...In the play, Fences by August Wilson, Troy Maxson has a hard past growing up. Troy doesn’t know how to be the perfect father because his dad wasn’t there for him like a father should be. Even though Troy is hard on Cory, he is still a responsible, hard loving, and strong African American father in the play. Troy has his ways, some we might not understand. Troy is responsible because he takes care of his responsibilities, which is taking care of his kids. He feelings like as long as he takes care of Cory and go to work everyday so that Cory can have food to eat, and clothes on his back then he shouldn’t have to like him, he’s token care of. “Like you? I go out of here every morning… bust my butt… putting up with the crackers everyday... cause I like you?... You about the biggest fool I ever saw. It’s my job. It’s my responsibility! You understand that?” (Wilson 38). As long as Troy takes care of Cory, then he shouldn’t have to like him. It’s more than just liking him, Cory doesn’t see how much Troy doesn’t just by going to work every day and coming back with a...
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...In the Fences by August Wilson, the author intends Troy Maxson to be a villain character. He portrays him as a bitter, hostile, and a dis-confirming father to his own son. His big confidentiality and passiveness leads him into thinking that he is always right. Often caught upon the envy for his son, he tries to do the right thing; by not letting Cory play football convinced that he is preventing him from suffering the same disillusionments he went through himself but, genuinely ends up crushing the dreams of Cory. He lives in his own little world and refuses to believe that things have changed, and that things aren't the way they were during his time. “Times have changed Troy, you just come along too early,” (Wilson 9). Bono tries to convey...
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...Literary Analysis Essay on Fences The sport of baseball is an extremely integral aspect of the book Fences. Troy Maxson, our protagonist in this play, was a baseball player. It is Troy’s belief that the only reason he never made the major leagues was because he has the wrong color skin. Throughout the play, it is noticeable that Troy is still bitter over this and continuously makes references to current players and how he is much better than them. Troy’s life is a difficult one, and the connection between baseball and Troy’s trying life leads me to my point. The use of baseball in Fences is to symbolize the American dream and it being unattainable to Troy Maxson. First, how is it that our American pastime can be directly related to and represented as the American dream? There are several connections between the sport and the American dream that lead me to my thesis. The article Baseball as History and Myth in August Wilson’s Fences does a great job of connecting these two seemingly unrelated subjects. This article starts with a great quote by John Thorn saying, baseball has become “the great repository of national ideals, the symbol of all that [is] good in American life: fair play; the rule of law; equal opportunity; the brotherhood of man; and more.” Fair play shown through sportsmanship between the two teams, rule of law in “objective arbitration of disputes,” equal opportunity as each team is given a chance on both offensive and defensive sides each inning...
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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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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 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 without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 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 without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 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 without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times...
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...Surveillance Surveillance in Schools: Safety vs. Personal Privacy A project created by Kathy Davis, John Kelsey, Dia Langellier, Misty Mapes, and Jeff Rosendahl Project Home Security Cameras Metal Detectors Locker Searches Internet Tracking “Surveillance…n. close observation, esp. of a suspected person” [emphasis added] --Reader’s Digest Oxford Complete Wordfinder, 1996 In 1995, “The total number of crimes committed per year in or near the 85,000 U.S. public schools has been estimated at around 3 million” (Volokh & Snell, 1998). Our educational system is evolving all the time, and one factor that is constantly changing is the aggressiveness within our schools. In 1940, a survey of teachers revealed that the biggest behavioral problems they had from students were “talking out of turn, chewing gum, making noise, running in the halls, cutting in line, [violating] the dress code, [and] littering” (Volokh & Snell, 1998). In 1990, the toprated problems were “drug abuse, alcohol abuse, pregnancy, suicide, rape, robbery, [and] assault” (Volokh & Snell, 1998). In 1940, we had little need for surveillance beyond a teacher’s observation and intervention. Today, however, we live in a much more diverse society with troubled youth and adults who have easy access to weapons, drugs, pornography, etc., which have enabled students and staff to bring their violent and/or inappropriate tendencies into the naïve schools. What worked in 1940 (teacher-student confrontation) is not as realistic...
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...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? -...
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..._______________________ CHAPTER 3 _______________________ HOLDERS IN DUE COURSE I. ACQUIRING HOLDER IN DUE COURSE STATUS If you remember the rule that a holder in due course takes free of most of the defenses the parties to the original transaction have against one another, it is easy to see why it is important to determine if the person currently possessing the instrument qualifies as a holder in due course. The basic definition is found in §3-302(a), which you should read carefully. Official Comment 4 to §3-302 makes it clear that the payee can qualify as a holder in due course in some rare situations. Normally, the payee is so involved in the underlying transaction that he or she has notice of problems affecting payment obligations, and thus cannot be a holder in due course. But the examples given in Official Comment 4 describe fact patterns where the payee is innocent of such knowledge and can therefore qualify for the protection given to holders in due course. See also Eldon’s Super Fresh Stores, Inc. v. Merrill Lynch, Pierce, Fenner & Smith, Inc., 296 Minn. 130, 207 N.W.2d 282, 12 U.C.C. Rep. Serv. 490 (1973), for an example of the payee as a holder in due course. 35 36 3. Holders in Due Course Subsection (c) gives a list of extraordinary transactions — creditors seizing instruments by judicial process, the sale of an inventoried business (a ‘‘bulk transaction’’), or the appointment of the administrator of an estate containing negotiable instruments — in which...
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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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...Better energy MERIDIAN ENERGY LIMITED ANNUAL REPORT 2014 for the year ended 30 June 2014 02 ny C omp a e r v iew ov 04 from Re p o r t ir an d o u r C h a ut ive E xe c C hie f The nu 50 mbers 6.7 % 13.01 Total dividend in FY2014 EBITDAF 1 ahead of prospectus CENTS PER SHARE $ 24 . 3% higher than forecast in the prospectus, including a 2 .00cps special dividend. Invested in communities and environmental projects 3.5M 2 New wind farms generating electricity Delivering on our commitment to shareholders In our first full-year results after partially listing on the New Zealand and Australian stock exchanges in October 2013, we have achieved solid results for shareholders. EBITDAF 1 , a key indicator of profitability, has exceeded the prospectus forecast by $36.9 million (6.7%). We have also delivered a higher-thanforecast full-year cash dividend for our shareholders, resulting in a 21.8% total shareholder return 2 to 30 June 2014 . 2014 highlights FRONT COVER Jeremy Takao, Russell School, Porirua, helping to celebrate first power at Meridian’s new Mill Creek wind farm near Wellington in May 2014. Meridian Energy Limited Annual Report for the year ended 30 June 2014 IN THIS REPORT 2 4 8 10 12 18 22 26 Company overview Report from our Chair and Chief Executive Our Board Our executive team Customers Generation Environment Community 30 People 34 Summary of Group performance 40 Directors’ statement 35.3 % Average...
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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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...ALSO BY MALCOLM GLADWELL The Tipping Point To my parents, Joyce and Graham Gladwell Introduction The Statue That Didn’t Look Right In September of 1983, an art dealer by the name of Gianfranco Becchina approached the J. Paul Getty Museum in California. He had in his possession, he said, a marble statue dating from the sixth century BC. It was what is known as a kouros—a sculpture of a nude male youth standing with his left leg forward and his arms at his sides. There are only about two hundred kouroi in existence, and most have been recovered badly damaged or in fragments from grave sites or archeological digs. But this one was almost perfectly preserved. It stood close to seven feet tall. It had a kind of light-colored glow that set it apart from other ancient works. It was an extraordinary find. Becchina’s asking price was just under $10 million. The Getty moved cautiously. It took the kouros on loan and began a thorough investigation. Was the statue consistent with other known kouroi? The answer appeared to be yes. The style of the sculpture seemed reminiscent of the Anavyssos kouros in the National Archaeological Museum of Athens, meaning that it seemed to fit with a particular time and place. Where and when had the statue been found? No one knew precisely, but Becchina gave the Getty’s legal department a sheaf of documents relating to its more recent history. The kouros, the records stated, had been in the private collection of a Swiss physician named Lauffenberger...
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