...left with nothing to drive them, and a person who feeds too much into their flame will become overtaken by the fire. In both the novel, “Frankenstein”, and the play, “Macbeth”, the title characters find themselves in the latter situation, eventually becoming too engulfed in their own fire to extinguish the blaze. In both books, Frankenstein and Macbeth feed too much into their ambition, leading them to pursue things with deadly consequences. While both books feature characters whose ultimate downfall is a result of their ambition,...
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...correlated in the play of Macbeth since his impulses and desires greatly affect its surrounding especially while having the authority over a country. Macbeth experienced the fall of his very own ambition which granted him his very own demised. Evil describes Macbeth’s human nature and not only does he experience it, he consults with it too. The witches are highly regarded as a freak of nature which promote evil, as for Macbeth they were his advisors therefore he will make his decision based on the prophecies where they are immoral or virtuous. In consequence of Macbeth’s embracement of his best human quality (Evil) he called upon himself a death sentence. Shakespeare reflected greatly on the position of the king discreetly without stirring up too much controversy particularly on the theory of “Divine right of monarchs”. Though Macbeth attained the power of the thrown he did it through an unorthodox way excluding him from the power of God therefore made him susceptible to any pending attacks. Having Macbeth steal the thrown from Duncan in such a despicable manner is an offense to the Almighty and a violation to the natural order. Shakespeare puts great emphasizes on the legitimacy of his current non-fictional king by creating a psychopath of a king called Macbeth. Macbeth tyrannical decisions lead to his dismiss by others mutinying against him in; seem like Shakespeare borrow some inspiration from the actions of the gun powder plot in 1605. Macbeth can certainly relate to James...
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...From the beginning of Shakespeare’s Macbeth, Lady Macbeth is viewed as very controlling, strong, and certain; saying that Macbeth ‘Shalt be what thou art promised’. This illustrates Lady Macbeth’s position in the relationship, she is ordering Macbeth to become what the witches have foreseen. We see just how powerful Lady Macbeth is, if she can command her husband to murder the king of Scotland. Her power is also shown in the way she taunts Macbeth, saying he is ‘too full of the milk of human kindness’. This shows how cold Lady Macbeth is, as milk is the food of new born children, she is implying Macbeth is too much like a kind child to murder anyone, which is another method used to spur Macbeth on into killing Duncan. Her coldness and control is again shown when she begins to plot Duncan’s murder with Macbeth, she says he should ‘look like the innocent flower but be the serpent under it’, more advice for the killing of his king, and ‘leave the rest to me’ shows her cool control over the matter. Lady Macbeth also shows a more helpful side, offering help. ‘I may pour my spirits in thine ear’, which although apparently providing a contrast to her cold hearted plotting earlier, is in fact another way in which she is convincing Macbeth to kill Duncan. Her words propose sweetness, but are in fact rooted in evil, and this perhaps shows an ‘innocent flower’ side to Lady Macbeth. Macbeth, however, is on the other end of the scale in their relationship, and this is seen once he plucks...
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...park. The banks of the park are full of plants and sculptures, and street art is scattered within and around all of the Highline. Tucked into a gravel bed, beneath the shade of a green sapling, sits an upright rectangle. About five feet tall and two feet wide, the face of the rectangle is a dull mauve color, and at the center of the rectangle rests a bean-shaped oblong, jutting out like a flaccid balloon. It’s a fetus, one may think, or a bladder...but what is the point of the piece? The exact purpose of the art piece, the meaning or explanation is not written there plainly. To understand a piece of art like this, one must engage in their own interpretation. Some people appreciate art because they consider it beautiful; some consider it pointless; some consider art necessary to society, and many refrain from further evaluation of art. In his essay “Art for Art’s Sake,” E.M. Forster explores precisely what this essay title proclaims. Forster acknowledges his argument is an “unpopular” one, but strives to ratify some misconceptions about art for art’s sake. In my initial reading of the essay I am not exempt from resisting the idea of art for art’s sake. Immediately, the notion seems to say that art can have no effect on society, and be appreciated nonetheless. I would like to believe, as a green and optimistic young artist, that art should and does have a purpose in society, and Forster’s support of art for art’s sake seems frivolous and occasionally slightly pretentious. To explain...
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...Editors – Jim Davies, John Simmons & Rob Williams Published – Cyan Books Year – 2007 Place – London No author perhaps has had the kind of influence Shakespeare has had on our lives in different forms. This book is another example of Shakespeare’s influence, this time on the business world of today. Twenty six contemporary writers have paired with a Shakespeare play and one of the lead actors of the First Folio list to give us this delightful new insight of the play and the role. The book is a delightful collection of essays on Shakespeare’s role in contemporary business world. That we have very little biographical sketch to go by demands that “imagination has had to work harder than memory”. And given the “breadth, vivacity, wit and life” of Shakespeares’ plays and their performances, one cannot help but imagine that those actors would be chuckling in sotto voce behind their masks, at our attempt “to capture some sense of their lives and their contribution to the world” It is fitting that a book on Shakespeare’s role in modern business should be introduced by Dominic Dromgoole, the artistic Director of Globe Theatre. According to him, the theatre actor is the most impermanent of all artistes, considering that once a play is over, there is no remanence of his work except the printed “dramatis personae at the beginning of the published play”. He bows in obeisance to that “mysterious, celebrated and intriguing bunch of bandits who worked at Globe in its first manifestation...
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...Introduction The familiarity with the love tradition makes it easily mistakable for a natural and universal phenomenon and even brings a laxity of enquiring into its origins. However, it is difficult of not impossible to show love to be anything more than an artistic phenomenon or construct- a literary per formative innovation of Middle Ages. Courtly love was a medieval European formation of nobly, and politely expressing love and admiration. Courtly love was secret and between members of the nobility. (Simpson). The term "courtly love" was first popularized by Gaston Paris in 1883. It has since come under a wide variety of definitions and uses, even being brushed off as nineteenth-century romantic fiction. Its understanding, beginning, and weight persist as an issue of significant question. Origin of the term ‘courtly love’ The term courtly love was given its original definition by Gaston Paris in 1883 in the journal Romania in the article "Études sur les romans de la Table Ronde: Lancelot du Lac, II: Le conte de la charrette" a treatise inspecting Chretien de Troyes's Lancelot, the Knight of the Cart (1177). The term courtly was derived from the term ‘amour courtis’ which according to Paris was an admiration and an ennobling discipline. The lover accepts the autonomy of his mistress and tries to make himself worthy of her attention by trying to act bravely and doing whatever deed she desires. In order to prove to her his passion and his unwavering commitment and, he...
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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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...The Illusion of Leadership Directing Creativity in Business and the Arts Piers Ibbotson The Illusion of Leadership This page intentionally left blank The Illusion of Leadership Directing Creativity in Business and the Arts Piers Ibbotson © Piers Ibbotson 2008 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2008 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan®...
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...The Philosopher’s Stone by Colin Wilson PANTHER, GRANADA PUBLISHING London Toronto Sydney New York Published by Granada Publishing Limited in Panther Books 1974 Reprinted 1978 ISBN 0 586 03943 0 First published in Great Britain by Arthur Barker Limited 1969 Copyright © Colin Wilson 1969 Granada Publishing Limited Frogmore, St Albans, Herts, AL2 2NF and 3 Upper James Street, London, WIR 4BP 1221 Avenue of the Americas, New York, NY 10020, USA 117 York Street, Sydney, NSW 2000, Australia 100 Skyway Avenue, Toronto, Ontario, Canada Mgw 3A6 Trio City, Coventry Street, Johannesburg 2001, South Africa CML Centre, Queen & Wyndham, Auckland, New Zealand Made and printed in Great Britain by Hazell Watson & Viney Ltd Aylesbury, Bucks Set in Linotype Pilgrim This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. Scanned : Mr Blue Sky Proofed : It’s Not Raining Date : 09 February 2002 PREFATORY NOTE Bernard Shaw concluded his preface to Back to Methuselah with the hope that ‘a hundred apter and more elegant parables by younger hands will soon leave mine... far behind’. Perhaps the thought of trying to leave Shaw far behind has scared off would-be competitors. Or perhaps - what is altogether...
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...6 Build Your Vocabulary ■ ■ ■ ■ The SAT High-Frequency Word List The SAT Hot Prospects Word List The 3,500 Basic Word List Basic Word Parts be facing on the test. First, look over the words on our SAT High-Frequency Word List, which you’ll find on the following pages. Each of these words has appeared (as answer choices or as question words) from eight to forty times on SATs published in the past two decades. Next, look over the words on our Hot Prospects List, which appears immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you...
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...I'm OK-You're OK By Thomas A. Harris MD Contents: Book Cover (Front) (Back) Scan / Edit Notes About The Author Illustrations Author's Note Preface 1. Freud, Penfield, and Berne 2. Parent, Adult, and Child 3. The Four Life Positions 4. We Can Change 5. Analysing the Transaction 6. How We Differ 7. How We Use Time 8. P-A-C and Marriage 9. P-A-C and Children 10. P-A-C and Adolescents 11. When Is Treatment Necessary? 12. P-A-C and Moral Values 13. Social Implications of P-A-C References Index (Removed) Scan / Edit Notes Versions available and duly posted: Format: v1.0 (Text) Format: v1.0 (PDB - open format) Format: v1.5 (HTML) Format: v1.5 (Ubook-HTML) Genera: Self-Help Extra's: Pictures Included Copyright: 1969 Scanned: November 8 2003 Posted to: alt.binaries.e-book (HTML-PIC-TEXT-PDB Bundle) alt.binaries.e-book (HTML-UBook) Note: The U-Book version is viewable on PC and PPC (Pocket PC). Occasionally a PDF file will be produced in the case of an extremely difficult book. 1. The Html, Text and Pdb versions are bundled together in one rar file. (a.b.e) 2. The Ubook version is in zip (html) format (instead of rar). (a.b.e) ~~~~ Structure: (Folder and Sub Folders) {Main Folder} - HTML Files | |- {PDB} | |- {Pic} - Graphic files | |- {Text} - Text File -Salmun About The Author Thomas A. Harris is a practising psychiatrist in Sacramento, California. Born in Texas, he received his B.S. degree in 1938 from the University of Arkansas Medical School and his M.D. in 1940 from Temple...
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...a literary edifice which I have slowly and laboriously constructed. I wish to inscribe your name upon it, as much to thank the man whose science once saved me as to honor the friend of my daily life. De Balzac. THE LILY OF THE VALLEY ENVOI Felix de Vandenesse to Madame la Comtesse Natalie de Manerville: whom we ignore their I yield to your wishes. It is the privilege of the women love more than they love us to make the men who love them the ordinary rules of common-sense. To smooth the frown upon brow, to soften the pout upon their lips, what obstacles we miraculously overcome! We shed our blood, we risk our future! exact the history of my past life; here it is. But remember in obeying you I crush under foot a reluctance Why are you jealous of the sudden reveries midst of our happiness? Why show the when silence grasps me? Could you of my character without inquiring You this, Natalie; hitherto unconquerable. which overtake me in the pretty anger of a petted woman not play upon the contradictions into the causes of them? Are there secrets in your heart which seek absolution through a knowledge of mine? Ah! Natalie, you have guessed mine; and it is better you should know the whole truth. evokes it; it hovers Yes, my life is shadowed by a phantom; a word vaguely above me and about me; within my soul are solemn memories, buried in its depths like those marine productions seen in calmest weather and which...
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...The Power of Logic The Power of Logic FOU RTH E DITION Frances Howard-Snyder Daniel Howard-Snyder Ryan Wasserman WESTERN WASHINGTON UNIVERSITY Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2009, 2005, 2002, 1999, by The McGraw-Hill Companies, Inc. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 0 DOC/DOC 0 9 8 ISBN: 978-0-07-340737-1 MHID: 0-07-340737-2 Editor in Chief: Michael Ryan Editorial Director: Beth Mejia Sponsoring Editor: Mark Georgiev Marketing Manager: Pamela Cooper Editorial Coordinator: Briana Porco Production Editors: Melissa Williams/Melanie Field, Strawberry Field Publishing Cover Designer: Ashley Bedell Cover Photo: © Dan Trist/Corbis Media Project Manager: Thomas Brierly Production Supervisor: Louis Swaim Composition: This text was set in 10.5/12.5 Goudy by Aptara, Inc. Printing: Printed on 45# New Era Matte by R.R. Donnelley & Sons, Inc. Credits: The credits section for this book is on page 647, following the Answer Key in the back of the book, and is considered an extension of the copyright page. ...
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...fourth EDItION fourth EDItION This clear, learner-friendly text helps today’s students bridge the gap between Its comprehensiveness allows instructors to tailor the material to their individual teaching styles, resulting in an exceptionally versatile text. Highlights of the Fourth Edition: Additional readings and essays in a new Appendix as well as in Chapters 7 and 8 nearly double the number of readings available for critical analysis and classroom discussion. An online chapter, available on the instructor portion of the book’s Web site, addresses critical reading, a vital skill for success in college and beyond. Visit www.mhhe.com/bassham4e for a wealth of additional student and instructor resources. Bassham I Irwin Nardone I Wallace New and updated exercises and examples throughout the text allow students to practice and apply what they learn. MD DALIM #1062017 12/13/09 CYAN MAG YELO BLK Chapter 12 features an expanded and reorganized discussion of evaluating Internet sources. Critical Thinking thinking, using real-world examples and a proven step-by-step approach. A student ' s Introduction A student's Introduction everyday culture and critical thinking. It covers all the basics of critical Critical Thinking Ba ssha m I Irwin I Nardone I Wall ace CRITICAL THINKING A STUDENT’S INTRODUCTION FOURTH EDITION Gregory Bassham William Irwin Henry Nardone James M. Wallace King’s College TM bas07437_fm_i-xvi.indd i 11/24/09 9:53:56 AM TM Published by McGraw-Hill...
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...fourth EDItION Critical Thinking A student ' s Introduction Ba ssha m I I rwi n I N ardon e I Wal l ac e CRITICAL THINKING A STUDENT’S INTRODUCTION FOURTH EDITION Gregory Bassham William Irwin Henry Nardone James M. Wallace King’s College TM TM Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2011, 2008, 2005, 2002. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 0 DOC/DOC 0 ISBN: 978-0-07-340743-2 MHID: 0-07-340743-7 Vice President, Editorial: Michael Ryan Director, Editorial: Beth Mejia Sponsoring Editor: Mark Georgiev Marketing Manager: Pam Cooper Managing Editor: Nicole Bridge Developmental Editor: Phil Butcher Project Manager: Lindsay Burt Manuscript Editor: Maura P. Brown Design Manager: Margarite Reynolds Cover Designer: Laurie Entringer Production Supervisor: Louis Swaim Composition: 11/12.5 Bembo by MPS Limited, A Macmillan Company Printing: 45# New Era Matte, R. R. Donnelley & Sons Cover Image: © Brand X/JupiterImages Credits: The credits section for this book begins on page C-1 and is considered...
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