...eclipse witnessed, eighteenth-century style, by members of the court of Philip V of Spain around 1740. Restless spectators squint through pieces of tinted glass prepared in the smoke of a small fire. It is a precious visual detail, a jolt of history in this sumptuously though often inaccurately detailed film that offsets the melodrama to follow. Without warning, a wind, helped along by corny, time-lapse photography, ushers in a sea of Goya-like clouds. A murmur passes through the entourage; eerie blackness falls on the court. The King is shrouded in another kind of darkness: his famous, chronic melancholy (we would call it 'clinical depression'). He pronounces the whole earth a tomb, makes the sign of the cross, then calls for a dose of his personal pain reliever - the voice of Carlo Broschi, known as Farinelli: 'Bring back the sun', he demands. Without hesitation the singer intones in a thin soprano the mournfully exposed opening phrase of 'Alto Giove', an aria from Nicola Porpora's Polifemo. Farinelli is known to have performed the work at the...
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...ExpAQAPoetryClusters4Relationships_pp125-156_FINAL_Layout 1 28/05/2010 13:32 Page 125 Cluster 4 Relationships Different types of relationship are the focus of this cluster. Some poems, such as ‘Quickdraw’ and ‘Hour’, deal with the positive and/or negative emotions inherent in romantic relationships. Some deal with family relationships and the complex feelings that can be experienced by parents and children, or brothers and sisters, as in ‘Nettles’ and ‘Harmonium’ or ‘Brothers’ and ‘Sister Maude’ respectively. Some of the recurrent themes include conflict between couples, and the emotional vulnerability and pain that love can cause, whether it is between a father and his son or a couple at the start of a romantic love affair. When studying this cluster, it might be useful for students to focus on some of the following considerations: • What form of relationship is the focus of this poem? Is it a romantic or familial relationship? Is the poet drawing attention to any universal experiences as they portray this relationship in particular? • From whose perspective is the poem written? Is it first, second or third person address, and how does this affect meaning? Who does the poem address? Or is it about, rather than directed to, someone? Does the form of communication affect the meaning? Is the poet speaking directly, or does the poet use a persona to communicate their ideas? • Consider the mood / tone of the poem. Is it light-hearted or serious in tone? Is it making a serious...
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...Extended Essay In World Religions [pic] “An Investigation into the Sacrificial Blood Rituals of the Maya Culture.” Abstract This essay focuses on the religious beliefs and practices of the ancient Mayan civilization that spanned from the borders of present day Honduras up to Mexico, but which only a certain amount is truly known. The principal reason why I chose to focus on these people was to challenge myself to try and gain a greater understanding of why they engaged in such strange rituals as bloodletting and even human sacrifice? What prompted them to commit such acts? I proposed that the performance of these actions, as they seemed to be so entwined with their culture, must have had something to do with their religious beliefs but which ones exactly, and how did they originate? It was with this in mind that I conducted an investigation into the sacrificial blood rituals of Maya culture. Thus, from conducting library based research - using books, Encyclopedias and the Internet - I found out that the Mayans had created for themselves a complex Creation Myth and pantheon of gods. It was to supposedly sustain these gods, who were constantly fighting against one another, that the Mayan conducted bloodletting and human sacrifices, believing that in return the gods would provide them the water needed to grow their maize. The gods, replenished by this blood, were able to maintain the harmony of the universe by preventing any one group of...
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...LACAN AND CONTEMPORARY FILM EDITED BY TODD McGOWAN and SHEILA KUNKLE OTHER Other Press New York Copyright © 2004 Todd McGowan and Sheila Kunkle Production Editor: Robert D. Hack This book was set in 11 pt. Berkeley by Alpha Graphics, Pittsfield, N.H. 10 9 8 7 6 5 4 3 2 1 Allrightsreserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from Other Press LLC, except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. Printed in the United States of America on acid-free paper. For information write to Other Press LLC, 307 Seventh Avenue, Suite 1807, New York, NY 10001. Or visit our website: www.otherpress.com. Library of Congress Cataloging-in-Publication Data McGowan, Todd. Lacan and contemporary film / by Todd McGowan & Sheila Kunkle. p. cm. Includes bibliographical references and index. ISBN 1-59051-084-4 (pbk : alk. paper) 1. Motion pictures-Psychological aspects. 2. Psychoanalysis and motion pictures. 3. Lacan, Jacques, 1901- I. Kunkle, Sheila. II. Title. PN1995 .M379 2004 791.43'01 '9-dc22 2003020952 Contributors Paul Eisenstein teaches literature and film in the English department at Otterbein College, Columbus, Ohio, and is the author of Traumatic Encounters: Holocaust Representation and the Hegelian Subject (SUNY Press, 2003). Anna Kornbluh...
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...An A level English Student Guide by Julia Geddes, Kitty Graham and Helen Ince ~ Wessex Publications ~ Selected Poems by John Clare CONTENTS Page Using the Workbook......................................................................................1 How to Study Poetry......................................................................................2 John Clare 1793 - 1864 ..................................................................................3 The Poems A Country Village Year.................................................................................6 December from ‘The Shepherd’s Calendar’: Christmas ...............................6 Sonnet: ‘The barn door is open’ ...................................................................11 The Wheat Ripening......................................................................................13 The Beans in Blossom ...................................................................................16 Sonnet: ‘The landscape laughs in Spring’ .....................................................19 Sonnet: ‘I dreaded walking where there was no path’...................................21 Sonnet: ‘The passing traveller’......................................................................23 Sport in the Meadows....................................................................................25 Emmonsales Heath .......................................................................................
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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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...AS English Language [pic] [pic] [pic] Fiction style models and tasks – 2012/2013 Style Model Workbook Style models are examples of a type of writing used to give you an idea of the features used when adapting a particular style and form. As you will be required to include a fiction and non-fiction annotated style model as part of your coursework folder we have compiled a selection of materials to give you a head start. The two booklets (one fiction, one non-fiction) will contain the type of extracts you should be looking for and the questions that accompany them will help you to annotate the materials appropriately. You will be given some of the extracts to study in class and some to complete as homework tasks. There may be some materials that you haven’t been directed to by your teachers, these will make very good additional preparation and you should look at these in your own time. All the resources, and some additional style models, can be found in the AS Language section of Moodle. AS LANGUAGE COURSEWORK You must keep all work during the production of the coursework in your folder. You will need all drafts and style models for part of your final grade. Criteria • Two pieces of your own writing • Each piece must have a different audience and purpose • You should write with a specific genre in mind • Pieces should be designed with a real publication in mind • Two...
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...THINKING ARABIC TRANSLATION _______________________________ A Course in Translation Method: Arabic to English Supplement James Dickins Contents: Supplement Introduction 1 1 Preliminaries to translation as a process 3 1.3.1 3 Annotation: gist, exegesis and rephrasing Practical 1.3 Gist translation: ﳑﺎ ﻫﻮ ﺟﺪﻳﺮ ﺑﺎﻟﺬﻛﺮ 8 2 Preliminaries to translation as a product 9 2.1.1 2.1.5 2.2.2.1 2.2.2.2 Interlinear translation From interlinear to free translation Translation by omission Translation by addition 9 10 11 11 Practical 2.3 Literal vs. free translation: ﻣﻌﻠﻘﺔ ﻟﺒﻴﺪ 11 3 Cultural transposition 14 3.1 3.3 14 14 Basic principles Calque Practical 3.2 (extension) Cultural transposition: وﻟﻴﺲ ﻫﻨﺎك إﺧﺼﺎﺋﻲ Practical 3.3 Cultural transposition: وﻗﺎدﺗﻪ ﺧﻄﻮاﺗﻪ 15 15 4 Compensation 17 4.1 4.2 17 17 Basic principles Categories of compensation Practical 4.1 Compensation: ﻗﺪ ﳝﺮ وﻗﺖ ﻃﻮﻳﻞ 18 ii Contents: Supplement 5 Denotative meaning and translation issues 19 5.1 5.1.2 5.1.3 5.1.4 5.2 5.2.2 19 20 20 22 23 23 Denotative meaning Hyperonymy-hyponymy Particularizing translation and generalizing translation Partially overlapping translation Semantic repetition in Arabic List restructuring Practical 5.3 Semantic repetition, parallelism and list restructuring: إن اﻟﺮﺳﻮل اﻟﻜﺮﱘ 26 6 Connotative meaning and translation issues ...
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...A CRITICAL SURVEY OF CONTEMPORARY SOUTH AFRICAN POETRY A CRITICAL SURVEY OF CONTEMPORARY SOUTH AFRICAN POETRY: THE LANGUAGE OF CONFLICT AND COMMITMENT By Laura Holland, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University September 1987 MASTER OF Arts (1987) (English) McMASTER UNIVERSITY Hamilton, Ontario TITLE: A Critical Survey of Contemporary South African Poetry: The Language of Conflict and Commitment AUTHOR: Laura Linda Holland, B.A. (University of Alberta) SUPERVISOR: Dr. Alan Bishop NUMBER OF PAGES: v, 134 ii ABSTRACT The thes is concentrates on South African poetry from 1960 to the present. It closely examines a selection of poems by Breyten Breytenbach, Dennis Brutus, Pascal Gwala, Wopko Jensma, Oswald Mtshali, Arthur Nortje, Cosmo Pieterse, Sipho Sepamla, and Wally Serote, among others. The body of the thesis discusses these poets' contributions to poetry about prison, exile, and township life. The thesis focuses on the struggle between various polical, racial, and cultural groups for hegemony over South Africa's poetic development. Such issues as language, ideology, and censorship are explored insofar as they in! .luence t:ne content and structure of the poetry. This body of poems, sadly, is little studied in North America. The thesis presents an introduction to and a survey of the major tendencies in South African poetry and, in part...
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...Кухаренко В.А. Практикум з стилістики англійської мови: Підручник. – Вінниця. «Нова книга», 2000 - 160 с. CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Craphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement...
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...Кухаренко В. А. Практикум з стилістики англійської мови: Підручник. — Вінниця: Нова книга, 2000. — 160 с. Кухаренко Валерия Андреевна, д.ф.н., проф., кафедра лексикологии и стилистики английского языка факультетеа РГФ ОНУ им. И. И. Мечникова CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Graphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics...
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...INHERITANCE BOOK ONE By Christopher Paolini ALFRED A. KNOPF New York THIS IS A BORZOI BOOK PUBLISHED BY ALFRED A. KNOPF Text copyright © 2003 by Christopher Paolini Illustrations on endpapers copyright © 2002 by Christopher Paolini All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Alfred A. Knopf, an imprint of Random House Children’s Books, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Distributed by Random House, Inc., New York. Originally published, in different form, by Paolini International, LLC in 2002. Copyright © 2002 by Christopher Paolini. KNOPF, BORZOI BOOKS, and the colophon are registered trademarks of Random House, Inc. www.randomhouse.com/teens LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Paolini, Christopher. Eragon / Christopher Paolini. p. cm. — (Inheritance ; bk. 1) SUMMARY: In Alagaësia, a fifteen-year-old boy of unknown lineage called Eragon finds a mysterious stone that weaves his life into an intricate tapestry of destiny, magic, and power, peopled with dragons, elves, and monsters. eISBN 0-375-89036-X [1. Fantasy. 2. Dragons—Fiction.] I. Title. PZ7.P19535Er 2003 [Fic]—dc21 2003047481 SAPHIRA’S EYE (From the original Front Cover done by the author) This book is dedicated to my mom, for showing me the magic in the world; to my dad, for revealing the man behind the curtain. And also to...
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...ENGLISH LITERATURE ITS HISTORY AND ITS SIGNIFICANCE FOR THE LIFE OF THE ENGLISH-SPEAKING WORLD A TEXT-BOOK FOR SCHOOLS BY WILLIAM J. LONG, PH.D. (Heidelberg) TO MY FRIEND C H T IN GRATITUDE FOR HIS CONTINUED HELP IN THE PREPARATION OF THIS BOOK CANTERBURY PILGRIMS From Royal MS., 18 D.ii, in the British Museum PREFACE This book, which presents the whole splendid history of English literature from Anglo-Saxon times to the close of the Victorian Era, has three specific aims. The first is to create or to encourage in every student the desire to read the best books, and to know literature itself rather than what has been written about literature. The second is to interpret literature both personally and historically, that is, to show how a great book generally reflects not only the author's life and thought but also the spirit of the age and the ideals of the nation's history. The third aim is to show, by a study of each successive period, how our literature has steadily developed from its first simple songs and stories to its present complexity in prose and poetry. To carry out these aims we have introduced the following features: (1) A brief, accurate summary of historical events and social conditions in each period, and a consideration of the ideals which stirred the whole nation, as in the days of Elizabeth, before they found expression in literature. (2) A study of the various literary epochs in turn, showing what each gained from...
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...Indian writing – steeped in myth and history, with a fine eye for detail and a compelling narrative style.’ – Shashi Tharoor, Minister of State in the Indian government and celebrated author ‘Furious action jumps off every page.’ – Anil Dharker, renowned journalist and author ‘Tripathi’s Shiva Trilogy is already being touted as India’s Lord of the Rings.’ – Hindustan Times ‘…Amish has mastered the art of gathering, interpreting and presenting India’s many myths, folklores and legends, and blending all of that into fast-paced thrillers that change your views about gods, cultures, histories, demons and heroes, forever.’ – Hi Blitz ‘Amish’s Shiva Trilogy has a refreshing storyline… The narration forces you to impatiently turn the page to know what secret is going to be revealed about the “Neelkanth” next.’ – The Telegraph ‘It’s a labour of love... Amish also humanizes his characters, something which most popular Indian writers fail miserably at.’ – Mint ‘Amish’s philosophy of tolerance, his understanding of mythology and his avowed admiration for Shiva are evident in his best-selling works.’ – Verve ‘Tripathi is part of an emerging band of authors who have taken up mythology and history in a big way, translating bare facts into delicious stories.’ – The New Indian Express ‘[Amish] has combined his love for history, philosophy and mythology into a racy fictional narrative which depicts Lord Shiva as a Tibetan tribal leader.’ – The Pioneer ‘Tripathi’s approach...
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...Anthem by Ayn Rand Author's Foreword |F.1 |This story was written in 1937. | |F.2 |I have edited it for this publication, but have confined the editing to its style; I have reworded some passages and cut | | |out some excessive language. No idea or incident was added or omitted; the theme, content and structure are untouched. The| | |story remains as it was. I have lifted its face, but not its spine or spirit; these did not need lifting. | |F.3 |Some of those who read the story when it was first written, told me that I was unfair to the ideals of collectivism; this | | |was not, they said, what collectivism preaches or intends; collectivists do not mean or advocate such things; nobody | | |advocates them. | |F.4 |I shall merely point out that the slogan "Production for use and not for profit" is now accepted by most men as | | |commonplace, and a commonplace stating a proper, desirable goal. If any intelligible meaning can be discerned in that | | |slogan at all, what is it, if not the idea that the motive of a man's work must be the needs of others, not his own need, | | |desire or gain? ...
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