...When the Knights of Camelot camped away from the castle, friends tended to set up their bedrolls close to one another, and since Percival and Gwaine were best mates, they slept near each other. Well, Gwaine often snored like a boar dying from catarrh, which kept waking Percival, so restful sleep was often challenging. During one such mission in the heart of summer, Gwaine’s snoring was enough to rattle tress, and Percival tossed a pebble at him. “Oi!” Gwaine sat upright in his bedroll. “I was sleeping!” “You were snoring loud enough to wake the dead. Any other man would have smothered you.” His face a ghostly white in the pale moonlight, Gwaine scowled. “I’m thirsty, and it’s your fault I’m awake. Come with me to the creek.” “Yes, Master.” Side by side, Percival and Gwaine strolled to the creek, which was a good few dozen strides away from their camp, far enough away that the other knights could not hear them. Gwaine bent, cupped his hands, and took a few long, grateful swallows of water from the bubbling creek. “Much better. But do you know what would be even finer? A night of Leon’s chambermaid in my bed! Have you ever gazed at that round, ripe arse? I’d like to…” Gwaine engaged in a long soliloquy about all the acts in which he would engage with the beautiful young chambermaid. It was not that Percival minded the detailed description, it was that he had a difficult—if not impossible—time relating to Gwaine’s enthusiasm. And, out of nowhere, Percival decided it was...
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...“Breaking news! A murderer is on the loose. This murderer is in Gallikati. The police are still investigating. Please lock all your doors and windows. This is Tara Hussain from KXBG News.” Poor Prince Edgar. His wife, Adeline, vanished approximately around 4:00 A.M., not too long before police had figured out a murderer was on the loose. Edgar sent his knights on the search for his beloved wife. After he watched the news, he wondered whether the murderer was responsible for the disappearance of his bride. Prince Edgar, drowning in his own tears, headed to his chamber. Once he reached the top of the stairs, he felt restless. Edgar tried opening the door. It wouldn’t budge. He assumed he was too weak and called his dear servant, Trevor. Just then, Edgar felt dizzy, felt pain on his chest, and fell to the ground. Trevor carried Edgar and rushed to the hospital. He requested the staff at the hospital not to spread the news. The doctors had told Trevor Edgar had suffered from a minor heart attack. Edgar’s parents. Queen Amelia and King Augustus, had died a few minutes after Edgar had fainted. Their deaths were suspicious. The police had found their bodies hung up on a tree in the nearby graveyard without a clue how they ended up there. Trevor slept the night at the hospital. Once Trevor woke up, he headed back to the palace. When he went upstairs, where the bedrooms were, the place felt empty to him in the absence of the royals. He entered Edgar’s room. What happened next was beyond...
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...Defying Social Norms Through Writing Essentialist definitions claim that women writers avoid confrontational issues in their work. They instead choose to play it safe when it comes to the topics that they write about. Toni Morrison, Margaret Atwood, and Virginia Woolf defy this claim by writing about topics such as race, social status and gender. The novels, “The Bluest Eye,” “The Handmaid’s Tale,” and “To the Lighthouse,” are examples of how these women writers challenge the essentialists’ claims. Beauty standards are a prevailing theme in “The Bluest Eye,” by Toni Morrison. Young black girls, like the character Pecola, have to face the hurdles that the color of their skin causes for them. A theme in the novel is that whiteness is...
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...Economics, Finance, Management, Marketing, Sell Websites Education - ADHD, Learning, Philosophy of Education, Privatization, Public Schools, School Violence, School Vouchers, Teaching, Technology and Education, Test and Testing, Writing English Composition Essays - Analitical, Autobiographical, Argument, Cause/Effect, Classification, Compare/Contrast, Comparison, Conversation, Creative+Writing, Critical, Deductive, Definition, Descriptive, Description, Dialog, Division, Exploratory, Expository, Informative, Interview, Inquiry, Journalistic, Narration, Observation. Personal Narrative, Place, Profile, Process, Proposal English Literature and Literary Analysis - Adventures of Huckleberry Finn, A & P, Antigone, Apocalypse Now, Araby, The Awakening, Barn Burning, Beowulf, Beloved, Bible, Birthmark, Blade Runner, The Bluest Eye, Candide, Canterbury Tales, Catcher in the Rye, Cathedral, Chrysanthemums, A Clockwork Orange, The Color Purple, Comparing Literary Works, Crime and Punishment, Death of a Salesman, Death in Venice, Desiree's Baby, A Doll's House, Dr. Faustus, Epic of Gilgamesh, Everyday Use, A Farewell to Arms, Frankenstein, The Grapes of Wrath, Great Gatsby, Great Expectations, Glass Menagerie, Gulliver's Travels, The Handmaid's Tale, Heart of Darkness, The Iliad, Invisible Man, Jane Eyre, The Joy Luck Club, The Lottery, The Love Song of J. Alfred Prufrock, Metamorphosis, My Antonia, My Papa's Waltz, Neuromancer, The Odyssey, Oedipus Rex, On the Road, Oresteia...
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...What is literature? * Creative writing of recognised artistic value. * Written works of fiction and non-fiction in which compositional excellence and advancement in the art of writing are higher priorities than are considerations of profit or commercial appeal. * Literature is literally "an acquaintance with letters" as in the first sense given in the Oxford English Dictionary (from the Latin littera meaning "an individual written character (letter)"). The term has generally come to identify a collection of texts. The word literature as a common noun can refer to any form of writing, such as essays or poetry; Literature as a proper noun refers to a whole body of literary work, world-wide or relating to a specific culture... * lit·er·a·ture n. 1. The body of written works of a language, period, or culture. 2. Imaginative or creative writing, especially of recognized artistic value:"Literature must be an analysis of experience and a synthesis of the findings into a unity" 3. The art or occupation of a literary writer. 4. The body of written work produced by scholars or researchers in a given field: medical literature. 5. Printed material: All the available collected literature on the subject. 6. Music: All the compositions of a certain kind or for a specific instrument or ensemble: the symphonic literature. Good literature has something important to say about life. If we take the time to read and understand the literature...
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...“Canada is an unknown territory for the people who live in it, and I’m not talking about the fact that you may not have taken a trip to the Arctic or to Newfoundland, you may not have explored as the travel folders have it – This Great Land of Ours. I’m talking about Canada as a state of mind, as the space you inhabit not just with your body but with your head. It’s that kind of space in which we find ourselves lost. What a lost person needs is a map of the territory, with his own position marked on it so he can see where he is in relation to everything else. Literature is not only a mirror; it is also a map, a geography of the mid. Our literature is one such map, if we can learn to read it as our literature, as the product of who and where we have been. We need such a map desperately; we need to know about here, because here is where we live. For the members of a country or culture, shared knowledge of their place, their here, is not a luxury but a necessity. Without that knowledge we will not survive.” Margaret Atwood, Survival As Atwood’s statement demonstrates, Canadian literature is concerned with place and displacement, and with the development of an effective identifying relationship between self and environs. Canada’s literature whether written in English or French reflects three main parts of Canadian experience. First, Canadian writers often emphasize the effects of climate and geography on the life and work of their people. Second, frontier’s...
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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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...American Pop: Popular Culture Decade by Decade. Ed. Bob Bacthelor. Westport, CT: Greenwood Press 2009. 978-0-313- 34410-7. 4 vol. 1,604p. $375.00. Gr. 9-12. This four volume set gives students a broad and interdisciplinary overview of the many and varied aspects of pop culture across America from 1900 to the present. The volumes cover the following chronological periods: V 1. 1900-1929, V 2. 1930-1959, V 3. 1960-1989 and Vol. 4. 1990-Present. There is an Introduction for each volume focusing on the major issues during that period. There is a Timeline of events for the decade which gives extra oversight and content to the study of the period and an Overview of each dcade. Chapters focus on specific areas of pop culture (Advertising, Books, Entertainment, Fashion, Food Music and much more) supplemented with sidebars containing stories, photos, illustrations and Notable information. There are endnotes for each decade and a Resource Guide and Index. Volume 4 also contains a Cost of Products from 1900-2000, and an Appendix with Classroom Resources for teachers and students and a Cumulative Index. Students, teachers and the general reader will love sifting through the experiences of Americans as they easily follow the crazes, technological breakthroughs and the experiences of art, entertainment, sports and other cultural forces and events that influenced each generation. Reference– Popular Culture ...
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...Examination Paper Semester I: Organizational Behaviour IIBM Institute of Business Management IIBM Institute of Business Management Semester-1 Examination Paper MM.100 Organizational Behaviour Section A: Objective Type (30 marks) This section consists of Multiple Choice & Short Notes type Questions. Answer all the questions. Part One carries 1 mark each & Part two carries 5 marks each. Part one: Multiple choices: 1. It is the degree to which a person identifies with a particular organization and its goals, & wishes to maintain membership in the organization a. Job involvement b. Terminal value c. Attitude d. Value a. Job involvement 2. _________ means moving information from the hidden area to the open area a. blind area b. unknown area c. public area d. self disclosure d. self disclosure 3. An approach in which the goals of one party are in direct conflict with the goals of the other party a. Negotiation b. Distributive bargaining c. Stress d. None Ans. Negotiations 4. The measure of a person’s ability to operate within business organizations through social communication & interactions a. Transactional analysis b. Interpersonal skill c. Life position d. Johari window Ans. b. interpersonal skill 5. Where the source of power is in person’s control over rewarding outcomes, that power is called a. Coercive power b. Referent power c. Legitimate power d. Reward power Ans. d. Reward power Examination...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...ПРАКТИЧЕСКИЙ КУРС АНГЛИЙСКОГО ЯЗЫКА 4 курс Под редакцией В.Д. АРАКИНА Издание четвертое, переработанное и дополненное Допущено Министерством образования Российской Федерации в качестве учебника для студентов педагогических вузов по специальности «Иностранные языки» Сканирование, распознавание, редактирование Июнь 2007 Москва гуманитарный издательский центр ВЛАДОС 2000 Практический курс английского языка. 4 курс под ред. В.Д. Аракина ББК 81.2Англ-923 П69 В.Д. Аракин, И.А. Новикова, Г.В. Аксенова-Пашковская, С.Н. Бронникова, Ю.Ф. Гурьева, Е.М. Дианова, Л.Т. Костина, И.Н. Верещагина, М.С. Страшникова, С.И. Петрушин Рецензент кафедра английского языка Астраханского государственного педагогического института им. С.М. Кирова (зав. кафедрой канд. филол. наук Е.М. Стпомпель) Практический курс английского языка. 4 курс: П69 Учеб. для педвузов по спец. «Иностр. яз.» / Под ред. В.Д. Аракина. - 4-е изд., перераб. и доп. - М.: Гуманит, изд. центр ВЛАДОС, 2000. 336 с.: ил. ISBN 5-691-00222-8. Серия учебников предполагает преемственность в изучении английского языка с I по V курс. Цель учебника - обучение устной речи на основе развития необходимых автоматизированных речевых навыков, развитие техники чтения, а также навыков письменной речи. Учебник предназначен для студентов педагогических вузов. ББК 81.2Англ-923 2 Практический курс английского языка. 4 курс под ред. В.Д. Аракина ПРЕДИСЛОВИЕ Настоящая книга является четвертой частью серии комплексных учебников...
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... Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves included—frequently malign or ignore. As we have considered our quandary, we have come face-to-face with the central paradox that characterizes the genre: Teaching manuals tend to be distant, mechanical, impersonal, and lifeless, when in fact good teaching is immediate, flexible, personal, and lively. In this manual, therefore...
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