...ENGLISH 281 Draft Workshop Questions for Essay Two in Wikis Steps: 1. Post your draft to your appointed Wiki area by Sunday, April 5 by midnight. 2. Review drafts attached to your Wiki area and provide feedback using the below questions, pasting the answers in to the Wiki area and making it clear who the answers are for/whose draft you are commenting on and that you are the writer. For example, you could paste in something like the following: Susan, here are my thoughts/feedback on your draft posted so far: #1. [Provide feedback using the criteria below] #2 [Provide feedback using the criteria below] #3 on [Repeat above] You are expected to complete these steps for at least one draft posted to your group’s Wiki by Monday, April 6 by midnight for possible five points credit. Be sure to answer the “Specific Questions” below the first ten questions here depending on which essay prompt you are reading for a draft. 1. Does the author/student have all of the “front matter” needed in the draft? (i.e, Does it give an author tag with the title of the poem in quotes or name of book in italics and name of film in italics being worked with in the essay, for example and the author(s) name of text being discussed in the first one or two sentences of introduction)? If this is information is missing, let the author know here and also provide an example please of how it could be better. 2. Are the introductory sentences attention-grabbing? If they are...
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...cinematography in 1914 and soon after made memorable films such as The Three Musketeers (1921), Robin Hood (1922), The Thief of Bagdad (1924), and the much-admired The Lost World (1925). By the 1930s, he combined his creative talents “with director James Whale, for whom he photographed the first three of Whale's quartet of horror films: Frankenstein (1931), The Old Dark House (1932), and The Invisible Man (1933)” (Wikipedia). Edeson’s cinematic technique can be seen elsewhere in film like The Maltese Falcon (1941), Sergeant York (1941), Casablanca (1942), The Mask of Dimitrios (1944), and Three Strangers (1946). The excellent cinematography in Frankenstein evokes a surreal and mysterious quality, perfectly matching the thunder and lightening storm above the gloomy castle in classic black and white imagery, and capturing that German Expressionism completely, from acting to set design, everything is wonderfully filmed, but as film critic Leonard Matlin mentions in his book Leonard Maltin's Movie and Video Guide 1994, “It’s creaky at times, and cries for music score, but it’s still impressive” (Maltins 441). Historians will point out,...
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...published in 1847 under the pseudonym "Ellis Bell"; Brontë died the following year, aged 30. Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel, Jane Eyre. After Emily's death, Charlotte edited the manuscript of Wuthering Heights, and arranged for the edited version to be published as a posthumous second edition in 1850.[2] Although Wuthering Heights is now widely regarded as a classic of English literature, contemporary reviews for the novel were deeply polarised; it was considered controversial because its depiction of mental and physical cruelty was unusually stark, and it challenged strict Victorian ideals of the day, including religious hypocrisy, morality, social classes and gender inequality.[3][4] The English poet and painter Dante Gabriel Rossetti referred to it as "A fiend of a book – an incredible monster ... The action is laid in hell, – only it seems places and people have English names there."[5] In the second half of the 19th century, Charlotte Brontë's Jane Eyre was considered the best of the Brontë sisters' works, but following later re-evaluation, critics began to argue that Wuthering Heights was superior.[6] The book has inspired adaptations, including film, radio and television dramatisations, a musical by Bernard J. Taylor, a ballet, operas (by Bernard Herrmann, Carlisle Floyd, and Frédéric Chaslin), a role-playing game,[7] and a 1978 song by Kate Bush. Wuthering Heights Title...
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...The English novel is an important part of English literature. This article focuses on novels, written in English, by novelists who were born or have spent a significant part of their lives in England, or Scotland, or Wales, or Northern Ireland (or Ireland before 1922)]. However, given the nature of the subject, this guideline has been applied with common sense, and reference is made to novels in other languages or novelists who are not primarily British where appropriate. Portrait of Samuel Richardson by Joseph Highmore.National Portrait Gallery, Westminster, England. Contents [hide] 1 Early novels in English 2 Romantic period 3 Victorian novel 4 20th century 5 Survey 6 Famous novelists (alphabetical order) 7 See also 8 References Early novels in English[edit source | editbeta] See the article First novel in English. The English novel has generally been seen as beginning with Daniel Defoe's Robinson Crusoe (1719) and Moll Flanders (1722),[1] though John Bunyan's The Pilgrim's Progress (1678) and Aphra Behn's Oroonoko (1688) are also contenders, while earlier works such as Sir Thomas Malory's Morte d'Arthur, and even the "Prologue" to Geoffrey Chaucer's Canterbury Tales have been suggested.[2] Another important early novel is Gulliver's Travels (1726, amended 1735), by Irish writer and clergyman Jonathan Swift, which is both a satire of human nature, as well as a parody of travellers' tales like Robinson Crusoe.[3] The rise of the novel as an important...
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...Note: The following excerpts from the MLA Formatting and Style Guide refer only to the most common kinds of sources you will be consulting for your research paper. For other sources not covered in this handout, kindly refer to the MLA 7 Formatting and Style Guide found at the Online Writing Lab of Purdue University, which can be accessed at: https://owl.english.purdue.edu/owl/resource/747/1/. MLA Works Cited Page: Books When you are gathering book sources, be sure to make note of the following bibliographic items: author name(s), book title, publication date, publisher, place of publication. The medium of publication for all “hard copy” books is Print. Basic Format The author’s name or a book with a single author's name appears in last name, first name format. The basic form for a book citation is: Lastname, Firstname. Title of Book. City of Publication: Publisher, Year of Publication. Medium of Publication. Book with One Author Gleick, James. Chaos: Making a New Science. New York: Penguin, 1987. Print. Henley, Patricia. The Hummingbird House. Denver: MacMurray, 1999. Print. Book with More Than One Author The first given name appears in last name, first name format; subsequent author names appear in first name last name format. Gillespie, Paula, and Neal Lerner. The Allyn and Bacon Guide to Peer Tutoring. Boston: Allyn, 2000. Print. If there are more than three authors, you may choose to list only the first author followed by the phrase et al. (Latin for "and others")...
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...Article A Novel Approach: The Sociology of Literature, Children’s Books, and Social Inequality Amy E. Singer, Ph.D. Assistant Professor of Sociology Knox College, USA © 2011 Singer. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. Abstract This article discusses the complexity of literary analysis and the implications of using fiction as a source of sociological data. This project infuses literary analysis with sociological imagination. Using a random sample of children’s novels published between 1930 and 1980, this article describes both a methodological approach to the analysis of children’s books and the subsequent development of two analytical categories of novels. The first category captures books whose narratives describe and support unequal social arrangements; the second category captures those whose narratives work instead to identify inequality and disrupt it. Building on Griswold’s methodological approach to literary fiction, this project examines how children’s novels describe, challenge, or even subvert systems of inequality. Through a sociological reading of three sampled texts – Tales of a Fourth Grade Nothing, A Wrinkle in Time, and Hitty: Her First Hundred Years – readers learn how these analytical categories work and how the sociology...
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...OLD ENGLISH LITERATURE • Palaeolithic nomads from mainland Europe; • New inhabitants came from western and possibly north-western Europe (New Stone Age); • in the 2nd millennium BC new inhabitants came from the Low Countries and the middle Rhine (Stonehenge); • Between 800 and 200 BC Celtic peoples moved into Britain from mainland Europe (Iron Age) • first experience of a literate civilisation in 55 B.C. • remoter areas in Scotland retained independence • Ireland, never conquered by Rome, Celtic tradition • The language of the pre-Roman settlers - British (Welsh, Breton); Cornish; Irish and Scottish Gaelic (Celtic dialect) • The Romans up to the fifth century • Britain - a province of the Roman Empire 400 years • the first half of the 5th century the Angles, Saxons, and Jutes (N Germany, Jutland) • The initial wave of migration - 449 A. D. • the Venerable Bede (c. 673-735) • the Britain of his time comprised four nations English, British (Welsh), Picts, and Scots. • invaders resembling those of the Germans as described by Tacitus in his Germania. • a warrior race • the chieftain, the companions or comitatus. • the Celtic languages were supplanted (e.g. ass, bannock, crag). * Christianity spread from two different directions: * In the 5th century St Patrick converted Ireland, in the 7th century the north of England was converted by Irish monks; * in the south at the end of the 6th century Aethelberht of Kent allowed the monk Augustine...
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...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 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...
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...Using Facebook to Teach Rhetorical Analysis Jane Mathison Fife The attraction of Facebook is a puzzle to many people over the age of thirtyfive, and that includes most college faculty. Yet students confess to spending significant amounts of time on Facebook, sometimes hours a day. If you teach in a computer classroom, you have probably observed students using Facebook when you walk in the room. Literacy practices that fall outside the realm of traditional academic writing, like Facebook, can easily be seen as a threat to print literacy by teachers, especially when they sneak into the classroom uninvited as students check their Facebook profiles instead of participating in class discussions and activities. This common reaction reflects James King and David O’Brien’s (2002: 42) characterization of the dichotomy teachers often perceive between school and nonschool literacy activities (although they are not referring to Facebook specifically): “From teachers’ perspectives, all of these presumably pleasurable experiences with multimedia detract from students’ engagement with their real work. Within the classroom economy technology work is time off task; it is classified as a sort of leisure recreational activity.” This dichotomy can be broken down, though; students’ enthusiasm for and immersion in these nonacademic literacies can be used to complement their learning of critical inquiry and traditional academic concepts like rhetorical analysis. Although they read these texts daily...
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...Works Cited (do not italicize the words Works Cited or put them in quotation marks) and center the words Works Cited at the top of the page. • Double space all citations, but do not skip spaces between entries. • Indent the second and subsequent lines of citations five spaces so that you create a hanging indent. • List page numbers of sources efficiently, when needed. If you refer to a journal article that appeared on pages 225 through 250, list the page numbers on your Works Cited page as 225-50. Additional Basic Rules New to MLA 2009 • For every entry, you must determine the Medium of Publication. Most entries will likely be listed as Print or Web sources, but other possibilities may include Film, CD-ROM, or DVD. • Writers are no longer required to provide URLs for Web entries. However, if your instructor or publisher insists on them, include them in angle brackets after the entry and end with a period. For long URLs, break lines only at...
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..........................3 MEETING COMMON CORE STANDARDS.............................................................3 THE SLAVE NARRATIVE GENRE...............................................................................3 HISTORICAL OVERVIEW..........................................................................................................4 DURING READING.....................................................................................................................6 SYNTHESIZING DISCUSSION QUESTIONS.......................................................................9 ENRICHMENT ACTIVITIES.......................................................................................................9 ACTIVITIES FOR USING THE FILM ADAPTATION........................................................ 11 ADDITIONAL RESOURCES................................................................................................... 13 ABOUT THE AUTHORS OF THIS GUIDE.......................................................................... 13 Also available in a black-spine Penguin Classics edition Copyright © 2014 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write to: PENGUIN GROUP (USA) Academic Marketing Department 375...
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... 1.1 – Introduction – p. 3 1.2 – Social and Political Climate pp. 3-11 1.3 – Production Code Resolutions pp.11-15 Part Two 2.1- Production Codes – I, II, III and IV pp.16 2.2 – Production Codes V, VI, VII and VIII pp.17-18 2.3 - Production Codes IX, X, XI and XII pp.18 Part Three 3.1- Hollywood and Film making – 1940-1949 pp.18-21 3.2- Movies – Awarded, Nominated, Not Nominated pp.21 Part Four 4.1- Hollywood and Film making – 1950-1959 pp.22-26 4.2- Movies – Awarded, Nominated, Not Nominated pp.26 Part Five 5.1- Synopsis of Film making in the 1960’s – New Era pp. 27-28 5.2- Conclusion pp.28-29 The Red Scare of 1917-1920, was the primary influence for the emergence of censorship through McCarthyism and Anti- Socialist sentiments in filmmaking during 1940-1960. McCarthyism and three international wars enhanced Anti – Communist resentments within the United States. A brief emergence of Socialist organizations in America heightened the fervor of conservative versus liberal views within cinematography. Motion Movie producers and Distributors, in Hollywood, California were heavily encouraged to influence film directors, screenwriters and actors by incorporating strict codes within their artistic expression. The Dies Committee, former State Senator Jack Tenny’s California Joint Fact Finding Committee on Un-American Activities from the late 1930’s and early 1940’s; as well as the House on Un-American Activities Committee and The Production...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. 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, except as permitted by the UK Copyright, Designs, and...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF G EORG E B E R N A R D S HAW ’S PYGMALION By LAURA REIS MAYER BUNCOMBE COUNTY SCHOOLS, ASHEVILLE, NORTH CAROLINA S E R I E S E D I T O R S JEANNE M. MCGLINN, Ph.D., University of North Carolina at Asheville and W. GEIGER ELLIS, Ed.D., University of Georgia, Professor Emeritus 2 A Teacher’s Guide to the Signet Classics Edition of George Bernard Shaw’s Pygmalion TABLE OF CONTENTS An Introduction .......................................................................................3 Synopsis of the Play .................................................................................3 Prereading Activities .................................................................................6 During Reading Activities ......................................................................13 After Reading Activities .........................................................................21 About the Author of this Guide .............................................................29 About the Editors of this Guide .............................................................29 Full List of Free Teacher's Guides...........................................................30 Click on a Classic ..................................................................................31 Copyright © 2007 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write...
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...A ROOM OF ONES OWN [* This essay is based upon two papers read to the Arts Society at Newnharn and the Odtaa at Girton in October 1928. The papers were too long to be read in full, and have since been altered and expanded.] ONE But, you may say, we asked you to speak about women and fiction--what, has that got to do with a room of one's own? I will try to explain. When you asked me to speak about women and fiction I sat down on the banks of a river and began to wonder what the words meant. They might mean simply a few remarks about Fanny Burney; a few more about Jane Austen; a tribute to the Brontës and a sketch of Haworth Parsonage under snow; some witticisms if possible about Miss Mitford; a respectful allusion to George Eliot; a reference to Mrs Gaskell and one would have done. But at second sight the words seemed not so simple. The title women and fiction might mean, and you may have meant it to mean, women and what they are like, or it might mean women and the fiction that they write; or it might mean women and the fiction that is written about them, or it might mean that somehow all three are inextricably mixed together and you want me to consider them in that light. But when I began to consider the subject in this last way, which seemed the most interesting, I soon saw that it had one fatal drawback. I should never be able to come to a conclusion. I should never be able to fulfil what is, I understand, the first duty of a lecturer to hand you after an hour's discourse a...
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