...One would not read Adolf Hitler’s Mein Kampf to learn about Germans’ anti Semitic views in the 20th Century, or to learn about how the Jews “bastardized the white race” (Hitler 56). Surprisingly, Joseph Conrad’s Heart of Darkness is still taught in high schools in 2016 even though the likes of Wilson Follett in 1915 have noted that the novel “Contained an implicit moral injunction to the white man: keep racial purity” (Adelman). Students would learn about the state of colonialist Europe at the end of the 19th Century equally from history books as they do from Conrad’s Heart of Darkness. Until racism is completely eradicated from our society today, it is not acceptable to propagate any form of literature or art which supports it. Similar to sexism, racism is...
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...Deciphering Achebe’s essay The first time I read Chinua Achebe’s “An Image of Africa” I became infuriated with what he had to say about one of my favorite texts. This happened because by way of his approach by simply stating that Western Culture is wired to see certain aspects differently than that of African or Eastern culture. After reading Achebe’s academic essay for the first time my immediate reaction, in his own words, is that “western psychoanalysts must regard the kind of racism displayed by Conrad as absolutely normal” (Achebe 11). I did not want that to be my initial reaction, but why should I argue my side of it if Achebe only believes that I see things this way because of where I was born? According to Chinua Achebe, before I even picked up “An Image Of Africa,” we were never going to see eye to eye on any level of his dissection of the novella Heart of Darkness. My first thought was to not even touch what Achebe had spoke about. To leave it as it was, an unchangeable belief that I would never be able to argue because of his demeanor. A demeanor that shouts, “I’ve felt this way for some time now, and I am finally getting this off my chest.” Someone writing with such conviction is quite hard to argue against. Anyone with a history in debate would know this. I felt as if my conviction was not as high as his over this topic matter, and the only way to argue with someone such as himself is to match his demeanor. Although I felt he was dead wrong with every topic he...
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...The Incandescent Darkness Within Africa Imperialism in Africa was a dark time to say the least. Many novels are set within this time period in history due to its polemic. Things Fall Apart and Heart of Darkness are both set in the era of imperialism; they are constantly read together in order to obtain two different perspectives on imperialism within Africa. Reading the novels one after the other is a practical way to understand the messages each author is trying to convey to their readers. They both complement and enhance each other. Things Fall Apart and Heart of Darkness are two novels from which lucid similarities and differences can be found through the sense of community, the depiction of the Africans, and the vitalness of language found within both. The sense of community is a very important aspect throughout both novels. When the white missionaries start to appear in Things Fall Apart, the Ibo people are confused and reluctant to change. In the village of Mbanta, the first white missionary and his followers start talking about their god and how the gods of the Ibo people cannot harm anyone; a lot of the people listening to these men considered them mad and some of them began to go away (Achebe 146). It is human nature to resist change and hold on to what a person is accustomed to and already knows. The Ibo people were no exception. On the other hand, in Heart of Darkness, the white imperialists felt united only through race. Marlow leaves the first station he goes...
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...Throughout the two novels, Thomas Hardy’s “Tess of the d’Urbervilles” and Joseph Conrad’s “Heart of Darkness,” the common theme of oppression by using psychological methods prevails. Tess’ parents and Alec can control her by leveraging guilt as a way of victimization which ultimately seals her fate. Mr. Kurtz in” Heart of Darkness” takes control over the weaker African natives to force them into submission. Both stories have this underlying theme of power and domination resulting in feelings of slavery and victims of fate. “Tess of the d’Urbervilles” is a tale of the tragic life of Tess that results when she accidentally kills Prince, the family horse. Tess’ parents use the guilt that she feels to exploit her and force her to work for the family. Therefore, she encounters Alec, who ultimately rapes and impregnates Tess. Instead of Alec being condemned for his actions, Tess is publically criticized and cast aside for this act, even though she was the victim. The cruel hand of fate hangs over all the characters and actions of the novel, as Tess’ story is defined by the bad things that happen to her. Thomas Hardy himself, as the author of the book, naturally causes the many unfair coincidences and plot twists that beset Tess, however as the person telling the story, he also manages to appear as her only champion against an unjust world. Tess's difficult situations are described as mere sport for the "President of the People who will never die," which is very...
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...This is because it was something new to periodicals that had never been published or serialised into issues before. As a result, Blackwood’s Magazine brought a shift to the gothic tradition of the eighteenth century in the nineteenth century. Furthermore, it has been argued that the magazine’s gothic works were constructed in a way that suited the style, format and the political ideals of the publication to cater for the newly wider literate audience, but also for the highly educated Tories. However, what needs to be considered is how gothic fiction became successful within a magazine that was politically driven. This popularity could be as a result of the introduction of what is known as the tale of terror. The tale of terror was a new type of fiction that graced the pages of Blackwood from 1818. It was a product of the gothic romances of the late eighteenth century that had proven to translate its popularity within the following century. Among these tales, there was an affiliation with everyday society. Therefore, these gothic tales had the purpose of creeping off the page and into the daily life of the reader, causing a significant impact on the readership and societal structures. This contrasts with the gothic tradition of the eighteenth century as fiction of this kind tended to remove itself from society, making the horror...
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...Before the United States became militarily involved in defending the sovereignty of South Vietnam, it had to, as one historian recently put it, "invent" the country and the political issues at stake there. The Vietnam War was in many ways a wild and terrible work of fiction written by some dangerous and frightening story tellers. First the United States decided what constituted good and evil, right and wrong, civilized and uncivilized, freedom and oppression for Vietnam, according to American standards; then it traveled the long physical distance to Vietnam and attempted to make its own notions about these things clear to the Vietnamese people—ultimately by brute, technological force. For the U.S. military and government, the Vietnam that they had in effect invented became fact. For the soldiers that the government then sent there, however, the facts that their government had created about who was the enemy, what were the issues, and how the war was to be won were quickly overshadowed by a world of uncertainty. Ultimately, trying to stay alive long enough to return home in one piece was the only thing that made any sense to them. As David Halberstam puts it in his novel, One Very Hot Day, the only fact of which an American soldier in Vietnam could be certain was that "yes was no longer yes, no was no longer no, maybe was more certainly maybe." Almost all of the literature on the war, both fictional and nonfictional, makes clear that the only certain thing during the Vietnam War...
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...The Novel Project Your name: Giselle Gonzalez Your Novel: 1984 – George Orwell 1. Explain how the novel represents two or more concerns of its historical time period; these concerns may be economic, political, cultural, social, or moral concerns. Clarify the author’s view on one of the following as s/he presents the concerns: right vs wrong; conservative vs radical, or elite vs commonplace. Orwell published “1984” in 1948 just after the end of World War II. Although at this time, Hitler’s reign was brought to an end, Joseph Stalin, another ruthless leader was still in power. Though they were adversaries during WW II, both men shared acute similarities in their success towards creating a totalitarian government much like the one seen in “Nineteen Eighty-Four.” The ghastly, but impressive ease with which each ruler rose and remained in power is possibly what caused Orwell to focus so heavily on political concerns in his novel. While there are no direct allusions to the Adolf Hitler or Stalin, the political devices used by the Party to control Party members in Oceania are undeniably parallel to the manipulation and brutality that each ruler used to control government. Big Brother for instance, is a fearless leader who is loved by all of the Party members. Though it is never confirmed whether or not he is a real person or just an idea, citizens praise him almost instinctively, posters of him are found in every building, and badmouthing him is not only an act of audacity, but punishable...
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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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...Contents Introduction 3 At the Turn of the Century 4 The 20th Century Literary Background 5 Modernism 6 Poets of the First World War 11 The Interwar Years 13 British Postwar Literature 19 Conclusion 27 References 29 Introduction The 20th century seems to be the most dramatic and unique: it witnessed two world wars and great social, economic and political changes. All this events could not but find their reflection in the arts in general and in the literature in particular. The urgency of the work is determined by the complexity of the period considered and variety of forms and trends which appeared during the century. The object of the project is British literature. The aim of the project is to consider the peculiarities and distinct features of the British literature of the 20th century. In order to gain the project’s aim, during its implementation the following practical issues were studied: - the most distinguished writers of the period; - their contribution to development of the British literature; - key topics. The project’s aim and issues considered predetermined the choice of methods of research. During the project’s implementation the following methods were used: critical survey of the sources on the issue considered, as well as comparison and analysis. Theoretical value of the project is constituted by the analysis of the peculiarities and distinct features of the British literature of the 20th century. Practical value of the project...
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...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. Perfection is not possible Joseph Conrad’s novel Lord Jim is set in the late 1800’s in the Far East. The protagonist, Jim, is a young, idealistic sailor who commits a crime early in the story. Jim is tortured from within with the feeling of worthlessness after this crime, and runs from his past searching for an opportunity to redeem himself after realizing his inner self. In Pride and...
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...UNIT ONE THE GIFT OF THE MAGI By O. Henry I. Introduction O. Henry, whose real name was William Sydney Porter (1867 – 1910), is famous chiefly for his short stories. These stories are usually set amid the poorer working – class life of the cities, the characters being ordinary simple people with their daily living to earn, a life which O.Henry knew well. But the stories are not mere realistic sketches. O. Henry had both the craftsmanship of a writer and the compassion of a man. As a writer he constructs a clever plot with an unforeseen and an unexpected climax suddenly released so that the reader is kept guessing till the last moment what the outcome is to be. As a man he saw the drab surrounding and narrow circumstances which he described, but he lit them with sympathy and humour. Though in most of his stories humour seems to be predominant, yet the sympathy is always there, so the humour is warmed and enriched by its humanity. The story that follows, however, is an example of the reverse process. There are more tears in it than laughter. Yet laughter is implied and one might say that because of it the tears are touched with a more tender compassion. II. Text One dollar and eighty – seven cents. That was all. And sixty cents of it was in pennies. Pennies saved one and two and a time by bulldozing the grocer and the vegetable man and the butcher until one’s cheeks burned with the silent imputation of parsimony that such close dealing implied. Three times Della counted it. One...
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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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...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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... 12/5/03 What Is Imperialism? “Imperialism is the highest stage of capitalism…characterized by monopoly corporations and the compulsion to export capital abroad for higher profits. Unlike capitalism in the earlier stages, in the imperialist stage, capitalism has no more progress to bring the world…the cause of contemporary militarism” – Lenin “The policy, practice, or advocacy of seeking, or acquiescing in, the extension of the control, dominion, or empire of a nation, as by the acquirement of new, esp. distant, territory or dependencies, or by the closer union of parts more or less independent of each other for operations of war, copyright, internal commerce, etc.” – Oxford dictionary The word imperialism derives from “empire.” As such, it is useful to spend a bit of time to define the word. In working towards a minimal definition, Stanford Professor of Archaeology J. Manning in his first lecture on Ancient Empires starts with: “An empire is a territorially extensive hierarchically political organization.” Unfortunately this definition is too vague. All states encountered in human history are by definition hierarchical, and many nations today are vast compared to the empires of the ancient world. Thus, Manning rephrases his definition of empire to be: “A territorially extensive hierarchical political organization involving the rule of one or more groups over other groups of foreigners.” But what causes empire? There are two models...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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