...British army regiment, under the alias Silas Tomkyn Comberbache. After being rescued by his brothers, Coleridge returned to Cambridge, but he left again, in 1794, without having earned a degree. That year, Coleridge met the author Robert Southey, and together they dreamed about establishing a utopian community in the Pennsylvania wilderness of America. Southey, however, backed out of the project, and their dream was never realized. notable quote “No man was ever yet a great poet, without being at the same time a profound philosopher.” fyi Did you know that Samuel Taylor Coleridge . . . • developed a fascination with the supernatural at age five? • was known as a brilliant and captivating conversationalist? • was the most influential literary critic of his day? • liked to write poetry while walking? Samuel Taylor Coleridge 1772–1834 Samuel Taylor Coleridge is famous for composing “Kubla Khan” and “The Rime of the Ancient Mariner,” considered two of the greatest English poems. As a critic and philosopher, he may have done more than any other writer to spread the ideas of the English romantic movement. Precocious Reader The youngest of ten For more on Samuel Taylor Coleridge, visit the Literature Center at ClassZone.com. children, Coleridge grew up feeling rejected by his distant mother and bullied by his older brother Frank. These early experiences gave rise to feelings of insecurity and loneliness that plagued Coleridge throughout life. Despite his self-doubt,...
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...K. The Man Who Was Thursday Conrad, Joseph. Heart of Darkness AND one of: Lord Jim, The Secret Agent, Nostromo, Under Western Eyes Ford, Ford Madox. The Good Soldier Forster, E. M. Howards End, A Passage to India (plus the essays “What I Believe” and “The Challenge of Our Times” in Two Cheers for Democracy) Galsworthy, John. The Man of Property Greene, Graham. One of: Brighton Rock, The Power and the Glory, The Heart of the Matter Huxley, Aldous. Brave New World Joyce, James. Dubliners, A Portrait of the Artist as a Young Man, Ulysses Kipling, Rudyard. Kim Lawrence, D. H. Two of: Sons and Lovers, Women in Love, The Rainbow, The Plumed Serpent Lewis, Wyndham. Tarr, manifestos in BLAST 1 Mansfield, Katherine. “Prelude,” “At the Bay,” “The Garden Party,” “The Daughters of the Late Colonel” (in Collected Stories) Orwell, George. 1984 (or Aldous Huxley, Brave New World) Wells, H. G. One of the following: Ann Veronica, Tono-Bungay, The New Machiavelli West, Rebecca. The Return of the Soldier Waugh, Evelyn. One of: Vile Bodies, A Handful of Dust, Brideshead Revisited Woolf, Virginia. Two of: The Voyage Out, Jacob’s Room, Mrs. Dalloway, To the Lighthouse, Orlando, Between the Acts (plus the essays “Mr. Bennett and Mrs. Brown” and “Modern Fiction” in Collected Essays) B. POETRY The...
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...veiling for women is recorded in an Assyrian legal text from the 13th century BC, which restricted its use to noble women and forbade prostitutes and common women from adopting it.[citation needed] The Mycenaean Greek term a-pu-ko-wo-ko meaning "craftsman of horse veil" written in Linear B syllabic script is also attested since ca. 1300 BC.[3][4] In ancient Greek the word for veil was "καλύπτρα" (kaluptra, Ionic Greek "καλύπτρη" - kaluptrē, from the verb "καλύπτω" - kaluptō, "I cover"[5]) and is first attested in the works of Homer.[6][7] Classical Greek and Hellenistic statues sometimes depict Greek women with both their head and face covered by a veil. Caroline Galt and Lloyd Llewellyn-Jones have both argued from such representations and literary references that it was commonplace for women (at least those of higher status) in ancient Greece to cover their hair and face in public. For many centuries, until around 1175, Anglo-Saxon and then Anglo-Norman women, with the exception of young unmarried girls, wore veils that entirely covered their hair, and often their necks up to their chins (see wimple). Only in the Tudor period (1485), when hoods became increasingly popular, did veils of this type become...
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...The Concept of Nature in the Poetry of William Wordsworth and Robert Frost : A Comparative Study Chapter One Introduction 1. Background Poets have long been inspired to tune their lyrics to the variations in landscape, the changes in season, and the natural phenomena around them. The Greek poet Theocritus began writing idylls in the third century B.C.E. to glorify and honor the simplicity of rural life--creating such well known characters as Lycidas, who has inspired dozens of poems as the archetypal shepherd, including the famous poem "Lycidas" by John Milton. An idyll was originally a short, peaceful pastoral lyric, but has come to include poems of epic adventure set in an idealized past, including Lord Alfred Tennyson's take on Arthurian legend, The Idylls of the King. The Biblical Song of Songs is also considered an idyll, as it tells its story of love and passion by continuously evoking imagery from the natural world. The more familiar form of surviving pastoral poetry that has retained its integrity is the eclogue, a poem attuned to the natural world and seasons, placed in a pleasant, serene, and rural place, and in which shepherds often converse. The first eclogue was written by Virgil in 37 B.C.E. The eclogue also flourished in the Italian Renaissance, its most notable authors being Dante and Petrarch. It became something of a requirement for young poets, a form they had to master before embarking upon great original work. Sir Philip Sidney’s Arcadia and Edmund Spenser’s...
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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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...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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...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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...Creative metaphor in three creation myths Introduction In this essay I will analyse the creative use of metaphor in three creation myths: Japanese, Chinese and Australian aboriginal creation myths. Before going into the detailed analysis of each creation myth, I will first consider the most appropriate framework by outlining the concept of cognitive metaphor and its uses. I will also draw on historical and cultural background information of each creation myth to provide the context for my analysis. I will then employ the chosen framework to analyse the three creation myths and draw particular attention to the interplay of metaphor and language creativity. Finally, I will evaluate the effectiveness of the chosen framework by considering how far it enables me to interpret creation mythology in context. Cognitive metaphor theory Traditional approaches have regarded metaphor mainly as a rhetorical or artistic figure of speech (Johnson, 1989). Cognitive metaphor theory coming more recently has recognised metaphor as a persistent trait in human thoughts. It is based on the foundation that metaphor is not limited to literary texts but is a pervasive feature in all language uses (Jeffries and McIntyre, 2010). Lakoff, Johnson and Turner were the forerunners in establishing cognitive metaphor theory (Lakoff and Johnson, 1980; Turner, 1987; Lakoff and Turner, 1989). In the classic work Metaphor We Live By, Lakoff and Johnson (1980) argue that metaphor is not merely a matter of language...
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...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 out the author's meaning. For example, if someone tells you that it is raining cats and dogs, you know that there are not actually cats and dogs falling from the sky. You know it really means that it is raining very hard. Figurative...
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...The Avalanche: An Analysis of the Function of Speed in Shakespeare’s Romeo and Juliet. Romeo and Juliet is an avalanche. As a loose pebble in the snowcapped mountain wobbles in the wind, Romeo yodels to Juliet in the cliffs just to send it tumbling, lightly, down a vertical abyss. It does not end there, of course, for this pebble held back the rocks and boulders constituting the height of the peak, and the reaction now begins as each individual stone rolls with momentum. They pick up speed and snow, growing in velocity and size until the inevitable occurs and Romeo and Juliet are engulfed in the upheaval and finished forever. William Shakespeare’s version of the play Romeo and Juliet, taken from Arthur Brooke’s play similarly titled Romeus and Juliet, is a fast paced tragedy in which a boy and girl from two feuding families meet, fall in love, bond in matrimony, and commit suicide in a matter of four days. Compared to the nine-month romance that takes place in Brooke’s play, Shakespeare’s version is a consciously hastened piece of work during which the most significant parts of a young couple’s lives begin and end in less than one week. Speed, a well-utilized literary tool in Shakespeare’s play, serves to emphasize emotion, as opposed to reason, in the characters’ decisions. Through this device, Shakespeare demonstrates his skills as a playwright by showing control of time in the play. Perhaps the most well known episode in Shakespeare’s Romeo and Juliet, the balcony scene...
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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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...selfconsciousness and then with the burdens of faith.l In Othello, Shakespeare compresses and objectifies this struggle. Unlike Spenser, he is not committed to the maintenance of allegory, and so he freely dramatizes the interna l weaknesses and external onslaughts that lead to its destruction. What I am calling the 'Spenserian ' quality begins with the chivalric elements in the tragedy. Truly, Othello is a kind of Savage Knight, Desdemona, the absolutely, almost miraculously, worthy lady, and Iago, something of a manipulator like Archimago.2 But more particularl y I would call attention to a specific engagement with Spenserian rhetoric . Consider Cassio' s words of welcome to the disembarking Desdemona: Tempests themselves, high seas, and howling winds, The gutter'd rocks and congregated sands, Traitors ensteep'd to enclog the guiltless keel, As having sense of beauty, do omit Their mortal natures, letting go safely by The divine Desdemona. (2.1.68-73)3 He sets her in the line of Spenser's heavenly allegories . As a parallel , we may recal l Una , slandere d by the arch-magician , abandone d by 123 her champion, roaming the woods alone. Choosing a shady spot, she removes her fillet and stole to reveal her brilliant , sunny face for the first time. 'Did neuer mortall eye behold such heauenly grace ' (4), the speaker marvels, and his hyperbolic rhetori c is literall y true, until a fierce lion espies her and charges . The beast, like Cassio' s high seas, is tamed by the lady's beauty:...
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...of many nursery rhymes that have been written: Jack be Nimble (aka Jack b Nimble) Jack be nimble Jack be quick Jack jump over The candlestick. Little Tommy Tucker Little Tommy Tucker sings for his supper, What shall we give him? Brown bread and butter. How shall he cut it without a knife? How shall he marry without a wife? The Grand old Duke of York The Grand old Duke of York he had ten thousand men He marched them up to the top of the hill And he marched them down again. When they were up, they were up And when they were down, they were down And when they were only halfway up They were neither up nor down. Diddle Diddle Dumpling Diddle, diddle, dumpling, my son John, Went to bed with his trousers on; One shoe off, and one shoe on, Diddle, diddle, dumpling, my son John! Lucy Lockett Lucy Locket lost her pocket, Kitty Fisher found it; Not a penny was there in it, Only ribbon round it. Limericks A five-line humorous poem with characteristic rhythm, often dealing with a risqué subject and typically opening with a line such as “There was a young lady called Jenny,” Lines one, two, and five rhyme with...
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...master. “Someone should write a film version of Harold Bloom’s The Western Canon,” a writer from The Independent suggested, and “the person who should write it,” he said, looking at me, “is you.” I looked to Walter, who replied, “If you write it, I’ll publish it.” And the die was cast. Faber offered a contract, and I set to work. Following the Bloom model I decided it should be an elitist canon, not populist, raising the bar so high that only a handful of films would pass over. I proceeded to compile a list of essential films, attempting, as best I could, to separate personal favorites from those movies that artistically defined film history. Compiling was the easy part—then came the first dilemma: why was I selecting these films? What were my criteria? What is a canon? It is, by definition, based on criteria that transcend taste, personal and popular. The more I pondered this, the more I realized how ignorant I was. How could I formulate a film...
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...Fifteen Thousand Useful Phrases 1 Fifteen Thousand Useful Phrases Fifteen Thousand Useful Phrases Project Gutenberg's Fifteen Thousand Useful Phrases, by Greenville Kleiser This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Fifteen Thousand Useful Phrases A Practical Handbook Of Pertinent Expressions, Striking Similes, Literary, Commercial, Conversational, And Oratorical Terms, For The Embellishment Of Speech And Literature, And The Improvement Of The Vocabulary Of Those Persons Who Read, Write, And Speak English Author: Greenville Kleiser Release Date: May 10, 2006 [EBook #18362] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK FIFTEEN THOUSAND USEFUL PHRASES *** Produced by Don Kostuch [Transcriber's Notes] Original "misspellings" such as "fulness" are unchanged. Fifteen Thousand Useful Phrases Unfamiliar (to me) words are defined on the right side of the page in square brackets. For example: abstemious diet [abstemious = Eating and drinking in moderation.] The blandness of contemporary (2006) speech would be relieved by the injection of some of these gems: "phraseological quagmire" "Windy speech which hits all around the mark like a drunken carpenter." [End Transcriber's Notes] BY GRENVILLE KLEISER HOW TO BUILD MENTAL POWER...
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