...English: GCSE Controlled Assessment – Of Mice and Men Heroes and Villains: Explore the ways Sympathy and/or Dislike of a character is created in Of Mice and Men. Even before plunging into profound depths of Steinbeck’s Of Mice and Men, it is unequivocal that the novel is a microcosm of American life in the 1930s. As a result of the Great Depression, the setting is abundant with hardships which immensely mould the reader’s ambivalent feelings towards the most dominant female character in this book: Curley’s Wife. Steinbeck’s depiction of this flirtacious but “lonely” temptress has the reader leaping from heartbreaking sympathy to nurturing an intense abhorrence for Curley’s Wife. In the very first few moments that the novel introduces Curley’s Wife, she is immediatley condemned to the reader’s dislike because the author depicts her character as a threat to not just George and Lennie, but their aspirations to “live off the fatta the land”. The author intends to establish Curley’s Wife by labelling her to be an ominous threat from the very beginning as “the rectangle of sunshine was cut off” by her mere first appearance. Steinbeck’s particular use of the word “sunshine” is symbolic of hope which is derived from the main theme in this novel – the American Dream, or rather a paradise that has resulted in false hope flourishing in their hearts. This is in correlation to the “sunshine” which is evidently referring to George and Lennie’s vision of owning a farm. Furthermore, the...
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...Year group: Title Extended Reading Language Unit 3 A Of Mice and Men 10 Unit description Candidates must make reference to the whole text. Tier ( Higher) Candidates must produce work totalling about 1200 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...
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...John Steinbeck Research Paper: Final Draft John Steinbeck is regarded as the “quintessential American writer.” He created many works of literature that “evoke life in the 20th century with compassion and lyrical precision” (Li). John Steinbeck’s most popular works such as Of Mice and Men (1937) and The Grapes of Wrath (1939) explore the darker side of life in America for farm laborers. Though these works were considered highly controversial, they gained him major recognition. Of Mice and Men was adapted as a play in 1938 and was declared the best play by New York Drama Critics’ Circle. He went on to receive the Pulitzer Prize for Fiction in 1940 for The Grapes of Wrath. In 1962, he was awarded the Nobel Prize for literature (Schultz & Li). As a child and youth, Steinbeck spent a lot of time working on farms and interacting with other migrant workers. His experiences with migrant farm workers created the foundation for Of Mice and Men and The Grapes of Wrath. John Ernst Steinbeck was born on February 27th 1902 in Salinas California to John Ernst Steinbeck Sr. and Olivia Hamilton Steinbeck. Steinbeck Sr. managed a flour mill, and his mother Olivia was a teacher in a school, thus securing the family a middle class income (Bender). His mother Olivia looked to “mold him into a man of broad intellectual capacity” (Kiernan). She read him several books as a child and, by the age of five, he could read. In school he was teased for “his large ears…so he withdrew into books.” His...
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...support Text Analysis Of Mice and Men by John Steinbeck Pages 54+55 From : ‘Candy looked a long time at Slim to try to find some reversal.’ to ‘A shot sounded in the distance.’ Examine how John Steinbeck effectively generates tension in the above extract. Response : The above extract takes place while the men are relaxing in the bunkhouse and Carlson has just suggested shooting Candy’s old and sickly dog. Candy desperately hopes that he will receive support from the group’s natural leader : ‘Candy looked a long time at Slim to try to find some reversal.’ Sadly, Slim agreed with Carlson therefore Candy was forced to accept it was time to put his dog out of its misery : ‘At last, Candy said softly and hopelessly, ‘Awright – take ‘im’ ‘. His gentle tone and fatalistic acceptance generate a feeling of deep sympathy for Candy. Tension is now building as everyone waits for Carlson to shoot the dog outside. Steinbeck continues to convey an uneasy atmosphere by using the absence of sound : ‘The silence came into the room. And the silence lasted.’ This suggests that either no-one knew what to say to Candy or that whatever was said would be misplaced. The uneasy feeling is shared by everyone because we all feel so sorry for Candy whose best friend is about to be executed. It is George who finally breaks the silence by humourously saying : ‘I bet Lennie’s right out there in the barn with his pup.’ However, this serves to create a tense mood as the reader...
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...Of Mice and Men Essay ‘Of Mice and Men’ was written by John Steinbeck in 1937, the same time as the great depression. In ‘Of Mice and Men’, Steinbeck presents Curley’s Wife in a variety of different ways. In the novella Curley’s Wife is seen as a villainess. Curley’s Wife is also seen as someone who craves attention which leads to the novellas tragic ending. Steinbeck could also be showing society’s view of how women should behave. In the 1930s women were one of two roles- a ‘tart’ or a ‘mother’ in the both cases they are presented as serving a purpose for men- either to give the man sexual pleasure or to provide a family. Steinbeck presents Curley’s Wife in many ways in the novella. Firstly he presents her through the male gaze as a tart and we see this through Candy’s description of her. Steinbeck’s use of description states that she is ‘heavily’ made up and she exhibits extremely flirtatious behaviour. Although this could be because how restricted women were at the time. Curley’s Wife did not have children so she may have been automatically put into the category of a ‘tart’. Curley’s Wife also never had a positive female role model because of her bad relationship with her mother. Throughout the novella the reader’s view of Curley’s Wife changes from her being a ‘tart’ to a lonely figure that just wants attention. Steinbeck also presents her as a victim of prejudice and sexism as the reader’s perceptions change as her character develops but the male view of Curley’s Wife...
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...Katie Oliveira February 22, 2013 Essay #3: Of Mice and Men The American idea of justice sometimes operates under a layer of mythology. Our “innocent until proven guilty” principle predicates itself on the idea that those accused of a crime will have a fair trial and will be justly judged by their peers. It is an elaborate system established to thwart prejudice and to prevent the public from jumping to conclusions, to protect the innocent and to punish the guilty. In John Steinbeck’s Great Depression-era story Of Mice and Men, justice is carried out without a trial. No laws are taken into consideration, but instead an angry mob of men with guns is present. Mobs react with violence for real or imagined crimes at their own discretion, not waiting for legal justice to take course. Steinbeck expresses the idea that when justice fails people take matters into their own hands through George’s decision to kill Lennie. On the surface, the answer seems obvious to most people. Of course George should not have killed Lennie; murder, after all, is wrong no matter what the circumstances. Yet it is not as simple as that. Throughout the book, Lennie seems to be unaware of what is right and wrong, and this makes him a burden to George. Every time Lenny did something bad, they had to quit their jobs and start somewhere else. If George had let Lennie live, Lennie would not have been able to look after himself properly. Lennie couldn’t look after a puppy – let alone himself. Lennie...
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...Both Steinbeck and Miller have mastered description of setting and location. In a novel or a play, having the skill to be able to set a scene is fundamental, it allows the author to illustrate a certain image or location through words. They intricately describe contemporary America, following the Wall Street Crash. Both authors have their own ways of conveying an image, Miller uses stage directions to illustrate important settings whilst Steinbeck implements evocative vocabulary to carefully describe each significant location to the reader. Miller’s first description portrays Brooklyn, the setting of the Loman household with a gentle flute melody playing in the background, ‘it is small and fine, telling of grass and trees and the horizon’. The house is described as being ‘small and fragile-seeming’ with ‘towering angular shapes behind it, surrounding it on all sides’. This detailed description conveys to the reader that there is a sense of claustrophobia and inferiority, suggesting that this house is out of place in the daunting city. The opening location of Steinbeck’s ‘Of Mice and Men’ serves as a foil to ‘Death of a Salesman’, as it outlines the beauty of the Salinas River in rural California. There are however some links between the two introductions; the Salinas River is described as ‘twinkling over the yellow sands in the moonlight’, which directly opposes the description of Brooklyn ‘an angry glow of orange’ in scene one of ‘Death of a Salesman’. Rural California seems...
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...How Does Priestley Present Mr Birling Priestley presents the character of Mr Birling as a symbol of the capitalist ruling class and the need for socialist ideals. Priestley begins by presenting Mr Birling as a successful, albeit 'hard-headed businessman'. It is clear from the stage directions which describe 'The dining room... of a fairly large suburban house, belonging to a prosperous manufacturer' that Birling is rich and materialistically successful. In terms of capitalism, he is therefore a role model in the fact that he has reached the capitalist goals of making a financial profit. Once Birling's worldy success is established, Priestley undermines his character through presenting Mr Birling as ignorant. With the play being set before WW2, dramatic irony is used when Birling exclaims 'there isn't chance of war'. Here the audience know he is wrong, and therefore realise that Birling's confidence is misguided- he is an ignorant man. This is further proven when he claims that the soon to sail Titanic is 'absolutely unsinkable'.The audience may feel there is a contradiction in this character - worldly success and power coupled with stupidity and ignorance. However, Priestley has deliberately presented Birling in this way to criticise the capitalism for which Birling stands. Being a co-founder of the Socialist Commonwealth Party, Priestley felt that his political views on socialism were very important and the play 'An Inspector Calls' is his vehicle from which to promote these...
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...Literature Unit 1 (H.T.) English Literature Unit 2 a and b (H.T.) English Literature Unit 1 (F.T.) English Literature Unit 2 a and b (F.T.) 93 GCSE ENGLISH LITERATURE Higher Tier UNIT 1 Specimen Assessment Materials 2 hours SECTION A Question 1. 2. 3. 4. 5. Of Mice and Men Anita and Me To Kill a Mockingbird I Know Why the Caged Bird Sings Chanda’s Secrets SECTION B 6. Poetry 12 Pages 2-3 4-5 6-7 8-9 10 - 11 ADDITIONAL MATERIALS Twelve page answer booklet. INSTRUCTIONS TO CANDIDATES Answer both Section A and Section B. Answer one question in Section A and the question in Section B. INFORMATION FOR CANDIDATES The number of marks is given in brackets after each question or part-question. You are reminded that assessment will take into account the quality of written communication used in your answers. JD*(S-2011 Higher) Turn over. 2 SECTION A 1. Of Mice and Men Answer part (a) and either part (b) or part (c). You are advised to spend about 20 minutes on part (a), and about 40 minutes on part (b) or part (c). (a) Read the extract on the opposite page. Then answer the following question: With close reference to the extract, show how John Steinbeck presents Curley here. [10] Either, (b) Steinbeck uses three specific settings on the ranch: the bunkhouse, the harness room and the barn. Choose one of these settings and show how it is important to the novel as a whole.[20] Or, (c) How is the character of Candy important to the novel...
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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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...ПРАКТИЧЕСКИЙ КУРС АНГЛИЙСКОГО ЯЗЫКА 4 курс Под редакцией В.Д. АРАКИНА Издание четвертое, переработанное и дополненное Допущено Министерством образования Российской Федерации в качестве учебника для студентов педагогических вузов по специальности «Иностранные языки» Сканирование, распознавание, редактирование Июнь 2007 Москва гуманитарный издательский центр ВЛАДОС 2000 Практический курс английского языка. 4 курс под ред. В.Д. Аракина ББК 81.2Англ-923 П69 В.Д. Аракин, И.А. Новикова, Г.В. Аксенова-Пашковская, С.Н. Бронникова, Ю.Ф. Гурьева, Е.М. Дианова, Л.Т. Костина, И.Н. Верещагина, М.С. Страшникова, С.И. Петрушин Рецензент кафедра английского языка Астраханского государственного педагогического института им. С.М. Кирова (зав. кафедрой канд. филол. наук Е.М. Стпомпель) Практический курс английского языка. 4 курс: П69 Учеб. для педвузов по спец. «Иностр. яз.» / Под ред. В.Д. Аракина. - 4-е изд., перераб. и доп. - М.: Гуманит, изд. центр ВЛАДОС, 2000. 336 с.: ил. ISBN 5-691-00222-8. Серия учебников предполагает преемственность в изучении английского языка с I по V курс. Цель учебника - обучение устной речи на основе развития необходимых автоматизированных речевых навыков, развитие техники чтения, а также навыков письменной речи. Учебник предназначен для студентов педагогических вузов. ББК 81.2Англ-923 2 Практический курс английского языка. 4 курс под ред. В.Д. Аракина ПРЕДИСЛОВИЕ Настоящая книга является четвертой частью серии комплексных учебников...
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...Praise for The Spirit Catches You and You Fall Down “Fadiman describes with extraordinary skill the colliding worlds of Western medicine and Hmong culture.” —The New Yorker “This fine book recounts a poignant tragedy…It has no heroes or villains, but it has an abundance of innocent suffering, and it most certainly does have a moral…[A] sad, excellent book.” —Melvin Konner, The New York Times Book Review “An intriguing, spirit-lifting, extraordinary exploration of two cultures in uneasy coexistence…A wonderful aspect of Fadiman’s book is her even-handed, detailed presentation of these disparate cultures and divergent views—not with cool, dispassionate fairness but rather with a warm, involved interest that sees and embraces both sides of each issue…Superb, informal cultural anthropology—eye-opening, readable, utterly engaging.” —Carole Horn, The Washington Post Book World “This is a book that should be deeply disturbing to anyone who has given so much as a moment’s thought to the state of American medicine. But it is much more…People are presented as [Fadiman] saw them, in their humility and their frailty—and their nobility.” —Sherwin B. Nuland, The New Republic 3/462 “Anne Fadiman’s phenomenal first book, The Spirit Catches You and You Fall Down, brings to life the enduring power of parental love in an impoverished refugee family struggling to protect their seriously ill infant daughter and ancient spiritual traditions from the tyranny of welfare bureaucrats and intolerant...
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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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...C h a p t e r 1 Prewriting GETTING STARTED (OR SOUP-CAN LABELS CAN BE FASCINATING) For many writers, getting started is the hardest part. You may have noticed that when it is time to begin a writing 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,...
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