...Mrs. Stansfield ENG 4U0 July 6, 2015 Imagery and Symbolism in Poems Poem #1: Where There’s a Wall by Joy Kogawa This poem evokes motivation and inspiration. The main message that I received from it is that, even when life puts an obstacle in front of you, you can always find a way to get your goal to the other side. The wall is a symbol that represents an obstacle in life that may prevent one from reaching what they desire. Literal imagery is used quite often in this poem. The writer composes a stanza that states that he/she is “standing” on one side of the wall, “staring at the top, lost in the clouds.” From this, we can imagine a person standing in front of a wall, mindlessly looking into the clouds. But the stanza continues, stating that they “hear every sound” one makes but “cannot see” them. This implies that this person is trying to get to another person on the other side of the wall, but can only hear their voice from behind the wall that stands between them. Figurative imagery is also slightly utilized in this poem, near its end. When the poem reads that “a voice cries faint as in a dream,” a simile is used, comparing a voice’s quiet sound to one you would hear while dreaming. This makes it easy for the reader to imagine how strong this wall is, blocking out so much sound that the heard voice is as faint as in a dream. Poem #2: Poem About Your Laugh by Susan Glickman This poem presents a lot of imagery, mostly figurative rather than literal....
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...The “Cask of Amontillado” is a gothic tale of revenge and horror, the true genius of which lies in Poe’s abundant use of symbolism and irony. * Symbolism in "The Cask of Amontillado" Fortunato's Outfit: Fortunato's carnival garb is described as follows: "The man wore motley. He had on a tight-fitting parti-striped dress and his head was surmounted by the conical cap and bells." In short, Fortunato is dressed as a fool, a symbolic representation of what he is. The Setting: The "supreme madness of carnival season" represents the supreme madness of the narrator's mind. It is the backdrop of carnival season that lends the story its fantastic nature, a nature trumped only by the madness of Montresor's revenge. The Cask of Amontillado: The word cask, a sturdy cylindrical container for storing liquids, and the word casket have the same root. The Amontillado represents two causes of Fortunato's demise: (1) Fortunato is extremely drunk, more than likely drunk on wine. It is probable that his venturing into the catacombs has little to do with his desire to serve Montresor. Fortunato understands that the trip will produce one of two results--free Amontillado or Montresor's humiliation; (2) Fortunato's passion for good wine leaves him susceptible to flattery, flattery which Montresor provides. Montresor: In French, mon tresor means my treasure. The treasure the narrator possesses is the knowledge of the perfect revenge. The Montresor Family Motto, "Nemo me impune lacessit": Fortunato...
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...Area of Study: Belonging * ‘As You Like It’ written by William Shakespeare * ‘Towelhead’ directed by Alan Ball in * ‘The Surfer’ written by Judith Wright | As You Like It | Towelhead | The Surfer | Language Form and Structure | * ‘As You Like It’ is a stage play in the form of a comedy * It also qualifies as a pastoral romance * Shakespeare wrote the lines of the play in both verse and prose | * ‘Towelhead’ is a film | * Poem * 3 stanzas * Free verse | Personal, cultural, historical and social context | * Written during the reign of Elizabeth I and ironically, both Rosalind and Celia would have been played by men * Appealing nature to both lower and higher classes * Used as a model of social critique | * Set in Houston, Texas during the 1990s * Occurred during the Gulf War * Follows the sexual awakening of Jasira (an American-Lebanese girl) | * Set in Australia | Identity One’s sense of belonging is built upon their exploration of self and the confidence they establish through their own identity. | Identity is explored most obviously with Rosalind’s disguise as Ganymede. This concealment of her true identity allows Rosalind to discover whether Orlando truly loves her. It also allows Rosalind to gain a deeper understanding of herself. This is seen through the use of dramatic irony, this enhances the audience’s connection with the characters and adds to the humour of the play. “Nay, you must call me Rosalind”. Ultimately, it...
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...1. Logan's Run: The Story by Ken Sanes In 1976, Hollywood came out with a movie titled Logan's Run, which offered a vision of the future as a false paradise. In the movie, humanity is portrayed as having destroyed the earth's ecosystem by the 23rd century, through war, overpopulation and pollution, and retreated into a high-tech city enclosed in domes, full of futuristic buildings and public spaces that look like something out of a contemporary shopping mall. Inside, the inhabitants devote themselves to a life of indulgence while a computer with a vaguely seductive female voice controls the city and produces everything they need to live. They know nothing of the outside world, nor do they have any idea how to operate the machines that serve them. As in many similar works, the characters are portrayed as being much like children, dependent on the central computer to shelter them in their gilded cage. But the characters aren't only separated from the nature outside the city. They are also separated from the natural processes of life. They are incubated in nurseries, rather than being born, and they neither marry nor know their children. It is only natural, in their eyes, for sex to be purely a form of entertainment, unconnected to intimacy or procreation. Nor do they know anything of the natural process of aging. Because space is limited in the city, the computer simply does away with everyone on their 30th birthday. To lead these lambs willingly to their slaughter, it has given...
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...re tu ra li CAPE Modern te ng Languages Literatures nE e siniEnglish ur e at l er g it En sin ur e at er it L Caribbean Examinations Council ® SYLLABUS SPECIMEN PAPER CSEC® SYLLABUS,MARK SCHEME SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures...
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...The Rubaiyat of Omar Khayyam: Summary & Analysis The Rubaiyat of Omar Khayyam presents an interesting challenge to any reader trying to sort through its heavy symbolism and not-so-obvious theme. Not only does the poem provide us with a compelling surface story, but a second look at the text can reveal a rich collection of seperate meanings hidden in the poem’s objective descriptions and sprawling narrative-which in the space of a few pages includes such disparate characters as the Moon, God, the Snake (and his traditional Christian neighborhood, Paradise), the “Balm of Life”, not to mention nearly every animal and sexual symbol the human mind can come up with. Obviously, on one level, the poem can present itself in a fairly straightforward manner in the vein of CARPE DIEM. In the third stanza, theauthor writes, “‘Open then the Door!/ You know how little while we have to stay,/ And, once departed, may return no more.” There’s several refrains to this throughout the poem, first in the seventh stanza: “Come, fill the cup. . ./ The Bird of Time has but a little way/ To flutter-and the bird is on the Wing.” The entire ninth stanza describes the summer month “that brings the Rose” taking “Jamshyd and Kaikobad away”, and so forth and so on ad nauseum. Again, in the fifty-third stanza: “You gaze To-Day, while You are You-how then/ Tomorrow, You when shall be You no more?” The poet seems to be in an incredible hurry to get this life going before some cosmic deadline comes due, and...
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...like a modern day "bromantic comedy," you're right. Two Gentlemen of Verona is the great, great grandfather of buddy flicks like the 2009 comedy I Love You Man.) Written as early as 1590-91, Two Gentlemen appears to be William Shakespeare's first play. (As usual, some literary critics are divided over this issue, but we're going with the editors of The Norton Shakespeare and the editors of The Oxford Shakespeare on this one.) As Shakespeare's first theatrical effort, Two Gentlemenhas been referred to as a "limping forerunner" of Shakespeare's later works. Even famous literary scholar Harold Bloom says it's "the weakest of all Shakespeare's comedies." We, on the other hand, prefer to think of Two Gentlemen as Shakespeare's test kitchen, where a budding young playwright begins to work out the recipe for his "comedies" and begins to explore themes and conventions that he'll develop more fully in later works – particularly the themes of male friendship and heterosexual love, which come into conflict in plays like The Merchant of Veniceand also in Shakespeare's collection of Sonnets. Like all test kitchen creations, Two Gentlemen is far from perfect – there are multiple plot inconsistencies and many scenes feature only a couple of speakers at a time. On this latter point, Jean Howard notes that it's "as if Shakespeare had not yet mastered the skill of orchestrating a full complement of stage voices and bodies." The play is also notable for its controversial and somewhat bizarre...
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..."Nature's first green is gold" ......................Nothing Gold Can Stay by Robert Frost Frost's poem contains the perfect image of Vermont's spring landscape. The hardwoods lose their leaves in autumn and 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...
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...W.B. Yeats's "The Second Coming" W.B. Yeats' poem "The Second Coming" was written in 1919, just one year after WWI ended. The beginning of this poem reflects on how evil has taken over the minds of good Christians, and the world has turned into chaos. It is apparent that Yeats believes that a Second Coming is at hand, and he spends the last half of the poem discussing what that Second Coming could look like. Turning and turning in the widening gyre (line 1) Yeats imagines the world in a cyclical sphere known a gyre (shape of a cone). In Yeats' note on the text, he states that "the end of an age, which always receives the revelation of the character of the next age, is represented by the coming of one gyre to its place of greatest expansion and of the other to that of its greatest contraction" (2036). Yeats believes that the two thousand years of Christianity will be coming to an end, and after a violent reversal a new age will take its place. The widening part of the gyre is supposed to connote anarchy, evil, and the loss of innocence. The falcon cannot hear the falconer; (2) The falconer in this analogy is most likely God (or Jesus), and the falcon is the follower (or devotee). Humanity can no longer hear the word of God, because it is drowned out by all of chaos of the widening gyre. A wild falcon can symbolize an unconverted Gentile; someone who has sinful thoughts, and does sinful things. A tame falcon (one who listens to the word of God) is a Christian convert. In the...
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...[pic] JPPSS ELA COURSE GUIDE 2011-2012 ENGLISH I The JPPSS Instructional Sequence Guides are aligned with the LA Comprehensive Curriculum. JPPSS Implementation of Activities in the Classroom Incorporation of activities into lesson plans is critical to the successful implementation of the Louisiana Comprehensive Curriculum. The Comprehensive Curriculum indicates one way to align instruction with Louisiana standards, benchmarks, and grade-level expectations. The curriculum is aligned with state content standards, as defined by grade-level expectations (GLEs), and organized into coherent, time-bound units with sample activities and classroom assessments to guide teaching and learning. The units in the curriculum have been arranged so that the content to be assessed will be taught before the state testing dates. While teachers may substitute equivalent activities and assessments based on the instructional needs, learning styles, and interests of their students, the Comprehensive Curriculum should be a primary resource when planning instruction. Grade level expectations—not the textbook—should determine the content to be taught. Textbooks and other instructional materials should be used as resource in teaching the grade level expectations...
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...Page 1 – ASIA PACIFIC 2012 Copyright © ESOMAR 2012 “SO MANY DIFFERENT SUNS” HOW SUCCESSFUL BRANDS HIT THE CONFLUX OF AFFORDABILITY AND ASPIRATION Shobha Prasad • Sangeeta Gupta INTRODUCTION All of us are familiar with the current industry focus on emerging markets. It is also no surprise that the larger consuming population in these markets lies not at the top end, but towards the middle and lower ends of the income pyramid. This is also where marketers struggle the most – how should the offer be constructed to ensure it is affordable yet desirable? The proposed Theory of Multiple Aspiration & Poverty Lines (MAPL) represented a new and stratified approach to understanding affluence, poverty and aspiration. This has many implications on brand positioning and portfolio strategies for creation of winning brands or “suns”. Objective The objective of this paper was to take this thinking forward through an exploration as follows: Broadly, what are the implications of the Multiple Aspiration & Poverty Lines (MAPL) theory for brand positioning, communication and portfolio management? What drives brand success in the Indian context? What strategies have these brands used to achieve success- to what degree are these brands wedded to symbols of aspiration /belongingness in each social class? How did the brands that were not so successful in the Indian market falter on making the right connections on these dimensions? Approach We identified product categories through which...
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...SECOND DRAFT Contents Preamble Chapter 1 1.1 1.2 1.3 1.4 1.5 Background Rationale Aims Interface with the Junior Secondary Curriculum Principles of Curriculum Design Chapter 2 2.1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 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...
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...*Daryoosh Hayati Lecturer of English Language, Lamerd Branch, Islamic Azad University, Iran Journal of Subcontinent Researches University of Sistan and Baluchestan Vol. 3, No.7, summer 2011 (p.p 31-52) East meets West: a Study of Dual Identity in Mohsin Hamid’s the Reluctant Fundamentalist Abstract This essay will present a postcolonial study of how Eastern identity and Western identity clash in The Reluctant Fundamentalist by Mohsin Hamid, the Pakistani- American novelist, and make the character of the protagonist a glocal one, (A mixture of global and local), a term newly coined by Postcolonial scholars to show the ever clashing mixture of global and local dualities in immigrants’ personalities. The basis for this research paper is the postcolonial theories of Edward Said, Fanon and Homi K. Bhabha. The aim is to question simply and sardonically the human cost of empire building, moreover it is discussed how the people in a totally alien culture are faced with different cultural predicaments, dilemmas as well as contradictions threatening their identity. Identity is supposed to be stable, while as this novel indicates, it is more of glocal identity which is at risk due to the cultural conflicts, as a result of which identity and ethnicity are subjected to change for the benefit of the hegemony. In line with Edward Said’s: “the East writes back” it is shown how this novel is a reaction to the discourse of colonization from the Pakistani side (which stands for the East)...
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...S E C O N D E D I T I O N POWER MARKETING, SELLING, and PRICING A Business Guide for Wedding and Portrait Photographers Amherst Media ® PUBLISHER OF PHOTOGRAPHY BOOKS Mitche Graf Dedication I would like to dedicate this book to one of the greatest men I have ever met, Pat Wright. Although he is no longer with us, he left behind a legacy that will not soon be forgotten. As my stepfather, my supporter, and my friend, he showed me the value of not only a hard days’ work, but also the importance of taking time to enjoy the precious moments life has to offer. By example, he taught me to take my work seriously, but to take myself lightly. His playful spirit will forever be an integral part of my daily life, and his gentle approach to loving others will always help guide me in each of my relationships. I am honored to have known such a tender and loving man. Copyright © 2009 by Mitche Graf. All rights reserved. Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt Editorial Assistance: John S. Loder, Carey A. Maines, C. A. Schweizer ISBN-13: 978-1-58428-246-4 Library of Congress Card Catalog Number: 2008926666 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical...
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...THE HANDY RELIGION AN SWE R BOOK JOHN RENARD Detroit The Handy Religion Answer Book™ C O P Y R I G H T © 2002 BY VI S I B LE I N K PRE SS® This publication is a creative work fully protected by all applicable copyright laws, as well as by misappropriation, trade secret, unfair competition, and other applicable laws. No part of this book may be reproduced in any form 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 or newspaper. All rights to this publication will be vigorously defended. Visible Ink Press® 43311 Joy Rd. #414 Canton, MI 48187-2075 Visible Ink Press and The Handy Religion Answer Book are trademarks of Visible Ink Press LLC. Most Visible Ink Press books are available at special quantity discounts when purchased in bulk by corporations, organizations, or groups. Customized printings, special imprints, messages, and excerpts can be produced to meet your needs. For more information, contact Special Markets Director, Visible Ink Press, at www.visibleink.com or (734) 667-3211. Art Director: Mary Claire Krzewinski Typesetting: Graphix Group Library of Congress Cataloging-in-Publication Data Renard, John, 1944The handy religion answer book / John Renard. p. cm. ISBN 1-57859-125-2 (pbk.) 1. Religions--Miscellanea. I. Title. BL80.2 .R46 2001 291--dc21 Printed in the United States of America All rights reserved ...
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