...In the epic poem “Beowulf”, the author ”Rafael”, uses literary devices such as diction, allusion, and imagery to juxtapose between good versus evil. Initially, Rafael uses the literary device diction, in order to juxtapose good versus evil. Moreover, throughout the story, the author uses diction for the purpose of highlighting the antagonist Grendel. For instance, Rafael uses particular words in order to display Grendel’s evil. “No savage assault could quench his lust for evil” (Beowulf pg 14 line 74-75). Clearly, “savage assault, quench, and lust for evil” are particular words which help to emphasize Grendel's evil. In context to the quote, Grendel is opposed to God, therefore; he goes around killing the king's men. The significance of demonstrating Grendel evil through diction, and demonstrating why he does his evil action, depicts the juxtaposition between God who is good, and Grendel who is evil. In like manner to the literary device diction, allusion is another literary device which the author uses to juxtapose between good versus evil. Furthermore, throughout the story, the author uses allusion in order to demonstrate how Grendel is evil. In particular, Rafael reference Cain, a Biblical story in the Bible to further validate how Grendel is evil....
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...Beowulf: The Mother Poem Beowulf is an important work of the Anglo-Saxon culture. In the poem it depicts Beowulf as a famous hero, full of endless courage and infinite strength. Through his vigorous journeys, he encounters many treacherous obstacles and monsters, but never feels distress. As leader of the Geats, he shows superb leadership skills, taking pride in both his and his peoples’ name. Nonetheless, he boasts about his achievements and heroic battles that he has encountered. The author’s style differs from that of any other due to the unique kennings being used throughout the poem. The tone interchanges throughout the entire work; gives countless numbers of kennings, and has graphic imagery. Beowulf, the “mother poem” of England, explains the import values of diction, tone, imagery, and style, it also informs us about the Geat culture and characteristics of honor, kinship, and courage....
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...Looking-Glass, and What Alice Found There (Delahoyde). This poem is still known to be one of his famous poems. The poem is about a father who is tells his son to be beware of a monster named “Jabberwocky” that wanders around in the woods. In the poem, Carroll mentions several dissimilar and unusual creatures that do not exist in the real world. Carroll’s style of writing is very unusual in this piece of work and it only influences the readers to laugh at the definitions of the words. In his mind boggling poem, “Jabberwocky,” Lewis Carroll uses unusual diction to mock the Anglo-Saxon heroic tradition. After the father tells his son of the monster that lives in the woods, the son goes on a search for this monster with the purpose of killing it. Upon succeeding and returning back home, his father jumps from joy and then, they both celebrate together. The storyline of this poem is very similar to the classic heroic tale of Beowulf. Both pieces of work mention a hero who went to war with a monster and came out being successful. Both poems also start off with the classic ‘once upon a time’ setting which portrays a fantasy theme. Carroll...
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...Beowulf: Christian or pagan? The epic poem, Beowulf, which was composed about 850 CE, is a tale of a warrior named Beowulf. The plot of Beowulf primarily revolves around the expeditions and fights that Beowulf undertakes throughout his life. Regarding this poem, one of the essential controversies is whether it is a Christian or pagan poem. In the text, Beowulf is depicted as the one who values his own fame most and is hallowed highly by people due to his violence in battle. These characteristics of Beowulf seem to separate the poem from Christianity. Although the poem appears to be originally pagan, Beowulf is a Christian poem in terms of its historical background, biblical allusions, and the characters’ beliefs and reliance on God. First, the author of Beowulf lived in a period when the transformation from Germanic paganism to Christianity occurred. When Beowulf was written, the old paganism was dying out, and the influx of Christianity from Europe and Ireland had taken place. “This transformation reached every level of society and affected nearly every aspect of daily life” (Streissguth 83). Due to this Christian influence, people had to make a radical change, discarding the old beliefs that value courage, vengeance, and violence in gory battle. The poet of Beowulf was also a part of this drastic change of the era. The “nameless author undoubtedly was a Christian” (Bloom 1). We can observe the author’s Christian quality when he blames people who return to paganism in the poem:...
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...Northern Caribbean University School of Religion and Theology SUMMARY AND ELEMENTS OF CHRISTIANITY AND PAGANISM IN THE LITERATURE OF GREAT BRITAIN BEFORE THE NORMAN CONQUEST An Assignment Presented in Partial Fulfillment of the Requirements for the Course, ENGL 245: Survey of English Lit. I by Lascelles James October 2007 Even though archeology reveals a lot about the Neolithic and Iron-Age era in Britain, Literature tells more about the life and culture in the region, especially after the coming of Germanic Indo-Europeans from the continent in A.D 449, as reported in the Anglo-Saxon Chronicle. England, then a province of the Roman Empire, was named Britannia after its Celtic-speaking inhabitants, the Britons. The Britons were actually Romanized Celts. They left their greatest linguistic legacy in place names, such as Avon, Dover, Thames, and probably London. [1] The Anglo-Saxon invaders brought with them their own tradition of oral poetry, but there is no evidence of literacy before their conversion to Christianity. There is only circumstantial evidence of what the poetry must have been like. Aside from a few short inscriptions on small artifacts, the earliest records in the English language are in manuscripts produced at monasteries and other religious establishments, beginning in the seventh century. Literacy was mainly restricted to servants of the church, and the bulk of Old English literature is religious with Latin origins. ...
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...Beowulf in Old English [ˈbeːo̯wʊlf] or [ˈbeːəwʊlf]) is the conventional title[note 1] of an Old English heroic epic poem consisting of 3182 alliterative long lines, set in Scandinavia, commonly cited as one of the most important works of Anglo-Saxon literature. It survives in a single manuscript known as the Nowell Codex. Its composition by an anonymous Anglo-Saxon poet[note 2] is dated between the 8th[1][2] and the early 11th century.[3] In 1731, the manuscript was badly damaged by a fire that swept through a building housing a collection of Medieval manuscripts assembled by Sir Robert Bruce Cotton. The poem fell into obscurity for decades, and its existence did not become widely known again until it was printed in 1815 in an edition prepared by the Icelandic-Danish scholar Grímur Jónsson Thorkelin.[4] In the poem, Beowulf, a hero of the Geats in Scandinavia, comes to the help of Hroðgar, the king of the Danes, whose mead hall (in Heorot) has been under attack by a monster known as Grendel. After Beowulf slays him, Grendel's mother attacks the hall and is then also defeated. Victorious, Beowulf goes home to Geatland in Sweden and later becomes king of the Geats. After a period of fifty years has passed, Beowulf defeats a dragon, but is fatally wounded in the battle. After his death, his attendants bury him in a tumulus, a burial mound, in Geatland. Story The main protagonist, Beowulf, a hero of the Geats, comes to the aid of Hroðgar, the king of the Danes, whose great...
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...History of English Literature Overview Anglo-Saxon Literature (500-1100) The Angles and Saxon conquered what is now called England in the 5th and 6th centuries. Christian missionaries taught the English to write. Northumbria soon produced Caedmon and Bede. Heroic poetry of a Christian kind is the chief legacy of Old English literature, notably Beowulf and the Elegies. A considerable prose literature grew up after King Alfred. Middle English Literature (1100-1500) Literature in England in this period was not just in English and Latin but in French as well and developed in directions set largely in France. Epic and Elegy gave way to romance and Lyric. English writing revived fully in English after 1360 and flowered in the reign of Richard II (1372-99). It gained a literary standard in London English after 1425 and developed modern forms of verse, prose and of Drama. The conquest of England in 1066 by William of Normandy displaced English as medium of literature. The language of new rulers was French. Saxons dealing with the King had to learn French and French was the language of court and the law for three centuries. Four genres of Middle English are: i. 1. Fabliau 2. Lyric 3. Dream Allegory 4. Ballad Geoffrey Chaucer Chaucer is the best story teller and the narrative poet. Chaucer tells his stories in a most effective way. He has the knack of transforming an old tale into a new one in such a manner that its appeal increases manifold and its human...
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...deep-sea depths of my being, like a creature thrown into audience with thunder.At the same time, I am secretly unfooled. The uproar is only my own shriek, and chasms are, like all things vast, inanimate. They will not snatch me in a thousand years, unless, in a lunatic fit of religion, I jump. (10) | Critical Response The words used are informal, giving us a feeling that the character is trying to relate to use. Most of the words are denotative, giving us a specific meaning to hold onto, while some are less clear which gives more mystery to the passage. The diction is mostly concrete, speaking of the chasm and his voice, not of other abstract ideas mentioned previously in the chapter. The words are also cacophonous, not sounding pleasant together and further expressing the distress Grendel seems to be experiencing as the monster he is. The words are mostly monosyllabic, making it easier for us to understand. The diction used clearly expresses the idea that Grendel pretends to be intrigued by the idea of the dark chasm seizing him, he also understands that this would only be possible if he gave in and jumped. | Personal Response I think this quote relates to me because I too, often talk to inanimate things as if they could hear me, while still realizing they can’t. I mostly do this when I am lonely, which relates me to Grendel in this instance. He seems like the lonely type. In a way I pity him, in a way I don’t. I’m sure if he tried hard enough he could find some...
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...OLD ENGLISH LITERATURE • Palaeolithic nomads from mainland Europe; • New inhabitants came from western and possibly north-western Europe (New Stone Age); • in the 2nd millennium BC new inhabitants came from the Low Countries and the middle Rhine (Stonehenge); • Between 800 and 200 BC Celtic peoples moved into Britain from mainland Europe (Iron Age) • first experience of a literate civilisation in 55 B.C. • remoter areas in Scotland retained independence • Ireland, never conquered by Rome, Celtic tradition • The language of the pre-Roman settlers - British (Welsh, Breton); Cornish; Irish and Scottish Gaelic (Celtic dialect) • The Romans up to the fifth century • Britain - a province of the Roman Empire 400 years • the first half of the 5th century the Angles, Saxons, and Jutes (N Germany, Jutland) • The initial wave of migration - 449 A. D. • the Venerable Bede (c. 673-735) • the Britain of his time comprised four nations English, British (Welsh), Picts, and Scots. • invaders resembling those of the Germans as described by Tacitus in his Germania. • a warrior race • the chieftain, the companions or comitatus. • the Celtic languages were supplanted (e.g. ass, bannock, crag). * Christianity spread from two different directions: * In the 5th century St Patrick converted Ireland, in the 7th century the north of England was converted by Irish monks; * in the south at the end of the 6th century Aethelberht of Kent allowed the monk Augustine...
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...refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts while staying in the third person. Gustave Flaubert pioneered this style in Madame Bovary, as in this passage: “Sometimes she thought that these were after all the best days of her life, the honeymoon, so-called.” Objective narration: A style in which the narrator reports neutrally on the outward behavior of the characters but offers no interpretation of their actions or their inner states....
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...For other uses, see Fiction (disambiguation). An illustration from Lewis Carroll's Alice's Adventures in Wonderland, depicting the fictional protagonist, Alice, playing afantastical game of croquet. Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g.,biographies, histories). Contents [hide] * 1 Types of fiction * 1.1 Realistic fiction * 1.2 Non-realistic fiction * 1.3 Semi-Fiction * 2 Elements of fiction * 2.1 Plot * 2.2 Exposition * 2.3 Foreshadowing * 2.4 Rising action * 2.5 Climax * 2.6 Falling action * 2.7 Resolution * 2.8 Conflict * 2.8.1 Types of conflict * 2.8.1.1 Person vs. self * 2.8.1.2 Person vs. person * 2.8.1.3 Person vs. society * 2.8.1.4 Person vs. nature * 2.8.1.5 Person vs. supernatural * 2.8.1.6 Person vs. machine/technology * 2.9 Character * 2.10 Methods of developing characters * 2.11 Symbolism * 2.12 Metaphor * 3 Types of plots * 3.1 Chronological order * 3.2 Flashback * 3.3 Setting...
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...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 Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources 104 108 Chapter 6 Chapter 7 109 Supporting Measures 7.1 Learning and Teaching Resource Materials 7.2 Professional Development 109 109 Appendix 1 Examples of Poetry Analysis 110 Appendix 2 Examples of...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S MACBETH LINDA NEAL UNDERWOOD S E R I E S E D I T O R S : W. GEIGER ELLIS, ED.D., ARTHEA J. S. REED, PH.D., UNIVERSITY OF GEORGIA, EMERITUS and UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s Macbeth 2 INTRODUCTION William Shakespeare developed many stories into excellent dramatizations for the Elizabethan stage. Shakespeare knew how to entertain and involve an audience with fast-paced plots, creative imagery, and multi-faceted characters. Macbeth is an action-packed, psychological thriller that has not lost its impact in nearly four hundred years. The politically ambitious character of Macbeth is as timely today as he was to Shakespeare's audience. Mary McCarthy says in her essay about Macbeth, "It is a troubling thought that Macbeth, of all Shakespeare's characters, should seem the most 'modern,' the only one you could transpose into contemporary battle dress or a sport shirt and slacks." (Signet Classic Macbeth) Audiences today quickly become interested in the plot of a blindly ambitious general with a strong-willed wife who must try to cope with the guilt engendered by their murder of an innocent king in order to further their power. The elements of superstition, ghosts, and witchcraft, though more readily a part of everyday life for the Renaissance audience, remain intriguing to modern teenagers. The action-packed...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF G EORG E B E R N A R D S HAW ’S PYGMALION By LAURA REIS MAYER BUNCOMBE COUNTY SCHOOLS, ASHEVILLE, NORTH CAROLINA S E R I E S E D I T O R S JEANNE M. MCGLINN, Ph.D., University of North Carolina at Asheville and W. GEIGER ELLIS, Ed.D., University of Georgia, Professor Emeritus 2 A Teacher’s Guide to the Signet Classics Edition of George Bernard Shaw’s Pygmalion TABLE OF CONTENTS An Introduction .......................................................................................3 Synopsis of the Play .................................................................................3 Prereading Activities .................................................................................6 During Reading Activities ......................................................................13 After Reading Activities .........................................................................21 About the Author of this Guide .............................................................29 About the Editors of this Guide .............................................................29 Full List of Free Teacher's Guides...........................................................30 Click on a Classic ..................................................................................31 Copyright © 2007 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write...
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...[pic] Гальперин И.Р. Стилистика английского языка Издательство: М.: Высшая школа, 1977 г. В учебнике рассматриваются общие проблемы стилистики, дается стилистическая квалификация английского словарного состава, описываются фонетические, лексические и лексико-фразеологические выразительные средства, рассматриваются синтаксические выразительные средства и проблемы лингвистической композиции отрезков высказывания, выходящие за пределы предложения. Одна глава посвящена выделению и классификации функциональных стилей. Книга содержит иллюстративный текстовой материал. Предназначается для студентов институтов и факультетов иностранных языков и филологических факультетов университетов. GALPERIN STYLISTICS SECOND EDITION, REVISED Допущено Министерством высшего и среднего специального образования СССР в качестве учебника для студентов институтов и факультетов иностранных языков |[pic] |MOSCOW | | |"HIGHER SCHOOL" | | |1977 | TABLE OF CONTENTS Page Предисловие к первому изданию……………………………………………………..6 Предисловие к второму изданию……………………………………………………..7 Part I. Introduction 1. General Notes on Style and Stylistics…………………………………………9 2. Expressive Means (EM) and Stylistic Devices (SD)………………………...25 3. General Notes on Functional Styles of Language……………………………32 4. Varieties of Language………………………………………………………..35 5. A Brief...
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