...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 ‘Dreaming black boy’ by James Berry from Hot Earth Cold Earth, published by Bloodaxe Books, 1995. Reproduced with permission of Bloodaxe Books; University of Pittsburgh Press for the poem ‘Epitaph’ from Uncle Time by Dennis Scott, copyright © 1973. Reprinted by permission of the University of Pittsburgh...
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...* CLASSIFICATION OF LITERATURE ACCORDING TO FORM * POETRY * -one of the three major types of literature * -divided into lines, stanzas, with diverse and unique characteristics and often employ regular rhythmic patterns or meters. * -most poets make use of imagery, figurative language, and special devices * ELEMENTS OF POETRY 1. Persona or the voice- “speaker”, may be a poet or completely different character 1 2. Theme- insight into life revealed by the poem 3. Rhythm and Rhyme-2 (pattern of stressed and unstressed syllables in a line of poetry ,3 repetition of sound at the ends of words, * 4. Form/Genre (Lyric, Narrative, Dramatic)4-6 * 5. Diction (Connotative, Denotative) * 6. Literary Devices (Techniques, Figures of Speech) * Miscellaneous elements: * Tone-attitude of the writer 7 * Mood-atmosphere or general feeling * TYPES AND FORMS OF POETRY 1. LYRIC POETRY- meant to be sung to the accompaniment of a lyre -short, simple and easy to understand 8 A. Kinds of Lyric Poetry B. Sonnets- 14 lines with a formal rhyme scheme or pattern 9 C. Elegy- expresses lament or mourning for the dead 10 3. Ode- noble feeling, expressed with dignity and praises * TYPES AND FORMS OF POETRY * 4. Songs- poem w/ or w/o definite number of syllables and stanza and always accompanied by musical instrument * 5. Psalms- song praising God or the Virgin Mary and containing philosophy in life 11 * 6. Simple...
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...An A level English Student Guide by Julia Geddes, Kitty Graham and Helen Ince ~ Wessex Publications ~ Selected Poems by John Clare CONTENTS Page Using the Workbook......................................................................................1 How to Study Poetry......................................................................................2 John Clare 1793 - 1864 ..................................................................................3 The Poems A Country Village Year.................................................................................6 December from ‘The Shepherd’s Calendar’: Christmas ...............................6 Sonnet: ‘The barn door is open’ ...................................................................11 The Wheat Ripening......................................................................................13 The Beans in Blossom ...................................................................................16 Sonnet: ‘The landscape laughs in Spring’ .....................................................19 Sonnet: ‘I dreaded walking where there was no path’...................................21 Sonnet: ‘The passing traveller’......................................................................23 Sport in the Meadows....................................................................................25 Emmonsales Heath .......................................................................................
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...loosely defined, often with subgroups. The most general genres in literature are (in loose chronological order) epic, tragedy,[1] comedy, and creative nonfiction.[citation needed] They can all be in the form of prose or poetry. Additionally, a genre such as satire, allegory or pastoral might appear in any of the above, not only as a subgenre (see below), but as a mixture of genres. Finally, they are defined by the general cultural movement of the historical period in which they were composed. Genre should not be confused with age categories, by which literature may be classified as either adult, young-adult, or children's. They also must not be confused with format, such as graphic novel or picture book. GenresEdit For more details on this topic, see List of literary genres. Just as in painting, there are different types: the landscape, the still life, the portrait; there are different types of literary works. These types tend to share specific characteristics. Genres describe those works which share specific conventions.[2] Genres are often divided into subgenres. Literature, is divided into the classic three forms of Ancient Greece, poetry, drama, and prose. Poetry may then be subdivided into the genres of lyric, epic, and dramatic. The lyric includes all the shorter forms of poetry, e.g., song, ode, ballad, elegy, sonnet.[2] Dramatic poetry might include comedy, tragedy, melodrama, and mixtures like tragicomedy. The standard division of drama into tragedy and comedy...
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...June, 9, 2014 Instructor Sandra Heilman Compare and Contrasting Literary Works Foundations of literature are important because it consists of the structural makeup of a poem or short story. This foundation includes the content, style, and form of each piece that offers insight to a deeper and personal understanding for the reader. Poetry by Pablo Neruda and You, Reader by Billy Collins are not the exceptions to the rule. These two poems share a common bond; a thread that takes the reader on a journey of discovery, through their creativity and creative process. An author has the ability to use their imagination in a way like no other; to share thoughts and feelings about real or imagined experiences. It is through the use of wording these thoughts and feelings come to life, allowing the reader a glimpse inside the mind and heart of the author. This is where the bridge between the author and audience connect. In most cases, reading material is selected because of a first page or introduction that speaks to the reader. This content is what hooks the reader into a world that is interesting or oddly familiar, causing them to want to know more. When literature, whether it is a story, poem, quote, or even a movie script can speak to us on a deep level, it is a well written piece. It carries the ability to stir the emotions that can make us cry, laugh, get sad, or even upset. ...
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...stay bare through the winter. In spring, the first green to appear is really gold as the buds break open. The willows and maples have this temporary gold hue. In only a few days, the leaves mature to green. Figurative Language Figurative language uses "figures of speech" - a way of saying something other than the literal meaning of the words. For example, "All the world's a stage" Frost often referred to them simply as "figures." Frost said, "Every poem I write is figurative in two senses. It will have figures in it, of course; but it's also a figure in itself - a figure for something, and it's made so that you can get more than one figure out of it." Cook Voices p235 Metaphor A figure of speech in which a comparison is made between two things essentially unalike. To Frost, metaphor is really what poetry is all about. He is notably a poet of metaphors more than anything else. This is so important, we should hear directly from the poet. Frost said," Poetry begins in trivial metaphors, pretty metaphors, 'grace metaphors,' and goes on to the profoundest thinking that we have. Poetry provides the one permissible way of saying one thing and meaning another. People say, 'Why don't you say what you mean?' We never do that, do we, being all of us too much poets. We like to talk in parables and in hints and in indirections - whether from diffidence or from some other instinct". ... Excerpt from an essay entitled "Education by Poetry" by Robert Frost. Examples: The Silken Tent...
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...which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory: Where every aspect of a story is representative, usually symbolic, of something else, usually a larger abstract concept or important historical/geopolitical event. Lord of the Flies provides a compelling allegory of human nature, illustrating...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...
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...condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as an Oxford University Press paperback 1997 Reissued 2000 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, without the prior permission in writing of Oxford University Press, or as...
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...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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...cultural dominance of the court, his age’s most powerful institution. All over Europe, even if belatedly in England, the courts of the Renaissance nation-states conducted an intense campaign to use the arts to further their power. The theater, despite its partial dependency on court favor, achieved through its material products (the script and the performance) a relative autonomy in comparison with the central court arts of poetry, prose fiction, and the propagandistic masque. When Shakespeare briefly turned to Ovidian romance in the 1590’s and, belatedly, probably also in the 1590’s, to the fashion for sonnets, he moved closer to the cultural and literary dominance of the court’s taste—to the fashionable modes of Ovid, Petrarch, and Neoplatonism—and to the need for patronage. Although the power of the sonnets goes far beyond their sociocultural roots, Shakespeare nevertheless adopts the culturally inferior role of the petitioner for favor, and there is an undercurrent of social and economic powerlessness in the sonnets, especially when a rival poet seems likely to supplant the poet. In short, Shakespeare’s nondramatic poems grow out of and articulate the strains of the 1590’s, when, like many ambitious writers and intellectuals on the fringe of the court, Shakespeare clearly needed to find a language in which to speak—and that was, necessarily, given to him by the court. What he achieved within this shared framework, however, goes far beyond any other collection of poems in the age....
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...Julius Caesar by William Shakespeare William Shakespeare Renowned English poet, playwright and actor William Shakespeare’s birth date is not known; however, he is said to have been baptized on the 26th of April 1564. He died on the 26th of April 1616 but not before he had written about 38 plays, 154 sonnets and other literary pieces. Shakespeare’s plays have been translated into several languages over the years and have been produced in many forms throughout the ages. The Play Julius Caesar is a play about friendship, betrayal and power. The play is a historical tragedy as it presents the biography of one of the greatest man to have ever lived in Rome. Caesar was made Dictator and Consol after he chased Pompey and his forces out of Rome in an attempt to obtain ultimate power. Caesar’s ultimate goal was to become Rome’s first king and he remained focus on this goal until his death in 44BC. His death was as a result of fate and his refusal to acknowledge the many signs and omens that foreshadowed his fall. Brutus a very good friend of Caesar also took part in his assassination. Brutus feared that Caesar would become a tyrant and harm the people of Rome. In an attempt to ‘save’ the people Brutus helped Cassius to take Caesar’s life. After Caesar’s death he is avenged by his loyal servant Antony who skillfully manipulates his way into the band of conspirators. Later, after winning the love of the people Antony pursues and conquers Brutus’ and Cassius’ forces...
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...“Ion Creangă” Foreign Languages and Literature Faculty English Philology Department DIPLOMA PAPER Figurative Language, Language Shaped by Imagination in Katherine Mansfield’s Short Stories Submitted by: the 4th year student Paşcaneanu Mariana Group 404 Scientific adviser: Tataru Nina Senior Lecturer Chişinău 2012 Contents INTRODUCTION 2 CHAPTER I: SHORT STORY AS A FORM OF FICTION 5 I.1.Common Characteristics of a Short Story as a Form of Fiction. Its Plot and Structure. 5 I.2. Figurative Language. Definition. Function. 9 I.3. Imagery – Language that Appeals to the Senses 11 I.3.1. Simile, Metaphor and Personification. 13 1.3.2. Symbol and Symbolism. 26 I.3.3 Allegory. 30 CHAPTER II: LANGUAGE SHAPED BY IMAGINATION IN K. MANSFIELD’S SHORT STORIES 36 II.1. Figurative Language, Symbolism and Theme in "Her First Ball": 37 II.2. Katherine Mansfield – Techniques and Effects in A Cup of Tea. 41 II.3. Literary Colloquial Style in “Miss Brill” by K. Mansfield. 49 II.3.1. Lexical features—Vague Words and Expressions 49 II.3.2 Syntactical and Morphological Features 52 II.3.3 Phonological Schemes of the Figures of Speech 55 II.4. Simplifying Figurative Language in K.Mansfield’s Short Stories 60 CONCLUSION 64 BIBLIOGRAPHY 66 APPENDIX 70 INTRODUCTION Figurative Language is the use of words that go beyond their ordinary meaning. It requires you to use your imagination to figure...
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...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 while staying in the third person. Gustave...
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...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 Outline of the Development of the English Literary Standard Language……………………………………………………………………..41 6. Meaning from a Stylistic Point of View…………………………..…………57 Part II. Stylistic Classification of the English Vocabulary 1. General Considerations………………………………………………………70 2. Neutral, Common Literary and Common Colloquial Vocabulary…………..72 3. Special Literary...
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