fuel our own determination to fulfilling our own fantasies. Many of these stories...
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...-CD Aeschylus The seven against Thebes of Aeschylus ?CO O -co Presented to the library of the UNIVERSITY OF TORONTO by Mr. Edgar Stone J£Vf<- J£ The Nelson Playbooks Edited by JOHN HAMPDEN, M.A. THE SEVEN AGAINST THEBES No. 304 THE VILLAGE DRAMA SOCIETY In association with the British Drama League The Society sends out sets of plays for selecand gives advice on questions of production. It will arrange Drama Schools, and provides Lecturers and Adjudicators. The Costume Department makes a speciality of beautiful and accurate historical costume, tion, taking into account not only stage lighting for indoor plays, but distance and daylight on outWell-known portraits have door performances. The department been copied in many instances. can now undertake to dress Pageants, Mystery plays, Shakespeare, Restoration, Eighteenth Century, and early Nineteenth Century plays, as well as Greek drama. Further particulars may be had from : The Hon. 274 Secretary, Village Drama Society, New Cross Road, London, S.E.14. The Seven Against Thebes of iEschylus RENDERED INTO ENGLISH VERSE BY EDWYN BEVAN AUTHOR OF "THE HOUSE OF SELEUCUS" THOMAS NELSON AND SONS, Ltd. LONDON AND EDINBURGH LIBRARY ( All rights in this translation ai-e reserved 3§ PREFACE Out of the old festivals of the wine-god, Dionysos, in which songs had been sung by a chorus, dealing with stories of the legendary past, there was developed at Athens, in the fifth century B.C., the drama,...
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...The tension between free will and destiny: Which one is more powerful? ‘I would say that there are three main questions: One, do people have free will? Two, is determinism true? And three, are free will and determinism compatible? ’ Throughout history, human beings have always tried to be the ones who have the power to rule their own lives. However, there exists a debate which questions whether that is really possible or not. In other words: are human beings capable of deciding what to do with their lives or is there a greater force that rules over our destiny? The Oxford English Dictionary defines destiny as ‘that which is destined or fated to happen to a particular person, country, institution, etc. (…).’ Consequently, this term is opposed to free will, defined as ‘the power of an individual to make free choices, not determined by divine predestination, the laws of physical causality, fate, etc. (…).’ Human beings have thought of these antithetic concepts as something to worry about since the beginning of civilization. Because of that, playwrights have taken them into consideration when writing different plays all over the years. This essay seeks to explore the tension existing between the concepts of destiny and free will in the world of drama through the study of language as well as the analysis of character and situation development. In order to carry this research out, I will take Oedipus Rex by Sophocles (429 BC) and Dr Faustus by Christopher Marlowe (1604) as the...
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...Senior English Curriculum Map: 2010-2011 School Year English IV * Note: “Sacred Book List” Addendum is at the end of this document Quarter #1 August 23 to October 22 Essential Questions: 1. How do writers and artists organize or construct text to convey meaning? 2. What does it mean to be a stranger in the village? Unit Goals 1. To understand the relationship between perspective and critical theory. 2. To apply critical theories to various texts studied and created. 3. To control and manipulate textual elements in writing to clearly and effectively convey a controlling idea or thesis. Student Published Portfolios: For each of the first three quarters, students are required to complete three to four published writing portfolio products. Quarter 4 is devoted to completion of the Laureate Research Project. . Pacing: This map is one suggestion for pacing. Springboard pacing guides precede each unit in the “About the Unit” sections and offers pacing on a 45-minute class period length. Prentice Hall Literature – Use selections from Prentice Hall throughout the quarter to reinforce the standards being taught as well as the embedded assessments within the SpringBoard curriculum. QUARTER #1 SpringBoard Curriculum Pacing Guide August 23 – October 22 Standards and Benchmarks | Unit Pacing Guide | SpringBoard Unit/Activities | Assessments | SpringBoard Unit 1Literature * The students will analyze and compare significant works of...
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...Specimen Papers and Mark Schemes for English Literature For first AS Examination in 2009 For first A2 Examination in 2010 Subject Code: 5110 Contents Specimen Papers Assessment Unit AS 2 Assessment Unit A2 1 Resource Booklet Assessment Unit A2 2 1 3 9 15 25 Mark Schemes Assessment Unit AS 2 Assessment Unit A2 1 Assessment Unit A2 2 29 31 61 95 Subject Code QAN QAN 5110 500/2493/0 500/2421/8 A CCEA Publication © 2007 Further copies of this publication may be downloaded from www.ccea.org.uk Specimen Papers 1 2 ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 English Literature Assessment Unit AS 2 assessing The Study of Poetry Written after 1800 and the Study of Prose 1800-1945 SPECIMEN PAPER TIME 2 hours INSTRUCTIONS TO CANDIDATES Write your Centre number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer one question from Section A and one question from Section B. Section A is open book. INFORMATION FOR CANDIDATES The total mark for this paper is 120. All questions carry equal marks, ie 60 marks for each question. Quality of written communication will be assessed in all questions. 3 Section A: The Study of Poetry Written after 1800 Answer one question on your chosen pairing of poets. Heaney: Opened Ground Montague: New Selected Poems 1 John Montague and Seamus Heaney both write about the Irish past. Compare and contrast the two poets’...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...A Preface of Quotations Whoever desires for his writings or himself, what none can reasonably condemn,the favor of mankind, must add grace to strength, and make his thoughts agreeable as well as useful. Many complain of neglect who never tried to attract regard. It cannot be expected that the patrons of science or virtue should be solicitous to discover excellencies which they who possess them shade and disguise. Few have abilities so much needed by the rest of the world as to be caressed on their own terms; and he that will not condescend to recommend himself by external embellishments must submit to the fate of just sentiments meanly expressed, and be ridiculed and forgotten before he is understood. --Samuel Johnson Men must be taught as if you taught them not; And things unknown propos'd as things forgot. --Alexander Pope Style in painting is the same as in writing, a power over materials, whether words or colors, by which conceptions or sentiments are conveyed. --Sir Joshua Reynolds Whereas, if after some preparatory grounds of speech by their certain forms got into memory, they were led to the praxis thereof in some chosen short book lessoned thoroughly to them, they might then forthwith proceed to learn the substance of good things, and arts in due order, which would bring the whole language quickly into their power. --John Milton Introduction Good writing depends upon more than making a collection of statements worthy of belief, because writing is intended to...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...A ROOM OF ONES OWN [* This essay is based upon two papers read to the Arts Society at Newnharn and the Odtaa at Girton in October 1928. The papers were too long to be read in full, and have since been altered and expanded.] ONE But, you may say, we asked you to speak about women and fiction--what, has that got to do with a room of one's own? I will try to explain. When you asked me to speak about women and fiction I sat down on the banks of a river and began to wonder what the words meant. They might mean simply a few remarks about Fanny Burney; a few more about Jane Austen; a tribute to the Brontës and a sketch of Haworth Parsonage under snow; some witticisms if possible about Miss Mitford; a respectful allusion to George Eliot; a reference to Mrs Gaskell and one would have done. But at second sight the words seemed not so simple. The title women and fiction might mean, and you may have meant it to mean, women and what they are like, or it might mean women and the fiction that they write; or it might mean women and the fiction that is written about them, or it might mean that somehow all three are inextricably mixed together and you want me to consider them in that light. But when I began to consider the subject in this last way, which seemed the most interesting, I soon saw that it had one fatal drawback. I should never be able to come to a conclusion. I should never be able to fulfil what is, I understand, the first duty of a lecturer to hand you after an hour's discourse a...
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...LACAN AND CONTEMPORARY FILM EDITED BY TODD McGOWAN and SHEILA KUNKLE OTHER Other Press New York Copyright © 2004 Todd McGowan and Sheila Kunkle Production Editor: Robert D. Hack This book was set in 11 pt. Berkeley by Alpha Graphics, Pittsfield, N.H. 10 9 8 7 6 5 4 3 2 1 Allrightsreserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from Other Press LLC, except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. Printed in the United States of America on acid-free paper. For information write to Other Press LLC, 307 Seventh Avenue, Suite 1807, New York, NY 10001. Or visit our website: www.otherpress.com. Library of Congress Cataloging-in-Publication Data McGowan, Todd. Lacan and contemporary film / by Todd McGowan & Sheila Kunkle. p. cm. Includes bibliographical references and index. ISBN 1-59051-084-4 (pbk : alk. paper) 1. Motion pictures-Psychological aspects. 2. Psychoanalysis and motion pictures. 3. Lacan, Jacques, 1901- I. Kunkle, Sheila. II. Title. PN1995 .M379 2004 791.43'01 '9-dc22 2003020952 Contributors Paul Eisenstein teaches literature and film in the English department at Otterbein College, Columbus, Ohio, and is the author of Traumatic Encounters: Holocaust Representation and the Hegelian Subject (SUNY Press, 2003). Anna Kornbluh...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...The Project Gutenberg EBook of Phaedo, by Plato This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Phaedo The Last Hours Of Socrates Author: Plato Translator: Benjamin Jowett Release Date: October 29, 2008 [EBook #1658] Last Updated: January 15, 2013 Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK PHAEDO *** Produced by Sue Asscher, and David Widger PHAEDO By Plato Translated by Benjamin Jowett Contents INTRODUCTION.PHAEDO | INTRODUCTION. After an interval of some months or years, and at Phlius, a town of Peloponnesus, the tale of the last hours of Socrates is narrated to Echecrates and other Phliasians by Phaedo the 'beloved disciple.' The Dialogue necessarily takes the form of a narrative, because Socrates...
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