...The use of symbolism is very important in a story. Symbolism shows different meanings for different objects. “The Veldt” by Bradbury shows excellent use of this literary device. The short story, “The Kugelmass Episode” showed great examples of humor and irony. There were good examples of irony in “The Veldt” yet not as much as there was in the “Kugelmass Episode.” In “The Veldt” the names of the children is a reference to Peter Pan, and his desire to never grow up. The nursery to the children is like their Neverland that they do not want to leave. Lions are predatory and are dominant, representing the children, Peter and Wendy. An example is whenever Peter and Wendy both know what to do in order to obtain what they want. Another example would...
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...In The Veldt, the author, Ray Bradbury uses multiple Author’s crafts. The key ones used are Imagery and symbolism. Ray Bradbury uses symbolism with the nursery. The nursery is like the parents, Mr. and Mrs. Hadley. Both parents and the nursery are easy to manipulate into doing what the kids wish them to do. The author also uses the craft of allusion, but only uses it twice. While describing the house the Hadleys live in he describes it as a “ Happy Life Home”. A few paragraphs later when Mr. and Mrs. Hadley walk into the nursery Ray Bradbury uses the craft of imagery. He describes the feeling of the lions fur and the smell of the Veldt. He describes the papery sound of the vulture's wings up in the air and the sight seen by both Mr. and Mrs. Hadley. Ray Bradbury uses many different crafts, but these are just a few. The main craft that is used in The Veldt is symbolism. The nursery represents the parents. The kids could make the nursery do anything they wanted it to do or turn into anything they wished. Just as the parents would do whatever the kids wanted them to do. Both were easily manipulated by the kids. The children had manipulated the parents into keeping the nursery turned on for their enjoyment. This resulted in the death of Mr. and Mrs. Hadley as well as the Nursery. Others say...
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...Throughout both short stories it is evident that the character’s lack freedom. Bradbury uses symbolises to identify this further. In ‘The Veldt’, every time the parents enter the nursery, lions in the African veldt appear. Lions symbolise pride and power. This may be the house’s way of showing it has more power than they do and can control them. Causing them to have a lack of freedom. When the parents enter the nursery the lions which are supposedly fake, chase them to scare them off which can be the houses way of showing them that it does not need them to survive. This becomes true as the children grow to love the house so much that they no longer feel there is use for their parents, leaving the house with all the power, allowing it to stay...
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...The Pedestrian vs. The Veldt The Pedestrian | | The Veldt | Author | | | Author | | Title’s importance/Symbolism | | | Title’s importance/symbolism | | CharactersCharacterization: What do the characters look like? Qualities, virtues / flaws? How do they speak? Attitudes, habits, behaviour, characteristics?Are the characters stereotyped or individualized?`Round´ (complex, many-sided) vs. `flat´ (one-sided, stereotyped) characters (= does the character change or develop? How?) What are the relationships / interactions between the characters? | Protagonist | Antagonist | | CharactersCharacterization: What do the characters look like? Qualities, virtues / flaws? How do they speak? Attitudes, habits, behaviour, characteristics?Are the characters stereotyped or individualized?`Round´ (complex, many-sided) vs. `flat´ (one-sided, stereotyped) characters (= does the character change or develop? How?) What are the relationships / interactions between the characters? | Protagonist | Antagonist | | | | | | Setting (the background against which the story unfolds)When does the action take place – past / present / future – season, year, period? What is the time span of the story?Are there any jumps in time (flashbacks / flash forwards)?Place? House, outside, town, countryside? One place or several? Is the setting important for the plot or secondary?Environment / milieu (social class, traditional or modern society, modern life vs. old-fashioned, etc.)?Lifestyle...
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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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...Acknowledgments ix Acknowledgments This book owes a great deal to the mental energy of several generations of scholars. As an undergraduate at the University of Cape Town, Francis Wilson made me aware of the importance of migrant labour and Robin Hallett inspired me, and a generation of students, to study the African past. At the School of Oriental and African Studies in London I was fortunate enough to have David Birmingham as a thesis supervisor. I hope that some of his knowledge and understanding of Lusophone Africa has found its way into this book. I owe an equal debt to Shula Marks who, over the years, has provided me with criticism and inspiration. In the United States I learnt a great deal from ]eanne Penvenne, Marcia Wright and, especially, Leroy Vail. In Switzerland I benefitted from the friendship and assistance of Laurent Monier of the IUED in Geneva, Francois Iecquier of the University of Lausanne and Mariette Ouwerhand of the dépurtement évangélrlyue (the former Swiss Mission). In South Africa, Patricia Davison of the South African Museum introduced me to material culture and made me aware of the richness of difference; the late Monica Wilson taught me the fundamentals of anthropology and Andrew Spiegel and Robert Thornton struggled to keep me abreast of changes in the discipline; Sue Newton-King and Nigel Penn brought shafts of light from the eighteenthcentury to bear on early industrialism. Charles van Onselen laid a major part of the intellectual foundations on...
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