...Introduction It was the year of 1516 when Utopia was brought into being by Sir Thomas Moore, and from then on to the 19th century, utopian fiction has experienced a development and a dramatic turn into just the opposite tone, dystopian. These two distinctive streams in British literature, with a same distant source, contain totally different settings—if the utopian novels have demonstrated the perfectly idealized future society for mankind, then the dystopian ones describe the least ideal society, and it is usually considered that a dystopia is the vision of a society in which condition of life are miserable and characterized by poverty, oppression, war, violence, disease, pollution, nuclear fallout and/or the abridgement of human rights, resulting in widespread unhappiness, suffering, and other kinds of pain.1 As material civilization develops into a certain level and can be considered as more than sufficient, then the world is superior to spiritual civilization; however human spirit is the reflection and is controlled by the substances. So, in a highly-developed society with rich material life and high technology, human spirit indeed has no real freedom. Of course, flooding modernized technologies provide human beings a better living condition, but they are covering up an empty and weak spiritual world. Human beings are made to be squeezed to become the flat and instrumental existence surround by machines which makes them feel it is a perfect world. It is obvious...
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...Course Date Formalism The formalist movement heralded by the Russian Formalist movement and supported by the American New Criticism signaled the beginning of a new era in literary criticism (Rivkin and Ryan 1). Prior to the movement, literature was studied in a manner that was concerned with everything but the language used. However, the formalist movement chose to deviate from the norm. Formalism is concerned with the language used in literature only; the form of the literary piece (Rivkin and Ryan 1). For the formalists, literature is not perceived as a window to the world, but rather as something with specifically literary characteristics. Formalists did not agree with the conventional perceptions that were used to mark a piece of literature as ‘good’ or ‘bad’ (Purdue University). Formalism asserts that each work of literature has particular intrinsic features in the text and specifically looks at these literary qualities in the text. Prior to the formalist movement, literature has studied a means of gaining understanding about the world. Literature was studied in its historical context, philosophical and social implications of literature were considered in the study of literature. However, formalism abandons all these notions and looks at literature independent of the historical and social context but as an independent body of work. The main point of formalism is to put each work in its unique place, free from attachment or comparison to its environment, author, and era. This...
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...With Great Power Comes Great Irresponsibility: An Analysis of the Eradication of Emotions by Unsolicited Control Governments today have immense power over individuals. Often times, political parties use this power to deprive qualities that define humans as a species from a population. In the fictional novel, 1984 by George Orwell (1949), the Party goes to extreme lengths to torture and brainwash their citizens to achieve utopian concepts. In Terry Gilliam’s film, Brazil (1985) the authorities operate behind the shadows, using technology to manipulate the masses and to eliminate the emotions of the citizens. In the real world, similar examples are evident; in North Korea, these stories are truer than ever. To be more specific, overseers order...
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...Edmond Mak Professor Bradley ENGL-103-192 27 April 2011 Aristotle’s Theory of Tragedy When one thinks of Aristotle’s theory of tragedy, some works that might come to mind include Oedipus Rex, by Sophocles, or the many works written by Shakespeare such as Hamlet, Romeo and Juliet, or Macbeth. A common feature that all of these works share is that they were all written around and/or before the sixteenth century. One might be surprised, however, to discover that stories are still being written in today’s societies that follow the elements of Aristotelian theory. One story written in relatively recent history is that of "Harrison Bergeron" by Kurt Vonnegut, Jr. which in many aspects, can be considered a Aristotelian tragedy. Aristotle described a tragedy as a story that consisted of a tragic hero and a plot that would generate fear and pity in its audience. In this story, fourteen-year-old Harrison Bergeron valiantly attempts to break free from an equality-based society, but is quickly denied by the authoritative force of the government. The most important element in Aristotelian tragedy is the plot of a story. Aristotle states in Poetics that a story must consist of a beginning, middle, and end (Aristotle, 7). "Harrison Bergeron" fits this description very well because the beginning, middle, and end can be clearly identified while reading the story. The story opens by giving a description of what the society people live in is like. "THE YEAR WAS 2081, and everybody...
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...Can words possibly have the power to move us? To change us? To affect us? Of course they do. The power that words contain is way beyond our measure. They can build us up just as easily as they can tear us down. They can take us to places. They can make us feel things we've never felt before. Make us think things we've never thought before. Make us do things we've never done before. To reflect about the authority that 26 letters contain is chilling. Fortunately, not all works of literature have this frightening affect, however, the dark poem "The Hollow Men" most definitely does. Within 431 words, T. S. Eliot was able to affect the reader emotionally, intellectually and politically. This poem can easily achieve the vaunted status as high...
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...fear. That the government uses fear to spy on everyone, he gives the example of the government using terrorism as way to spy on citizens through social media. With this article being opinion based, Beale makes it clear and understandable for the reader to see his viewpoint. It has a easy to read layout with bold titles making it clear on what each paragraph is about. The Fact that the article was published on CNN, makes it informatical and reliable. Gardner, Zen. "Mind Control: Orwell, Huxley, and Today's Reality - Zen Gardner." Zen Gardner. N.p., 03 Sept. 2014. Web. 30 Oct. 2015. Zen Gardner a literary journal on “How the World Work” wrote a literary comparison of 1984 by George Orwell and Brave New World by Aldous Huxley. Relating the dystopian novels by showing the differentiation of mind control from both novels. This authentic source talk about further on in the article about how today's society is Nothing like the fictional place of Oceania in the ways of how society works. But in the ways of mind control use in orwell's novel is very critical and surveillance is very much like today's society. This source is very reliable in the ways it is put with facts to back up opinions and the credentials of of the author with a degree from Stanford. This literary journal is a great source with the thesis question with dependable information . It gives me a dissimilar view on mind control in 1984 and how mind control is in today's society. Hopkinson, Tom. "George Orwell." British Writers...
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...Own (hereafter AROO), a polemic, by Virginia Woolf and the play Who’s Afraid of Virginia Woolf (hereafter WAVW) by Edward Albee both address gender inequality and truth and illusion even though their contexts and form starkly contrast. An analysis of similar themes will provide a greater understanding of meanings and perceptions of the texts. AROO, written in the post-war period of the late 1920s, was composed in a time of great social change due to the destruction and turmoil of the War. Modernist writing highlights the absence of, and search for, meaning and features experiments with new forms. Loss and absence lie at the heart of Woolf’s art, resulting from the experience of loss as an adolescent – her half sister, father, brother and mother. Her refusal to give one single view of anything, offering instead multiple, often conflicting views which the reader has to balance and bring together is another modernist trait. In contrast, WAVW was written in a far more conservative context, and although Albee does challenge societal roles, he does it in a more blatant way. Written during a time of Cold War tension, where fear and instability was disguised beneath the facade of the Great American Dream, Albee is still able to paint a dystopian image of the stereotyped family unit. Post-modernist writing abandons all meaning and the Theatre of the Absurd, emerged at the time, as a theatrical technique used by Albee to reflect a post-modern world. Interestingly, AROO and WAVW are both...
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...just with your body but with your head. It’s that kind of space in which we find ourselves lost. What a lost person needs is a map of the territory, with his own position marked on it so he can see where he is in relation to everything else. Literature is not only a mirror; it is also a map, a geography of the mid. Our literature is one such map, if we can learn to read it as our literature, as the product of who and where we have been. We need such a map desperately; we need to know about here, because here is where we live. For the members of a country or culture, shared knowledge of their place, their here, is not a luxury but a necessity. Without that knowledge we will not survive.” Margaret Atwood, Survival As Atwood’s statement demonstrates, Canadian literature is concerned with place and displacement, and with the development of an effective identifying relationship between self and environs. Canada’s literature whether written in English or French reflects three main parts of Canadian experience. First, Canadian writers often emphasize the effects of climate and geography on the life and work of their people. Second, frontier’s life is part of Canada’s experience that appears frequently in its literature; Third, Canada’s position in the world profoundly affects many Canadian writers. French Canadians often feel surrounded by their English speaking neighbors. They have made a determined effort to preserve their own institutions and culture. But English...
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...This article was downloaded by: [Texas A&M University-Commerce] On: 05 January 2015, At: 16:08 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Geopolitics Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/fgeo20 Rethinking Climate Change, Conflict and Security Jan Selby & Clemens Hoffmann a a b Department of International Relations, University of Sussex, Brighton, UK b Department of International Relations, Bilkent University, Ankara, Turkey Published online: 30 Oct 2014. Click for updates To cite this article: Jan Selby & Clemens Hoffmann (2014) Rethinking Climate Change, Conflict and Security, Geopolitics, 19:4, 747-756, DOI: 10.1080/14650045.2014.964866 To link to this article: http://dx.doi.org/10.1080/14650045.2014.964866 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon...
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...http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory: Where every aspect of a story is representative, usually symbolic, of something...
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...Introduction A t this point in our social history we are experiencing trends in marketing and consumerism that no cultural phenomena in antiquity has prepared us for. Each day between the hours of waking and sleeping we are exposed to 3000 – 5000 marketing messages across every shape and flavour of media mankind has been able to devise in good conscience (Story 2007). Every niche, of every segment, of every market, for every product, has a multitude of competitors vying for space of mind, seeking to differentiate, remind, inform, or persuade themselves into our lives and shopping trollies (Copley 2004). This clutter, consternation, and competition has taken the humble consumer transaction to be something more akin to game theory, and contemporary marketing strategy has become a battle of minds and wills (Lee, Broderick, and Chamberlain 2007). Each new generation of consumer finds themselves delivered deeper into an environment of increasing media and message saturation. But, with every generational cycle a further sophistication in the adaptive discretionary filtering system is created in order for these individuals to preserve some degree of highly guarded ‘psychic space’, and as such ‘marketing professionals are keenly aware of the obstacles posed by both information-processing limitations and viewer opposition’ (Rumbo 2002). ‘The multiplicity of advertising mes¬sages to which each consumer is exposed dictates that advertisers place a lofty premium on the much-coveted...
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...American Pop: Popular Culture Decade by Decade. Ed. Bob Bacthelor. Westport, CT: Greenwood Press 2009. 978-0-313- 34410-7. 4 vol. 1,604p. $375.00. Gr. 9-12. This four volume set gives students a broad and interdisciplinary overview of the many and varied aspects of pop culture across America from 1900 to the present. The volumes cover the following chronological periods: V 1. 1900-1929, V 2. 1930-1959, V 3. 1960-1989 and Vol. 4. 1990-Present. There is an Introduction for each volume focusing on the major issues during that period. There is a Timeline of events for the decade which gives extra oversight and content to the study of the period and an Overview of each dcade. Chapters focus on specific areas of pop culture (Advertising, Books, Entertainment, Fashion, Food Music and much more) supplemented with sidebars containing stories, photos, illustrations and Notable information. There are endnotes for each decade and a Resource Guide and Index. Volume 4 also contains a Cost of Products from 1900-2000, and an Appendix with Classroom Resources for teachers and students and a Cumulative Index. Students, teachers and the general reader will love sifting through the experiences of Americans as they easily follow the crazes, technological breakthroughs and the experiences of art, entertainment, sports and other cultural forces and events that influenced each generation. Reference– Popular Culture ...
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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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...The Uses and Abuses of Agency Theory in Business Ethics The spectacular corporate scandals and bankruptcies of the past decade have served as a powerful reminder of the risks that are involved in the ownership of enterprise. Unlike other patrons of the firm, owners are residual claimants on its earnings.1 As a result, they have no explicit contract to protect their interests, but rely instead upon formal control of the decision-making apparatus of the firm in order to ensure that their interests are properly respected by managers. In a standard business corporation, it is the shareholders who stand in this relationship to the firm. Yet as the recent wave of corporate scandals has demonstrated once again, it can be extraordinarily difficult for shareholders to exercise effective control of management, or more generally, for the firm to achieve the appropriate alignment of interests between managers and owners. After all, it is shareholders who were the ones most hurt by the scandals at Enron, Tyco, Worldcom, Parmalat, Hollinger, and elsewhere. For every employee at Enron who lost a job, shareholders lost at least US$4 million.2 Furthermore, employees escaped with their human capital largely intact. Creditors and suppliers continue to pick over the bones of the corporation (which still exists, under Chapter 11 bankruptcy protection, and continues to liquidate assets in order to pay off its debts).3 But as far as shareholders are concerned, their investments have simply evaporated...
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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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