...patient and lost his temper? How do you think the goose would feel? • Who is your best friend and why? • Do you know what makes a friend? • Can you be friends with someone who is different than you? Fun things to do together • Look at the many colors in Bloom's illustrations. Ask what colors the different objects are. See if your child can locate these colors in his/her room or clothing. • Pack a snack and blanket. Enjoy a picnic outside with your child. • Play "Goose, Goose, Bear" instead of "Duck, Duck, Goose" • Draw a picture of you and your best friend doing something together that you both like. http://www.lexpublib.org/booksinkindergarten 10/28/2010 | Lexington, Kentucky Page 2 of 42 • Have a "Blue / White" color walk. Point out all the different blue and white objects that you can find. Book Skills Loves Books (Print Motivation) The polar bear's enjoyment of reading, writing,...
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...Pwint Professor Prescott English 3 03 05 2013 The Capitalist Capitol versus Desolate District 12 Suzanne Collins’ 2008 book The Hunger Games is about a fictional country that has a reality entertainment show in which boys and girls, two from each of twelve districts, are forced to murder each other until only one is left. In 2012, director Gary Ross adapted Collins’ book into a film. On the surface, both the book and the film version of The Hunger Games seem to be just a form of entertainment. However, if one interprets the two analytically, they are criticizing the inequalities and power abuse in our own capitalist society. Capitalism creates wealth and power inequalities, often leading to the rich abusing the poor. In The Hunger Games, the rich entertain themselves with the blood battle of the poor. Though Ross conveys the inequalities and power abuse mentioned in the book, he also adapts some scenes to make this message easier for the audience to understand. While Collins heavily relies on detailed descriptions and Katniss’ narration to give the message that capitalism forms inequalities and power abuse, Ross uses more visual contrasts to make the film more appealing while portraying the same message. Inequalities in Panem can be vividly seen in the differences in food, clothing and housing between the rich Capitol and the desolate District 12 in both the book and the film. Collins use clear descriptions to portray these discrepancies in capitalism while Ross exposes...
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...and should not be quoted in essays or answers. Chapter division are from the DVD. • Time shifts are indicated thus: F/B-W = wartime memories; F/B-PW = post war memories; H or D = dreams, hallucinations – though they are often mixed up, so it is an indication only • 'Clue': used to point out deliberate illogicalities etc. that may cause unease on first viewing but are really obvious only on subsequent viewings. S/T: 'sub-text' = things said that take on another layer of meaning on second viewing. • 'Teddy' is used for the Marshal persona, 'Andrew' for his real identity as a patient. Similarly Chuck / Dr Sheehan. • Abbreviations used: // = CUT; M = motif; A = allusion; F/S = foreshadowing (signposting); MS = Martin Scorsese narrative commentary 1. screen text: Boston Harbour Islands, 1954 fog; a ferry appears; a man (Chuck) stands at the bow // INT. HEAD - DAY: a man being sick "It's just water. It's a lot of water." SHALLOW FOCUS on manacles and handcuffs, PULL FOCUS as he emerges He joins a solicitous Chuck at the rail. They introduce themselves – he is Teddy Daniels, a "legend" in the US Marshalls. Teddy concedes that he used to be married Day 1 EST. the wider context; from here on, everything will be from Teddy's POV. Our first view of the protagonist is a double and ambiguous image: his black silhouette and his reflection in a mirror, water dripping off his face. Water will be a significant motif. Teddy's first view of Chuck is a back view,...
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...A Write an essay (900-1200 words) in which you analyze and interpret Karen Shephard’s short story “Popular Girls”. A part of your essay must focus on the narrative technique and the many references to labels and certain locations in New York City. Popular Girls A short story by Karen Shepard You know who we are. We're Kaethe and Alina, CJ and Sydney. Stephanie. Our hair is blonde or brown or black. Rarely red, rarely curly. It's thick and straight, and falls back into place after we run our fingers through it and hold it away from our faces long enough for you to see our striking eyes. When we do this, you get shivers. It's 1982, and we sit on the benches lining our New York private school's entrance, after classes are over and before we head home. They are old church pews, and we are from another world. Our canvas book bags mass at our feet. They're from Sweden. They come with an excess of zippers, a plastic ID tag on a small chain, and a ruler that we never use. We buy them at Chocolate Soup, on Madison, the store for cool kids. We say things like "Tenth grade is the Howard Johnson's of school life." You can sit on these benches too, but we do not notice you. Last fall we excised some of you from our group by taking you aside five minutes before chapel and saying "It just isn't working out." We see everyone who walks past us, in and out of our 200-year-old originally Episcopalian school. We sweep you with our eyes as if you were a landscape. We've seen...
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...DECEMBER 1998 Goodbye, Robbie Tuesday... Write an essay (900-1200 words) in which you analyse and interpret the Scottish short story “Goodbye Robbie Tuesday” by Chris Roberts 1997. Part of your essay must focus on the narrative technique and the importance of the setting. After many false summits, we finally reached the top of the hill. Jamie took my hand and led me around the hillside until he found a hollow place with gorse bushes all around for a windbreak. Jamie shoved me forward into the hollow and flopped down beside me. It was so quiet out of the wind. I felt exhausted, but kind of thrilled all the same. This seemed a safe place. I looked up at Jamie, feeling the heat in my blood from the overworked engine of my heart and lungs. We grinned at each other. "We made it," Jamie said. I nodded. "Can we eat now?" I asked him. "I'm starving after all that exercise." "Robbie, we've just started. How're we gonna get away if you've got to feed your face every five minutes?" I felt myself blushing, but I could see Jamie was tempted too. He kept shooting quick glances at his school satchel, knowing it was filled with all kinds of goodies he'd pinched from the house after we slipped away from the hotel. It was strange seeing him dressed in his school clothes, with his black armband still on and his hair all neat. We had ditched our new black ties back at the house, but hadn't risked getting caught by taking the time to change our clothes. After...
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...AS English Language [pic] [pic] [pic] Fiction style models and tasks – 2012/2013 Style Model Workbook Style models are examples of a type of writing used to give you an idea of the features used when adapting a particular style and form. As you will be required to include a fiction and non-fiction annotated style model as part of your coursework folder we have compiled a selection of materials to give you a head start. The two booklets (one fiction, one non-fiction) will contain the type of extracts you should be looking for and the questions that accompany them will help you to annotate the materials appropriately. You will be given some of the extracts to study in class and some to complete as homework tasks. There may be some materials that you haven’t been directed to by your teachers, these will make very good additional preparation and you should look at these in your own time. All the resources, and some additional style models, can be found in the AS Language section of Moodle. AS LANGUAGE COURSEWORK You must keep all work during the production of the coursework in your folder. You will need all drafts and style models for part of your final grade. Criteria • Two pieces of your own writing • Each piece must have a different audience and purpose • You should write with a specific genre in mind • Pieces should be designed with a real publication in mind • Two...
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...Anthem by Ayn Rand Author's Foreword |F.1 |This story was written in 1937. | |F.2 |I have edited it for this publication, but have confined the editing to its style; I have reworded some passages and cut | | |out some excessive language. No idea or incident was added or omitted; the theme, content and structure are untouched. The| | |story remains as it was. I have lifted its face, but not its spine or spirit; these did not need lifting. | |F.3 |Some of those who read the story when it was first written, told me that I was unfair to the ideals of collectivism; this | | |was not, they said, what collectivism preaches or intends; collectivists do not mean or advocate such things; nobody | | |advocates them. | |F.4 |I shall merely point out that the slogan "Production for use and not for profit" is now accepted by most men as | | |commonplace, and a commonplace stating a proper, desirable goal. If any intelligible meaning can be discerned in that | | |slogan at all, what is it, if not the idea that the motive of a man's work must be the needs of others, not his own need, | | |desire or gain? ...
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...read or write. So here are some of many nursery rhymes that have been written: Jack be Nimble (aka Jack b Nimble) Jack be nimble Jack be quick Jack jump over The candlestick. Little Tommy Tucker Little Tommy Tucker sings for his supper, What shall we give him? Brown bread and butter. How shall he cut it without a knife? How shall he marry without a wife? The Grand old Duke of York The Grand old Duke of York he had ten thousand men He marched them up to the top of the hill And he marched them down again. When they were up, they were up And when they were down, they were down And when they were only halfway up They were neither up nor down. Diddle Diddle Dumpling Diddle, diddle, dumpling, my son John, Went to bed with his trousers on; One shoe off, and one shoe on, Diddle, diddle, dumpling, my son John! Lucy Lockett Lucy Locket lost her pocket, Kitty Fisher found it; Not a penny was there in it, Only ribbon round it. Limericks A five-line humorous poem with characteristic rhythm, often dealing with a risqué subject and typically opening with a line such as “There was a young lady called Jenny,” Lines one, two, and five rhyme with...
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...Name: |Date: | |Graded Assignment First Semester Final Exam Directions • Mark your answers to the multiple-choice questions on the answer sheet at the end of the multiple-choice section. Use a black or blue pen. • Remember to complete the submission information on every page you turn in. Multiple-Choice Questions (1 hour) Section 1 consists of selections from prose works and questions about their content, form, and style. Questions 1-10. Read the following passage, from "The Yellow Wallpaper," by Charlote Perkins Gilman (1899) carefully before you choose your answers. You may refer to the passage as often as necessary while answering the questions. It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer. A colonial mansion, a hereditary estate, I would say a haunted house and reach the height of romantic felicity—but that would be asking too much of fate! Still I will proudly declare that there is something queer about it. Else, why should it be let so cheaply? And why have stood so long untenanted? John laughs at me, of course, but one expects that in marriage. John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures. John is a physician, and perhaps—(I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind)—perhaps...
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...http://www.ebooksread.com/ THE WORKS OF MARY ROBERTS RINEHART LOVE STORIES THE REVIEW OF REVIEWS COMPANY Publishers NEW YORK PUBLISHED BY ARRANGEMENT WITH GEORGE H. DORAN COMPANY. Copyright, 1919, By George H. Doran Company Copyright, 1912, 1913, 1916, by the Curtis Publishing Company Copyright, 1912, by The McClure Publications, Inc. Copyright, 1917, by The Metropolitan Magazine Co. CONTENTS I TWENTY-TWO II JANE III IN THE PAVILION IV GOD'S FOOL V THE MIRACLE VI "ARE WE DOWNHEARTED? NO!" VII THE GAME LOVE STORIES TWENTY-TWO I The Probationer's name was really Nella Jane Brown, but she was entered in the training school as N. Jane Brown. However, she meant when she was accepted to be plain Jane Brown. Not, of course, that she could ever be really plain. People on the outside of hospitals have a curious theory about nurses, especially if they are under twenty. They believe that they have been disappointed in love. They never think that they may intend to study medicine later on, or that they may think nursing is a good and honourable career, or that they may really like to care for the sick. The man in this story had the theory very hard. When he opened his eyes after the wall of the warehouse dropped, N. Jane Brown was sitting beside him. She had been practising counting pulses on him, and her eyes were slightly upturned and very earnest. There was a strong odour of burnt rags in the air, and the man sniffed. Then he put a hand to his upper lip--the right hand. She was holding...
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...------------------------------------------------- Sorry for the Loss How is it possible that a young man who has been an inmate for at least five years, can still have glowing white teeth, glowing skin and a big grin? Why is a knife that has been made to kill and slice been named after an innocent creature such as a butterfly? We have all these weird questions, as to why two very different things, which clearly make up contrasts, are put together. Why is this, really? There are no answers, or in fact there might be all the answers in the world. You decide and you create the truth. In the literature of the 21st century we are allowed to make up our own truths. Bridget Keehan takes us on a journey in Sorry for the Loss where these questions pop up more than once. In the following I will try to make up my own truth to these questions. The plot of the story proceeds chronologically and starts in medias res; this means that we are thrown into the story, with no introduction as to where we are or whom we are going to meet. A third person narrator with a restricted point of view, the narrator is not a participant in the story, tells Sorry for the Loss. A restricted point of view, also called limited omniscient, means that the narrator does not have full access to the thoughts of anybody but the main character, in this case Evie the Catholic chaplain. The restrictive narrator gives no access to the minds of Victor, the young inmate, or the officer. If we knew the thoughts of these...
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...English Writing Subject Code: ENW315109 List of Contents TQA Student ID: 13X35189 1. Title: Reflective Statement Word Count: 1095 2. Title: Teenage Dream Genre/form: Narrative Word Count: 3534 3. Title: Tradition? Genre/form: Narrative Word Count: 1141 4. Title: Family Genre/form: Narrative Word Count: 900 Total Word Count: 6670 Please Note: • • The Writing Project must be clearly identified. The ‘List of Contents’ must be the first page of the electronic folio. Tasmanian Qualifications Authority English – Writing ENW315109 TQA Student ID: 13X35189 Reflective Statement Expressing my own thoughts into writing has never been a real enjoyment; it probably has to do with my school education where we were asked to refer to the context of the books as learning materials as opposed to pure enjoyment. Education in Australia is very different to where I come from; it requires selflearning and self-reflection for overall development and self-improvement. Obviously the word “self” is important in education in Australia and from this perspective learning has become so much more real and enjoyable. One of the main reasons to choose English Writing is to express my thoughts, opinions and arguments in writing which I have never been encouraged to do before. Over the course of study I have developed various skills learnt different literary techniques and increased my vocabulary. This course is a very good platform for me to prepare myself...
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...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 SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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...2013B Carefully read the following excerpt from the short story “Mammita’s Garden Cove” by Cyril Dabydeen. Then write a well-organized essay in which you analyze how Dabydeen uses literary techniques to convey Max’s complex attitudes toward place. ‘Where d’you come from?’ Max was used to the question; used to being told no as well. He walked away, feet kicking hard ground, telling himself that Line he must persevere. More than anything else he knew 5 he must find a job before long. In a way being unemployed made him feel prepared for hell itself even though he knew too that somewhere there was a sweet heaven waiting for him. How couldn’t it be? After all he was in Canada. He wanted to laugh all of 10 He continued walking along, thoughts drifting back to the far-gone past. Was it that far-gone? He wasn’t sure . . . yet his thoughts kept going back, to the time he was on the island and how he used to dream about 15 being in Canada, of starting an entirely new life. He remembered those dreams clearly now; remembered too thinking of marrying some sweet island-woman with whom he’d share his life, of having children and later buying a house. Maybe someday he’d even own 20 a cottage on the edge of the city. He wasn’t too sure where one built a cottage, but there had to be a cottage. He’d then be in the middle class; life would be different from the hand-to-mouth existence he was used to. 25 His heels pressed into the asphalt, walking on. And slowly he...
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...В.А. Кухаренко ПРАКТИКУМ ПО ИНТЕРПРЕТАЦИИ ТЕКСТА Допущено Министерством просвещения СССР в качестве учебного пособия для студентов педагогических институтов по специальности № 2103 «Иностранные языки» МОСКВА «ПРОСВЕЩЕНИЕ» 1987 ББК 81.2 Англ К95 Рецензенты: кафедра английской филологии ЛГПИ им. А. И. Герцена; кандидат филологических наук, доцент МГПИИЯ им. Мориса Тореза О. Л. Каменская Кухаренко В. А. КЯ5 Практикум по интерпретации текста: Учеб. пособие для студентов пед. ин-тов по спец. № 2103 «Иностр. яз.».— Просвещение. 1987.—176 с. 4309000000—608 103(03)—87 Пособие предназначено для студентов старших курсов факультетов английского языка педагогических институтов. Оно написано в соответствии с программой по данному курсу и состоит из двух частей. Первая часть пособия включает 6 рассказов и образцы их интерпретации. Во второй части даны 16 рассказов, представляющих различные жанры короткой прозы писателей США, Великобритании, Австралии и Новой Зеландии, предназначенные для самостоятельной работы студентов. ББК 81.2Англ © Издательство сПросвещение», 1987 ПРЕДИСЛОВИЕ Настоящее издание представляет собой практическое пособие по интерпретации текста. Оно предназначено для студентов факультетов английского языка педагогических институтов и написано в соответствии с Программой МП СССР по курсу языкознания. Цель пособия — научить студентов не только умению глубоко проникать в художественный...
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