...“Never judge a book by its cover.” This was written by Edwin Rolfe in 1946. This quote is still used to this day and is one of the most insightful sayings to exist. By saying this, you are saying that you can see what's on the outside. But you won't get the full experience until you see what's on the inside. This quote has a deeper meaning than what it conveys. All of these stories have a deeper meaning in them and they express them in many different ways. You can fully understand the meanings by comparing the figurative language, poetic devices, and the subject in the stories. First, in the story “Watermelon,” by Charles Simic, there is plenty of figurative language. The story starts by implying that the “Green Buddhas,” are the watermelons....
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...Poetry Analysis of “Caged Bird” by Maya Angelou and “I, Too” by Langston Hughes Two stunning poems; “Caged Bird” and “I, Too” are shown through imagery, figurative language, and more. “Caged Bird” is about a lonely bird that is caged up, wondering what it would be like to be free. Maya Angelou explains throughout her poem what the bird is feeling and seeing through his bars. In the poem; “I, Too”, Langston Hughes lets you imagine his poem about a black boy feeling very lonely, and wondering why he is being treated differently. In these two poems, the bird should be free and flying, but instead is being kept in a cage, while the other birds are free and they “dare to claim(s) the sky.” The black boy wants people to know he is not any different, he is beautiful too. Both poems have a way of expressing one main theme. “Caged Bird” and “I,Too” have Imagery, which is a big way that you can see the theme throughout these poems using your senses. In “Caged Bird” you can almost...
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...Langston Hughes’s early life was influenced by disruption and restlessness. According to Contemporary Black Biography Volume 4, Hughes was born on February 1, 1902 in Joplin, Missouri; to a prominent black family that extremely conscious of its responsibilities to “The Race”. His father, James Hughes, who studied as a lawyer, had to leave his family because of racial discrimination of an all-white examining board to settle eventually in Mexico, where he became a wealthy businessman. His mother Carrie traveled from city to city in search of better paying jobs. His parents soon divorced thereafter. As a result, Hughes then was raised by his maternal grandmother, Mary Langston in Lawrence, Kansas. After two years after his grandmother’s death in 1912, he lived with a family named the Reeds in Lawrence. Later, in 1914 Hughes follow his mother and stepfather to Lincoln, Illinois then to Cleveland, Ohio. While he attended grammar school in Lincoln, he was elected as class poet. He later began to write his first poems in Cleveland. Besides three poems above, “Harlem” is also a very famous poem by Langston Hughes. It expresses the dream of having equality of black people, from eating in the same table, using the same restroom, to living in the same area with whites. The poem also demonstrates the frustration of blacks when they got racism. [quotes]. Overall, it gives out the hope and future for blacks. The poem ends by asking a question, “Or does it explode?” as to answer for the world...
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...Langston Hughes was fully involved in the radicalism of the 1930s. His poetry from the period is strongly sympathetic toward the Soviet Union and the cause of international socialism. It shows a lack of patience with failure of American society to address either the racial oppression or the economic degradation and exploitation of the period both at home in the Depression and abroad in European colonialism. Hughes's career followed a varied path; he wrote prose fiction as well as poetry. He collaborated with visual artists and musicians. Within his poetry there is a great deal of variety as well. The Poem “Mother to Son” by Langston Hughes, is a short twenty line poem that hass significant meaning in the short verse. Hughes uses an older female speaker to give advice to a son who is part of the younger generation. In the poem Hughes uses the device of an extended metaphor to describe the life of the mother. The extended metaphor compares the mother’s life to a staircase. The line “Life for me ain’t been no crystal stair” begins and ends the poem. With this line, Hughes quickly establishes for us that the speaker in the poem has not had an easy life. The concept of the crystal staircase gives the reader the impression of great wealth. Us the readers can indulge in inferring that it would be someone with supreme wealth and someone who did not have to work as hard as the speaker did. By using the imagery of a crystal staircase as the opposite of her staircase, we immediately...
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...Langston Hughes’s Theme for English B and Sherman Alexie’s On the Amtrak from Boston to New York City LTRE 421 July 13, 2016 The subject in Theme for English B a 22-year-old man who is trying to find out exactly who he is. The teacher tells him to go home and write a page tonight; this page should come from himself and be true. The speaker wonders if it is that simple. Is something true simply because it comes out of one person's self? Is truth the same thing for a black youth like him as it is for the white professor? In the poem On the Amtrak from Boston to New York City the author introduces two characters from different walks of life, which are brought together on an Amtrak from Boston to New York. Even though these two characters are on the same Amtrak, their cultural perspectives and differences separate them. The poem also offers commentary on the history of Native Americans versus the history of white Americans. Both of these poems contain historical context relating to race in America. In Theme for English B, wrapped up in the speaker's search for his identity is the idea of his race. He's black, born in the South, but now lives in Harlem. As this man is trying to find out who he is, America is full of racial tension, and hasn't really reached a stable identity itself. He's the only black person in his class, and that includes his instructor. When he sits down to write a page that's supposed to be true, he can't help but feel that, when people aren't equally...
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... |2. To use absolutely no word that does not contribute to the | |Authors |—Avant-garde, innovative |presentation. | |Robert Frost, Ezra Pound, and T. S. Eliot |—Frost's "old-fashioned way to be new" |3. As regarding rhythm: to compose in the sequence of the musical | |Wallace Stevens and William Carlos Williams |—Pound's "making it new" |phrase, not in sequence of a metronome. | |Langston Hughes |Disconnected with the past, and disconcerted about...
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...yMacmillan Study Companions Sharon R. Wilson-Strann POETRY FOR THE CSEC® ENGLISH B EXAMINATION Second edition Prescribed list for 2012–2017 CSEC® is a registered trademark of the Caribbean Examinations Council (CXC) POETRY FOR THE CSEC® ENGLISH B EXAMINATION is an independent publication and has not been authorised, sponsored, or otherwise approved by CXC. CSEC Study Comp Poetry 2nd Ed_2011.indd i 9/6/11 4:31 PM Macmillan Education Between Towns Road, Oxford OX4 3PP A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN: 978-0-230-41802-8 Text © Sharon R. Wilson-Strann 2011 Design and illustration © Macmillan Publishers Limited 2011 First published 2008 This edition published 2011 All rights reserved; no part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publishers. These materials may contain links for third party websites. We have no control over, and are not responsible for, the contents of such third party websites. Please use care when accessing them. Designed by Mike Brain Graphic Design Ltd Typeset by E Clicks Enterprise, Malaysia Cover design by Clare Webber Cover photo by Jenny Palmer The author and publishers are grateful for permission to reprint the following copyright material: Bloodaxe Books for the poem...
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...comprehend literature, including stories, dramas, and poems, at the high end of Grades 6-8 text complexity band independently and proficiently. [RL.8.10]READING STANDARDS FOR INFORMATIONAL TEXT: RANGE OF READING AND LEVEL OF TEXT COMPLEXITY By the end of the year, read and comprehend literary nonfiction at the high end of the Grades 6-8 text complexity band independently and proficiently. [RI.8.10]WRITING STANDARDS: RANGE OF WRITING Write routinely over extended time frames, including time for research, reflection, and revision, and shorter time frames such as a single sitting or a day or two for a range of discipline-specific tasks, purposes, and audiences. [W.8.10]KNOWLEDGE OF LANGUAGE Use knowledge of language and its conventions when writing, speaking, reading, or listening. [L.8.3]VOCABULARY ACQUISTION AND USE Acquire and use accurately grade-appropriate general academic and domain-specific words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression. [L.8.6]SPEAKING AND LISTENING STANDARDS Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on Grade 8 topics, texts, and issues, building on others’ ideas and expressing their own clearly. [SL.8.1a,b,c,d] | Students, with scaffolding as needed: * read and actively engage in comprehending appropriately complex...
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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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...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 Assessment 5.3.2 Modes of Public...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...LICENCE LANGUES, LITTÉRATURES ET CULTURES ÉTRANGÈRES ET RÉGIONALES SPÉCIALITÉ ANGLAIS DESCRIPTIF DES ENSEIGNEMENTS Année universitaire 2014-2015 Page 1 SOMMAIRE L1—PREMIERE ANNÉE SEMESTRE 1 CULTURE DES PAYS ANGLOPHONES 1 E11 AN5 (6 ECTS) LANGUE 1 E12 AN5 (4 ECTS) CIVILISATION 1 E13 AN5 (4 ECTS) VERSION 1 ET LITTÉRATURE AMÉRICAINE 1 E14 AN5 (4 ECTS) PROJET PROFESSIONNEL PERSONNALISÉ (P.P.P.) E1P AN5 (1 ECTS) 5 5 6 8 10 13 SEMESTRE 2 CULTURE DES PAYS ANGLOPHONES 2 E21 AN5 (5 ECTS) LANGUE 2 E22 AN5 (4 ECTS) LITTÉRATURE BRITANNIQUE 2 E 23 AN5 (4 ECTS) CIVILISATION BRITANNIQUE 2 ET TRADUCTION (VERSION) 2 E24 AN5 (5 ECTS) PROJET PROFESSIONNEL PERSONNALISÉ (P.P.P.) E2P AN5 (1 ECTS) 14 15 17 18 20 2 L2—DEUXIEME ANNÉE SEMESTRE 3 LANGUE 3 E31 AN5 (6 ECTS) CIVILISATION AMÉRICAINE 3 E32 AN5 (5 ETCS) LITTÉRATURE BRITANNIQUE 3 E33 AN5 (5 ECTS) TRADUCTION (VERSION) 3 ET PRISE DE PAROLE EN CONTINU 3 E34 AN5 (6 ECTS) PREPROFESSIONNALISATION : MÉTIERS DE L’ENSEIGNEMENT DES LANGUES VIVANTES ÉTRANGÈRES ET RÉGIONALES 3 21 21 23 24 26 29 E3PF12L5 (6 ECTS) SEMESTRE 4 LANGUE 4 E41 AN5 (5 ECTS) CIVILISATION BRITANNIQUE 4 E42 AN5 (6 ECTS) LITTÉRATURE AMÉRICAINE 4 E43 AN5 (5 ECTS) TRADUCTION (VERSION) 4 ET PRISE DE PAROLE EN CONTINU 4 E44 AN5 (6 ECTS) PREPROFESSIONNALISATION : MÉTIERS DE L’ENSEIGNEMENT DES LANGUES VIVANTES ÉTRANGÈRES ET RÉGIONALES 4 30 32 34 36 39 E4PF12L5 (6 ECTS) 3 L3—TROISIEME...
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...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...
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...RESEARCH and WRITING CUSTOM EDITION Taken from: Writing Research Papers: A Complete Guide, Eleventh Edition by James D. Lester and James D. Lester, Jr. To the Point: Reading and Writing Short Arguments by Gilbert H. Muller and Harvey S. Wiener ISBN 0-558-55519-5 Research and Writing, Custom Edition. Published by Pearson Custom Publishing. Copyright © 2006 by Pearson Custom Publishing. Taken from: Writing Research Papers: A Complete Guide, Eleventh Edition by James D. Lester and James D. Lester, Jr. Copyright © 2005 by Pearson Education, Inc. Published by Pearson Longman, Inc. New York, New York 10036 To the Point: Reading and Writing Short Arguments by Gilbert H. Muller and Harvey S. Wiener Copyright © 2005 by Pearson Education, Inc. Published by Pearson Longman, Inc. Copyright © 2006 by Pearson Custom Publishing All rights reserved. Permission in writing must be obtained from the publisher before any part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system. All trademarks, service marks, registered trademarks, and registered service marks are the property of their respective owners and are used herein for identification purposes only. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 ISBN 0-536-97722-4 2005240359 AP Please visit our web site at www.pearsoncustom.com ISBN 0-558-55519-5 PEARSON CUSTOM PUBLISHING ...
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...6 Build Your Vocabulary ■ ■ ■ ■ The SAT High-Frequency Word List The SAT Hot Prospects Word List The 3,500 Basic Word List Basic Word Parts be facing on the test. First, look over the words on our SAT High-Frequency Word List, which you’ll find on the following pages. Each of these words has appeared (as answer choices or as question words) from eight to forty times on SATs published in the past two decades. Next, look over the words on our Hot Prospects List, which appears immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you...
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