...hunting in packs to a hippo befriending a tortoise. The pull of companionship affects humans just like other animals, and this longing to be anything but alone is the subject of many literary works. In Of Mice and Men, John Steinbeck portrays the need for companionship using character interactions, characters, and the setting. First, using character interactions, John Steinbeck expertly displays the need for companionship in his novel Of Mice and Men. One way Steinbeck does this is through character dialogue. Early in the story, George refuses Lennie's proposal to abandon George and "go off in the hills an' find a cave" (Steinbeck 12). This passage suggests...
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...The issue of sexism was very present in the 1930s compared to how it is now. Steinbeck’s use of the character of Curley’s Wife is the only female character in the novella. Steinbeck uses different methods to diminish the importance of Curley’s wife Steinbeck never gives Curley’s Wife a name. This is done to show that she does not have any identity or position on the ranch. As Curley’s Wife is a representation of all women in the 1930s I feel Steinbeck uses her to show that she does not have any identity or position on the ranch. As Curley’s Wife is a representation of all women in the 1930s I feel Steinbeck uses her to show that most women back then had no identity or position in the working world. Steinbeck uses methods of introduction to show the reader the hardships of women in the 1930s. Steinbeck never introduces Curley’s Wife throughout the novella. I feel Steinbeck does this to show that although to the reader she is an important character, she is insignificant in the 1930s society. However Curley’s wife upon meeting George and Lennie never introduces herself. This shows that the character herself feels insignificant in society. She feels that she is unwanted and no one cares for her so no one would need to know her name. Curely’s Wife is also only introduced to other people as “Curley’s Wife”, I think that Steinbeck does this to show that Curley, her husband, is in possession of her, like so many other women in 1930 in other situations. No characters...
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...WHAT DOES STEINBECK WANT HIS READERS TO LEARN ABOUT HUMAN NATURE FROM STUDYING THE RELATIONSHIP BETWEEN GEORGE AND LENNIE? In the novella ‘Of Mice and Men’ Steinbeck repeatedly explores the theme of loneliness which plagued many people during the hardship of 1930s America. George and Lennie shed a great amount of light onto the intricacies of human nature through the complex relationship they share and Steinbeck uses this to convey to the reader the importance of friendship, loyalty and trust. George and Lennie are designed by Steinbeck to function as two halves of the same person, they are both complementary and contrasting but when combined form an individual greater than either could be alone. The two men are direct opposites of one another; George is slight and ‘defined’ with ‘restless eyes’ which glow with intelligence and focus whilst Lennie is ‘shapeless’ and his ‘pale eyes’ are filled with a lethargic apathy. Steinbeck forms this unlikely pair to convey to the reader the fact that no one person is ever fully complete, George relies on the physical might of Lennie for protection whilst he guides the larger man with his wily intellect. It is the disparity between the two men which provides the basis for dynamic bond they possess. The two men remain firm friends despite their differences in character and the resulting friction which often leads to the pair being at odds with one another. Lennie’s limited mental capacity is a source of much frustration for George as...
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...The classic novel Of Mice and Men by John Steinbeck uses the motif of animals throughout the story to express many juxtaposed ideas. In the book, two men named George and Lennie work on a farm in which they must overcome certain challenges in order to try to achieve their dream. Many animals are used to provide foreshadowing and understanding about what is going on in the text. Dogs are used to display loyalty while wolves portray wildness. Rabbits represent future dreams while mice represent present realities. Even though the animals express differences, they all come together to support the major theme that man has superiority over nature. The beginning of the story starts out with vivid imagery of the Salinas river and a description of...
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...Relationships come down to two critical things; loyalty and sacrifice. Good relationships last forever and are supportive, such as Lennie and George. They would sacrifice anything, so they can make each other happy. On the other hand, bad relations are created when people are sneaky and selfish, like Curley and his wife. They made bad decisions and are unsympathetic towards each other, which is the opposite of what a loving married couple should do. Being loyal and not putting yourself first is hard, especially as a ranch worker in the book Of Mice and Men. This book takes place in California during the Great Depression. Throughout the book, they show the many problems that workers in general have to face. They also portray the idea of the...
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...No one has ever said life is perfect; there is a reason for that, life gives you challenges all the time some last forever and some do not. In Steinbeck's Of Mice and Men, Lennie, George and Crooks are presented with various obstacles. Lennie’s, George’s, and Crooks's life obstacles reflect and influence their roles in the novel. Lennie’s obstacle in life is his mental disability, this influences who he is in the novel because he does not have what post people consider common sense. When George tells Lennie to go jump into the lake as a prank, Lennie does as George says not remembering he cannot swim. Once he jumps in and starts to drown George has to jump in the lake to save him, this shows Lennie’s lack of common sense because he does...
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..."Of Mice and Men" is a book about two men and their struggle to achieve their dream of owning a small ranch through their companionship. The two men are completely different, one being a retarded fellow (Lennie), and the other, a typical ranch hand(George) who travels with him. On the path to achieving their dream, they run into obstacles, but stick together, stressing the importance of true friendship. Steinbeck wrote this book to tell us how important it is to have a friend to share your life with. The book starts off set in Soledad, which, when translated into English means "lonely". But when Lennie and George are together, they are anything but lonely. They share a friendship so great that if either person dies, or both are separated, the other could not survive. Steinbeck shows us that their friendship is a true one, where they share their lives together, benefiting from each other’s company. “Guys like us that work on ranches are the loneliest guys in the world. They got no family. They don’t belong no place. They come to a ranch an’ work up a stake and then they go inta town and blow their stake, and the first thing you know they’re poundin’ their tail on some other ranch. They ain’t got nothing to look ahead to… With us it ain’t like that. We got a future. We got somebody to talk to that gives a damn about us. We don’t have to sit in no bar room blowin’ in our jack jus’ because we got no place else to go. If them other guys gets in jail they can rot for all anybody...
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...there a proper time to shoot one's best friend, even if it is the right thing to do? In Of Mice and Men shows loyalty, obligation, and love. George wouldn’t allow the others to shoot Lennie, even when Lennie killed many animals including Candy's dog. Does he mean to? But George's love for Lennie made him have to do the right thing and let George die happy, in the place where his memory of the dream farm. So was George doing right? In the novel George went from being Lennie’s caretaker, to have to kill Lennie the right way. So George went from being loyal to being obligated. In the beginning of the book George was loyal to Lennie, and still is through most of the story. Lennie said, “I thought you was mad at me, George.” “No” said George “no Lennie, I ain’t mad. I never been mad, and I ain’t now. That’s a thing I want you to know” (Steinbeck 106). This...
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...Last Name 1 Student Name Mr. Patterson Acc. English III 24 May 2010 Barriers Influencing American Dreams Do obstacles in one’s life change one’s aspirations? If something hard or even Winston Patterson 5/17/10 9:49 PM Comment: TITLE SHOULD REFLECT OVERALL THEME OF ESSAYß Winston Patterson 5/17/10 9:35 PM Comment: Attention Getter unexpected occurs, does one turn his or her back on all that has been worked for? In an American society, there is an idea of a dream. Most people have dreams that differ from one another. Dreams are not limited only to society. Countless numbers of times in American literature, there are moments when an obstacle slows or possibly halts progression. Dreams can also be found in American literature; however, like the reality of society, barriers can be a component of having aspirations. Barriers create obstacles, whether emotional or physical, that make achieving a dream difficult or even appear to be impossible. In American literature dreams seem to be unattainable because of barriers. In all the years of literature, dreams, goals, and aspirations come in contact Winston Patterson 5/17/10 9:35 PM Comment: Broad Topic Winston Patterson 5/17/10 9:35 PM Comment: Narrow Topic Winston Patterson 5/17/10 9:36 PM Comment: Thesis Statement Winston Patterson 5/17/10 9:36 PM Comment: Clincher Sentence with a conflict. In F. Scott Fitzgerald’s The Great Gatsby, Jay Gatsby has a dream to be ...
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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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...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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...35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 Carl and the Passions changed band name to what How many rings on the Olympic flag What colour is vermilion a shade of King Zog ruled which country What colour is Spock's blood Where in your body is your patella Where can you find London bridge today What spirit is mixed with ginger beer in a Moscow mule Who was the first man in space What would you do with a Yashmak Who betrayed Jesus to the Romans Which animal lays eggs On television what was Flipper Who's band was The Quarrymen Which was the most successful Grand National horse Who starred as the Six Million Dollar Man In the song Waltzing Matilda - What is a Jumbuck Who was Dan Dare's greatest enemy in the Eagle What is Dick Grayson better known as What was given on the fourth day of Christmas What was Skippy ( on TV ) What does a funambulist do What is the name of Dennis the Menace's dog What are bactrians and dromedaries Who played The Fugitive Who was the King of Swing Who was the first man to fly across the channel Who starred as Rocky Balboa In which war was the charge of the Light Brigade Who invented the television Who would use a mashie niblick In the song who killed Cock Robin What do deciduous trees do In golf what name is given to the No 3 wood If you has caries who would you consult What other name is Mellor’s famously known by What did Jack Horner pull from his pie How many feet in a fathom which film had song Springtime for Hitler Name the legless fighter pilot of...
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...Writing Sentences and Paragraphs Preview Preview In this study unit, you’ll take all the information and skills you’ve acquired so far and use them to practice writing complete, correct sentences and well-organized, coherent paragraphs. You have the tools—the parts of speech; correct spelling, punctuation, and capitalization; and good grammar— to construct and use a variety of sentence types. You’ve studied the uses of modifiers, tone, and form, so you can reach the people you’re addressing. You’ve also learned to write to your audience, whether you’re sending out a basic business letter, convincing a group to accept your recommendations, or presenting a research report. Now we’ll begin to put it all together. By learning how to express yourself in correct sentences and to recognize common errors, your basic communications skills will significantly improve. By learning to focus on your topic, organize your ideas, use transitions, and write an effective conclusion, you’ll write consistently stronger paragraphs, letters, essays, and reports. This, in turn, will increase your professionalism and open doors to future success. When you complete this study unit, you’ll be able to • Compose sentences correctly • Use various sentence structures and types • Recognize and correct fragments and run-on sentences • Construct unified, coherent paragraphs • Connect paragraphs to build a well-organized, logical document iii Writing...
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...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 be lifeless and boring. If you don’t care about your subject, you can’t very well expect anyone else to. Have confidence that your ideas are worthwhile and that your reader genuinely...
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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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