...Name: Khandkar Musarrat Maliha Esha Eng 111.3 Instructor: Hilary Clark Essay 1 The innocence trapped in black coffin in William Blake’s “The Chimney Sweeper” William Blake’s “The chimney sweeper” is narrated by a young boy who is a chimney- sweeper, who tells us about his childhood and his fellow workers. In this poem a contrast of dark and light is shown to give the readers a picture of reality and hope. This essay explores the different dimensions, which are significant in this poem. I will argue that the poet is making a contrast between the innocence and the corruption in today’s world by giving examples and by analyzing the poem thoroughly. In the first stanza the narrator shares his childhood story with the readers. He mentions that his mother died when he was very young and his father sold him even before he knew how to speak. “And my father sold me while yet my tongue, /could scarcely cry” (2-3), in this line the poetic device known as metonymy is used where the poet refers to the speakers voice but says tongue. By this line we understand that his father sold him even before he could cry or understand that he is being sold away. He says that since his father sold him he sweeps chimneys and sleeps in soot. It can be assumed that chimney- sweepers use the same cloth or blanket to sleep, which is used in the daytime to collet soot –“in soot I sleep.” Most of the chimney- sweepers who cleaned the chimney were young children as they were little and it...
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...Dr. Abraham Van Helsing, a Dutch Scientist, and the only Catholic among the group, combines science and ancient beliefs to bring an end to Dracula. Van Helsing first introduces the Host in the tomb of Lucy, where he describes how the Host will keep her coffin sealed. “I am closing the tomb, so that the Un-Dead may not enter” (225). By doing this he is protecting her body and warding off any evils that may want to harm her. In her article “Crucifix, Communion, and Convent: The Real Presence of Anglican Ritualism in Bram Stoker’s Dracula”, Noelle Bowles argues that, “The other men's belief is irrelevant to the power of the Host and, as with Harker and his crucifix, they, too, come to embrace the Real Presence of the divine in what had seemed at first mere Symbolism.” (Bowles 18) At first, the team was hesitant when Van Helsing introduces the Host, but once they see how it works, their beliefs of Catholicism is revived. Once they trust its abilities, they use the Holy Host in a variety of other instances. Similarly to the crucifix, they utilize it to ward off Dracula and protect them from harm. In addition to that, they place the Holy Host in the coffins of Dracula so that he could no longer enter them. Another example of the functions of the Host is when Van Helsing touches the Sacred Wafer to Mina’s forehead and scars her to protect her from Dracula’s powers. All of these examples provide the...
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...Approaching the Work Anthology How to compare the poems Meerkat Poetry Meerkat Poetry In section B of your AS exam, you will be asked to write one essay about the poems in the Work anthology. You will be given a choice of two questions. You can compare and contrast at least two poems of your choice, in response to a statement: OR You can compare one named poem and one other of your choice, in response to a statement: All the poems that you choose must come from the Work section of the anthology, which you have studied. How will my response be marked? Your response will be marked for three assessment objectives: AO1: 15 marks: AO2 – 5 marks: AO3 - 20 marks: TASK 1: Understanding how to compare Look carefully at the mark scheme for AO3. In addition to what is noted above, it always states: “In order to meet the AO3 requirement, effective comparison and contrast will need to be demonstrated.” Answer the following questions. 1. How are you asked to show similarities between the poems? 2. How are you asked to show differences? 3. What is meant by “literary” – what might you refer to in a literary response? Sample question with its indicative content from the mark scheme: For 5a: Compare all the way through, all your points should lead to exploring a similarity of a difference Compare all the way through, all your points should lead to exploring a similarity of a difference It’s OK to disagree with the statement in the question It’s OK to disagree with the statement in...
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...uninvited, and how do the results of his visit affect the remainder of the novel? 3. When Lockwood first enters Wuthering Heights, who lives there? 4. What feeling do we get from Wuthering Heights and its occupants in these first few chapters? 5. Describe Heathcliff. 6. What glimpses from the past does Lockwood get when he discovers Catherine's books? 7. Whose ghost visits Mr. Lockwood? What is Heathcliff's reaction to the ghost? B) Chapters 4-8 1. Who is Nelly Dean? 2. What do the gifts that Hindley and Catherine ask their father to bring them reveal about their characters? 3. What are Heathcliff's origins? 4. Why does Hindley despise Heathcliff? 5. Characterize Catherine. 6. Compare and contrast Catherine's and Heathcliff's reactions to the Lintons at Thrushcross Grange. 7. Why did Edgar get applesauce dumped on him? 8. Catherine is pained by Hindley's punishment of Heathcliff, yet she continues to entertain her guests. What change does this reveal? 9. What does Heathcliff begin to plan? 10. Who is Hareton Earnshaw? 11. How does Frances' death affect Hindley? 12. Edgar gets a good look at Catherine's "other side." What is his reaction? C) Chapters 9-10 1. Who saves Hareton's life? 2. Why does Catherine accept Edgar's proposal when she knows Heathcliff is a part of her soul? 3. Why does Heathcliff disappear? 4. How has Heathcliff changed during his absence of three years...
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...dracontias 1 2007 no. 1 2007 1 dracontias 1 2007 2 dracontias 1 2007 Melez! Occasionally, one encounters persons calling themselves “theoretical magicians” and thus meaning that they subscribe to the magical paradigms without practising magic. But, theoretical magic is a contradiction. Magic is practice, action. Eugenio Trias, professor in philosophy, have pointed out that the word magic can be traced back to the same root as make (Swedish makt meaning ‘power’, German machen meaning ‘do’ or ‘make’). Magic is a creative, creating force through which the magician enables his visions through action. This is echoed in the Draconian magical formula: Visio, Vires, Actio: Vision, Force, Action. Practising magic, however, is an art that demands dedication, patience and discipline. A process of ennobling is demanded to develop the magical abilities, a path of initiation, an alchemy in which vision and action are united into a whole. The Magical Week on Gotland is the most important magical highlight of the year, where we unite magical work with inspiring social activities and there will be a unique opportunity to work magically in depth together with others in Dragon Rouge. The Magical Week 2007 we will focus on Visio Vires Actio – The Draconian Alchemy and we will ennoble our magical abilities during intensive magical operations. HDHM! Dracontias No. 1 2007 In this issue: Editorial A few words by Thomas Karlsson The Path Through the Underworld By Anne L. The Manala...
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...HUM 1110.99 Final Paper A Comparison and Contrast of the Mother Goddess Figure Introduction This paper compares and contrasts the Virgin Mary and the Egyptian mother goddess Isis. A mother goddess is a deity or persona that represents motherhood, fertility, creation or one that embodies the bounties of the Earth. The Virgin Mary and Isis each represent perspectives of what is called the Sacred Feminine or Divine Feminine. Upon first glance, it appears that the similarities between the Virgin Mary and Isis are nothing more than a coincidence. I however, think The Virgin Mary and Isis are the same entity merely altered to fit different cultural needs. Author and psychic medium, Jessica Jewett, best describes this on her web page, “The supreme mother of the universe; she is loving, wise, courageous and sacrifices herself and her family of the benefit of mankind. In modern Christian culture, this description fits the Holy Mother, the Virgin Mary, but three thousand years ago and longer, this description also fit the most powerful Egyptian goddess, Isis.” (Jewett) I will be using their origins, symbols, titles, functions in religion, and seasonal festivals to compare and contrast The Virgin Mary and Isis in attempts to show how they are one in the same. Origins/Births Both Isis and The Virgin Mary are similar in the fact that they are considered divine mothers and venerated as a “life-giver”. They both had male offspring, Jesus and...
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...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’ treatment of the Irish past in two poems you have studied. Hopkins: Selected Poems Dickinson: A Choice of Emily Dickinson’s Verse 2 Gerard Manley Hopkins and Emily Dickinson both express intense anguish in their poetry. Compare and contrast how both poets express intense anguish in two poems you have studied. Duffy: Selected Poems Lochhead: The Colour of Black and White 3...
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...The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows. Jack Post Abstract Although Douglas Sirk’ All That Heaven Allows (1954) and Todd Haynes’ Far from Heaven (2002) are both characterized as melodramas, they address their spectators differently. The divergent (emotional) reactions towards both films are the effect of different rhetorical strategies: the first can be seen a typical example of baroque discourse and the latter as a specimen of mannerist discourse. The reference to the terms melodrama, mannerism and baroque does not imply that these films are just formal repetitions of historical periods or that they thematically and structurally refer to historical styles, but that they are characterized by opposing discursive strategies which came to the foreground in a specific historical time and constellation. Because these discursive strategies return in other historical periods and socialpolitical circumstances in different guises and with different aims, they can be compared to what Aby Warburg calls Pathosformeln (pathos formula). The expressive forms, gestures and discursive modes of melodrama, baroque and mannerism can thus be understood as transhistorical (gestural) languages of pathos that recur in history. Résumé Bien que All that heaven allows (1954) par Douglas Sirk et Far from heaven (2002) par Todd Haynes se caractérisent nettement comme un mélodrame, les deux films adressent...
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...David is born and Mr. Chillip, the doctor, informs Miss Betsey that Clara has had a boy, Miss Betsey storms out of the house and never returns. Summary — Chapter II. I Observe. David’s earliest memories are of his mother’s hair and his nurse, Clara Peggotty, who has very dark eyes. He remembers the kitchen and the backyard, with the roosters that frightened him and the churchyard behind the house, where his father is buried. Both David and his mother submit themselves to Peggotty’s kind direction. In particular, David recalls one occasion when he sits up late reading a book about crocodiles to Peggotty while waiting for his mother to return home from an evening out. David’s beautiful mother returns with Mr. Murdstone, a large man with black whiskers and a deep voice. David and Peggotty both dislike Mr. Murdstone, and Peggotty warns David’s mother not to marry someone her dead husband would not have liked. Mr. Murdstone returns later and takes David on a short trip to meet two business acquaintances, one of whom is named Mr. Quinion. Mr....
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...ExpAQAPoetryClusters4Relationships_pp125-156_FINAL_Layout 1 28/05/2010 13:32 Page 125 Cluster 4 Relationships Different types of relationship are the focus of this cluster. Some poems, such as ‘Quickdraw’ and ‘Hour’, deal with the positive and/or negative emotions inherent in romantic relationships. Some deal with family relationships and the complex feelings that can be experienced by parents and children, or brothers and sisters, as in ‘Nettles’ and ‘Harmonium’ or ‘Brothers’ and ‘Sister Maude’ respectively. Some of the recurrent themes include conflict between couples, and the emotional vulnerability and pain that love can cause, whether it is between a father and his son or a couple at the start of a romantic love affair. When studying this cluster, it might be useful for students to focus on some of the following considerations: • What form of relationship is the focus of this poem? Is it a romantic or familial relationship? Is the poet drawing attention to any universal experiences as they portray this relationship in particular? • From whose perspective is the poem written? Is it first, second or third person address, and how does this affect meaning? Who does the poem address? Or is it about, rather than directed to, someone? Does the form of communication affect the meaning? Is the poet speaking directly, or does the poet use a persona to communicate their ideas? • Consider the mood / tone of the poem. Is it light-hearted or serious in tone? Is it making a serious...
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...Resources for Teaching Prepared by Lynette Ledoux Copyright © 2007 by Bedford/St. Martin’s All rights reserved. Manufactured in the United States of America. 2 1 f e 0 9 d c 8 7 b a For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000) ISBN-10: 0–312–44705–1 ISBN-13: 978–0–312–44705–2 Instructors who have adopted Rereading America, Seventh Edition, as a textbook for a course are authorized to duplicate portions of this manual for their students. Preface This isn’t really a teacher’s manual, not, at least, in the sense of a catechism of questions and correct answers and interpretations. Because the questions provided after each selection in Rereading America are meant to stimulate dialogue and debate — to generate rather than terminate discourse — they rarely lend themselves to a single appropriate response. So, while we’ll try to clarify what we had in mind when framing a few of the knottier questions, we won’t be offering you a list of “right” answers. Instead, regard this manual as your personal support group. Since the publication of the first edition, we’ve had the chance to learn from the experiences of hundreds of instructors nationwide, and we’d like to use this manual as a forum where we can share some of their concerns, suggestions, experiments, and hints. We’ll begin with a roundtable on issues you’ll probably want to address before you meet your class. In the first section of this manual, we’ll discuss approaches to...
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...“Behind the Fair Façade” Representations of Femininity in Three Walt Disney Animated Features Bachelor Thesis Bethany Schouten, 3278972 Media en Cultuurwetenschappen Genderstudies Supervisor: Domitilla Olivieri May 31st, 2011 “Behind the Fair Façade” Representations of Femininity in Three Walt Disney Animated Features Bachelor thesis by Bethany Schouten, 3278972 Index Introduction 3 Methodological and theoretical Framework 4 Corpus 9 The Research: SNOW WHITE AND THE SEVEN DWARFS 11 The Research: THE LITTLE MERMAID 18 The Research: THE PRINCESS AND THE FROG 24 Findings and Interpretation 31 Identity Formation 35 Conclusion 38 Literature 41 Media 43 Introduction The Walt Disney Company’s cultural products have been a great influence on popular culture since the 1930s and an inspiration for generations all over the world ever since. For many, including myself, the Princes, Princesses and fantastical creatures of Disney’s animated fairy tales have become symbols of their youth. Seeing the films gives rise to a feeling of nostalgia, they become a memento of one’s childhood world. But what kind of world is this? What kind of realities do Disney’s fantastical representations construct? In my thesis, I will analyze a specific element of Disney films: gender roles constructed through the representation of femininity in their animated...
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...SECOND DRAFT Contents Preamble Chapter 1 1.1 1.2 1.3 1.4 1.5 Background Rationale Aims Interface with the Junior Secondary Curriculum Principles of Curriculum Design Chapter 2 2.1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 Curriculum Planning 3.1 Planning a Balanced and Flexible Curriculum 3.2 Central Curriculum and School-based Curriculum Development 3.2.1 Integrating Classroom Learning and Independent Learning 3.2.2 Maximizing Learning Opportunities 3.2.3 Cross-curricular Planning 3.2.4 Building a Learning Community through Flexible Class Organization 3.3 Collaboration within the English Language Education KLA and Cross KLA Links 3.4 Time Allocation 3.5 Progression of Studies 3.6 Managing the Curriculum – Role of Curriculum Leaders Chapter 4 1 2 2 3 3 13 14 14 15 15 16 16 17 17 18 21 Learning and Teaching 4.1 Approaches to Learning and Teaching 4.1.1 Introductory Comments 4.1.2 Prose Fiction 4.1.3 Poetry i 21 21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced...
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...And there's always Jean-Claude, the vampire who's been waiting for just the right moment to slip inside Anita's head and heart. 1 The most beautiful corpse I'd ever seen was sitting behind my desk. Jean-Claude's white shirt gleamed in the light from the desk lamp. A froth of lace spilled down the front, peeking from inside his black velvet jacket. I stood behind him, my back to the wall, arms crossed over my stomach, which put my right hand comfortably close to the Browning Hi-Power in its shoulder holster. I wasn't about to draw on Jean-Claude. It was the other vampire I was worried about. The desk lamp was the only light in the room. The vampire had requested the overheads be turned out. His name was Sabin, and he stood against the far wall, huddling in the dark. He was covered head to foot in a black, hooded cape. He looked like something out of an old Vincent Price movie. I'd never seen a real vampire dress like that. The last member of our happy little group was Dominic Dumare. He sat in one of the client chairs. He was tall, thin, but not weak. His hands were large and strong, big enough to palm my face. He was dressed in a three-piece black suit, like a chauffeur except for the diamond stickpin in his tie. A beard and thin mustache lined the strong bones of his face. When he'd entered my office, I'd felt him like a psychic wind tripping down my spine. I'd only encountered two other people who had that...
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...The Wreck of Amtrak’s Sunset Limited H. Richard Eisenbeis, Sue Hanks, and Bruce Barrett University of Southern Colorado On September 22, 1993, the Sunset Limited, the pride of Amtrak, glided swiftly along through the warm, fall night. A dense fog hugged the countryside. Because there was nothing to see through the train’s windows, many passengers dozed peacefully, lulled to sleep by the gentle, rhythmic, clickety-clack of iron wheels passing over jointed rails. Crewmembers roamed the aisles and halls making sure that those guests still awake were accommodated and comfortable. In less than a second, this peaceful scene was shattered by a thundering roar as seats were torn from the floor and passengers were sent flying through the cars. At 2:53 a.m. Amtrak’s only transcontinental passenger train, the Sunset Limited, plunged into Big Bayou Canot, killing 47 passengers. Eight minutes earlier at 2:45 a.m., a towboat, pushing six barges and lost in a dense fog, unknowingly bumped into the Big Bayou Canot Bridge knocking the track out of alignment. The train, traveling at a speed of 72 mph in the dense fog, derailed as a result, burying the engine and four cars five stories deep in the mud and muck of Big Bayou Canot.4,7,8,10,12,13 Bruce Barrett, a locomotive engineer, has described what might have been occurring in the cab of Amtrak engine Number 819 prior to the wreck.2 This scenario is based upon my 17 years’ experience as a locomotive engineer on a major ...
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