...Shakespeare uses the implications of blood and its effects in his play Macbeth to show the cycle of violence that repeats throughout the play. Shakespeare first introduces the character of Macbeth as a brave hero. In the first act messengers tell Duncan about Macbeth’s bravery in war. The bloody images used in this act show Macbeth as the hero of war who should be rewarded for his bravery. Thoughts of heroism and bravery fade quickly as plans to murder Duncan for Macbeth’s benefit and power gain arise. Blood quickly changes to a motif of guilt and fear because of the murder that Macbeth and Lady Macbeth have committed. Surprisingly Macbeth keeps killing to calm his fear but sheds more blood in the process. The killings result in meeting the unnatural and bloody Macduff, who wants revenge and ends the cycle of violence....
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...sleeping habits can tell a lot about one’s personality. The play Macbethby William Shakespeare describes a thane named Macbeth who is prophesized to become King. To achieve this title, he decides to kill the king, Duncan, while Duncan is sleeping. Following the murder, Macbeth is unable to sleep because of his guilt. Lady Macbeth, who assisted Macbeth with the murder, eventually also experiences sleep disorders. Sleep represents innocence in the play because innocent characters are associated with sleep, and guilty characters are characterized with lack of sleep. The witches’ discussion about punishing a sailor introduces the connection between guilt and sleeplessness. One of the witches comes across a sailor’s wife who...
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...Blood as a Correspondent to Guilt William Shakespeare has written many plays throughout his life. His words are eloquent, his characters are dramatic, and his style is treasured. In Shakespeare’s Macbeth, blood is a reoccurring symbol. Shakespeare made the connection between blood and guilt; blood flows through our veins all around our body, it is a part of us. Even though guilt is not physically a part of us, we create it in ourselves. Blood is the physical representation of guilt as it symbolizes the irreversible effects of murder on the human mind. Guilt is the downfall of order and sanity. Even before murder, guilt consumes Macbeth’s mind causing him to hallucinate. Macbeth sees “gouts of blood” (II.1.46) on this “dagger of [his] mind” (II.1.38) as he is walking towards Duncan’s chamber to murder Duncan. Macbeth, at first, thinks the dagger is “a false creation, /Proceeding from [his] heat-oppressed brain” (II.1.38/39), but as he continues down the hall he then starts to feel it is not his sick brain, but it is the “bloody business” (II.1.49) of murder which causes this dagger to appear. This reveals that Macbeth is already emotionally unstable from Duncan’s murder even before one drop of blood is spilt from his body. Furthermore, Macbeth’s state of mind after the killing was so exceedingly erratic due to the guilt he felt that he forgets to frame the guards for the murder. Macbeth returns to Lady Macbeth, from Duncan’s room, to let her know that he has “done...
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...A motif plays important role in manipulating the sentiments of main characters, and progress the evolution of their relationship. In William Shakespeare Macbeth, darkness, blood, supernatural and animals imagery occurred to indicate the evil deeds and development of the relations of the characters. Macbeth kills the king Duncan, the morning is dark after the night of King Duncan murder and Lady Macbeth’s hands full of blood which show their relation to the evil side of the world. Furthermore, Macbeth hallucinating a dagger and supernatural abilities of the witches and animals attacking each other which also indicate the evil side in the events that has occurs. Motif is used in the play to manipulate the characters emotions and indicate their...
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...Macbeth by William Shakespeare, is a play saturated in the blood of many. The play is a horrific story of the downfall of noble Macbeth, in which a significant number of people die at the expense of Macbeth’s ambition. Blood itself becomes a motif and appears a total of forty-two times in the play. The constant mention of blood reminds the reader of the extent of the crimes that have been committed and the cruelty that is necessary to commit such heinous acts. Blood, often associated with violence, is used both in a literal and figurative sense, and is placed strategically within the play. .Blood evolves throughout the course of the play and begins to symbolize the guilt that will forever be stained upon Macbeth and his wife, Lady Macbeth....
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, 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:...
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...Pilgrimage was Lord George Gordon Byron’s first composition which he begun in 1809 and finally completed in 1818. The structure of the poem follows a young promising knight through his journey around Europe. The poem is autobiographical: Byron uses Childe Harold as a fictional figure to respond to, and comment on, life and experiences around Europe whilst Byron was undertaking his own ‘Tour’. The Grand Tour ‘became the fashionable way for young male aristocrats to complete an education whose foundation was classical Greek and Roman history, rhetoric, philosophy, and poetry.’[2] As a Romantic poet, in Childe Harold’s Pilgrimage Byron uses the depiction of nature as a way to express his opinions of place. Childe Harold is full of images and motifs which takes its reader on a journey, or a pilgrimage, of self-discovery and through foreign lands in the truly beautiful Byronic style. Politics have dominated the critical analysis of Childe Harold in the past, centred on the response of the Battle of Waterloo in Canto III and IV. Nonetheless, Byron’s presentation of the women in the text offers the reader a fresh understanding of the different countries visited by Childe Harold of which I shall concentrate on Spain, Greece and the City of Rome. Spain is described in Childe Harold’s Pilgrimage as a ‘splendid sight to see/ (For one who hath no...
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...Narrative A narrative is a sequence of 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...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...Julius Caesar full title · The Tragedy of Julius Caesar author · William Shakespeare type of work · Play genre · Tragic drama, historical drama language · English time and place written · 1599, in London date of first publication · Published in the First Folio of 1623, probably from the theater company’s official promptbook rather than from Shakespeare’s manuscript publisher · Edward Blount and William Jaggard headed the group of five men who undertook the publication of Shakespeare’s First Folio narrator · None climax · Cassius’s death (V.iii), upon ordering his servant, Pindarus, to stab him, marks the point at which it becomes clear that the murdered Caesar has been avenged, and that Cassius, Brutus, and the other conspirators have lost in their attempt to keep Rome a republic rather than an empire. Ironically, the conspirators’ defeat is not yet as certain as Cassius believes, but his death helps bring about defeat for his side. protagonists · Brutus and Cassius antagonists · Antony and Octavius setting (time) · 44 b.c. setting (place) · Ancient Rome, toward the end of the Roman republic point of view · The play sustains no single point of view; however, the audience acquires the most insight into Brutus’s mind over the course of the action falling action · Titinius’ realization that Cassius has died wrongly assuming defeat; Titinius’ suicide; Brutus’s discovery of the two corpses; the final struggle between Brutus’s men and the troops...
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...ENGLISH HANDBOOK -“Welcome to my evil lair…” -Mr. Braiman Brooklyn High School of the Arts www.mrbraiman.com http://handbook.mrbraiman.com “EVIL” Welcome to my evil classroom lair. In order to become full-fledged evil “minions,” you need to read this handbook carefully. It explains everything you need to know. “English,” as you may know, is shorthand for “English Language Arts.” Being that we are in an Arts school, but one where academics must and always do come first, it is important that we approach the subject as what it is: an art form. How does one study the arts? What exactly do we do when we study drawing, sculpture, music, or dance? Well, anyone who has studied the arts will tell you that studying the arts essentially involves two things: • Learning about, and developing an awareness of and appreciation for, existing works of art in that particular form; • Developing the skills and techniques associated with the art form, in order to create our own works. In the case of language arts, much like any other art form, we will be studying existing works of art (i.e., reading books, stories and poems), and developing the skills to produce our own (i.e., writing). That’s what English Language Arts is. We will also be preparing ourselves for New York State’s Regents Comprehensive Examination in English, which we’ll all be taking in June. This two-day, six-hour, four-part exam requires no specific knowledge or content, but it does require the skills to listen, read,...
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...ARTS TEACHERS’ GUIDE Grade 9 ARTS Teacher’s Guide Unit I WESTERN CLASSICAL ART TRADITIONS GRADE 9 Unit 1 ARTS TEACHERS’ GUIDE GRADE 9 Unit 1 WESTERN CLASSICAL ART TRADITIONS LEARNING AREA STANDARD The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision. key - stage STANDARD The learner demonstrates understanding of salient features of music and arts of the Philippines and the world, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. grade level STANDARD The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. CONTENT STANDARDs The Learner: demonstrates understanding of art elements and processes by synthesizing and applying prior knowledge and skills demonstrates understanding that the arts are integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/ occurrences and other external phenomenon ...
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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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...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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...******Created by ebook converter - www.ebook-converter.com****** ******ebook converter DEMO - www.ebook-converter.com******* ******Created by ebook converter - www.ebook-converter.com****** KOINONIA HOUSE Coeur d’Alene, Idaho 83816-0347 ******ebook converter DEMO - www.ebook-converter.com******* ******Created by ebook converter - www.ebook-converter.com****** COSMIC CODES Copyright © 1999 by Koinonia House Revised 2004 P.O. Box D Coeur d’Alene, ID 83816-0347 Web Site: http://www.khouse.org Second Printing 2004 Third Printing 2011 ISBN 978-1-57821-072-5 Design and production by Koechel Peterson & Associates, Minneapolis, Minnesota. Scripture quotations in this book are taken from the King James Version of the Bible. All rights reserved. No portion of this book may reproduced in any form without the written permission of the Publisher. Printed in the United States of America. ******ebook converter DEMO - www.ebook-converter.com******* ******Created by ebook converter - www.ebook-converter.com****** “Cosmic Codes was the authoritative resource that we relied on in the research of our PAX-TV/Discovery Channel television special Secrets of the Bible Code Revealed. It’s absolutely packed with fascinating factual information on all of the Bible-related codes.” DAVID W. BALSIGER PRODUCER, SECRETS OF THE BIBLE CODE REVEALED “Chuck Missler writes from a technological and Biblical background in this cutting-edge analysis of the hidden codes...
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