...30 Jun 2013 The beginning of American literature was when the Puritans came to America. Most of the literature was written on their involvement with the Native Americans and how the settlers worked the new found land. Then the literature works changed to Neoclassical writing and the Age of Enlightenment. Then writing changed to Transcendentalism and Romanticism. This paper will discuss the evolution of writing from weeks 9-weeks 14, differences between Transcendentalism and Romanticism and some of the themes discussed. “Transcendentalism and Romanticism were two literary movements that occurred in America during roughly the same time period (1840—1860). Even though the two have surface similarities, such as their reverence for Nature; however their founding beliefs were quite different. One of the huge differences is their views of God and God’s role in the lives of people. Transcendentalism was set mainly on the proposal that God is an inner might and that, as His creations, each person and everything have within them this divine spark. Furthermore Transcendentalism draws inspiration from the beyond or external to the human perspective even beyond reasoning and normal traditions. Romanticism, then again, had somewhat less to do with God. God, when mentioned, was seen as an external force as opposed to a divine spark contained in human nature. Romanticism was concerned with the grotesque as well as the sublime, and literary works of this genre are often concerned with the...
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...words in a period of up to four hours CA task: Explore the ways sympathy and dislike of ‘Curley’s Wife’ is created in ‘Of Mice and Men.’ CA = Week starting 20 October 2014 (All 4 lessons this week) (Possibility of starting one lesson early at the end of week 6). Level or Grade A*-C Differentiate appropriately for the group that you teach and for individuals within that group th Length 7 weeks (To include CA) Learning objectives AO3 (See mark scheme for band descriptors) Interpretations of texts/understanding significant meanings of the text Engagement with writer’s ideas and attitudes Interpretation of ideas supported with evidence Understanding of features of language and structure Learning outcomes Close analysis of text extracts leading to development of reading skills Consideration of context and writer’s intentions/themes and ideas Speaking and Listening to show understanding of issues and empathy with character Writing a draft essay and set targets for the assessment Produce an analytical essay for CA (New Acronym = SMILE (Structure, Meanings, Ideas, Language, Evidence) Prior knowledge (Enter pre-requisite knowledge and skills.) Analytical essay – Year 9 KS3 reading skills National Framework for Secondary English Strands National Framework for Secondary English – Strands 5 Reading for meaning 5.2 Understanding and responding to ideas, views, themes and purposes 6 Understanding the author’s craft 6.1 Relating texts to the social, historical and cultural...
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...There is no single explanation or all-encompassing theory that explains how adults learn. The adult learning process is complex, context bound, and highly personal. As a result, there is no single theory of learning that can be applied to all adults. Instead, the literature of the past century has yielded a variety of models, sets of assumptions and principles, theories, and explanations that make up the adult learning knowledge base. The more adult educators are familiar with this knowledge base, the more effective their practice can be, and the more responsive it can be to the needs of adult learners. This fact sheet reviews three major theories and discusses their implications for practice. What is Andragogy? In attempting to document differences between the ways adults and children learn, Malcolm Knowles (1980) popularized the concept of andragogy (“the art and science of helping adults learn”), contrasting it with pedagogy (“the art and science of teaching children”). He posited a set of assumptions about adult learners, namely, that the adult learner • Moves from dependency to increasing self-directedness as he/she matures and can direct his/her own learning; • Draws on his/her accumulated reservoir of life experiences to aid learning; • Is ready to learn when he/she assumes new social or life roles; • Is problem-centered and wants to apply new learning immediately; and • Is motivated to learn from internal, rather than external, factors. Inherent in these assumptions are...
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...Referring to the above Butt et al, 2003: 182 adds that ‘The relation between context and meanings is dynamic and reversible.’ The following is a complement of analysis already provided in sections: 3, 4, 5 and 6 of this assignment. 7.1 Register analysis: Field, Tenor and Mode Register is ‘the configuration of semantic resources that the member of a culture typically associates with a situation type’ (Halliday, 1978: 111). The story originates from America and it is reported by British press to the British audience. However, the cultural and the social understanding of the account of events is in this case the same. Register Daily Mail Text Daily Express Text Field The field of discourse is realised by the representational function of the experiential meanings of language that allows us to convey picture of our reality and encode meanings of...
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...RESEARCH and WRITING CUSTOM EDITION Taken from: Writing Research Papers: A Complete Guide, Eleventh Edition by James D. Lester and James D. Lester, Jr. To the Point: Reading and Writing Short Arguments by Gilbert H. Muller and Harvey S. Wiener ISBN 0-558-55519-5 Research and Writing, Custom Edition. Published by Pearson Custom Publishing. Copyright © 2006 by Pearson Custom Publishing. Taken from: Writing Research Papers: A Complete Guide, Eleventh Edition by James D. Lester and James D. Lester, Jr. Copyright © 2005 by Pearson Education, Inc. Published by Pearson Longman, Inc. New York, New York 10036 To the Point: Reading and Writing Short Arguments by Gilbert H. Muller and Harvey S. Wiener Copyright © 2005 by Pearson Education, Inc. Published by Pearson Longman, Inc. Copyright © 2006 by Pearson Custom Publishing All rights reserved. Permission in writing must be obtained from the publisher before any part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system. All trademarks, service marks, registered trademarks, and registered service marks are the property of their respective owners and are used herein for identification purposes only. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 ISBN 0-536-97722-4 2005240359 AP Please visit our web site at www.pearsoncustom.com ISBN 0-558-55519-5 PEARSON CUSTOM PUBLISHING ...
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...Copyright © 2013 by McGraw-Hill Education. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. ISBN: 978-0-07-180360-1 MHID: 0-07-180360-2 The material in this eBook also appears in the print version of this title: ISBN: 978-0-07-180359-5, MHID: 0-07180359-9. E-book conversion by Codemantra Version 1.0 All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill Education eBooks are available at special quantity discounts to use as premiums and sales promotions or for use in corporate training programs. To contact a representative please visit the Contact Us page at www.mhprofessional.com. Trademarks: McGraw-Hill Education, the McGraw-Hill Education logo, 5 Steps to a 5 and related trade dress are trademarks or registered trademarks of McGraw-Hill Education and/or its affiliates in the United States and other countries and may not be used without written permission. All other trademarks are the property...
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...re tu ra li CAPE Modern te ng Languages Literatures nE e siniEnglish ur e at l er g it En sin ur e at er it L Caribbean Examinations Council ® SYLLABUS SPECIMEN PAPER CSEC® SYLLABUS,MARK SCHEME SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures...
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...English-E11-12 7/27/07 2:24 PM Page 1 Ministry of Education The Ontario Curriculum Grades 11 and 12 English Printed on recycled paper 07-003 ISBN 978-1-4249-4741-6 (Print) ISBN 978-1-4249-4742-3 (PDF) ISBN 978-1-4249-4743-0 (TXT) © Queen’s Printer for Ontario, 2007 2007 REVISED CONTENTS INTRODUCTION 3 Secondary Schools for the Twenty-first Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Importance of Literacy, Language, and the English Curriculum . . . . . . . . . . . . . . . . . . . Principles Underlying the English Curriculum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roles and Responsibilities in English Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . THE PROGRAM IN ENGLISH 3 3 4 5 9 Overview of the Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Curriculum Expectations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Strands in the English Curriculum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 ASSESSMENT AND EVALUATION OF STUDENT ACHIEVEMENT Basic Considerations . . . . . . . . . . . ....
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...voices of the political and gender struggle tends to suppress women’s perspectives, consequently inhibiting a gender-inclusive imagining of the nation. This article argues that discourses about gender struggle in Zimbabwe’s post-2000 crisis have not sufficiently addressed the question of space; that is, the significance of the oppressed women’s physical and social space in shaping their grievances and imaginings of exit routes. Similarly, the article argues that representations of this historic period in literary fiction have accentuated the wider political and economic struggles at the expense of other (especially gender) struggles, thereby rendering them inconsequential. Using two short stories by Valerie Tagwira (“Mainini Grace’s Promise” and “The Journey”), the article explores the stories’ focalization of gender-entangled women in an urban space to understand the literary evocation of the condition of women caught up in a crisis in urban settings. INTRODUCTION The Organization for Social Science Research in Eastern and...
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...teaching note, because doing so puts the instructor in the center of the learning, and leads to frustrated students. Cases should satisfy professors and students as well as the businesses, organizations, and people featured in the cases. Although these interests might appear in conflict, a case that is written with fairness and intelligence will ultimately receive the respect of all parties. The best cases have several structural characteristics in common including a protagonist, specific time frame, and use of past tense. An author who becomes experienced in case writing may deviate from this pattern, but doing so may result in an inferior case. The structure is discussed more fully below, but in general each case opens with a well-crafted story that establishes the problem and the context, as well as the protagonist. It is essential that the case “hook” the student in the introduction. One of the critical responsibilities of the case writer is to make the case and the protagonist interesting and...
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...Instructor’s Manual to Accompany The Longman Writer Rhetoric, Reader, Handbook Fifth Edition and The Longman Writer Rhetoric and Reader Fifth Edition Brief Edition Judith Nadell Linda McMeniman Rowan University John Langan Atlantic Cape Community College Prepared by: Eliza A. Comodromos Rutgers, The State University of New Jersey New York San Francisco Boston London Toronto Sydney Tokyo Singapore Madrid Mexico City Munich Paris Cape Town Hong Kong Montreal NOTE REGARDING WEBSITES AND PASSWORDS: If you need a password to access instructor supplements on a Longman book-specific website, please use the following information: Username: Password: awlbook adopt Senior Acquisitions Editor: Joseph Opiela Senior Supplements Editor: Donna Campion Electronic Page Makeup: Big Color Systems, Inc. Instructor’s Manual to accompany The Longman Writer: Rhetoric, Reader, Handbook, 5e and The Longman Writer: Rhetoric and Reader, Brief Edition, 5e, by Nadell/McMeniman/Langan and Comodromos Copyright ©2003 Pearson Education, Inc. All rights reserved. Printed in the United States of America. Instructors may reproduce portions of this book for classroom use only. All other reproductions are strictly prohibited without prior permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. Please visit our website at: http://www.ablongman.com ISBN: 0-321-13157-6 1 2 3 4 5 6 7 8 9 10 - D O H - 05 04 03 02 CONTENTS ...
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...assignment, you suddenly develop an enormous desire to straighten your books, water your plants, or sharpen your pencils for the fifth time. If this situation sounds familiar, you may find it reassuring to know that many professionals undergo these same strange compulsions before they begin writing. Jean Kerr, author of Please Don’t Eat the Daisies, admits that she often finds herself in the kitchen reading soup-can labels—or anything—in order to prolong the moments before taking pen in hand. John C. Calhoun, vice president under Andrew Jackson, insisted he had to plow his fields before he could write, and Joseph Conrad, author of Lord Jim and other novels, is said to have cried on occasion from the sheer dread of sitting down to compose his stories. To spare you as much hand-wringing as possible, this chapter presents some practical suggestions on how to begin writing your short essay. Although all writers must find the methods that work best for them, you may find some of the following ideas helpful. But no matter how you actually begin putting words on paper, it is absolutely essential to maintain two basic ideas concerning your writing task. Before you write a single sentence, you should always remind yourself that 1. You have some valuable ideas to tell your reader, and 2. More than anything, you want to communicate those ideas to your reader. These reminders may seem obvious to you, but without a solid commitment to your own opinions as well as to your reader, your prose will...
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...Analyzing and Interpreting Literature 2012 Examination Guide These materials are owned and copyrighted by the College Board. They may not be posted on the Internet or on any other public document sharing site. The materials in these files are intended for PERSONAL USE ONLY. Violations of this policy may be subject to legal action including, but not limited to, payment for each guide that is disseminated unlawfully and associated damages. V isit our website at w ww.collegeboard.org/clep f or the most up-to-date information. © 2011 The College Board. College Board, CLEP, College-Level Examination Program, SAT and the acorn logo are registered trademarks of the College Board. inspiring minds is a trademark owned by the College Board. All other products and services may be trademarks of their respective owners. Visit the College Board on the Web: www.collegeboard.org. Introduction This is the only official guide to the 33 College-Level Examination Program® (CLEP®) exams. CLEP exams are administered on computer test centers across the country. This Guide has been written mainly for adults who are making plans to enroll in college, but it contains information of interest to others as well. College-bound high school students, current college students, military personnel, professionals seeking certification and persons of all ages who have learned or wish to learn college-level material outside the college classroom will find the Guide helpful as they strive...
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...Guide to Managerial Communication Effective Business Writing and Speaking This page intentionally left blank Prentice Hall “Guide To” Series in Business Communication Guide to Managerial Communication Effective Business Writing and Speaking Ninth Edition Mary Munter Tuck School of Business Dartmouth College Prentice Hall Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Library of Congress Cataloging-in-Publication Data Catalogue in Publication data available from the Library of Congress Editorial Director: Sally Yagan Editor in Chief: Eric Svendsen Acquisitions Editor: James Heine Director of Editorial Services: Ashley Santora Editorial Project Manager: Karin Williams Director of Marketing: Patrice Lumumba Jones Marketing Manager: Nikki Ayana Jones Marketing Assistant: Ian Gold Managing Editor: Central Publishing Project Manager: Debbie Ryan Production Project Manager: Clara Bartunek Creative Director: Jayne Conte Cover Designer: Karen Salzbach Cover Art: Getty Images, Inc. Media Editor: Denise Vaughn Media Project Manager: Lisa Rinaldi Full-Service Project Management: Aparna Yellai/PreMediaGlobal Composition: PreMediaGlobal Printer/Binder: Edwards Brothers Annex Cover Printer: Lehigh Phoenix Color Text Font: 10.5/12 Times New Roman Credits...
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...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...
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