...Canada’s Homefront During WW1 In August 1914, Britain declared war on Germany, which meant that Canada was going to war as well. Canada’s young men were going to war to serve their country as well as demonstrating their patriotic duty to Britain as they left behind their loved ones on the Canadian homefront. The First World War had a profound impact on life in Canada during the war. As our Canadian soldiers faced conflicts and huge challenges on foreign battlefields, there were many changes coming for those left behind on the Canadian homefront as they faced many social challenges and a shift in life, as they knew it. During WW1, the Canadian homefront saw a great transformation in the role of women in Canadian society, reforms in the labour movement and an increase in tension between French and English Canadians due to the conscription crisis. At the turn of the century, the role of women in Canadian society began to change drastically as their roles expanded beyond the home. Many Canadians viewed the woman’s role as the mother and homemaker but Canada’s participation in WW1 dramatically altered how women were viewed. So many Canadian men enlisted in the war that Canadian labour force was hugely diminished because if men were at war, they could not be working in the factories so Canada was forced to turn to women to join the workforce. “As the number of volunteers increased it was becoming clear that a new source of labour would have to be found. Women...
Words: 1170 - Pages: 5
...Chart Outlining Incidents of Dramatic Irony Example of Dramatic Irony from Acts I & II | Characters Involved | Sympathy? Antipathy? | Reason your sympathies lean as they do | Evidence – Lines and Explanation of Effect | In Act I.v, the Ghost of King Hamlet reveals to Hamlet that the King had been poisoned to death by Claudius. Dramatic irony occurs because Hamlet, the Ghost and we know the truth that Claudius murdered Hamlet's father.Dramatic irony occurs because only the readers and his friends Marcellus and Horatio know that Hamlet is only pretending to be mad.Ophelia and Polonious thinks that Hamlet is mad in love with Ophelia but only we and his friends know that Hamlet is only pretending to be mad. | Hamlet, Ghost and Claudius | Sympathy with Hamlet and his father.Antipathy with Claudius | Claudius killed the father of Hamlet. And no one knew the reality.Antipathy for Claudius because he murdered his own brother and became the king. | | | Hamlet, Horatio and Marcellus | Sympathy with Hamlet. | Sympathy with Hamlet because he knows that his father had been murdered but couldn’t reveal the truth. | | | Hamlet, Ophelia and Polonious | Sympathy with Ophelia. | Sympathy with Ophelia because she also thought that Hamlet was mad, which made her sad. | | | | | | | | | | | | Dramatic Irony Critical Analysis- For my critical analysis of dramatic irony in Hamlet I chose when Hamlet learns that his father was poisoned by Claudius...
Words: 527 - Pages: 3
...Activity 1 – Imagery and Symbolism Discussion: Symbols and Images - Formative Dropbox: Poetic Verbal-Visual Collage (5%) Activity 2 – Diction Dropbox: Event Poem/Reflection - Formative Activity 3 – Form Discussion: Forms - Formative Activity 4 – Sound and Sense Dropbox: Poetry Analysis – Formative (5%) Activity 5 – Theme and Understanding Discussion: Battle of the Critics - Formative Activity 6 – ISP Reflective Journal Dropbox: Reflective Journal - Formative Activity 7 – Culminating Activity Dropbox: Best Poem in the World (5%) Discussion: Best Poem - Formative Unit 3 – 25% Activity 1 – Culminating Assignment Essay Module Discussion: Integrated Quotations - Formative Discussion: Elaboration of Evidence - Formative Activity 2 – Worldviews and Interpretations Dropbox: “The Return” Response (Parts A, B, and C) - Formative Activity 3 – Text Attack Discussion: The 5 ‘W’’s - Formative Activity 4 – Dramatic Irony Dropbox: Incidents of Dramatic Irony – 2.5% Activity 5 – Target the Audience Discussion: Cultural/Political Passage - Formative Activity 6 – Allusions in Hamlet Dropbox: Allusion Chart – Formative Discussion: Posting Allusion Chart - Formative Activity 7 – Hamlet Act IV & Preparing to Write the Literary Essay Dropbox: Cause...
Words: 441 - Pages: 2
...CRITICAL ANALYSIS In Act II Sc.1 Polonius talks to a man named Reynaldo and sends him to spy on his son. Ophelia reports to her father Polonius the strange behaviour of Hamlet. Polonius immediately concludes that Hamlet is 'madly in love' with Ophelia: “That hath made him mad." He wants to report it to the king immediately, because Ophelia says he just stood there staring at her for five minutes covered in mud and looked insane. Polonius at first thinks that Hamlets love for Ophelia is a fake act, but soon finds that his love is actual true. But he then believes he has gone mad, he believes he has gone crazy. This creates dramatic irony, Polonius cannot tell the truth, he is misreading Hamlet and it leads to his death. We the readers know that he is wrong about Hamlet. This scene creates a beginning of Polonius end. He’s actions lead to his eventual downfall. This scene shows that Polonius is not trustworthy because of him spying on his son, it shows the deception that Hamlet has and that Ophelia really does care for Hamlet. The main theme that it develops is acting, because both Polonius towards his son and Hamlet towards Ophelia trick them with false words and emotion. In this scene we learn that Polonius makes false judgements, and Hamlet can be very deceptive with his actions and emotions. We learn that the theme of acting is very present in the play. Through this acting many characters in the play don’t not know what the true intentions of other...
Words: 306 - Pages: 2
...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...
Words: 12257 - Pages: 50
...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
Words: 4700 - Pages: 19
...re tu ra li CAPE Modern te ng Languages Literatures nE e siniEnglish ur e at l er g it En sin ur e at er it L Caribbean Examinations Council ® SYLLABUS SPECIMEN PAPER CSEC® SYLLABUS,MARK SCHEME SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures...
Words: 121889 - Pages: 488
...ALLEGOR AND IRONY IN 'OTHELLO' Y ANTOINETT B. DAUBER E Othello is Shakespeare's Spenserian tragedy, in which the theme of slandere d chastity becomes a vehicle for exploring the problems of an allegorica l art . Allegory is the mode of selfconscious faith, and Spenser's corpus may be rea d as a portrai t of the artis t as allegorist , wrestling first with the burdens of selfconsciousness and then with the burdens of faith.l In Othello, Shakespeare compresses and objectifies this struggle. Unlike Spenser, he is not committed to the maintenance of allegory, and so he freely dramatizes the interna l weaknesses and external onslaughts that lead to its destruction. What I am calling the 'Spenserian ' quality begins with the chivalric elements in the tragedy. Truly, Othello is a kind of Savage Knight, Desdemona, the absolutely, almost miraculously, worthy lady, and Iago, something of a manipulator like Archimago.2 But more particularl y I would call attention to a specific engagement with Spenserian rhetoric . Consider Cassio' s words of welcome to the disembarking Desdemona: Tempests themselves, high seas, and howling winds, The gutter'd rocks and congregated sands, Traitors ensteep'd to enclog the guiltless keel, As having sense of beauty, do omit Their mortal natures, letting go safely by The divine Desdemona. (2.1.68-73)3 He sets her in the line of Spenser's heavenly allegories . As a parallel , we may recal l Una , slandere d by the arch-magician , abandone d by 123 her...
Words: 6901 - Pages: 28
...Elements of Drama by: Christina Sheryl L. Sianghio Character Most simply a character is one of the persons who appears in the play, one of the dramatis personae (literally, the persons of the play). In another sense of the term, the treatment of the character is the basic part of the playwright's work. Conventions of the period and the author's personal vision will affect the treatment of character. Most plays contain major characters and minor characters. The delineation and development of major characters is essential to the play; the conflict between Hamlet and Claudius depends upon the character of each. A minor character like Marcellus serves a specific function, to inform Hamlet of the appearance of his father's ghost. Once, that is done, he can depart in peace, for we need not know what sort of person he is or what happens to him. The distinction between major and minor characters is one of degree, as the character of Horatio might illustrate. The distinction between heroes (or heroines) and villains, between good guys and bad guys, between virtue and vice is useful in dealing with certain types of plays, but in many modern plays (and some not so modern) it is difficult to make. Is Gregers Werle in The Wild Duck, for example, a hero or a villain? Another common term in drama is protagonist. Etymologically, it means the first contestant. In the Greek drama, where the term arose, all the parts were played by one, two, or three actors (the more actors, the later the...
Words: 9002 - Pages: 37
...Early European Theater • The writings of this period were primarily hymns, sermons and similar theologically oriented works. • Latin became a literary medium. • Major preserves of learning are the monasteries. • 8th century Europe returned to greater stability under the Carolingian kings. ➢ Charles Martel – defeated the Moslems at Tours in 732 AD, through his innovative use of armored horsemen as the principal military force, initiating the development of knighthood. ➢ Charlemagne – extended his realm into the Slavic territories and converting non- Christians on the way. Charlemagne was crowned by the Pope and pronounced him as the successor to Constantine. The scenario was the first attempt to establish the Holy Roman Empire. • Charlemagne’s death caused Europe to break into small units isolated from each other and from the world. • Moslem controlled the Mediterranean and the Vikings, still pagans, conquered the northern seas. Early Middle Ages • Life was relatively simple. • Feudalistic patterns were fully established. ➢ Manor (large estate)- headed by a noble man, assumed absolute authority over the peasants who worked his land collectively. ➢ Vassals – supplies the lords a specified number of knights upon demand and the lords in return were bound to protect their vassals. The Theater (500- 900 AD) • The theater revived during the early Middle Ages. • After the Western Roman...
Words: 7202 - Pages: 29
...AS/A2 English Literature B Student Guide A-LEVEL STUDENT HANDBOOK CONTENTS PAGE | | | |What we Expect of A-Level Students |3 | |Overview of the AS and A2 Course |4 | |Assessment Objectives |5 | |AS Marking Criteria |6 | |A2 Marking Criteria |7 | |Selecting and Studying Texts |8 | |Approaching Essays – coursework |9 | |Punctuation Guide |11 | |Glossary of Literary Terms |12 | |Reading List ...
Words: 4760 - Pages: 20
...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...
Words: 239932 - Pages: 960
...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 Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources 104 108 Chapter 6 Chapter 7 109 Supporting Measures 7.1 Learning and Teaching Resource Materials 7.2 Professional Development 109 109 Appendix 1 Examples of Poetry Analysis 110 Appendix 2 Examples of...
Words: 41988 - Pages: 168
...little easier to understand and use. Disclaimer Please note that the schools of literary criticism and their explanations included here are by no means the only ways of distinguishing these separate areas of theory. Indeed, many critics use tools from two or more schools in their work. Some would define differently or greatly expand the (very) general statements given here. Our explanations are meant only as starting places for your own investigation into literary theory. We encourage you to use the list of scholars and works provided for each school to further your understanding of these theories. We also recommend the following secondary sources for study of literary theory: * The Critical Tradition: Classical Texts and Contemporary Trends, 1998, edited by David H. Richter * Critical Theory Today: A User-Friendly Guide, 1999, by Lois Tyson * Beginning Theory, 2002, by Peter Barry Although philosophers, critics,...
Words: 11786 - Pages: 48
...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
Words: 98252 - Pages: 394
