...during the Victorian era, 1838. Dickens’ use of language successfully denotes contextual issues and narrative concepts, an important social commentator who used fiction effectively to highlight the contextual issues of society and class and criminality. The narrative techniques Dickens uses, unified with the context in which he wrote the novel, exemplify his ideas throughout the text. The use of good literature adds to an audience’s understanding of life during those times. It embodies thought and feeling on matters of human importance. Dickens uses the characters and situations in the novel to make a deliberate statement of his personal views of society and class about the poor laws and the criminal system. Society in Oliver Twist is hugely divided. While the upper classes live in their comfortable large houses, the lower class are seen to lead wretched lives, driven to crime by hunger and deprivation. At times Dickens steps out of the novel and addresses the reader directly using indirect speech. The opening of the book, the detached narrator impresses upon the reader that Oliver was only seen as a burden upon the parish, and also highlights the injustice of falling into a predestined social class. “The parish authorities resolved that Oliver should be ‘farmed’... be despatched to a branch workhouse where juvenile offenders against the poor-laws… ‘. He uses shifting narrative voice throughout Oliver Twist to provoke and discern the reader, providing the reader with an insight...
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...Africa through Theatre This paper sets out to explore how processes of theatre making employed by The Mothertongue project, provide spaces for women to remap their personal narratives. Mothertongue works from the premise that the development and subsequent performance of stories in theatrical processes affords women the opportunity to re-write and remap their personal narratives and in so doing insert their voices into the landscape of South African Theatre. In an attempt to redress the gender imbalances and androcentricism prevalent in post-apartheid theatre, this paper speaks to the relationship between theatre, liminality and communitas. I am interested in unpacking how collaborative processes of theatre-making provide spaces for women to remap their personal narratives. Remapping in this instance refers to processes of transforming lived experience through story. I address how, through engaging in ritual activities that are central to the stories performed, actors, audiences and the owners of the source stories are invited to physically participate in remapping and transforming lived experience. Linked to this is the choice of form(s) and how this affects or impacts on the performed stories as well as on the construction of performed rituals and ultimately on the processes of remapping personal narratives. I focus specifically on Mothertongue’s 2004 production, Uhambo: pieces of a dream. The production was an integration of theatre and visual art in the form of performances...
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...The Narrative Art of The Great Gatsby Introduction The Great Gatsby was written in 1925. The author, Francis Scott Fitzgerald (1896-1940) is one of the most outstanding writers in America. As a member of the “lost generation”, Fitzgerald made the short life of Gatsby epitome of the rise, boom and decline of the “American Dream” in “Jazz Age”. This novel shows us unusually rich literary and aesthetic connotation is has by its unique narrative perspective, the ups and downs of plot, superb accurate language, various rhetorical devices and vivid character images. To some extent, the reason why The Great Gatsby can become a famous classic work is that the author uses extraordinary narrative techniques in it. All the techniques are employed skillfully by Fitzgerald. The study of narrative art in this work has been highlighted in the research area in these years. Zhang Jinfeng(2001) analyzes the role of Nick in the novel from the its structure, themes and other aspects. Cheng Xilin(2009) uses the spatial narrative theory to discussed the space narrative art in The Great Gatsby from three aspects: the geography space, social space and the text space. Xiao Dongbo(2009) starts with the analysis on author and characters and expound the connotation of "American dream" and profoundly reveals the historical process of the formation, development and burst of the "American dream". Shang Guanghui(2011) analyzes The Great Gatsby from the narrators of the role and argues that the communication...
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...The History of the Pentecostal movement In 1734, Northampton village in the colony of Massachusetts experienced a remarkable revival that became the catalyst for revivals throughout the Colonies and in England, Scotland and Germany. In the early 1740s, revival events dominated Colonial newspaper headlines from Boston to Charleston. They reported on itinerant preachers thundering out messages of eternal damnation and salvation to frightened, wailing and repentant crowds on city streets, in parks and at meetinghouses. One of colonial best known Christian theologians was pastor Jonathan Edwards (1703-1758) of Northampton. In1736 Jonathan Edwards wrote an article called “A Faithful Narrative of the Surprising Work of God. This article soon became a popular book relating to how people had been converted and saved. On July 8, 1741 Jonathan Edwards delivered a sermon, “Sinners in the hands of an Angry God” was example of the Great Awakening of hell-fire and brimstone preaching. Revival sermons like Jonathan Edwards caused people in attendance to weep and scream. Jonathan Edwards believed that the Great Awakening was the work of God and had resulted in many genuine conversions. Just as quickly the Great Awakening began it was brought to a halt. By 1749 the Church had returned to its ordinary state, one of the well-known revivalists Gilbert Tennent stated that The Great awakening was dead. Pentecostalism is arguably the most important mass religious movement of the twentieth...
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...Introduction How exciting it is to open the bible to the book of Exodus and read the narrative of the fulfillment of God’s promise in the rescue of the Israelites from captivity in Egypt—the call of Moses, the plagues, and the dramatic manifestation of God on Mt. Sinai. Though the book of Exodus is most famous for the revelation of the Ten Commandments contained in Chapter 20, it remains vague in terms of where the biblical account actually occurred, and yet we cannot begin to fully understand the Old Testament if we look at it as merely a piece of great literature, or as some have suggested nothing more than interesting legend, or the elaboration of superior ideals. … The Book of Exodus is a narrative of the sacred history of Israel from the sojourn in Egypt to the completion of the Tabernacle in the wilderness. The term Exodus comes from the Greek terminology and literally means “going out,” an appropriate title for the book that narrates how under the leadership of Moses, the Israelites escaped from Egyptian persecution and began their journey back to the Promised Land. To be certain, all human history is the scope of God’s sovereignty. God became especially involved in the lives of a relatively unknown people, culminating a historical event that changed biblical history and altered the course of their lives and culture. When we seek to understand the meaning of our individual life events, we don’t actually begin with birth or infancy, even though a biographical account...
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...Another thing that they find out, but do not pay much attention to, is that Barns parents are starting to like Tawny’s parents, meaning that Barns mother is starting to talk more with Tawny’s father, and vice versa with Barns father and Tawny’s mother. This might seem weird for the receiver; however, the main characters do not seem to realize it too much. Then in the middle of the text, they are suddenly at back home from the farm. A scene is described where Barn and Tawny are in school and are meeting up with their friend Sandra. Sandra is envious with Barn having gotten a closer friendship with her former best friend, Tawny. The last section of the text is presumably set in Barns parents’ home. Either way it is not set at her own house or Tawny’s house based on these quotes: PP. 4, ll. 76 “”What are you going to do?” She asked me” and PP. 6, ll. 154 “I didn’t...
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...have allot of visitors at her gate begging for food, money and cloths. Some day came a young, persistent black guy (William Sidlayi) to Lillian’s house asking for a donation. Lilian wanted to give some money but she only got five rand in her pocket, afterwards he tricks her to letting him inside her house, which is surrounded by a ten feet high wall, to work for the money she gave him. He worked about one hour in the garden, cleaning up the leaves. Afterwards he demanded ten extra rands for his work, even though he already was given five rands in donation. Wiliam gets anxious and Lillian asks him to leave the house, but he refuses. Lillian gave the dogs order to attack him, meanwhile she find her husband’s weapon, which she threats him with. That is the reason why Wiliam leaves her property, and she tells him that she is going to report him to the police. Analysis of “The Guilt” The short story “The Guilt” is written by Rayda Jacobs and it describes a confrontation between two people from different races. The story takes place in South Africa in a time which includes danger and ignorance. It is a story from the post-apartheid South Africa; the period has infected the story which was based on discrimination on the basis of race, gender, religion and color. Apartheid was also a formal system of the racial segregation which divided its...
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...The current issue and full text archive of this journal is available at www.emeraldinsight.com/1352-2752.htm YouTube: an opportunity for consumer narrative analysis? Stefano Pace ` Universita Bocconi, Milano, Italy Abstract Purpose – The aim of the paper is to discuss a possible extension of narrative analysis to a new medium of expression of consumer behaviour, specifically YouTube. Design/methodology/approach – Marketing and consumer behaviour studies often apply narrative analysis to understand consumption. The consumer is a source of introspective narratives that are studied by scholars. However, consumption has a narrative nature in itself and consumers are also storytellers. YouTube is a new context in which subjects tell stories to an audience through self-made videos and re-edited TV programs. After defining the pros and cons of different approaches to the study of YouTube, narrative analysis is presented as a possible means of understanding YouTube. Findings – Some preliminary evidence is presented by discussing several YouTube videos. These indicate that YouTube content can be better understood as stories, rather than example of other approaches, such as visual analysis, media studies, videography, and others. Research limitations/implications – From the analysis conducted, preliminary managerial implications can be drawn. It seems unlikely that normal TV broadcasters will be substituted by YouTube videos. For the most part, YouTube content draws its sense and shared...
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...Canterbury Tales Webquest Today you are going to research background information about Geoffrey Chaucer and The Canterbury Tales. Anything not completed in class should be finished for HW. - Use the links to answer the questions listed below. - Please PARAPHRASE your answers rather than copying and pasting information. You may type your answers directly into the document and print when finished. 1. Geoffrey Chaucer 1. What kind of writer was he? He is a realistic writer. 2. What were the years of his birth and death? Born 1340/44, died 1400. 3. Where was he from? London, England 4. What was his “masterpiece”? The Canterbury Tales http://www.bartleby.com/65/ch/Chaucer.html 2. What is a pilgrimage? (You should already know this from our vocab. quiz.) A pilgrimage is a journey or search of moral or spiritual significance. Typically, it is a journey to a shrine or other location of importance to a person's beliefs and faith, although sometimes it can be a metaphorical journey in to someone's own beliefs. 3. Define prologue. The preface or introduction to a literary work. http://www.webster.com (or other dictionary site) 4. Where is Canterbury? Canterbury is located in Kent county, south-east of London. It is home to the Caterbury cathedral, the burial site of King Henry IV. What famous...
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...Thomas Jefferson and Unwillingly to End Slavery Jefferson was born on April 13, 1743, at Shadwell plantation in western Virginia. He inherited his father’s farming skills and had to take care of about 5000 acres of land. His mother was of high social standing. Jefferson endures excellent education of his time, at 17 years of age, he entered the College of William and Mary where he got his first considerable knowledge in science. After college, Jefferson became involved in government and was elected president of the Virginia House of Burgesses. Jefferson became a philosopher where he successfully practiced and was admitted to the bar in 1767. Jefferson soon found himself a forerunner of the American Revolution, when he was appointed to write the Declaration of Independence. Authoring this important document positioned him as one of the new nation's most important founding fathers equal to Benjamin Franklin, George Washington, James Madison, and John Adams. Where his father was part of the early settlers at that time it was mostly a slave colony. One of the most treacherous things in American history is slavery and how it was common for some blacks and white to be owners. During, Jefferson’s life his father died in 1757, leaving him 60 slaves when he turned 21 he could have charge...
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...FUN IN THE WORKPLACE: TOWARD AN ENVIRONMENT-BEHAVIOR FRAMEWORK RELATING OFFICE DESIGN, EMPLOYEE CREATIVITY, AND JOB SATISFACTION By ALEXANDRA M. MILLER A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF INTERIOR DESIGN UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Alexandra M. Miller ACKNOWLEDGMENTS First, I would like to thank my committee chair, Dr. Margaret Portillo, for her direction and guidance throughout the entire research process. I would also like to thank Dr. M. Joyce Hasell for her support and valuable expertise. Additional thanks go to Dr. Larry Winner for his indispensable assistance as a statistical consultant. I would also like to thank PUSH for providing an excellent example of a fun workplace. In particular, I would like to thank partners John Ludwig, Chris Robb, and Rich Wahl for allowing me to conduct a case study of their business. Additional thanks go to Ron Boucher, Jourdan Crumpler, and Gordon Weller for taking the time to participate in interviews. I would also like to express my gratitude to Kathryn Voorhees for her help, humor, and friendship as she accompanied me throughout the research process. Finally, I would like to thank all of my friends and family for their support. In particular, I would like to thank to my parents for their constant support and for helping me to achieve my dreams. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ..........
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...infected the story which was based on discrimination on the basis of race, gender, religion and color. Apartheid was also a formal system of the racial segregation which divided its people; in this instance is it the white contra the black people who make its focus. The themes in the story concern danger and guilt in a society which includes violence and crime of the inhabitants, especially the white people are in serious trouble if they are going outside or at the streets in Centrum. It is told in third-person narration which provides the greatest flexibility to the author and that is the reason why it is the most commonly used narrative mode in literature. The main character in the short story is Lillian Thurgwood who is a widow and through the hole story gives us the impression of an old and lonely woman against the world around her through different incidents of her life. The writer, Rayda Jacobs, has sketched jock (her late husband) as having a big influence on her life in a way that the strength of her courage and the way she overcomes the challenges of her life to the readers very clear. Lillian lives in security with her two dogs, Tembi, and Tor, who guard and give her the sense of being secured as if they were left by her late husband to protect her when he cannot be there physically. She lives in a house, which is surrounded by a ten feet high wall. The wall and the locked gate tell us about the insecurity of an old woman who lives all by her own, in a time with the need...
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...Isabeau's parents were Duke Stephen III of Bavaria-Ingolstadt and Taddea Visconti, whom he married for a 100,000 ducat dowry. She was most likely born in Munich where she was baptized as Elisabeth[note 1] at the Church of Our Lady.[1] Hers was the ancient and well-established Wittelsbach family, descended from Charlemagne, and she was great-granddaughter to the Wittelsbach Holy Roman Emperor Louis IV.[2][note 2] At that period Bavaria was the most powerful of the German states and divided between members of the House of Wittelsbach,[1] who confusingly all used the title Duke of Bavaria. Isabeau's uncle, Duke Frederick of Bavaria-Landshut, suggested in 1383 that she be considered as a bride to King Charles VI of France. The match was proposed again at the lavish Burgundian double wedding in Cambrai in April 1385—John the Fearless and his sister Margaret of Burgundy married Margaret and William of Bavaria-Straubing respectively. Charles, then 17, rode in the tourneys at the wedding. He was an attractive, physically fit young man, who enjoyed jousting and hunting and was excited to be married.[3] Miniature showing King Charles VI at the hunt. Queen Isabeau and her retinue are shown riding palfreys. From Enguerrand de Monstrelet's Chronique. Charles VI's uncle, Philip the Bold, Duke of Burgundy, thought the proposed marriage ideal to build an alliance with the Holy Roman Empire and against the English.[4] Isabeau's father agreed reluctantly and sent her to France with his...
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...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 derives from Greek drama.[2] This parsing into subgenres can...
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...Otherness: Essays and Studies 1.1 October 2010 Haunting Poetry: Trauma, Otherness and Textuality in Michael Cunningham’s Specimen Days Olu Jenzen Early conceptions of trauma are intimately linked not only with modernity but specifically with the height of industrialisation (Micale and Lerner 2001). This is converged in the opening of Specimen Days particularly in the image of an industrial accident at the ironworks where a young man is killed by the stamping machine. His young brother, replacing him at the machine after the funeral, then experiences an apparition of the dead brother still trapped inside the machine, which leads him to believe that all machines house entrapped ghosts of the dead. Writing on the Victorians’ anxieties about internal disruption caused by the advent of the railway, Jill Matus (2001, 415) has pointed out that, Freud himself remarked in Beyond the Pleasure Principle (1920), [that] there is ‘a condition [which] has long been known and described [and] which occurs after severe mechanical concussions, railway disasters and other accidents involving a risk to life; it has been given the name of traumatic neurosis’ (12). Freud’s remark brings to the fore the traumas of the industrial age as both individually and publicly experienced and negotiated. This condition of trauma as private and public, individual yet also societal is held in tension throughout Cunningham’s novel. Reflecting on the otherness of trauma and its vexed relationship to representation...
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