...“To Kill a Mockingbird” Analysis Harper Lee published “To Kill a Mockingbird “ in 1960, a time buzzing with racial segregation and irrational injustice. She based the book on various events that were all to real, only fifty years ago. Throughout the book, the author captures these horrendous inequalities and is able to explore these subjects through various situations and characters. However, it is not always just the color of one’s skin as to the reason of why they are treated differently. Lee is able to display examples of prejudice based on class and status of a person, rather than race alone, through the use of abstract symbols through the use of characters. Harper Lee use birds to symbolize traits in various characters throughout the book. Although it is not just mockingbirds used as the only bird example. When Jem and Scout receive guns to shoot for fun, Atticus warns them against shooting mockingbirds. However, he states that they may shoot all the blue jays they desire. Blue jays are the nuance bird; this connects to Bob Ewell due to the fact that he is the perfect display of a blue jay. The blue jays represent the prejudiced citizens of Maycomb; they are ever present and continue to taunt others. Atticus goes on to tell the kids that it is a sin to kill a mockingbird. The mockingbird is the innocent bird and therefore sums up Tom Robinson the most clearly. As being an innocent man that is only being tried due to his race, he embodies the mockingbird perfectly. Throughout...
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...THE GLENCOE LITERATURE LIBRARY Study Guide for To Kill a Mockingbird by Harper Lee i Meet Harper Lee at the same university. In 1949, however, she withdrew and moved to New York City with the goal of becoming a writer. While working at other jobs, Lee submitted stories and essays to publishers. All were rejected. An agent, however, took an interest in one of her short stories and suggested she expand it into a novel. By 1957 she had finished a draft of To Kill a Mockingbird. A publisher to whom she sent the novel saw its potential but thought it needed reworking. With her editor, Lee spent two and a half more years revising the manuscript. By 1960 the novel was published. In a 1961 interview with Newsweek magazine, Lee commented: Writing is the hardest thing in the world, . . . but writing is the only thing that has made me completely happy. To Kill a Mockingbird was an immediate and widespread success. Within a year, the novel sold half a million copies and received the Pulitzer Prize for fiction. Within two years, it was turned into a highly acclaimed film. Readers admire the novel’s sensitive and probing treatment of race relations. But, equally, they enjoy its vivid account of childhood in a small rural town. Summing up the novel’s enduring impact in a 1974 review, R. A. Dave called To Kill a Mockingbird . . . a movingly human drama of the jostling worlds—of children and adults, of innocence and experience, of kindness and cruelty, of love and hatred, of humor...
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...Yvonne Lara Professor Hall Sociology 101 20 April 2015 Content Analysis Essay: “Crash” The movie Crash is a sensational film that is as much thrilling as it is tragic. The film was released in 2004 as an ensemble drama, and ended up becoming a box-office hit in the spring of 2005. The producer, Paul Haggis, not only directed the film, but was a co-writer as well. It includes enough comedy, action, suspense, and emotion that it appeals to all types of film genre fans. Moreover, Crash had a very popular cast of various types of actors, actresses, rappers, and entertainers. Crash won Best Picture at the 78th annual Academy Awards. Crash is a narrative of many different life events that affect a group of individuals who are of different races, social classes, occupations, education levels, economic statuses, and gender. The film is attempting to portray the current social structure of race, social class, and gender in Los Angeles. Almost each character in “Crash” has a connection, whether direct or indirect, with every other character. Metaphorically speaking, the narrative of the film can be compared to the Domino Effect. One domino falls, and then a chain reaction starts, and one by one, the first domino brings all the rest of them down with it. The first scene opens with Detective Graham Walters speaking. He is a black man portrayed by Don Cheadle. He says, “It’s the sense of touch. In any real city, you walk, you know? You brush past people; people bump into you....
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 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 without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 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 without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 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 without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...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, the inevitable nature of tragedy, and the isolation of the tragic hero. This teacher’s guide will be divided into several parts: (1) a brief literary overview, including a synopsis and commentary on the play; (2) suggestions for teaching the play, including activities, discussion questions, and essay topics to be used before, during, and...
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...1 The Foundations of International Society 2013-2014 Part I: Politics 2 (International Relations I) Paper organiser: Professor Christopher Hill (POLIS): Room 105, Alison Richard Building Email: cjh68@cam.ac.uk Lecturers: Professor Hill (CH), Dr Elisabetta Brighi (EB), Dr Aaron Rapport (AR) and Dr Stefano Recchia (SR). Aims and Objectives The course aims to introduce students to the subject of International Relations (IR), whose main focus is the nature of politics at the international level. Students will acquire the empirical and conceptual foundations needed to understand a world political system which cannot be accurately described as either pure anarchy or a coherent form of ‘global governance’. The starting point is the notion of ‘international society’, which refers to the set of institutions and common procedures generated by states over the last three and a half centuries in their attempts to achieve some minimal form of co-existence, but which has gradually evolved to include many non-state actors and different levels of activity – diplomatic, economic and cultural, as well as that of military competition. By the end of the course you should be able to have an informed discussion about: the historical origins of the present system; what is distinctive about international politics as opposed to politics inside the state; and the main challenges which confront humanity in the twenty-first century. You will also acquire a basic familiarity with the main theories needed...
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...HISTORY AND THEORY STUDIES FIRST YEAR Terms 1 and 2 Course Lecturers: CHRISTOPHER PIERCE / BRETT STEELE (Term 1) Course Lecturer: PIER VITTORIO AURELI (Term 2) Course Tutor: MOLLIE CLAYPOOL Teaching Assistants: FABRIZIO BALLABIO SHUMI BOSE POL ESTEVE Course Structure The course runs for 3 hours per week on Tuesday mornings in Terms 1 and 2. There are four parallel seminar sessions. Each seminar session is divided into parts, discussion and submission development. Seminar 10.00-12.00 Mollie Claypool, Fabrizio Ballabio, Shumi Bose and Pol Esteve Lecture 12.00-13.00 Christopher Pierce, Brett Steele and Pier Vittorio Aureli Attendance Attendance is mandatory to both seminars and lectures. We expect students to attend all lectures and seminars. Attendance is tracked to both seminars and lectures and repeated absence has the potential to affect your final mark and the course tutor and undergraduate coordinator will be notified. Marking Marking framework adheres to a High Pass with Distinction, High Pass, Pass, Low Pass, Complete-toPass system. Poor attendance can affect this final mark. Course Materials Readings for each week are provided both online on the course website at aafirstyearhts.wordpress.com and on the course library bookshelf. Students are expected to read each assigned reading every week to be discussed in seminar. The password to access the course readings is “readings”. TERM 1: CANONICAL BUILDINGS, PROJECTS, TEXTS In this first term of...
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...THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S MACBETH LINDA NEAL 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...
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...and finally, relatively low salaries. But these strands lead to new questions, wider causes which have nothing to do with social yarn. These new questions have to do with rhetoric and the enduring association of nursing with “women’s work” and “femininity.” Matthew has the audacity to ask how the rhetoric of femininity actually functions. How and why are we compelled to accept images and tropes as ‘normal’ or ‘natural’ when they are anything but normal and natural? Is it possible that the rhetoric of nursing is responsible for the shortage? Or perhaps it is the rhetoric of femininity and masculinity as such? But how did such a crime take place, right under our noses, when so many of us never noticed that an injustice ever took place? This essay is brilliant and provocative because it will not stop until the crime...
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...Literary Theory and Schools of Criticism Introduction A very basic way of thinking about literary theory is that these ideas act as different lenses critics use to view and talk about art, literature, and even culture. These different lenses allow critics to consider works of art based on certain assumptions within that school of theory. The different lenses also allow critics to focus on particular aspects of a work they consider important. For example, if a critic is working with certain Marxist theories, s/he might focus on how the characters in a story interact based on their economic situation. If a critic is working with post-colonial theories, s/he might consider the same story but look at how characters from colonial powers (Britain, France, and even America) treat characters from, say, Africa or the Caribbean. Hopefully, after reading through and working with the resources in this area of the OWL, literary theory will become a little easier to understand and use. Disclaimer Please note that the schools of literary criticism and their explanations included here are by no means the only ways of distinguishing these separate areas of theory. Indeed, many critics use tools from two or more schools in their work. Some would define differently or greatly expand the (very) general statements given here. Our explanations are meant only as starting places for your own investigation into literary theory. We encourage you to use the list of scholars and works provided for each...
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...COLLECTION DEEP FOCUS CANON FODDER As the sun finally sets on the century of cinema, by what criteria do we determine its masterworks? BY PAU L SC H RA D E R Top guns (and dogs): the #1 The Rules of the Game September-October 2006 FILM COMMENT 33 Sunrise PREFACE THE BOOK I DIDN’T WRITE I n march 2003 i was having dinner in london with Faber and Faber’s editor of film books, Walter Donohue, and several others when the conversation turned to the current state of film criticism and lack of knowledge of film history in general. I remarked on a former assistant who, when told to look up Montgomery Clift, returned some minutes later asking, “Where is that?” I replied that I thought it was in the Hollywood Hills, and he returned to his search engine. Yes, we agreed, there are too many films, too much history, for today’s student to master. “Someone should write a film version of Harold Bloom’s The Western Canon,” a writer from The Independent suggested, and “the person who should write it,” he said, looking at me, “is you.” I looked to Walter, who replied, “If you write it, I’ll publish it.” And the die was cast. Faber offered a contract, and I set to work. Following the Bloom model I decided it should be an elitist canon, not populist, raising the bar so high that only a handful of films would pass over. I proceeded to compile a list of essential films, attempting, as best I could, to separate personal favorites from those movies that artistically...
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...[pic][pic] [pic]Copyright © 2005 West Chester University. All rights reserved. College Literature 32.2 (2005) 103-126 [pic] | |[pic][pic][pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | | | | | | | | | | | | | | | | | |Access provided by Northwestern University Library ...
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...author had quietly disappeared. His book stayed on the bestseller list for thirty weeks, though never above fourth place.' Costing 75?, the Bantam paperback edition appeared in 1964. By 1981, when the same edition went for $2.50, sales still held steady, between twenty and thirty thousand copies per month, about a quarter of a million copies annually. In paperback the novel sold over three million copies between 1953 and 1964, climbed even higher by the 1980s, and continues to attract about as many buyers as it did in 1951. The durabilityof The author appreciates the invitationof Professors Marc Lee Raphaeland Robert A. Gross to present an early version of this essay at the College of William & Mary, and also thanks ProfessorsPaul Boyer and John D. Ibson for their assistance. 1AdamMoss, "Catcher Comes of Age," Esquire, December 1981, p. 57; Jack Salzman, ed., intro. to New Essays on "The Catcher in the Rye" (New York:Cambridge UniversityPress, 1991), pp. 6, 7. 567 568 THE NEW ENGLAND QUARTERLY its appeal is astonishing. The...
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