...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 century—History and criticism. 3. Short story. 4. Literary form—History—19th century. I. Title. PR829.K56 2008 ...
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...Turning the Screw: Analysing Douglas’s Tale In this essay I will be exploring the narrative style present in “Turn of the Screw” by Henry James and discussing the character called Douglas as a frame narrator for the governess’s tale. I will explore the reliability of Douglas and his relationship with the governess and look at any bias caused by this relationship. I will be analysing the narrative style of the novella, and discussing how this style contributes to the development of the story. Along with this, I will be comparing “Turn of the Screw” to traditional ghost stories, and discussing whether there are differences between the two. Douglas is presented from the outset of the story as a frame narrator in that he begins his tale by offering to recite a manuscript written by his sister’s former governess, who is a person who Douglas holds in high esteem. This act of recounting another person’s story, or presenting a story within a story, is a clear indication that the type of narrative present in the book is frame narrative (Frame Story - Wikipedia, n.d.). If we look at this fact in terms of the quote presented within the study material, we notice that Douglas places particular emphasis on his story, proclaiming to be “quite too horrible” (pg 1). Due to the fact that Douglas is a frame narrator rather than an omnipresent narrator, he comes complete with a range of human faults, including exaggeration and bias. The introduction of the story adds to this idea, as Douglas betrays...
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...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 century—History and criticism. 3. Short story. 4. Literary form—History—19th century. I. Title. PR829.K56 2008 ...
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...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 century—History and criticism. 3. Short story. 4. Literary form—History—19th century. I. Title. PR829.K56 2008 ...
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...A fairy tale (pronounced /ˈfeəriˌteɪl/) is a type of short story that typically features European folkloric fantasy characters, such as fairies, goblins, elves, trolls, dwarves, giants, mermaids, or gnomes, and usually magic or enchantments. Fairy tales may be distinguished from other folk narratives such as legends (which generally involve belief in the veracity of the events described)[1] and explicitly moral tales, including beast fables. In less technical contexts, the term is also used to describe something blessed with unusual happiness, as in "fairy tale ending" (a happy ending)[2] or "fairy tale romance" (though not all fairy tales end happily). Colloquially, a "fairy tale" or "fairy story" can also mean any farfetched story or tall tale; it's used especially of any story that not only isn't true, but couldn't possibly be true. In cultures where demons and witches are perceived as real, fairy tales may merge into legends, where the narrative is perceived both by teller and hearers as being grounded in historical truth. However, unlike legends and epics, they usually do not contain more than superficial references to religion and actual places, people, and events; they take place once upon a time rather than in actual times.[3] Fairy tales are found in oral and in literary form. The history of the fairy tale is particularly difficult to trace because only the literary forms can survive. Still, the evidence of literary works at least indicates that fairy tales have existed...
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...Cinderella Stories Lesson Plan Sherryl Green Grand Canyon University: RDG:585 October 8, 2012 Lesson Plan Cinderella Stories ABSTRACT In this study of Cinderella Stories, second grade students will use charts and diagrams to discover the similarities and differences among stories. Students will develop writing skills using descriptive language and details. They will strengthen their comprehension skills through the use of magical Cinderella tales from different lands and apply map skills in learning which country each story comes from. These magical tales will help students to develop awareness that different Cinderella tales have much in common. Materials Class comparison Chart Graphic Organizers: Venn Diagram Sequencing Chart Compare and Contrast T-Chart My Favorite Part Handout Book Mark Template World Map Map pins Book collection The Rough-Faced Girl by Rafe Martin A Golden Slipper” A Vietnamese Legend by Darrell H.Y. Yum Chinye: A West African Folk Tale by Obi Onyefulu Yeh-Shen: A Cinderella Story from China by Ai-Ling Louie The Egyptian Cinderella by Shirley Climo The Irish Cinderella by Shirley Climo The Way Meat Loves Salt:A Cinderella Tale from the Jewish Tradition adapted by Jewell Reinhart Coburn The Golden Saddle: A Middle Eastern Cinderella by Rebecca Hickox Mufaro’s Beautiful Daughters by John Steptoe The Irish Cinderlad by Shirley Climo Lesson 1 Key Vocabulary Country — a small part of a continent...
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...Storytelling and Fairy Tales,” Jack Zipes explains: “The memetic crystallization of certain fairy tales as classical does not make them static for they are constantly re-created and re-formed and yet remain memetic because of their relevant articulation of problematic issues in our lives. Fairy tales, like our lives, were born out of conflict […] “Fairy tales were not created or intended for children. Yet they resonate with them, and children recall them as they grow to confront the injustices and contradictions of so-called real worlds” (20). After reading about the changes in fairy tales over time, what do you think these changes in fairy tales reveal in the changing definition of childhood? Do you think...
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...Standard 5.Rl.2 Determine a theme of a story, drama, or poem from details in text, including how characters in a story or drama respond to challenges or how the speaker in a poem reflects upon a topic; summarize the texts. ELA Compare and contrast two or more characters, setting, or events in a story or drama, drawing on specific details in the text (e.g. How characters interact). Content Objective(s) Students will be able to determine the theme, characters, events, and be able to respond to challenge in a fairy tale. Students will be able to compare and contrast the elements of a fairy tale in detail. Language Objective(s) Students will be able to verbally and write the theme of the fairy tale. Also be able to challenge the viewpoints of...
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...The True Demise of Myself Lets take a journey through the mind of a man who is torn between his “id” and “superego.” In the short story “The Tell-Tale Heart,” by Edgar Alan Poe, a man cannot choose between right and wrong. Through the psychological theory I can prove how a man is torn between his “id,” “ego,” and “superego” and to proud to show his true identity of being a psychopath. The man is portrayed as the narrator and has taken on two identities one as a loving and caring man and the other is a psychopath. The “id” will take over his “ego” only to be taken over by his “superego” and eventually taken back over by his “ego.” Our journey starts with the young man, the narrator, telling us his story. The young man is a caretaker of an old man who is really old and has a diseased eye. In “The Tell-Tale Heart” the young man starts out by loving the old man very deeply. He takes care of his every need, until one day “ the old man’s eye fell upon him and his blood ran cold”(Poe 2). The young man then turned to his narcissistic ways and it changed the way he felt about the old man whom “he loved so dearly” (Poe 1). In “ Explanation of: ‘The Tell-Tale Heart’ by Edgar Alan Poe,” which was rewritten by an unknown author, it explains how the narrator is a “paranoid schizophrenic”(pg. 1). The article explains how Edgar Alan Poe was obsessed with “death, madness, and troubled human relationships” (pg. 1). The narrator is definitely a man caught between normality and psychopath. Further...
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...8 SOUTHERN THAILAND FOLK TALES Foreword… It all started a few years ago in a discussion with our English Major Students. We were talking about regional differences; how perceptions of people differ. I explained how people in the north of England view the folks from London and the south, and vice-versa. “It’s the same here in Thailand” one bright student chimed, “the folks in Bangkok and the north think everyone down here in the south are stupid, ignorant and to be viewed with extreme suspicion. But we have a very rich cultural heritage” she went on to explain. “We have history and stories that have been passed from father to son, from mother to daughter, for centuries.” So, it was agreed, the students would mine the Southern Thai Culture for the myths and legends that go to make folk tales. These would be documented and translated into English. This was to be a useful extra-curricular activity in the student’s quest for better English usage and understanding. The project ‘grew like Topsy’ and before long we had plans afoot to publish a small book that could, with a bit of luck, help to narrow the cultural divide between north and south Thailand. And, of course, educate and amuse us poor, ignorant, foreigners! Together with my friend and former colleague, Ajarn Kevin Marshall, we agreed to edit the student’s submissions, bring the often-archaic language up-to-date and inject modern usage and idioms whilst retaining the spirit of the original. It was a big idea but one that...
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...writers. We’ve read and discussed several works from horror authors over the course of the nation’s history, and considered in-depth longer fiction from the 20th Century horror icon Shirley Jackson. We’ve also delved into popular culture, examining comic books and, time permitting, television shows and movies. For this essay, you’ll be asked to pick another horror story (see The Topic section for some ideas) to add to this course’s discussion. In the interest of time, I suggest a short story, but you could read a novel for this project as well. More specifically, your essay should do the following things: (1) Provide your readers unfamiliar with your chosen text some context about the work, including a brief summary of the story. Likely, this would occur in your first support paragraph after your introduction. (2) Review the story. This is your opportunity to argue whether or not the text makes for a “good read.” You may turn to the elements of fiction that we’ve worked on this semester as a way of detailing why you feel the way you do about the book. You might also turn to any reviews or analysis of the tale or its subgenre that you’ve uncovered in your research – and incorporate ideas from these into your own argument. This portion of your essay should be...
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...Jorge Romero British Literature Kinzer September 20 2014 Beowulf Beowulf is the heroic tale of a warrior that goes through the infamous hero cycle throughout his journey. Beowulf fought many monsters to defend his kingdom, contributing to the great tale of the mighty Beowulf. The mighty warrior evolved the moment he stepped into Herot. Beowulf is considered a heavily influenced Anglo-Saxon piece of literature, as well as the main character undergoes the hero cycle. Beowulf has many different Pagan and Christian beliefs that are present throughout the story. Beowulf is an Anglo-Saxon piece of literature in form of poetry considered an epic. For a story to be classified as Anglo-Saxon, a story must follow certain criteria. It must have began as an oral story passed down from generation to generation. To be considered an Anglo-Saxon poem, a story must have a hard beat, heavy alliteration, and next to no rhyming. Beowulf demonstrates all this characteristics fit to be Anglo-Saxon, it also includes multiple caesuras through the story. “Knowing a man had come--and then nothing But war could have followed. It’s breath came first.”, 667-668 and, “Bent back as Beowulf leaned up on one...
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...Beauty and the Beast – Gary Trousdale & Kirkland Wise, 1991 “Follow Me” Literacy Focus: Myths, legends, fables, traditional tales Years 3 – 6 Literacy Plan: Myths, legends, fables, traditional tales Thinking Film Primary 3 weeks Clip context Belle has found her father who went missing after returning from market through the stormy forest at night. He is being kept prisoner in the Beast’s castle. Belle offers to take her father’s place in the Beast’s prison – and despite her father’s protests, the Beast accepts the exchange. On-going: The Thinking Film Working Wall: We recommend that space is provided for a ‘Thinking Film’ Working Wall / display where children can add words, images and thoughts. This will help visual learners to consolidate the Literacy themes covered in this unit. Week by week outline Prior Learning: Identify the elements of a myth, legend, fable or traditional tale. Week 1: Deconstruct the clip to identify the ‘traditional tale’ elements. Week 2: Write descriptive paragraphs based on the film clip. Week 3: Develop own mythical character. Storyboard own traditional tale NB: The ‘MUST, SHOULD, COULD’ CATEGORIES REFER TO THE DIFFICULTY OF THE ACTIVITY (e.g. MUST = easy; SHOULD = medium; COULD = hard) |Objectives |Whole class activities |Differentiated independent or group activities |Plenary / focused questions |Success Criteria...
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...Miller’s prologue and tale?’ This section of the story is crucial for later development of the story and how it concludes. Chaucer, through the narrator of the Miller, describes the character of Absolon proleptically (achieved through language and imagery) and these certain - rather outlandish - qualities also have a part to play later making the tale humorous. However, the description of the character is not significant in the prologue since Absolon is not mentioned explicitly; and reduces the overall importance of Absolon in ‘The Miller’s Tale.’ There are two possible reasons why Absolon was not mentioned in the prologue but both intentional by Chaucer. The Miller does not include Absolon before he telling his story in the prologue. This can be explained in two ways; both very important (especially the first) because it reveals not only the character of the Miller (who is used as a mouthpiece) but of Chaucer’s devices for making this play more realistic. One reason why the Miller omits mention of this character is Chaucer’s use to increase the realism of the tale. The Miller is known to be a man who ‘was of brawn’ and had ‘a werte’ which sprouted ‘a toft of heris’; he later describes Absolon who was ‘smal’ and ‘clippe and shave’. Chaucer makes this a strong contrast. Perhaps it is natural for the Miller not to talk about Absolon: he is not worth mentioning since he is not manly enough. The other reason, this one also increases the realism of the tale, is also important....
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...Canterbury Tales. Anything not completed in class should be finished for HW. Use the links to answer the questions listed below and please PARAPHRASE your answers. Submit electronically to my inbox. 1. Geoffrey Chaucer 1. What kind of writer was he? He’s an English poet. 2. What were the years of his birth and death? 1340-1400 3. Where was he from? London, England 4. What was his “masterpiece”? Canterbury Tales http://www.bartleby.com/65/ch/Chaucer.html 2. What is a pilgrimage? A journey to a holy place. 3. Define prologue. The preface or introduction to a literary work. http://www.webster.com (or other dictionary site) 4. Where is Canterbury? In Kent, England. What famous event happened there? The murder of Archbishop Thomas Becket in 1170. What are the goals of the many people who travel there on pilgrimages? To pray, repent, or to be saved. http://www.nationmaster.com/encyclopedia/Canterbury,-England http://www.canterbury-cathedral.org/history/history.aspx 5. When were The Canterbury Tales written? In what language were they written? The Canterbury Tales was written in the time frame of 1387 to 1400. The Canterbury tales was written in Middle English. * What are they about? Be thorough in your answer. A contest was drawn on everyone to see who could come up with the better story while they are on their way to Canterbury and from Canterbury. * What is a frame tale? A story within a story *...
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