...George Orwell, "Politics and the English Language," 1946 [pic] Most people who bother with the matter at all would admit that the English language is in a bad way, but it is generally assumed that we cannot by conscious action do anything about it. Our civilization is decadent and our language -- so the argument runs -- must inevitably share in the general collapse. It follows that any struggle against the abuse of language is a sentimental archaism, like preferring candles to electric light or hansom cabs to aeroplanes. Underneath this lies the half-conscious belief that language is a natural growth and not an instrument which we shape for our own purposes. Now, it is clear that the decline of a language must ultimately have political and economic causes: it is not due simply to the bad influence of this or that individual writer. But an effect can become a cause, reinforcing the original cause and producing the same effect in an intensified form, and so on indefinitely. A man may take to drink because he feels himself to be a failure, and then fail all the more completely because he drinks. It is rather the same thing that is happening to the English language. It becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts. The point is that the process is reversible. Modern English, especially written English, is full of bad habits which spread by imitation and which can be avoided if one...
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...Most people who bother with the matter at all would admit that the English language is in a bad way, but it is generally assumed that we cannot by conscious action do anything about it. Our civilization is decadent and our language — so the argument runs — must inevitably share in the general collapse. It follows that any struggle against the abuse of language is a sentimental archaism, like preferring candles to electric light or hansom cabs to aeroplanes. Underneath this lies the half-conscious belief that language is a natural growth and not an instrument which we shape for our own purposes. Now, it is clear that the decline of a language must ultimately have political and economic causes: it is not due simply to the bad influence of this or that individual writer. But an effect can become a cause, reinforcing the original cause and producing the same effect in an intensified form, and so on indefinitely. A man may take to drink because he feels himself to be a failure, and then fail all the more completely because he drinks. It is rather the same thing that is happening to the English language. It becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts. The point is that the process is reversible. Modern English, especially written English, is full of bad habits which spread by imitation and which can be avoided if one is willing to take the necessary trouble. If one gets rid of these...
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...3673 THE ‘UNCANNY’ (1919) Freud - Complete Works. Ivan Smith 2000. All Rights Reserved. 3675 THE ‘UNCANNY’ I It is only rarely that a psycho-analyst feels impelled to investigate the subject of aesthetics, even when aesthetics is understood to mean not merely the theory of beauty but the theory of the qualities of feeling. He works in other strata of mental life and has little to do with the subdued emotional impulses which, inhibited in their aims and dependent on a host of concurrent factors, usually furnish the material for the study of aesthetics. But it does occasionally happen that he has to interest himself in some particular province of that subject; and this province usually proves to be a rather remote one, and one which has been neglected in the specialist literature of aesthetics. The subject of the ‘uncanny’ is a province of this kind. It is undoubtedly related to what is frightening - to what arouses dread and horror; equally certainly, too, the word is not always used in a clearly definable sense, so that it tends to coincide with what excites fear in general. Yet we may expect that a special core of feeling is present which justifies the use of a special conceptual term. One is curious to know what this common core is which allows us to distinguish as ‘uncanny’ certain things which lie within the field of what is frightening. As good as nothing is to be found upon this subject in comprehensive treatises on aesthetics, which in general prefer to concern...
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...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...
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...ARTS TEACHERS’ GUIDE Grade 9 ARTS Teacher’s Guide Unit I WESTERN CLASSICAL ART TRADITIONS GRADE 9 Unit 1 ARTS TEACHERS’ GUIDE GRADE 9 Unit 1 WESTERN CLASSICAL ART TRADITIONS LEARNING AREA STANDARD The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision. key - stage STANDARD The learner demonstrates understanding of salient features of music and arts of the Philippines and the world, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. grade level STANDARD The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. CONTENT STANDARDs The Learner: demonstrates understanding of art elements and processes by synthesizing and applying prior knowledge and skills demonstrates understanding that the arts are integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/ occurrences and other external phenomenon ...
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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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...Ben Jonson (1572–1637). The Alchemist. The Harvard Classics. 1909–14. | | | | |Introductory Note | | | | | |BEN JONSON was born of poor parents at Westminster in 1573. Through the influence of Camden, the antiquary, he got a good | 1| |education at Westminster School; but he does not seem to have gone to a University, though later both Oxford and Cambridge gave | | |him degrees. In his youth he practised for a time his stepfather’s trade of bricklaying, and he served as a soldier in Flanders. | | | It was probably about 1595 that he began to write for the stage, and within a few years he was recognized as a distinguished | 2| |playwright. His comedy of “Every Man in His Humour” was not only a great immediate success, but founded a school of satirical | | |drama in England. “Sejanus” and “Catiline” were less popular, but are impressive pictures of Roman life, less interesting but more| | |accurate than the Roman plays of Shakespeare. ...
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...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? - 81 'Landmarks' in postmodernism: Habermas, Lyotard and Baudrillard - 85 Stop and think - 90 What postmodernist critics do - 91 Postmodernist criticism: an example - 91 Selected reading - 94 5 Psychoanalytic criticism - 96 Introduction - 96 How Freudian interpretation works - 98 Stop and think - 101 Freud and evidence - 102 What Freudian psychoanalytic critics do - 105 Freudian...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...N E T A J I’ S LIFE and WRITINGS PART ONE AN INDIAN PILGRIM OR AUTOBIOGRAPHY OF SUBHAS CHANDRA BOSE WWW.HINDUSTANBOOKS. COM WWW.HINDUSTANBOOKS.COM PREFACE The NetaJi Publishing Society has great pleasure in presenting to the public the unfinished utobiography of`Netaji Subhas Chandra Bose. Netaji wanted to give his autobiography, when completed, the title "An Indian Pilgrim". That is how his autobiography derives the name. "An Indian Pilgrim" takes the reader from Netaji’s parentage, birth and early childhood to his Cambridge days—and what days !—when a youngman of 24 had to make up his mind either to take a path, strewn with roses, which promised nothing but ease, luxury and official honour, or a path, strewn with thorns, inviting one to selfless suffering and sacrifice and promising nothing more than blood, sweat and tears. The result of the struggle is known to the world. But only handful have had the privilege to know the different phases of that struggle. Perhaps it was not in 1921 but a decade earlier that the battle within had been won and lost. Perhaps even earlier! That is a poser which we leave to the readers. But one thing is certain that the Rashtrapati and the Rebel President, the Desh Gaurab and the Netaji, the creator of the First Government of the Free India and the beloved leader of the Hindus, Muslims, Sikhs, Christians and Parsees, had been moulded between 1897 and 1921. This is the period covered by "An Indian Pilgrim"...
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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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...A Clockwork Orange (UK Version) Anthony Burgess Introduction A Clockwork Orange I first published the novella A Clockwork Orange in 1962, which ought to be far enough in the past for it to be erased from the world's literary memory. It refuses to be erased, however, and for this the film version of the book made by Stanley Kubrick may be held chiefly responsible. I should myself be glad to disown it for various reasons, but this is not permitted. I receive mail from students who try to write theses about it or requests from Japanese dramaturges to turn It into a sort of Noh play. It seems likely to survive, while other works of mine that I value more bite the dust. This is not an unusual experience for an artist. Rachmaninoff used to groan because he was known mainly for a Prelude in C Sharp Minor which he wrote as a boy, while the works of his maturity never got into the programmes. Kids cut their pianistic teeth on a Minuet in G which Beethoven composed only so that he could detest it. I have to go on living with A Clockwork Orange, and this means I have a sort of authorial duty to it. I have a very special duty to it in the United States, and I had better now explain what this duty is. Let me put the situation baldly. A Clockwork Orange has never been published entire in America. The book I wrote is divided into three sections of seven chapters each. Take out your pocket calculator and you will find that these add up to a total of twenty-one chapters. 21 is the symbol...
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...[pic] Гальперин И.Р. Стилистика английского языка Издательство: М.: Высшая школа, 1977 г. В учебнике рассматриваются общие проблемы стилистики, дается стилистическая квалификация английского словарного состава, описываются фонетические, лексические и лексико-фразеологические выразительные средства, рассматриваются синтаксические выразительные средства и проблемы лингвистической композиции отрезков высказывания, выходящие за пределы предложения. Одна глава посвящена выделению и классификации функциональных стилей. Книга содержит иллюстративный текстовой материал. Предназначается для студентов институтов и факультетов иностранных языков и филологических факультетов университетов. GALPERIN STYLISTICS SECOND EDITION, REVISED Допущено Министерством высшего и среднего специального образования СССР в качестве учебника для студентов институтов и факультетов иностранных языков |[pic] |MOSCOW | | |"HIGHER SCHOOL" | | |1977 | TABLE OF CONTENTS Page Предисловие к первому изданию……………………………………………………..6 Предисловие к второму изданию……………………………………………………..7 Part I. Introduction 1. General Notes on Style and Stylistics…………………………………………9 2. Expressive Means (EM) and Stylistic Devices (SD)………………………...25 3. General Notes on Functional Styles of Language……………………………32 4. Varieties of Language………………………………………………………..35 5. A Brief...
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...guess that’s because we were hardly there for more than five minutes. But in others, it’s probably more a case of trying to forget about them as soon as possible. When you’re unhappy in a place, you want to forget about it as soon as possible. You don’t dwell on the details of a house if you associate it with being afraid, or ashamed, or poor – and as a boy, I was often afraid and ashamed, and always poor. Life was a series of escapades, of moves that always ended badly. The next place was always going to be a better place – a bit of garden, a shiny new front door – the 7 FOREWORD place where everything would finally come right. But it never did, of course. Our family life was built on a series of pipe dreams – the dreams of my father. And he was a man whose dreams always turned to dust. I don’t think people grasp the whole me when they see me on television or in the pages of some glossy magazine. I’ve got...
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...NTRODUCTION: AN INVITATION TO BOMBAY The envelope was hand-delivered to our house in Golf Links, Tan enclave in New Delhi whose name captured the clubbable lifestyle of its leisured and propertied Indian residents, soon after we had arrived in the middle of a north Indian winter to begin a long assignment. It contained a large card, with a picture embossed in red and gold of the elephant-headed deity Ganesh, improbably carried on the back of a much smaller mouse. Dhirubhai and Kokilaben Ambani invited us to the wedding of their son Anil to Tina Munim in Bombay. In January 1991, just prior to the explosion in car ownership that in later winters kept the midday warmth trapped in a throat-tearing haze overnight, it was bitterly cold most of the time in Delhi. Our furniture had still not arrived-a day of negotiations about the duty payable lay ahead at the Delhi customs office where the container was broken open and inspected-and we camped on office chairs and fold-up beds, wrapped in blankets. The Indian story was also in a state of suspension, waiting for something to happen. The Gulf War, which we watched at a big hotel on this new thing called satellite television, was under- cutting many of the assumptions on which the Congress Party’s family dynasty, the Nehrus and Gandhis, had built up the Indian state. The Americans were unleashing a new generation of weap- ons on a Third World regime to which New Delhi had been close; its Soviet friends were standing by, even agreeing with...
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