...Heroes & Villains in Literature The following essay is going to discuss and analyze heroes and villains in Literature. This essay is going to focus especially on three famous books written by William Shakespeare. The referring books are ‘Romeo and Juliet’, ‘Macbeth’ and ‘Othello’. In these three different novels, a great variety of stereotypes of heroes and villains can be appreciated. William Shakespeare was born on April 23rd 1564, in Stratford-upon-Avon, England. When he was four or five he began his education at the local petty school. He left the local grammar school when he was about fourteen and went to help in his father’s glove-making shop. When he was eighteen, he got married and by the time he was twenty-one, he was the father of three children. [1] At some time during the next seven years, he went to London and found employment in the theatre. When he was twenty-eight, he was already well enough known as an actor and playwright. He mostly lived and worked in London until his mid-forties, when he returned to his family and home in Stratford, where he remained in prosperous circumstances until his death on April 23rd 1616, his fifty-second birthday. [2] In the thirty seven plays that are his chief legacy to the world human nature is displayed in all its astonishing variety. [3] While Shakespeare caused much controversy, he also earned lavish praise and has profoundly impacted the world over in areas of literature, culture, art, theatre, and film and is considered...
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...EDITION OF WILLIAM SHAKESPEARE’S ROMEO AND JULIET By ARTHEA J.S. REED, PH.D. S E R I E S W. GEIGER ELLIS, ED.D., E D I T O R S : UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s Romeo and Juliet 2 INTRODUCTION William Shakespeare’s Romeo and Juliet is an excellent introduction to Shakespearean drama; teenagers can relate to its plot, characters, and themes. The play’s action is easily understood, the character’s motives are clear, and many of the themes are as current today as they were in Shakespeare’s time. Therefore, it can be read on a variety of levels, allowing all students to enjoy it. Less able readers can experience the swash-buckling action and investigate the themes of parent-child conflict, sexuality, friendship, and suicide. Because of the play’s accessibility to teenagers, able readers can view the play from a more literary perspective, examining the themes of hostility ad its effect on the innocent, the use of deception and its consequences, and the effects of faulty decision making. They can study how the characters function within the drama and how Shakespeare uses language to develop plot, characters, and themes. The most able students can develop skills involved in literary criticism by delving into the play’s comic and tragic elements and its classically tragic themes: the role of fate and fortune...
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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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...Literature Essay - Draft Throughout the four poems; "To his Coy Mistress" "My Last Duchess" "Porphyria's Lover" and "Havisham." there is a constant attitude towards women and themes such as violence, possession and patriarchal society are present. However these all differ in nature and theme despite the resounding attitude towards women. THCM is written in 17th Century and the poem depicts a man's urges to will a woman into bed with him. The poem has a light tone and humorous aspects throughout. In contrast MLD which is written in 19th Century has a much darker and menacing tone; it is about a controlling Duke and his previous duchess and unravels the dark story behind them. PL is a Victorian poem, the poem is gothic, crude and perverted in parrts with a man's strange insane intentions. However all these poems are linked by the idea of the male possessing and controlling a woman. H on the other hand is a woman's interpretation of a 19th century fictional character and how this character is left with feelings of violent hatred after being let down in marriage by her fiancé who has wed her to gain some of her riches. The theme of the poem is violent and confrontation but does compare and contrast with PL with the gothic nature. These four dramatic monologues do vary in storyline and tone however he same themes are made apparent in all of them and is what gives these poems a link and comparisons. Desire, death, domination and obsession as well as the balance of control between...
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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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...UNDERWOOD S E R I E S E D I T O R S : W. GEIGER ELLIS, ED.D., ARTHEA J. S. REED, PH.D., UNIVERSITY OF GEORGIA, EMERITUS and UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s Macbeth 2 INTRODUCTION William Shakespeare developed many stories into excellent dramatizations for the Elizabethan stage. Shakespeare knew how to entertain and involve an audience with fast-paced plots, creative imagery, and multi-faceted characters. Macbeth is an action-packed, psychological thriller that has not lost its impact in nearly four hundred years. The politically ambitious character of Macbeth is as timely today as he was to Shakespeare's audience. Mary McCarthy says in her essay about Macbeth, "It is a troubling thought that Macbeth, of all Shakespeare's characters, should seem the most 'modern,' the only one you could transpose into contemporary battle dress or a sport shirt and slacks." (Signet Classic Macbeth) Audiences today quickly become interested in the plot of a blindly ambitious general with a strong-willed wife who must try to cope with the guilt engendered by their murder of an innocent king in order to further their power. The elements of superstition, ghosts, and witchcraft, though more readily a part of everyday life for the Renaissance audience, remain intriguing to modern teenagers. The action-packed plot, elements of the occult, modern characterizations, and themes of import to today's world make...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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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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...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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...Title: Author(s): Publication Details: Source: Document Type: The Carnivalesque in A Midsummer Night's Dream David Wiles Shakespeare and Carnival after Bakhtin. New York: St. Martin's Press, Inc., 1998. Shakespearean Criticism. Ed. Michelle Lee. Vol. 82. Detroit: Gale, 2004. From Literature Resource Center. Critical essay Full Text: COPYRIGHT 2004 Gale, COPYRIGHT 2007 Gale, Cengage Learning [(essay date 1998) In the following essay, Wiles examines the festive and carnivalesque elements in A Midsummer Night's Dream. According to the critic, the play was historically part of an "aristocratic carnival" used to celebrate weddings in upper-class society.] Carnival theory did not begin with Bakhtin, and we shall understand Bakhtin's position more clearly if we set it against classical theories of carnival.1 From the Greek world the most important theoretical statement is to be found in Plato: The gods took pity on the human race, born to suffer as it was, and gave it relief in the form of religious festivals to serve as periods of rest from its labours. They gave us as fellow revellers the Muses, with Apollo their leader, and Dionysus, so that men might restore their way of life by sharing feasts with gods.2 This is first a utopian theory, maintaining that carnival restores human beings to an earlier state of being when humans were closer to the divine. And second, it associates carnival with communal order. Plato argues that festive dancing creates bodily order, and thus bodily and...
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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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...Fayette County Schools Research Paper Survival Guide June 2009 (revised November 2011) Compiled by: Jillian Bowen, Joanne Dirring, Monica Dorner, Greta Jackson, Shery Kearney, Ann Richardson, and Cheryll Thompson-Smith Based on the work of: Linda Brem, Kathy Franks, Cathy Nix, Ann Richardson, and Cynde Snider Table of Contents Plagiarism………………………………………………………………. Plagiarism Statement - Middle School……………………………..... Plagiarism Statement - High School……………………………….... English Research Requirements…………………………………….. Middle School Requirements…………………………………... 9th Grade Requirements………………………………………… 10th Grade Requirements………………………………………. 11th Grade Requirements………………………………………. 12th Grade Requirements………………………………………. Frequently Asked Questions…………………………………………. Annotated Bibliographies……………………………………….. Citation Formats…………………..……………………………... Common Mistakes………………………………………………. Documentation and Plagiarism…………..…………………….. Internet and Databases…………………………………………. MLA Manuscript Form…...……………………………………… Note Cards…..…………………………………………………… Outlines…………………………………………………………… Paraphrases and Quotations..…………………………………. Parenthetical Documentation……………………………...…... Quoting Poetry……………………………..……………………. Research Papers..………………………………………………. Research Process……………….……………………………… Research Projects……….……………………………………… Source Cards..…………………………………………………… Works Cited Page……………………………………………….. Research Glossary……………………………………………………. Online Resources……………………………………………………… Works Cited…………………………………………………………….....
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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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...A ∑ E= mc 2 This eBook is provided by www.PlentyofeBooks.net Plenty of eBooks is a blog with an aim of helping people, especially students, who cannot afford to buy some costly books from the market. For more Free eBooks and educational material visit www.PlentyofeBooks.net Uploaded By Bhavesh Pamecha (samsexy98) 1 INFLUENCE The Psychology of Persuasion ROBERT B. CIALDINI PH.D. This book is dedicated to Chris, who glows in his father’s eye Contents Introduction 1 Weapons of Influence 2 Reciprocation: The Old Give and Take…and Take 3 Commitment and Consistency: Hobgoblins of the Mind 4 Social Proof: Truths Are Us 5 Liking: The Friendly Thief 6 Authority: Directed Deference 7 Scarcity: The Rule of the Few Epilogue Instant Influence: Primitive Consent for an Automatic Age Notes Bibliography Index Acknowledgments About the Author Cover Copyright About the Publisher v 1 13 43 87 126 157 178 205 211 225 241 INTRODUCTION I can admit it freely now. All my life I’ve been a patsy. For as long as I can recall, I’ve been an easy mark for the pitches of peddlers, fundraisers, and operators of one sort or another. True, only some of these people have had dishonorable motives. The others—representatives of certain charitable agencies, for instance—have had the best of intentions. No matter. With personally disquieting frequency, I have always found myself in possession of unwanted magazine subscriptions or tickets to the sanitation workers’ ball. Probably...
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...INFLUENCE The Psychology of Persuasion ROBERT B. CIALDINI PH.D. This book is dedicated to Chris, who glows in his father’s eye Contents Introduction 1 Weapons of Influence 2 Reciprocation: The Old Give and Take…and Take 3 Commitment and Consistency: Hobgoblins of the Mind 4 Social Proof: Truths Are Us 5 Liking: The Friendly Thief 6 Authority: Directed Deference 7 Scarcity: The Rule of the Few Epilogue Instant Influence: Primitive Consent for an Automatic Age Notes Bibliography Index Acknowledgments About the Author Cover Copyright About the Publisher v 1 13 43 87 126 157 178 205 211 225 241 INTRODUCTION I can admit it freely now. All my life I’ve been a patsy. For as long as I can recall, I’ve been an easy mark for the pitches of peddlers, fundraisers, and operators of one sort or another. True, only some of these people have had dishonorable motives. The others—representatives of certain charitable agencies, for instance—have had the best of intentions. No matter. With personally disquieting frequency, I have always found myself in possession of unwanted magazine subscriptions or tickets to the sanitation workers’ ball. Probably this long-standing status as sucker accounts for my interest in the study of compliance: Just what are the factors that cause one person to say yes to another person? And which techniques most effectively use these factors to bring about such compliance? I wondered why it is that a request stated in a certain way will be rejected...
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