...engagement with the narrative of actual people of colour during the American...
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...That is, Woolf’s focus is on how Clarissa relates to each of these characters. In Septimus’ case, it is about how Clarissa relates to his suicide. Initially, Clarissa is upset at Sir William for telling her guests about Septimus. Later, she decides she envies him. Doing Sir William’s treatment would have made Septimus like Clarissa, who lives for the approval of others, and not herself. The point of this all is that Woolf uses the theme of isolation to make the story about Clarissa. More specifically, her thoughts. Woolf uses this to emphasize that Mrs. Dalloway is not just about what Clarissa does, but rather about her as a person,...
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...The Romance Genre One of the most common themes in films is love. In Bordwell and Thompson’s study The Classical Hollywood Cinema (1998), they calculated that 85 percent of Hollywood films has romance as their main plot. Which means in most Hollywood films, Romantic Love is a major concern. Contemporary American cinema still uses the same formal in romance films. Boy meets girl, boy loses girl and then boy gets girl in the end. Bellour a film critic, identifies this convention as pattern that constitutes classical Hollywood cinema as a whole (“Alternation” 88). This illustrates that Hollywood often portrays and idealized version of love. Hollywood’s emphasis on romantic love and courtship, is almost like a reflection of America’s commercial enterprise. Producing movies only for mass entertainment purposes. We happen to live in society in which the choice of partners and marriages completely free. Although Pierre Bourdieu (1990) has argued that our relationships and marriage patterns have been heavy influenced by cultural institutions. As Hollywood film is particularly addressed to young people, film can be seen as an institution that has influenced their formation of ‘habitus’ or their behaviour towards courtship. Popular romantic films are often provocative and complex. They tell us about ourselves as men and women. Sexual desire, love, relationships and our fallibilities and fears. They show us how our beliefs, what we should think and how we should behave. They...
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...Towards the end of the nineteenth century and at the beginning of the twentieth century, philosophers like William James and Henri Bergson came up with theories, which opposed the idea of time as an objective reality. According to them, time is never objective because it always depends on private experience of an individual. They claimed that time, like human consciousness, cannot be seen as linear, moving from one moment to the next, because time in human mind changes constatntly. It moves without any logic or reason from present to past and future. Simply, in our mind past, present and future can be experienced at the same moment. In his theory of duration, Henri Bergson explains that there are two times: private, or internal time, which is the real authentic time, and standard, public or clock time, which is, in fact, a mere social, artificial construct.[1] Modernist writers, such as James Joyce or Virginia Woolf were fascinated by the theories of time, which influenced greatly their works. In Mrs Dalloway, (1925), which may be considered 'the first important work of the literary period initiated by Ulysses'[2], Woolf is concerned with both, public and private time. In Mrs Dalloway, the public, or the clock time, is represented by the striking of Big Ben, the symbol of England and the precise time. The striking of the hours is repeated throughout the novel as a reminder of time, which restricts the lives of the characters, reminding them constantly of the time and...
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...Women in America: An Historical Encyclopedia 2nd ed. (New York: Oxford University Press, 2004); Evelyn Brooks Higgingbotham, ed., Harvard Guide to African American History (Cambridge: Harvard University Press, 2001); Arvarh E. Strickland and Robert E. Weems, Jr., eds., The African American Experience: An Historiographical and Bibliographical Guide (Westport: Greenwood Press, 2001); and Randall M. Miller and John David Smith, eds., Dictionary of Afro- American Slavery (Westport: Greenwood Press, 1988), provide informative narratives along with expansive bibliographies. General texts covering major historical events with attention to chronology include John Hope Franklin and Alfred A. Moss, Jr., From Slavery to Freedom: A History of African Americans (Boston: McGraw Hill, 2000), considered a classic; along with Joe William Trotter, Jr., The African American 1  Experience (Boston: Houghton Mifflin, 2001); and, Darlene Clark Hine, William C. Hine, and Stanley Harrold, The African American Odyssey (Upper Saddle River: Printice-Hall, Inc., 2000). Other general texts not to be overlooked are Colin A. Palmer’s Passageways: An Interpretive History of Black America Vol. I: 1619-1863 and Vol. II (Fort Worth: Harcourt Brace College Publishers, 1998), which emphasizes culture; and, Darlene Clark Hine and Kathleen Thompson’s Shining Thread of Hope: The History of Black...
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...north, and calling for action against the cruel institution of slavery. Employed as a teacher by Pace University in 1968, Jean Fagan Yellin wrote and published her dissertation. While re-reading Incidents in the 1970s as part of the project and to educate herself in the use of gender as a category of analysis, Yellin became interested in the question of the text's true authorship. Over the next six-years, Yellin found and used historical documents including the Amy Post papers at the University of Rochester (Post was a close friend of Jacobs), state and local historical societies, and the Horniblow and Norcum papers at the North Carolina state archives, to establish both that Harriet Jacobs was the true author of Incidents, and that the narrative was her autobiography. Her edition...
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...English - Final Exam Terms to Know The following link is very helpful: Examples Glossary from Your Dictionary Alliteration In alliteration, the first consonant sound is repeated in several words. A good example is “wide-eyed and wondering while we wait for others to waken”. Alliteration can be fun, as in tongue twisters like: “Kindly kittens knitting mittens keep kazooing in the king's kitchen 1. 2. 3. 4. 5. Alice’s aunt ate apples and acorns around August. Becky’s beagle barked and bayed, becoming bothersome for Billy. Carries cat clawed her couch, creating chaos. Dan’s dog dove deep in the dam, drinking dirty water as he dove. Eric’s eagle eats eggs, enjoying each episode of eating. Examples of Alliteration Allusion “I was surprised his nose was not growing like Pinocchio’s.” This refers to the story of Pinocchio, where his nose grew whenever he told a lie. It is from The Adventures of Pinocchio, written by Carlo Collodi. “When she lost her job, she acted like a Scrooge, and refused to buy anything that wasn’t necessary.” Scrooge was an extremely stingy character from Charles Dickens’, A Christmas Carol. “I thought the software would be useful, but it was a Trojan Horse.” This refers to the horse that the Greeks built that contained all the soldiers. It was given as a gift to the enemy during the Trojan War and, once inside the enemy's walls, the soldiers broke out. By using trickery, the Greeks won the war. “He was a real Romeo with the ladies.” Romeo was a character...
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...English 205 Research Project-Spring 2014 Assignment (adapted from Ways of Reading, AW 1) One way to work on Patricia Nelson Limerick’s essay, “Haunted America”, is to take the challenge and write history—to write the kind of history, that is, that takes into account the problems she defines, the problems of myth, point of view, fixed ideas, simple narrative selective storytelling, misery. You are not a professional historian, you are probably not using this text in a history course, and you don’t have the time to produce a carefully researched history, one that covers all the bases, but you can think of this as an exercise in history writing, a mini-history, a place to start. Consider the following as a place to start: Go to your college library or, perhaps, the local historical society, and find two or three first-person accounts of a single event, ideally accounts from different perspectives. Or, if these are not available, look to the work of historians, but historians taking different positions on a single event. (This does not have to be a history of the American West.) Even if you work with published historians, try to include original documents and accounts in your essay. The more varied the accounts, the better. Then, working with these texts as your primary sources, write a history, one that you can offer as a response to “Haunted America.” Suggestions for writing: Stage the work out into several drafts, writing first from one position or point...
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...Journal of Family Psychotherapy, 20:72–88, 2009 Copyright © Taylor & Francis Group, LLC ISSN: 0897-5353 print/1540-4080 online DOI: 10.1080/08975350802716566 Journal 1540-4080 0897-5353 WJFP of Family Psychotherapy, Vol. 20, No. 1, January 2009: pp. 1–25 Psychotherapy FAMILY THERAPY AND MENTAL HEALTH, Edited by Malcolm MacFarlane, M.A. A Systemic Approach to the Treatment of Dissociative Identity Disorder S. Pais Systemic Treatment of Dissociative Identity Disorder SHOBHA PAIS Department of Family Medicine, Indiana University, Indianapolis, Indiana, USA Although dissociative identity disorder (DID) continues to be questioned by some clinicians, those who work with this population understand the complexity of this disorder. Most often DID clients undergo predominantly individual psychotherapy to help them integrate their fragmented parts or personalities usually taking an average of 5 to 7 years. Although there is limited literature on the use of systemic therapy with DID clients, family therapy approaches can be used to conceptualize the treatment of the DID client and their family members. This article discusses how individual psychotherapy from a systemic perspective can be applied to treat DID while family systems therapy can be used to help educate the client’s family about DID, the process of treatment, as well as how to recognize and become prepared for any symptoms of recurrence. The internal family systems model of therapy with a DID client is discussed...
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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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...http://www.rottentomatoes.com/m/the_dark_knight/ 1. With reference to the opening sequence of one narrative you have studied this year, explain how the opening sequence of the narrative starts the chain of cause and effect and establishes characters. 2. Explain how Harvey Dent is established as a character at the beginning of the film. 3. Explain how the character of Bruce Wayne, and his relationship with both Rachel and Harvey Dents, is developed further using a combination of production elements (00:18:34-00:20:46) 4. Explain how The Joker is developed as a character using a combination of production elements when he meets the mob bosses (00:20:47-00:25:05). How does Nolan use stereotypical characterisation throughout this scene? 5. Explain how Nolan uses the structuring of time to compress Bruce Wayne’s journey to Hong Kong (00:27:27-00:28:23) 6. Explain how The Joker is developed as a character when he kills Gambol. How does Nolan engage the audience in this scene? (00:28:23-00:30:24) 7. Explain how Nolan uses the structuring of time when Dent tries the mob bosses and their associates (00:37:56-00:38:56). 8. Explain how Nolan uses a combination of acting, mise-en-scene, camera movement and music to develop the character of The Joker in the video of him tormenting the Batman impersonator (00:40:43- 00:41:46) 9. Explain how multiple story lines are used to develop the narrative during the fundraising party for Harvey Dent. 10. During the party scene scene, a number of characters...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF BOOKER T. WASHINGTON’S UP FROM SLAVERY By VIRGINIA L. SHEPHARD, Ph.D., Florida State University 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 Booker T. Washington’s Up from Slavery 2 INTRODUCTION Booker T. Washington’s commanding presence and oratory deeply moved his contemporaries. His writings continue to influence readers today. Although Washington claimed his autobiography was “a simple, straightforward story, with no attempt at embellishment,” readers for nearly a century have found it richly rewarding. Today, Up From Slavery appeals to a wide audience from early adolescence through adulthood. More important, however, is the inspiration his story of hard work and positive goals gives to all readers. His life is an example providing hope to all. The complexity and contradictions of his life make his autobiography intellectually intriguing for advanced readers. To some he was known as the Sage of Tuskegee or the Black Moses. One of his prominent biographers, Louis R. Harlan, called him the “Wizard of the Tuskegee Machine.” Others acknowledged him to be a complicated person and public figure. Students of American social and political history have come to see that Washington lived a double life. Publicly he appeased the white establishment...
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...(c) Bedford/St. Martin's bedfordstmartins.com 1-457-62096-0 / 978-1-457-62096-6 SOUNDS AND IMAGES Movies and the Impact of Images 187 Early Technology and the Evolution of Movies 192 The Rise of the Hollywood Studio System 195 The Studio System’s Golden Age 205 The Transformation of the Studio System 209 The Economics of the Movie Business 215 Popular Movies and Democracy In every generation, a film is made that changes the movie industry. In 1941, that film was Orson Welles’s Citizen Kane. Welles produced, directed, wrote, and starred in the movie at age twenty-five, playing a newspaper magnate from a young man to old age. While the movie was not a commercial success initially (powerful newspaper publisher William Randolph Hearst, whose life was the inspiration for the movie, tried to suppress it), it was critically praised for its acting, story, and directing. Citizen Kane’s dramatic camera angles, striking film noir–style lighting, nonlinear storytelling, montages, and long deep-focus shots were considered technically innovative for the era. Over time, Citizen Kane became revered as a masterpiece, and in 1997 the American Film Institute named it the Greatest American Movie of All Time. “Citizen Kane is more than a great movie; it is a gathering of all the lessons of the emerging era of sound,” film critic Roger Ebert wrote.1 CHAPTER 6 ○ MOVIES 185 (c) Bedford/St. Martin's bedfordstmartins.com 1-457-62096-0 / 978-1-457-62096-6 MOVIES A generation later...
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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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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights...
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