...Setting in Wuthering Heights INTRO: The setting in Wuthering Heights plays a significant role in the unfolding of the narrative, with the dark and foreboding environment foreshadowing the gloomy atmosphere found in the remainder of the book. Furthermore, the descriptions of the setting symbolise similar aspects of the personalities of the protagonists, depicting isolation and separation within both of the two main settings, Wuthering Heights and Thrushcross Grange. Wuthering Heights and its occupants are wild, passionate, and strong. These attitudes are clearly reflected through the large, cold and dark house, situated on top of a ruthless hill on the moors, while Thrushcross Grange and its inhabitants are calm and refined, with the house situated in a valley of the moors. These two opposing forces struggle throughout the novel. Their morals and values are constructed to reflect the surroundings they are placed in, which helps the reader to understand them and their situation more. 1ST PARA: * many comparisons can be seen between Heathcliff and the house * This house is a dark bleak, unpleasant place situated on a high, windy crest on the moors. Yet not only is the atmosphere of Wuthering Heights similar to that of Heathcliff, but both are also physically described in a similar way. * The house is described as –grotesque-, with -strong...narrow windows...deeply set in the wall, and the corners defended with large, jutting stones-. * This is similar to many...
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...‘The Gothic elements of Wuthering Heights are made credible by the novel’s setting and narrators.’ How far would you agree with this view? Wuthering Heights is Emily Bronte’s only novel and was published in December 1847 under the androgynous pseudonym Ellis Bell, due to having a, “vague impression that authoresses are liable to be looked on with prejudice”. This initial perception demonstrates the lack of gender equality within the Victorian era, with autocratic male dominance being commonly viewed as an ideal within the restrictive patriarchal society; such varying social conventions resonate throughout the novel, perhaps providing a sense of stability, reality and authenticity among the primal passions, savage cruelty, and supernatural entities present within the boundaries of Wuthering Heights and the Yorkshire Moors. The juxtaposition provided by the arguably civilised, ornate Thrushcross Grange provides a rational foundation where societal norms are upheld, with the domestic, cultural setting providing a balance to the unruly natural passions; it is suggested further that cogency is gained not only through the historical and geographic settings, but also through the dual narration of Nelly Dean and Lockwood. Contrastingly, a deeper reading suggests that the societal beliefs and conservative, obstinate nature of the narrators would cause them to condemn individuals and demonise events that threatened the social balance, meaning the creditability can certainly be disputed...
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...The Edge…There is no honest way to explain it because the only people who really know where it is are ones who have gone over.” - Hunter S. Thompson. Explore the presentation of the troubled mind in Emily Bronte’s Wuthering Heights and the poetry of John Keats, with illuminating reference to Ken Kesey’s One Flew Over the Cuckoo’s Nest. “The Edge” described by Hunter S. Thompson is, he says, unexplainable. What seems clear is that ‘the Edge’ is at the limit of the human mind. It can’t be explained, Thompson says, because the only people who ‘really know where it is’ are the ones who ‘have gone over’ it, those who have died or else never returned to ‘reality’ and ‘sanity’. Emily Bronte’s Wuthering Heights, the poetry of John Keats, and Ken Kesey’s One Flew Over the Cuckoo’s Nest all describe, in differing ways, states of mind on ‘the Edge’. When they were first published, the contemporary reception to Keats’s poems and to Wuthering Heights was remarkably similar. Keats was described as writing ‘the most incongruous ideas in the most uncouth language’ , while Bronte’s novel (published under the male pseudonym Ellis Bell) was called ‘too coarse and disagreeable to be attractive’, and described as ‘wild, confused, disjointed, and improbable’ with characters who are ‘savages ruder than those who lived before the days of Homer.’ These accusations of ‘uncouth’, ‘coarse’ and ‘disjointed’ writing suggest that both authors had already crossed one edge with their writing: the edge...
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...1. W. Shakespeare « Hamlet» (Renaissance) Character List Hamlet - The Prince of Denmark, the title character, and the protagonist. About thirty years old at the start of the play, Hamlet is the son of Queen Gertrude and the late King Hamlet, and the nephew of the present king, Claudius. Hamlet is melancholy, bitter, and cynical, full of hatred for his uncle’s scheming and disgust for his mother’s sexuality. A reflective and thoughtful young man who has studied at the University of Wittenberg, Hamlet is often indecisive and hesitant, but at other times prone to rash and impulsive acts. Hamlet is extremely philosophical and contemplative. He is particularly drawn to difficult questions or questions that cannot be answered with any certainty. Faced with evidence that his uncle murdered his father, evidence that any other character in a play would believe, Hamlet becomes obsessed with proving his uncle’s guilt before trying to act. Claudius - The King of Denmark, Hamlet’s uncle, and the play’s antagonist. The villain of the play, Claudius is a calculating, ambitious politician, driven by his sexual appetites and his lust for power, but he occasionally shows signs of guilt and human feeling—his love for Gertrude, for instance, seems sincere. Gertrude - The Queen of Denmark, Hamlet’s mother, recently married to Claudius. Gertrude loves Hamlet deeply, but she is a shallow, weak woman who seeks affection and status more urgently than moral rectitude or truth. Polonius - The...
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...For other uses, see Fiction (disambiguation). An illustration from Lewis Carroll's Alice's Adventures in Wonderland, depicting the fictional protagonist, Alice, playing afantastical game of croquet. Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g.,biographies, histories). Contents [hide] * 1 Types of fiction * 1.1 Realistic fiction * 1.2 Non-realistic fiction * 1.3 Semi-Fiction * 2 Elements of fiction * 2.1 Plot * 2.2 Exposition * 2.3 Foreshadowing * 2.4 Rising action * 2.5 Climax * 2.6 Falling action * 2.7 Resolution * 2.8 Conflict * 2.8.1 Types of conflict * 2.8.1.1 Person vs. self * 2.8.1.2 Person vs. person * 2.8.1.3 Person vs. society * 2.8.1.4 Person vs. nature * 2.8.1.5 Person vs. supernatural * 2.8.1.6 Person vs. machine/technology * 2.9 Character * 2.10 Methods of developing characters * 2.11 Symbolism * 2.12 Metaphor * 3 Types of plots * 3.1 Chronological order * 3.2 Flashback * 3.3 Setting...
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...OLD ENGLISH LITERATURE • Palaeolithic nomads from mainland Europe; • New inhabitants came from western and possibly north-western Europe (New Stone Age); • in the 2nd millennium BC new inhabitants came from the Low Countries and the middle Rhine (Stonehenge); • Between 800 and 200 BC Celtic peoples moved into Britain from mainland Europe (Iron Age) • first experience of a literate civilisation in 55 B.C. • remoter areas in Scotland retained independence • Ireland, never conquered by Rome, Celtic tradition • The language of the pre-Roman settlers - British (Welsh, Breton); Cornish; Irish and Scottish Gaelic (Celtic dialect) • The Romans up to the fifth century • Britain - a province of the Roman Empire 400 years • the first half of the 5th century the Angles, Saxons, and Jutes (N Germany, Jutland) • The initial wave of migration - 449 A. D. • the Venerable Bede (c. 673-735) • the Britain of his time comprised four nations English, British (Welsh), Picts, and Scots. • invaders resembling those of the Germans as described by Tacitus in his Germania. • a warrior race • the chieftain, the companions or comitatus. • the Celtic languages were supplanted (e.g. ass, bannock, crag). * Christianity spread from two different directions: * In the 5th century St Patrick converted Ireland, in the 7th century the north of England was converted by Irish monks; * in the south at the end of the 6th century Aethelberht of Kent allowed the monk Augustine...
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...according to a nineteenth-century history of tea, tea was such a fundamental part of everyday life that English tea drinkers often failed to notice its significance within their daily lives. G. G. Sigmond, in the opening pages of Tea: Its Effects, Medicinal and Moral, declares, “Man is so surrounded by objects calculated to arrest his attention, and to excite either his admi- ration or his curiosity, that he often overlooks the humble friend that ministers to his habitual comfort; and the familiarity he holds with it almost renders him incapable of appreciating its value.”1 By the early nineteenth century, tea had become a com- modity of necessity, forming a crucial part of daily patterns of consumption and domesticity. The habitual comfort of tea, ac- cording to Sigmond’s tea treatise, does not draw attention; it is quiet and familiar and thus goes unnoticed. Tea is represented as dependable, a frequent part of everyday life that forms a com- fortable, secure basis for the rest of life’s responses, decisions, and actions. As Sigmond declares, the English tea drinker is “in- capable of appreciating [tea’s] value” (1). What the typical tea drinker fails to recognize, Sigmond suggests, is the crucial role that tea plays in forming the foundation of everyday life. Despite Sigmond’s attempts to rectify the humble status of tea in nineteenth-century English culture, tea has remained a 1 2 introduction relatively unrecognized aspect of Victorian life. Just as Sigmond implies that...
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...A ROOM OF ONES OWN [* This essay is based upon two papers read to the Arts Society at Newnharn and the Odtaa at Girton in October 1928. The papers were too long to be read in full, and have since been altered and expanded.] ONE But, you may say, we asked you to speak about women and fiction--what, has that got to do with a room of one's own? I will try to explain. When you asked me to speak about women and fiction I sat down on the banks of a river and began to wonder what the words meant. They might mean simply a few remarks about Fanny Burney; a few more about Jane Austen; a tribute to the Brontës and a sketch of Haworth Parsonage under snow; some witticisms if possible about Miss Mitford; a respectful allusion to George Eliot; a reference to Mrs Gaskell and one would have done. But at second sight the words seemed not so simple. The title women and fiction might mean, and you may have meant it to mean, women and what they are like, or it might mean women and the fiction that they write; or it might mean women and the fiction that is written about them, or it might mean that somehow all three are inextricably mixed together and you want me to consider them in that light. But when I began to consider the subject in this last way, which seemed the most interesting, I soon saw that it had one fatal drawback. I should never be able to come to a conclusion. I should never be able to fulfil what is, I understand, the first duty of a lecturer to hand you after an hour's discourse a...
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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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...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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...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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...Frankenstein by Mary Shelley Key facts full title · Frankenstein: or, The Modern Prometheus author · Mary Wollstonecraft Shelley type of work · Novel genre · Gothic science fiction language · English time and place written · Switzerland, 1816, and London, 1816–1817 date of first publication · January 1, 1818 publisher · Lackington, Hughes, Harding, Mavor, & Jones narrator · The primary narrator is Robert Walton, who, in his letters, quotes Victor Frankenstein’s first-person narrative at length; Victor, in turn, quotes the monster’s first-person narrative; in addition, the lesser characters Elizabeth Lavenza and Alphonse Frankenstein narrate parts of the story through their letters to Victor. climax · The murder of Elizabeth Lavenza on the night of her wedding to Victor Frankenstein in Chapter 23 protagonist · Victor Frankenstein antagonist · Frankenstein’s monster setting (time) · Eighteenth century setting (place) · Geneva; the Swiss Alps; Ingolstadt; England and Scotland; the northern ice point of view · The point of view shifts with the narration, from Robert Walton to Victor Frankenstein to Frankenstein’s monster, then back to Walton, with a few digressions in the form of letters from Elizabeth Lavenza and Alphonse Frankenstein. falling action · After the murder of Elizabeth Lavenza, when Victor Frankenstein chases the monster to the northern ice, is rescued by Robert Walton, narrates his story, and dies tense · Past foreshadowing · Ubiquitous—throughout...
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...re tu ra li CAPE Modern te ng Languages Literatures nE e siniEnglish ur e at l er g it En sin ur e at er it L Caribbean Examinations Council ® SYLLABUS SPECIMEN PAPER CSEC® SYLLABUS,MARK SCHEME SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures...
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...Color-- -1- -2- -3- -4- -5- -6- -7- -8- -9Text Size-- 10-- 11-- 12-- 13-- 14-- 15-- 16-- 17-- 18-- 19-- 20-- 21-- 22-- 23-- 24 TWILIGHT By Stephenie Meyer Contents PREFACE 1. FIRST SIGHT 2. OPEN BOOK 3. PHENOMENON 4. INVITATIONS 5. BLOOD TYPE 6. SCARY STORIES 7. NIGHTMARE 8. PORT ANGELES 9. THEORY 10. INTERROGATIONS 11. COMPLICATIONS 12. BALANCING 13. CONFESSIONS 14. MIND OVER MATTER 15. THE CULLENS 16. CARLISLE 17. THE GAME 18. THE HUNT 19. GOODBYES 20. IMPATIENCE 21. PHONE CALL 22. HIDE-AND-SEEK 23. THE ANGEL 24. AN IMPASSE EPILOGUE: AN OCCASION twilight STEPHENIE MEYER LITTLE, BROWN AND COMPANY New York Boston Text copyright © 2005 by Stephenie Meyer All rights reserved. Little, Brown and Company Time Warner Book Group 1271 Avenue of the Americas, New York, NY 10020 Visit our Web site at www.lb-teens.com First Edition: September 2005 The characters and events portrayed in this book are fictitious. Any similarity to real persons, living or dead, is coincidental and not intended by the author. Library of Congress Cataloging-in-Publication Data Meyer, Stephanie, 1973— Twilight : a novel / by Stephanie Meyer. — 1st ed. p. cm. Summary: When seventeen-year-old Bella leaves Phoenix to live with her father in Forks, Washington, she meets an exquisitely handsome boy at school for whom she feels an overwhelming attraction and who she comes to realize is not wholly human. ISBN 0-316-16017-2 [1. Vampires — Fiction. 2. High schools — Fiction. 3. Schools — Fiction. 4. Washington...
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...TWILIGHT By:Stephenie Meyer ======================================================== Contents Contents ii PREFACE 1 1. FIRST SIGHT 2 2. OPEN BOOK 18 3. PHENOMENON 33 4. INVITATIONS 43 5. BLOOD TYPE 55 6. SCARY STORIES 73 7. NIGHTMARE 86 8. PORT ANGELES 100 9. THEORY 118 10. INTERROGATIONS 131 11. COMPLICATIONS 146 13. CONFESSIONS 175 14. MIND OVER MATTER 193 16. CARLISLE 226 17. THE GAME 235 18. THE HUNT 255 19. GOODBYES 266 20. IMPATIENCE 276 21. PHONE CALL 288 22. HIDE-AND-SEEK 295 23. THE ANGEL 307 24. AN IMPASSE 311 EPILOGUE:AN OCCASION 327 ======================================================== Meyer, Stephanie, 1973— Twilight : a novel / by Stephanie Meyer. — 1st ed. Summary: Grade 9 Up–Headstrong, sun-loving, 17-year-old Bella declines her mom's invitation to move to Florida, and instead reluctantly opts to move to her dad's cabin in the dreary, rainy town of Forks, WA. She becomes intrigued with Edward Cullen, a distant, stylish, and disarmingly handsome senior, who is also a vampire. When he reveals that his specific clan hunts wildlife instead of humans, Bella deduces that she is safe from his blood-sucking instincts and therefore free to fall hopelessly in love with him. The feeling is mutual, and the resulting volatile romance smolders as they attempt to hide Edward's identity from her family and the rest of the school. Meyer adds an eerie new twist to the mismatched, star-crossed lovers theme: predator...
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