...Many scholars consider ‘King Lear’ one of Shakespeare’s greatest plays. This is because of its power; it tackles all issues and is still relevant today to the extent that it has been called “Shakespeare’s play for the 20th century”. ‘King Lear’ is cathartic and a discouragingly accurate portrayal of human nature. It shows us altruism, selfishness, love, hate, stupidity and understanding. It questions fate, the gods, our purpose and how, why and what human nature is. It is this, the sheer amount, and power of it’s themes which explains why ‘King Lear’ is held by so many scholars, past and present, in such high regard. However, whether the play the play has an optimistic or pessimistic outlook is a question that has been debated over the centuries. Whether the play is optimistic or pessimistic is of great importance to the meaning of the play as a whole, as the message it conveys hinges on whether the play is hopeful or disparagingly tragic. Is Shakespeare trying to say that life is completely pointless? That we are simply “like flies to wanton boys, they kill us for their sport.” Alternatively, is he trying to show us that there is a point to life; that we must learn, love, and try to live honourably and decently? There are two predominant schools of thought in the dispute over whether the play is optimistic or pessimistic. These are represented both in the play and in the opinions of critics. In general, critics of the late 20th century find the play profoundly pessimistic...
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...------------------------------------------------- Sorry for the Loss How is it possible that a young man who has been an inmate for at least five years, can still have glowing white teeth, glowing skin and a big grin? Why is a knife that has been made to kill and slice been named after an innocent creature such as a butterfly? We have all these weird questions, as to why two very different things, which clearly make up contrasts, are put together. Why is this, really? There are no answers, or in fact there might be all the answers in the world. You decide and you create the truth. In the literature of the 21st century we are allowed to make up our own truths. Bridget Keehan takes us on a journey in Sorry for the Loss where these questions pop up more than once. In the following I will try to make up my own truth to these questions. The plot of the story proceeds chronologically and starts in medias res; this means that we are thrown into the story, with no introduction as to where we are or whom we are going to meet. A third person narrator with a restricted point of view, the narrator is not a participant in the story, tells Sorry for the Loss. A restricted point of view, also called limited omniscient, means that the narrator does not have full access to the thoughts of anybody but the main character, in this case Evie the Catholic chaplain. The restrictive narrator gives no access to the minds of Victor, the young inmate, or the officer. If we knew the thoughts of these...
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...Audrey J. Johnson Shakespeare Prof. Clair Berger William Shakespeare, Timeless Psychologist William Shakespeare (1564-1616) is considered the premiere playwright of the English language. His works have survived the passage of time, been studied by both young students and academic scholars, and produced many phrases still used in modern times. Shakespeare’s impact on English is so prolific, in fact, that many people quote lines without being aware they are using expressions coined by England’s favorite bard. Shakespeare wrote histories based on the British monarchs, light comedies with romantic plots and happy endings, and heavy tragedies with dark plots that ended abruptly and unhappily. The true genius of William Shakespeare, however, is in wordplay and his ability to comprehend the human condition. His works discuss such universal themes as love, ambition, jealousy, anger, despair, grief, and death – emotions common to people in all generations and still relevant today. Love is the first and strongest of human emotions. It is the glue that holds human family and relationship together; it’s the ultimate emotion. Sometimes, however, those who are perfect for one another are unable to see the compatibility of their own union. Well-matched characters Beatrice and Benedick in Much Ado About Nothing need a nudge in the right direction. Beatrice is sharp-tongued and has no intention of marrying because a prior relationship with rapier-witted Benedick has left her...
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...greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet. As quoted in an article,” The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry"”. In the 20th century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance, and is currently an active part of education curriculums. His plays remain highly popular today and are constantly studied, performed and reinterpreted in diverse cultural and political contexts throughout the world. It is safe to say that although Shakespearean plays were set in the Renaissance Era, they are still the epitome of English literature and are revered by theaters, performers and audiences alike due to their remarkable credibility in portraying everlasting political, social and moral issues. http://www.neptunetheatre.com/content/Shakespeare_hat_trick His plays move from romantic to tragic, humorous to serious so much so that he not only caters to all tastes but also all times by portraying the political situation of his times as well as the way of living. Even Romeo and Juliet, considered by many as a die –hard romantic scripture actually highlights political issues. One of the main political aspects of the play was when count Paris uses his political and aristocratic power to threaten Juliet if she did not marry him. The romance provided...
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...While a butterfly is free to spread its beautiful wings, many people suffer in captivity, and can only dream about the world outside. The yearning for freedom is depicted in Bridget Keehan’s short story; ‘Sorry for the Loss’ from 2008, where we meet the chaplain Evie and the young criminal Victor. The story begins when Evie has to tell Victor that his Nan is dead, but the situation turns out different than expected. Evie is a chaplain who has worked in the prison for over a year (p.1 l. 18), but she doesn’t really like being there. The atmosphere in the prison intimidates her and she feels uncomfortable being there because of all the noises. That’s why she treasures whenever the prisoners are out, and she has some quiet time on her own. She is very religious and she likes to use her quiet time to meditate and pray (p.2, l.32). She is a good girl who behaves properly and follows the Bible. Even though the prisoners have done bad things, she is kind to everyone, and tries to understand how the prisoners feel. She even tries to imagine Jesus as being one of the prisoners (p.2, l. 40), and this just shows that she is very good at putting herself in other people’s shoes. In the prison she also helps to run the Enhanced Thinking Skills (p. 3, l.91). She is a kind, genuine person, and she is very nervous when she has to tell Victor that his Nan is dead, because she is scared that he’ll get upset (p. 2, l. 55). Evie is fragile, but she is also a very loving and caring person, and...
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...name is not accidental. Even more than “William Shakespeare play-wright to American school students” the word Shakespeare, has become a trademark representing the culture and values of a nation. I approached this project with the firm belief that teaching Shakespeare to non-white students was harmful to their development. Shakespeare being taught to non-white students is a problem because they are being told that their culture isn’t enough. Is this a message we want to send after the last 40 years of minority groups demanding, and receiving, inclusion into society? Aren’t there any other works that could be substituted for the works of Shakespeare’s? Plenty of good candidates are published every year but they aren’t taken seriously. Why not? One reason is of course the name brand recognition of Shakespeare. He has had 500 years to gain a position in the public eye. Another reason is the many contributions that he has made to the English language. Many of the tried and true turn of phrases used today come from his characters. An additional issue is that Shakespeare and the Bible have been associated so much that his works have taken on a sacred connotation. Just as you don’t change, or substitute, sections of the Bible, adapting Shakespeare’s works isn’t easily done. The attitude that Shakespeare is too precious to be changed, however, ignores the tradition of adapting his works for the stage. Nahum...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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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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...Contemporary Developments in Business and Management Kenneth Fee The University of Sunderland © 2013 The University of Sunderland First published September 2013 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 permission of the copyright owner. While every effort has been made to ensure that references to websites are correct at time of going to press, the world wide web is a constantly changing environment and the University of Sunderland cannot accept any responsibility for any changes to addresses. The University of Sunderland acknowledges product, service and company names referred to in this publication, many of which are trade names, service marks, trademarks or registered trademarks. All materials internally quality assessed by the University of Sunderland and reviewed by academics external to the University. Instructional design and publishing project management by Wordhouse Ltd, Reading, UK. Contents Introduction vii Unit 1 The contemporary world of business and management Introduction 1.1 1.2 The global business environment The importance of developments in the global environment Case Study 1.3 Organisational decision making and performance vii 1 3 10 14 17 19 19 20 Self-assessment questions Feedback on self-assessment questions Summary Unit 2 Globalisation Introduction 2...
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...“Charismatic CEOs and Succession Planning: Not so Charismatic” This article takes a look at CEO succession planning. It essentially focuses on charismatic CEOs and how they chose their successor. This article argues that the approach most charismatic CEOs take is flawed, hence, their successors tend to struggle. Most charismatic CEOs often do not make succession planning a priority until it is too late. In cases where a company puts a process in place, charismatic CEOs tend to be domineering in their choice of a successor. In other cases, charismatic CEOs die on the job, thereby making the transition shaky. Although this article delves into the open literature for insights, it also uses a case study to drive home the point that charismatic CEOs’ approach to succession planning is flawed. The challenges of succession planning are truer today than ever. Indeed, the abrupt departures of two important charismatic CEOs – Charles Prince of Citygroup and Stanley O’Neal of Merrill Lynch – in the aftermath of the 2008 financial crisis, which fetched these firms colossal losses have made scholars to beam their searchlight on this neglected aspect of corporate governance. The nonchalance with the way some CEOs handle the process of succession planning not only puts their companies in jeopardy, but also signposts a major criterion on which outgoing CEOs and their executive board members will be evaluated. Before we proceed, we will issue a caveat: the practice of succession planning...
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...The Illusion of Leadership Directing Creativity in Business and the Arts Piers Ibbotson The Illusion of Leadership This page intentionally left blank The Illusion of Leadership Directing Creativity in Business and the Arts Piers Ibbotson © Piers Ibbotson 2008 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2008 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan®...
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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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...G U I D E T E A C H E R’S A TEACHER’S GUIDE TO TWELVE YEARS A SLAVE BY SOLOMON NORTHUP bY Jeanne M. McGlInn anD JaMes e. McGlInn 2 A Teacher’s Guide to Twelve Years a Slave by Solomon Northup Table of Contents SYNOPSIS......................................................................................................................................3 ABOUT THE AUTHOR...............................................................................................................3 INTRODUCTION TO THE STUDY GUIDE............................................................................3 MEETING COMMON CORE STANDARDS.............................................................3 THE SLAVE NARRATIVE GENRE...............................................................................3 HISTORICAL OVERVIEW..........................................................................................................4 DURING READING.....................................................................................................................6 SYNTHESIZING DISCUSSION QUESTIONS.......................................................................9 ENRICHMENT ACTIVITIES.......................................................................................................9 ACTIVITIES FOR USING THE FILM ADAPTATION........................................................ 11 ADDITIONAL RESOURCES.....................................................................................
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...December 2012. Assuming there are still places available after this date, we expect to have a second deadline for applications of Monday 1 July 2013, with interviews to be held later that month. These dates are designed to acknowledge that some applicants are also pursuing other options for further study, and may need to make decisions early in the academic cycle, while other mature students may prefer to complete a prior course of study in 2012/13, such as the English Department’s Reading English Literature course, before applying to the degree. You are advised to read the information in this pack carefully before completing your application. Please address any questions about the application process or the degree to Gareth Griffith on gareth.griffith@bristol.ac.uk Aims of the course: The undergraduate degree in English Literature and Community Engagement is offered part-time over six years and is taught one evening per week plus occasional Saturdays. It aims to develop a student’s interest in, and knowledge and understanding of, a full range of literature in English. The programme reflects the English Department’s wider commitment to maintaining a balance between established traditions of literary study and the latest developments in the subject. A variety of approaches to literature will be introduced and students will have opportunities to develop skills in reading and in critical writing. The aim is that students should acquire relevant conceptual awareness, and a sense...
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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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