...The Rebirth of the South: Wolfe, Faulkner, Warren The South is more distinctively a region than any other section of the United States is, because of the experiences and traditions that have taught it attitudes sharply at variance with some of the standard American beliefs: ● The sense of failure, which comes from being the only group of Americans who have known military defeat, military occupation, and seemingly unconquerable poverty; ● The sense of guilt, which comes from having been a part of America’s classic symbol of injustice, the enslavement and then the segregation of the Negro; and ● The sense of frustration, which comes from the consistent inadequacy of the means at hand to wrestle with the problems to be faced, whether they be poverty, racial intolerance, or the preservation of an historical past rich in tradition. In the years after the Civil War, the Southerner attempted to deny these things by the simple, but ultimately ineffectual, process of ignoring them. The Southern local colour writers concentrated on the quaint, the eccentric, and the remote; and the creators of the “plantation tradition” idealised the past. Against this sentimental view the first two voices that were strongly raised were those of Ellen Glasgow and James Branch Cabell, Virginians who in their differing ways defined the patterns which 20th-century Southern fiction was to take when it became serious and fell into the hands of that group of writers of talent who have practised...
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...The Count of Monte Cristo: One love, a betrayal, one revenge Alexandre Dumas, one of the most widely read French authors in the world, wrote during the late 19th century a prominent romantic historical novel; love, betrayal, revenge, and redemption convert the story of The Count Of Monte- Cristo in one of the most renowned classics of all time. It is considered an extraordinary novel because of its shocking characters, theme, and drive to vengeance. Alexandre Dumas was born on July 1802 in Villers Cotterets in Picardy, France. He was the only true quadroon, the only grandchild of a Negro (Lazen 1506). He was born as the illegitimate son of the famous novelist Thomas Dumas. Dumas was raised by his seamstress mother, Catherine Labay, until the elder Dumas legally recognized his paternity and assumed responsibility for his son’s care in 1831. He was the only man with wooly hair, and deficient calves, and black pigment in the creases of the joints of his fingers, whoever gained a considerable place in the literature of the world (Parini 1506). He secured his own fame in 1852 with the production of La dame aux camellias, a drama based on his novel by the same name. This work, which faithfully portrayed the life of a Parisian, introduced realism to the modern French stage. Dumas subsequently made important contributions to the theater in his self-proclaimed role as a social reformer: using the stage as a tribunal for such contemporary social problems as adultery and divorce, he...
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...The Trap Kerima Polotan Tuvera I was fourteen when we moved to Cabuyao. We reached the town at night and though it was not quite seven, the streets were empty. I had hoped we would get to it before dark, while there was light enough for people to see us come. We knew no one, of course – “We’ll make friends,” my father had said – and expected no welcome, but having left Tayug with reluctance, I had urged my father during the trip to drive faster so that we might arrive in Cabuyao early enough for someone to see us drive in. That was important to me. “Why, Elisa?” my mother asked, and I could not tell her why, except that I had left behind in Tayug one friend very dear to me. When the day came for us to go, we could not leave soon enough. I wanted the pain of missing Salud to start quickly. She said goodbye to me that morning by the plaza, asking, “Are you taking everything, Elisa? You’re sure?” When Mother frowned, I hated Salud for betraying me. Several times that past year I had told Salud I felt that something was happening to me. I felt I was growing to be another person entirely. “Something’s wrong, Salud,” I said one day – “I’m going crazy.” She had laughed and looked pointedly at my breasts and said. “They’re growing like mine, Elisa.” She had a way of saying things like that, that angered and also disarmed me; she was 18 and the four years between us yawned like an abyss. During all that time I had watched her turn into a lovely, graceful girl, unfazed by adolescence...
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...lodge with Mrs Belander in Frenchtown where he lived as a boy. He visits the church and says prayers for various important people in his life; thus we are introduced to some major and minor characters: Enrico, his mother and father, whom we learn are dead, and Nicole Renard and Larry LaSalle. Tension is created- he states his intention of killing Larry, but at this stage we do not know why. A flashback to the war introduces the theme of heroism- Francis has a Silver Star Medal, although he refuses to believe himself heroic – and reveals his love for Nicole. Language use My name is Francis Joseph Cassavant and I have just returned to Frenchtown in Monument and the war is over and I have no face. – compound sentence – pared gives only what he considers as essentials metaphor ‘ I have no face’ why is this effective? simile ‘ my nostrils are like two small caves’ – why is this effective? Narration follows the patterns of speech – how? What do we need to be aware of with a first person narrative? Characters Francis – disfigured and hiding, ‘I am like the hunchback of Notredame, my face likee a gargoyle and the dufflebag like a lump on my back’ – why is this allusion effective? Mrs Belander – how do her actions show attitudes towards veterans at this time in America? Structure Starts with himself and full description; then hints at people and places giving small details about his past which we need to start to build on… Setting From his bedsit Francis...
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...KING LEAR Act One The play opens at Lear’s court, where we meet the main characters. The opening scene is in itself shocking, as Lear forces his daughters to declare their love for him. The one who loves him the most will receive the largest part of his kingdom, which he intends to divide between the three. Lear himself wishes to hand over the ruling of the kingdom to his daughters, while retaining the ‘Pre-eminence, and all the large effects / That troop with majesty’ (Scene 1, Lines 131-2). Goneril and Regan acquit themselves well at this love test. Cordelia, however, dismayed by her sisters’ ponderous words, refuses to take part in the ‘contest’ and tells Lear that she loves him as her duty instructs her. When Cordelia refuses to speak again, Lear casts her off without a moment’s hesitation. Ken attempts to argue with the King, accusing him of ‘hideous rashness’ (Scene 1, Line 151). When Kent further warns Lear that his elder daughters are false flatterers, Kent too is banished. Lear invests Albany and Cornwall with power, and, after Burgundy refuses to take Cordelia as his wife, now that she is without dowry, France takes her for her virtues alone. Goneril and Regan complain, in private, about Lear’s harsh judgement and unpredictable behaviour and worry that they too may be treated unfairly. Edmund, Gloucester’s bastard son, soliloquises about his own situation, revealing his devious intentions towards his brother. When his father enters, Edmund’s...
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...com/jerome-de-groot/signposts-historical-fiction These were some of the questions raised at a recent conference at the Institute of Historical Research at which History Today Editor, Paul Lay, hosted a discussion between Hilary Mantel, author of Wolf Hall, and the Tudor historian David Loades. Historians often describe themselves as detectives, seeking out a kind of truth among the conflicting evidence of the past. There is, furthermore, a large and growing subgenre of historical crime fiction. From C.J. Sansom to Philip Pullman, from Orhan Pamuk to Walter Mosley, from Ellis Peters to Boris Akunin, novelists have been keen to use the past as a backdrop for their stories of detection and mystery. The most famous historical detective might be Brother William of Baskerville in Umberto Eco’s peerless The Name of the Rose (Il nome della rosa, 1980). Recently we have seen a flowering of historical crime fiction as the subgenre attains maturity and becomes increasingly popular and innovative. Jason Goodwin, Philip Kerr and Susan Hill were all shortlisted for the prestigious Crime Writers Association Dagger this year (recent historical winners include Arianna Franklin, Jake Arnott and Craig Russell). Clearly the combination of thriller, crime and historical detail is compelling. Anne Perry’s new Inspector Pitt novel, Betrayal at Lisson Grove (out in paperback from Headline this year) is a pacy, twisting thriller. It is 1895 and Pitt is up against a conspiracy in the Lisson Grove offices of Special...
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...Concept of Self-realization in Pride and Prejudice, Tess of the D'Urbervilles, Great Expectations and Lord Jim. The words self-realization is often used in literature to refer to the liberation of an individual from the sense of limitation brought about by identification with conditioned beliefs, opinions, fears, desires, and habits. The main objective of this paper is to show concept of self-realization in Pride and Prejudice, Tess of the D’Urbervilles, Great Expectations and Lord Jim. It has also been tried to add some new concepts regarding these novels. Necessary and related information has been collected from various books and internet. Austen's serene world, in Pride and Prejudice which harbours dynamic action, goes unnoticed by the readers who read her novels on the surface level. But the readers who fathom the depths of her creativity can realize that active forces are working, reforming and psychologically molding the characters in her novels. Tess of the D’Urbervilles is one of the most famous novels of Thomas Hardy. In this novel we see a tragic end of Tess with an ultimate realization. Great Expectations was one of Dickens’ best-known novels and was written in 1860. Great Expectations is a Bildungsroman and follows the progression of Pip from child to adult; from humble blacksmith to gentleman; from innocence to experience; from rags to riches and on his journey, Pip meets a range of interesting characters, from the comical Wemmick, to the cruel Estella....
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...John Green The Fault in Our Stars BACKGROUND INFO BACKGROUND AUTHOR BIO Full Name: John Michael Green Date of Birth: August 24th, 1977 Place of Birth: Indianapolis, Indiana Brief Life Story: John Green was born in Indianapolis, Indiana. Immediately after his birth, Green’s parents moved to Orlando, Florida. During his youth, he attended Lake Highland Preparatory School, a boarding school near Birmingham, Alabama. Later, he attended Kenyon College where he graduated in 2000 with a double major in English and Religious Studies. After graduating from Kenyon, Green worked in a children’s hospital while he enrolled in divinity school with the intention of becoming an Episcopal Priest. He never attended divinity school, however, because his experience working in the hospital with children suffering from life-threatening illnesses inspired him to become a writer. He lived in Chicago for several years, writing book reviews, writing for radio, and working in publishing. During this time he wrote his first novel, Looking for Alaska (2005) to immediate, and increasing, success. He followed that first novel with An Abundance of Katherines (2006), Paper Towns (2008), and The Fault in Our Stars (2012), which reached #1 on the New York Times bestseller list for children. Green currently lives in Indianapolis with his wife and two kids, where he continues to write, produce videos, and speak publicly about an array of topics. chronicle his artistic journey in making the film adaption of his novel...
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...Sold to joezayed7@gmail.com THE SUNFLOWER SIMON WIESENTHAL THE SUNFLOWER SUPERSUMMARY 1 TABLE OF CONTENTS PLOT OVERVIEW 3 CHAPTER SUMMARIES AND ANALYSES 5 Chapter 1 Chapters 2-5 Chapters 6-10 Chapters 11-15 Chapters 16-20 Chapters 21-25 Chapters 26-30 Chapters 31-35 Chapters 36-40 Chapters 41-45 Chapters 46-50 Chapters 51-54 5 8 12 15 20 23 26 29 33 36 39 42 MAJOR CHARACTER ANALYSIS 45 Simon Karl Josek Arthur Adam Bolek Karl’s Mother 45 45 46 46 47 47 47 THEMES 49 SYMBOLS AND MOTIFS 51 COPYRIGHT 2016 THE SUNFLOWER SUPERSUMMARY 2 IMPORTANT QUOTES 53 ESSAY TOPICS 61 COPYRIGHT 2016 THE SUNFLOWER SUPERSUMMARY 3 PLOT OVERVIEW The Sunflower by Simon Wiesenthal is a book of non-fiction. The first section, also titled “The Sunflower,” is an account of Wiesenthal’s experience as a concentration camp prisoner under the Nazi regime. In the account, Wiesenthal describes his life in Poland prior to the German occupation, his experiences of anti-Semitism within the Polish culture, and his life as a concentration camp prisoner. He describes life in the concentration camp, the continuous humiliations, the hunger, the illness, and the constant threat of death. Central to the narrative in “The Sunflower” is the story of Simon being summoned to the deathbed of a young Nazi soldier whom Simon calls Karl and who has been wounded in combat. Karl confesses to...
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...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...
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...FULL TITLE · The Canterbury Tales AUTHOR · Geoffrey Chaucer TYPE OF WORK · Poetry (two tales are in prose: the Tale of Melibee and the Parson’s Tale) GENRES · Narrative collection of poems; character portraits; parody; estates satire; romance; fabliau LANGUAGE · Middle English TIME AND PLACE WRITTEN · Around 1386–1395, England DATE OF FIRST PUBLICATION · Sometime in the early fifteenth century PUBLISHER · Originally circulated in hand-copied manuscripts NARRATOR · The primary narrator is an anonymous, naïve member of the pilgrimage, who is not described. The other pilgrims narrate most of the tales. POINT OF VIEW · In the General Prologue, the narrator speaks in the first person, describing each of the pilgrims as they appeared to him. Though narrated by different pilgrims, each of the tales is told from an omniscient third-person point of view, providing the reader with the thoughts as well as actions of the characters. TONE · The Canterbury Tales incorporates an impressive range of attitudes toward life and literature. The tales are by turns satirical, elevated, pious, earthy, bawdy, and comical. The reader should not accept the naïve narrator’s point of view as Chaucer’s. TENSE · Past SETTING (TIME) · The late fourteenth century, after 1381 SETTING (PLACE) · The Tabard Inn; the road to Canterbury PROTAGONISTS · Each individual tale has protagonists, but Chaucer’s plan is to make none of his storytellers superior to others; it is an equal company. In the Knight’s...
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...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 Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources 104 108 Chapter 6 Chapter 7 109 Supporting Measures 7.1 Learning and Teaching Resource Materials 7.2 Professional Development 109 109 Appendix 1 Examples of Poetry...
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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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...i FOREWORD ______________________________________________________________________________iii Of the Beginning of Days ____________________________________________________________________ 12 Of Aulë and Yavanna _______________________________________________________________________ 17 Of the Coming of the Elves and the Captivity of Melkor____________________________________________ 19 Of Thingol and Melian ______________________________________________________________________ 24 Of Eldamar and the Princes of the Eldalië _______________________________________________________ 25 Of Fëanor and the Unchaining of Melkor________________________________________________________ 28 Of the Silmarils and the Unrest of the Noldor ____________________________________________________ 30 Of the Darkening of Valinor__________________________________________________________________ 33 Of the Flight of the Noldor ___________________________________________________________________ 35 Of the Sindar______________________________________________________________________________ 42 Of the Sun and Moon and the Hiding of Valinor __________________________________________________ 45 Of Men __________________________________________________________________________________ 49 Of the Return of the Noldor __________________________________________________________________ 50 Of Beleriand and Its Realms__________________________________________________________________ 56 Of the Noldor in Beleriand...
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...I DO NOT OWN THIS FOREWORD ______________________________________________________________________________iii Of the Beginning of Days ____________________________________________________________________ 12 Of Aulë and Yavanna _______________________________________________________________________ 17 Of the Coming of the Elves and the Captivity of Melkor____________________________________________ 19 Of Thingol and Melian ______________________________________________________________________ 24 Of Eldamar and the Princes of the Eldalië _______________________________________________________ 25 Of Fëanor and the Unchaining of Melkor________________________________________________________ 28 Of the Silmarils and the Unrest of the Noldor ____________________________________________________ 30 Of the Darkening of Valinor__________________________________________________________________ 33 Of the Flight of the Noldor ___________________________________________________________________ 35 Of the Sindar______________________________________________________________________________ 42 Of the Sun and Moon and the Hiding of Valinor __________________________________________________ 45 Of Men __________________________________________________________________________________ 49 Of the Return of the Noldor __________________________________________________________________ 50 Of Beleriand and Its Realms__________________________________________________________________ 56 Of the Noldor in...
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