...Dmitry Lovket, 01.04.2014 Foreword Castles, knights, dragons, battles and even newly-invented language – all these features are typically attributed with storyworlds created in the tradition of J. R. R. Tolkien. George R. R. Martin not only shares the initials with the author of The Lord of the Rings, but with A Song of Ice and Fire, has created a series of books that received enthusiastic reviews from critics and readers all over the world, nominating him the unofficial title of ―American Tolkien‖ [9]. In 2007 Martin agreed to collaborate with cable network HBO‘s writer-producers David Banioff and Daniel B. Weiss on the adaptation of his epic novel series to TV under the name Game of Thrones (GoT) [14]. Its narrative features the medieval fantasy world of Westeros, in which five noble families struggle to seize the all governing Iron Throne, and, with a complete broadcast of three seasons, the result has led TV critics to hail the show as one of the pinnacles of quality television narrative [21]. The show has also obtained an exceptionally broad and international fandom. The series has won numerous awards and nominations. It is the most recent big-budget media franchise to have contributed to the popularity of epic fantasy genre in mainstream TV. This essay will analyze the transmedia storytelling strategies applied to promote the TV series Game of Thrones. Transmedia storytelling is understood as a story told throughout numerous media platforms, with special...
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...Module 10 . LearningAcross Bord.ers: Disneyland. theMore on Ml0-25 DisneyGoesto Tokyo Crossingthe Pacific In the mid-I970s, the Oriental Land Company, a ]apanese development company that owned a large tract oflandfill east ofTokyo zoned for pubIic leisure activities, approached Disney with the idea of building a Disneyland in lapan. Six hundred acreswere set asidefor the project. But, in an era of conservative (caretaking) management at Walt Disney Productions, senior executivesat Disney were hesitant. After all, lapan was far away, quite distant in terms of culture, and Tokyo not only had much colder winters than California or Florida but endured a lengthy rainy seasonin lune and July. Yet, after exploring alternativeoptions at some length (including other sitesin Asia), Disney decided to go ahead. Nevertheless,it insisted on a deal that left Oriental Land with virtually all of the risk. Instead of taking an ownership position in Tokyo Disneyland, Disney demanded royalties of I0 percent of the revenues from admissions and rides, and 5 percent of the receiptsfiom food, beverages,and souvenirs. Disney also asked for and more or less received artistic control of the park. Its partner, with its experience in developmer-rt projects in Tokyo, looked after the complex relationships with local planning and regulatory authorities, financing, and adjacent development. At first glance,Tokyo Disneyland seemsto be a close physical and social copy of Disneyland...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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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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...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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...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 my sister, Angela, for helping when I’m blue. TABLE OF CONTENTS .........................................................................................................................5 SAPHIRA’S EYE..............................................
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...PROJECT IN ENGLISH 2 UNFAMILIAR WORDS Submitted by: John Patrick Sese Submitted to: Ms. Lorna Sacyang A Abase - behave in a way so as to belittle or degrade (someone). Example: I watched my colleagues abasing themselves before the board of trustees Abate - (of something perceived as hostile, threatening, or negative) become less intense or widespread. Example: The storm suddenly abated. Abdicate - fail to fulfill or undertake (a responsibility or duty). Example: The government was accused of abdicating its responsibility. Aberrant - straying from the normal or right way. Example: John’s aberrant behavior is going to get him in a lot of trouble one of these days. Aberration - deviating from what is normal or desirable, not typical. Example: Since I did not properly adjust my camera settings, all of my pictures have a blurry aberration on them. Abet - to encourage or support a behavior or action. Example: The photo editing software is sure to abet my odds of winning the photo competition. Abeyance - a state of temporary disuse or suspension. Example: Immediately following the terrorist attack, pilots had to observe a period of abeyance where they could not depart from the airport. Abhor - to reject something very strongly; hate. Example: We abhor violence against others and respect everyone, regardless of a person's race, color and creed. Abhorrent - causing or deserving strong dislike or hatred. Example: As I looked around the filthy...
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...Sybil 1 Sybil Project Gutenberg's Sybil, or the Two Nations, by Benjamin Disraeli Copyright laws are changing all over the world, be sure to check the laws for your country before redistributing these files!!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Please do not remove this. This should be the first thing seen when anyone opens the book. Do not change or edit it without written permission. The words are carefully chosen to provide users with the information they need about what they can legally do with the texts. **Welcome To The World of Free Plain Vanilla Electronic Texts** **Etexts Readable By Both Humans and By Computers, Since 1971** *****These Etexts Are Prepared By Thousands of Volunteers!***** Information on contacting Project Gutenberg to get Etexts, and further information is included below, including for donations. The Project Gutenberg Literary Archive Foundation is a 501(c)(3) organization with EIN [Employee Identification Number] 64-6221541 Title: Sybil, or the Two Nations Author: Benjamin Disraeli Release Date: February, 2003 [Etext #3760] [Yes, we are about one year ahead of schedule] [The actual date this file first posted = 08/24/01] Edition: 10 Language: English Project Gutenberg's Sybil, or the Two Nations, by Benjamin Disraeli ********This file should be named sybil10.txt or sybil10.zip******** Corrected EDITIONS of our...
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...LONGMAN LITERATURE Equus Peter Shaffer Editor: Adrian Burke scanned by naruchan proofread by tigger 2 LONGMAN 3 Contents The writer on writing Introduction Structure and form The role of psychiatry Characterisation Passion and religion Critical reaction to the play The writing of Equus Reading log Author's note on the book Author's notes on the play Equus Glossary: reading the text Study programme The play's structure Staging the play Character and relationships The writer's intentions Themes Collecting relevant quotations Beyond the play Study questions Suggestions for further reading Wider reading assignments 4 The writer on writing I suppose my head has always been full of images. Peter Shaffer is one of Britain's foremost contemporary dramatists. Born in 1926 and educated at Cambridge he had a variety of jobs before becoming a playwright. During the Second World War he worked down a coal-mine; he has also worked in the New York Public Library and as a journalist. He was awarded the CBE in the 1987 Birthday Honours List. His first big success was with Five Finger Exercise in 1958, which ran for two years in London before transferring to New York. Other successes include Amadeus (which has been filmed), The Private Ear: The Public Eye and The Royal Hunt of the Sun. This last play represented a departure for Shaffer as a writer; he moved from detective stories, naturalistic drama and farce to epic theatre and the adoption of avant-garde stage techniques. It was while...
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...Charles Scribner's Sons, 2009. Literature Resource Center. Web. 12 Mar. 2012.Document URL http://go.galegroup.com/ps/i.do?id=GALE%7CH1483000135&v=2.1&u=monroecc&it=r&p=LitRC&sw=w | Title: Hari Kunzru British Writer ( 1969 - )Author(s): Sophie RatcliffeSource: British Writers: Supplement 14. Ed. Jay Parini. New York: Charles Scribner's Sons, 2009. From Scribner Writers Series.Document Type: Biography, Critical essay[Image Omitted: ]Table of Contents:Biographical EssayFurther ReadingsWorks In 2007, visitors encountering Hari Kunzru's website for the first time might have been a little surprised. Those searching for more information about this British author would have come across an old school photograph of a small boy aged perhaps five or six years old. A few lines of curt white typeface gave a few brief details: his current age, the fact that he was born in London in 1969, and, perhaps surprisingly, his blood group (HbAD) and a hyperlink to his genotype (human). Kunzru is joking, here, about the contemporary thirst for biographical details about writers. As he puts it, nowadays, "British journalists seem more interested in your biography or your publishing deal--the British press is interested in writers, but it isn't interested in writing" (Litt, 2004). The starkly playful nature of Kunzru's 2007 website poked fun both at his readers and at the cult of the celebrity author. He is highlighting the idea that it is not the particularities of his individual...
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... DRACULA DRACULA A Mystery Story Bram Stoker REIDER BOOKS Los Angeles Copyright © 1897 by Bram Stoker Electronic edition copyright © 2012 by Andrea Reider/Reider Books How these papers have been placed in sequence will be made manifest in the reading of them. All needless matters have been eliminated, so that a history almost at variance with the possibilities of latter-day belief may stand forth as simple fact. There is throughout no statement of past things wherein memory may err, for all the records chosen are exactly contemporary, given from the standpoints and within the range of knowledge of those who made them. Table of Contents 1 Jonathan Harker’s Journal .................................................... 1 2 Jonathan Harker’s Journal .................................................. 17 3 Jonathan Harker’s Journal .................................................. 33 4 Jonathan Harker’s Journal .................................................. 49 5 Letter From Miss Mina Murray To Miss Lucy Westenra ... 65 6 Mina Murray’s Journal ............................................
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...THE B L A C K SWAN The HIGHLY I mpact IM of the PROBABLE Nassim Nicholas Taleb U.S.A. $26.95 Canada $34.95 is a highly improbable event with three principal characteristics: It is unpre dictable; it carries a massive impact; and, after the fact, we concoct an explanation that makes it appear less random, and more predictable, than it was. The astonishing success of Google was a black swan; so was 9 / 1 1 . For Nassim Nicholas Taleb, black swans underlie almost everything about our world, from the rise of religions to events in our own personal lives. A BLACK SWAN Why do we not acknowledge the phenomenon of black swans until after they occur? Part of the answer, according to Taleb, is that humans are hardwired to learn specifics when they should be focused on generalities. We concentrate on things we already know and time and time again fail to take into consideration what we don't know. We are, therefore, unable to truly estimate oppor tunities, too vulnerable to the impulse to simplify, narrate, and categorize, and not open enough to rewarding those who can imagine the "impossible." For years, Taleb has studied how we fool our selves into thinking we know more than we actually do. We restrict our thinking to the irrelevant and inconsequential, while large events continue to surprise us and shape our world. Now, in this reve latory book, Taleb explains everything we know about what we don't know. He offers...
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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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...MEDIEVAL WEAPONS Other Titles in ABC-CLIO’s WEAPONS AND WARFARE SERIES Aircraft Carriers, Paul E. Fontenoy Ancient Weapons, James T. Chambers Artillery, Jeff Kinard Ballistic Missiles, Kev Darling Battleships, Stanley Sandler Cruisers and Battle Cruisers, Eric W. Osborne Destroyers, Eric W. Osborne Helicopters, Stanley S. McGowen Machine Guns, James H. Willbanks Military Aircraft in the Jet Age, Justin D. Murphy Military Aircraft, 1919–1945, Justin D. Murphy Military Aircraft, Origins to 1918, Justin D. Murphy Pistols, Jeff Kinard Rifles, David Westwood Submarines, Paul E. Fontenoy Tanks, Spencer C. Tucker MEDIEVAL WEAPONS AN ILLUSTRATED HISTORY OF THEIR IMPACT Kelly DeVries Robert D. Smith Santa Barbara, California • Denver, Colorado • Oxford, England Copyright 2007 by ABC-CLIO, Inc. 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 for the inclusion of brief quotations in a review, without prior permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data DeVries, Kelly, 1956– Medieval weapons : an illustrated history of their impact / Kelly DeVries and Robert D. Smith. p. cm. — (Weapons and warfare series) Includes bibliographical references and index. ISBN-10: 1-85109-526-8 (hard copy : alk. paper) ISBN-10: 1-85109-531-4...
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...THE PLAYER Good game design is player-centric. That means that above all else, the player and her desires are truly considered. Rather than demanding that she do something via the rules, the gameplay itself should inherently motivate the player in the direction the designer wants her to go. Telling players they must travel around the board or advance to the next level is one thing. If they don’t have a reason and a desire to do it, then it becomes torture. In creating a game, designers take a step back and think from the player’s viewpoint: What’s this game about? How do I play? How do I win? Why do I want to play? What things do I need to do? MEANINGFUL DECISIONS Distilled down to its essence, game design is about creating opportunities for players to make meaningful decisions that affect the outcome of the game. Consider a game like a boxing match. So many decisions lead up to the ultimate victory. How long will I train? Will I block or will I swing? What is my opponent going to do? Where is his weakness? Jab left or right? Even those few, brief questions don’t come close to the myriad decisions a fighter must make as he progresses through a match. Games invite players into similar mental spaces. Games like Tetris and Chess keep our minds busy by forcing us to consider which one of several possible moves we want to take next. In taking these paths, we know that we may be prolonging or completely screwing up our entire game. The Sims games and those in...
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