...1. Francis Scott Fitzgerald Francis Scott Fitzgerald (1896 – 1940) was an American author of novels and many short stories. He is worldwide recognized as one of the greatest American writers of the 20th century and the time called the „Jazz Age”. His most famous works are „The Curious Case of Benjamin Button” and „The Great Gatsby” which have been adapted into films. The Great Gatsby has been the basis for many movie adaptations of the same name in 1926, 1949, 1974, 2000, and the latest in 2013. 2. Baz Luhrmann Mark Anthony "Baz" Luhrmann (1962 - ) is an Australian film director, screenwriter and producer. He is best known for directing Strictly Ballroom, Romeo + Juliet, Moulin Rouge, Australia and the newest version of The Great Gatsby released in 2013. 3. „The Great Gatsby” – the plot of the novel The Great Gatsby is an American novel written in 1925 that follows a cast of characters living in the fictional town of West Egg on Long Island in the summer of 1922. The story primarily concerns the young, handsome and mysterious millionaire Jay Gatsby and his unrealistic illusion and passion for the beautiful Daisy Buchanan. Major characters Nick Carraway – a Yale graduate originating from the Midwest, a World War I veteran, and, at the start of the plot, a newly arrived resident of West Egg, who is about 30 years old. He serves as the first-person narrator of the novel. He is Gatsby's next-door neighbour and a bond salesman. He is an easy-going, occasionally...
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...The Great Gatsby contains several topics, each relating to one another in the strangest of ways. The pinnacle of the story is the rich tycoon Jay Gatsby, and his neighbor Nick Carraway, a bonds salesman. Jay is obsessed with Nick’s cousin, Daisy Buchanan, and builds an elaborate mansion in hopes of her leaving her husband Tom. Jay’s obsession consumes him, and he does anything for the woman he can never have. Nick simply moved to West Egg in hopes of achieving the American Dream. He lives in a small cottage among some of the largest houses in the area, which is how he meets Gatsby. When Gatsby discovers that Nick knows Daisy, he uses Nick to his advantage to gain her attention. In the process, Nick becomes infatuated with Jordan Baker. Gatsby...
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...earned a permanent place in American literature. Fitzgerald's novel works on many different levels, giving us unforgettable characters and events on one, as well as referring to the problems of American wealth and spirituality on another. However, what is the main point of the book? And most importantly, what on earth is that mysterious green light? Those questions, as well as many others will be answered in this analysis, which will discuss the underlying meaning and symbolism behind The Great Gatsby. "I didn't call to him, for he gave a sudden intimation that he was content to be alone - he stretched out his arms towards the dark water in a curious way, and, far as I was from him, I could have sworn he was trembling. Involuntarily I glanced seaward - and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock. When I looked once more for Gatsby he had vanished, and I was alone again in the unquiet darkness." (16) So ends the first chapter of The Great Gatsby and brings to our attention the first symbol in this book - that mysterious green light. In our first acquaintance with the light, we see Gatsby reaching out for it, almost, in a way, worshipping it. We find out later that this green light is at the end of Daisy's dock, and is a symbol for Gatsby's dream and the hope for the future. Green is the color of promise, hope, and renewal - so it is fitting that Gatsby's dream of a future with Daisy be represented...
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...that despite the characters status and money there are immoral people in every place throughout the world. When looking at the physical characteristics of the Valley of Ashes and comparing it to the physical characteristics of West Egg a reader might make the generalization that there is abuse going on in the Valley of ashes because of the lack of many and happiness in West Egg because of the flow of money in households. Although once the story progresses further it is shown that abuse and unhappiness are present in both places. Myrtle is from the Valley of Ashes although her husband George is not physically abusive like Tom he is not a “gentleman” and at one point he shows abuse by saying to one of his neighbors “I’ve got my wife locked up in there”(Fitzgerald 136). George does not think anything of his abuse and ill treatment of his wife he just feels that she deserves it and should obey him or be punished. In the same way Tom abuses Daisy in West Egg. There are no scenes of physical violence between Tom and Daisy in this place but there is mental abuse shown through the fact that Daisy knows about Toms affair but doesn’t do anything about it except stay with him. It says, “The telephone rang inside startlingly, as Daisy shook her head decisively at Tom” this is important to show abuse because Daisy never speaks up towards her husband she just lets him...
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...dinner party Nick attends, Tom must excuse himself to answer the phone and Jordan tells Nick that “Tom’s got some woman in New York;” (Fitzgerald 15) Daisy is not in the room when Jordan and Nick have this discussion, and Tom uses the phone in private to keep his affair from his wife while also keeping up with Myrtle. At the first Gatsby party Nick attends, Gatsby must excuse himself right after he introduces himself because “a butler hurried toward him with the information that Chicago was calling him on the wire;” (Fitzgerald 48) usually when an individual says there is someone on the phone, the speaker uses a first or last name, but here Fitzgerald uses the name of a city which creates a mystery around the caller and the business that entails. After Nick attempts to reach Wolfsheim with a letter delivered by the butler, he is upset when “neither a wire nor Mr. Wolfsheim arrived;” (Fitzgerald 165) the letter he sends instead contains vague remarks and excuses as to why he cannot come to Gatsby’s funeral. Fitzgerald implies less than meritorious human interaction occurs over phone calls or letters in these cases because an extramarital affair and shady business deals occur on private connections while avoiding an acquaintance's death...
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...Potter American Studies, English July 22, 2015 The Great Gatsby Essay Just after the World War 1, in the US there had been huge changes that involved all aspects of American life, including a tendency towards materialism, changes in clothing, women getting the right to vote gangster life emerging, parties and dances, and most importantly the American Dream. Fitzgerald’s novel define that American dream changed by time; the first time for European living in America was American dream, and originally any discovery which gave them happiness was American dream, but in the ear of 20s mean for American dream has become perverted into desire for wealth by whatever means; thinking that money will bring happiness. The Great Gatsby, was published in this era; therefore; it gives us a vivid portrayal of that time by demonstrating symbols and character behavior the impossibility of American dream. The characters that Fitzgerald describes in his novel all tie in with many aspect of the 1920s lifestyle. The Jazz Age was a tendency toward materialism, and characters are described in the way that shows materialistic tendency. Callahan says “Critics from several different generations have noted how Fitzgerald used his conflicts to explore the origins and fate of the American dream and the related idea of the nation.” (Callahan). Fitzgerald describes Gatsby, the main character in the novel, as a dream achiever, who is looking for wealth and property even he compare Daisy as...
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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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...Specimen Papers and Mark Schemes for English Literature For first AS Examination in 2009 For first A2 Examination in 2010 Subject Code: 5110 Contents Specimen Papers Assessment Unit AS 2 Assessment Unit A2 1 Resource Booklet Assessment Unit A2 2 1 3 9 15 25 Mark Schemes Assessment Unit AS 2 Assessment Unit A2 1 Assessment Unit A2 2 29 31 61 95 Subject Code QAN QAN 5110 500/2493/0 500/2421/8 A CCEA Publication © 2007 Further copies of this publication may be downloaded from www.ccea.org.uk Specimen Papers 1 2 ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 English Literature Assessment Unit AS 2 assessing The Study of Poetry Written after 1800 and the Study of Prose 1800-1945 SPECIMEN PAPER TIME 2 hours INSTRUCTIONS TO CANDIDATES Write your Centre number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer one question from Section A and one question from Section B. Section A is open book. INFORMATION FOR CANDIDATES The total mark for this paper is 120. All questions carry equal marks, ie 60 marks for each question. Quality of written communication will be assessed in all questions. 3 Section A: The Study of Poetry Written after 1800 Answer one question on your chosen pairing of poets. Heaney: Opened Ground Montague: New Selected Poems 1 John Montague and Seamus Heaney both write about the Irish past. Compare and contrast the two poets’...
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...AS English Language [pic] [pic] [pic] Fiction style models and tasks – 2012/2013 Style Model Workbook Style models are examples of a type of writing used to give you an idea of the features used when adapting a particular style and form. As you will be required to include a fiction and non-fiction annotated style model as part of your coursework folder we have compiled a selection of materials to give you a head start. The two booklets (one fiction, one non-fiction) will contain the type of extracts you should be looking for and the questions that accompany them will help you to annotate the materials appropriately. You will be given some of the extracts to study in class and some to complete as homework tasks. There may be some materials that you haven’t been directed to by your teachers, these will make very good additional preparation and you should look at these in your own time. All the resources, and some additional style models, can be found in the AS Language section of Moodle. AS LANGUAGE COURSEWORK You must keep all work during the production of the coursework in your folder. You will need all drafts and style models for part of your final grade. Criteria • Two pieces of your own writing • Each piece must have a different audience and purpose • You should write with a specific genre in mind • Pieces should be designed with a real publication in mind • Two...
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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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...Effective Executive Managing for Results The Practice of Management Concept of the Corporation ECONOMICS, POLITICS, SOCIETY Post-Capitalist Society Drucker on Asia The Ecological Revolution The New Realities Toward the Next Economics The Pension Fund Revolution Men, Ideas, and Politics The Age of Discontinuity Landmarks of Tomorrow America’s Next Twenty Years The New Society The Future of Industrial Man The End of Economic Man AUTOGRAPHY Adventures of a Bystander FICTION The Temptation to Do Good The Last of all Possible Worlds --------------------------------------------------------------------------- A DF Books NERDs Release THE ESSENTIAL DRUCKER. Copyright © 2001 Peter F. Drucker. All rights reserved under international and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable license to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of PerfectBound™. PerfectBound™ and the PerfectBound™ logo are trademarks of HarperCollins Publishers Mobipocket Reader edition v 1. May 2001 ISBN: 0-0607-7132-1 Print...
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...Getting the Love You Want By: Harville Hendrix ISBN: 0805068953 A Guide for Couples See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO UBERMORGEN.COM ALESSANDRO LUDOVICO paolocirio.net ubermorgen.com neural.it Page 1 Page 2 Page 3 I THE MYSTERY OF ATTRACTION The type of human being we prefer reveals the contours of our heart. -ORTEGA Y GASSET WHEN C o u P L E S COME to me for marital therapy, I usually ask them how they met. Maggie and Victor, a couple in their mid-fifties who were contemplating divorce after twenty-nine years of marriage, told me this story: "We met in graduate school," Maggie recalled. "We were renting rooms in a big house with a shared kitchen. I was cooking breakfast when I looked up and saw this man-Victor- walk into the room. I had the strangest reaction. My legs wanted to carry me to him, but my head was telling me to stay away. The feelings were so strong that I felt faint and had to sit down." Once Maggie recovered from shock, she introduced herself to Victor, and the two of them spent half the morning talking. "That was it," said Victor. "We were together every possible moment for the next two months, and then we eloped." Page 4 q Getting the Love You Want "If those had been more sexually liberated times," added Maggie, "I'm sure we would have been lovers from that very first week. I've never felt so intensely about anyone in my entire life." Not all first encounters...
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...Media History Contents 1 Introduction 1.1 Mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.1 1.1.2 1.1.3 1.1.4 1.1.5 1.1.6 1.1.7 1.1.8 1.1.9 Issues with definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Forms of mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Purposes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Professions involving mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Influence and sociology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ethical issues and criticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 1 2 6 6 7 8 10 10 10 10 11 11 12 12 12 12 16 16 17 17 17 17 17 17 18 19 20 21 21 21 1.1.10 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.11 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.12 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.13 External links . . . . . . . . ....
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...Management Revised Edition Peter F. Drucker with Joseph A. Maciariello Contents Introduction to the Revised Edition of Management: Tasks, Responsibilities, Practices Preface 1 2 3 Part I 4 5 6 7 Part II 8 9 10 11 Part III 12 Introduction: Management and Managers Defined Management as a Social Function and Liberal Art The Dimensions of Management Management’s New Realities Knowledge Is All New Demographics The Future of the Corporation and the Way Ahead Management’s New Paradigm Business Performance The Theory of the Business The Purpose and Objectives of a Business Making the Future Today Strategic Planning: The Entrepreneurial Skill Performance in Service Institutions Managing Service Institutions in the Society of Organizations vii xxiii 1 18 26 35 37 45 51 65 83 85 97 113 122 129 131 iv Contents 13 14 15 16 Part IV 17 18 19 Part V 20 21 What Successful and Performing Nonprofits Are Teaching Business The Accountable School Rethinking “Reinventing Government” Entrepreneurship in the Public-Service Institution Productive Work and Achieving Worker Making Work Productive and the Worker Achieving Managing the Work and Worker in Manual Work Managing the Work and Worker in Knowledge Work Social Impacts and Social Responsibilities Social Impacts and Social Responsibilities The New Pluralism: How to Balance the Special Purpose of the Institution with the Common Good The Manager’s Work and Jobs Why Managers? Design and Content of Managerial Jobs Developing...
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...The New Astrology by SUZANNE WHITE Copyright © 1986 Suzanne White. All rights reserved. 2 Dedication book is dedicated to my mother, Elva Louise McMullen Hoskins, who is gone from this world, but who would have been happy to share this page with my courageous kids, April Daisy White and Autumn Lee White; my brothers, George, Peter and John Hoskins; my niece Pamela Potenza; and my loyal friends Kitti Weissberger, Val Paul Pierotti, Stan Albro, Nathaniel Webster, Jean Valère Pignal, Roselyne Viéllard, Michael Armani, Joseph Stoddart, Couquite Hoffenberg, Jean Louis Besson, Mary Lee Castellani, Paula Alba, Marguerite and Paulette Ratier, Ted and Joan Zimmermann, Scott Weiss, Miekle Blossom, Ina Dellera, Gloria Jones, Marina Vann, Richard and Shiela Lukins, Tony Lees-Johnson, Jane Russell, Jerry and Barbara Littlefield, Michele and Mark Princi, Molly Friedrich, Consuelo and Dick Baehr, Linda Grey, Clarissa and Ed Watson, Francine and John Pascal, Johnny Romero, Lawrence Grant, Irma Kurtz, Gene Dye, Phyllis and Dan Elstein, Richard Klein, Irma Pride Home, Sally Helgesen, Sylvie de la Rochefoucauld, Ann Kennerly, David Barclay, John Laupheimer, Yvon Lebihan, Bernard Aubin, Dédé Laqua, Wolfgang Paul, Maria José Desa, Juliette Boisriveaud, Anne Lavaur, and all the others who so dauntlessly stuck by me when I was at my baldest and most afraid. Thanks, of course, to my loving doctors: James Gaston, Richard Cooper, Yves Decroix, Jean-Claude Durand, Michel Soussaline and...
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