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Rudyard Kipling's Techniques
Rudyard Kipling's Techniques The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Friedman, Robert Louis. 2016. Rudyard Kipling's Techniques. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797390 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA ! Rudyard Kipling’s Techniques: Their Influence on a Novel of Stories An Introductory Essay and an Original Novel, Answers Lead Us Nowhere Robert Louis Friedman A Thesis in the Field of Literature and Creative Writing for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 ! ! Copyright 2016 Robert Louis Friedman ! ! Abstract This thesis investigates the techniques of Rudyard Kipling and his influence on my “novel of short stories”. How did Kipling advance the short story form over a half-century of experimentation? How did his approaches enliven the reader’s experience to such a degree that his greatest works have remained in print? Beginning in 1888 with Plain Tales From the Hills, Kipling utilized three innovative techniques: the accretion of unrelated stories into the substance of a novel; the use of tales with their fantastical dreamlike appeal (as opposed to standard fictional styles of realism or naturalism) to both salute and satirize characters in adult fiction; and the swift deployment of back story to enhance both the interwoven nature and tale-like feel of the collection. -
February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN; -
Fuzzy-Wuzzy Rudyard Kipling
Fuzzy-wuzzy Rudyard Kipling (Soudan Expeditionary Force) We've fought with many men acrost the seas, An' some of 'em was brave an' some was not: The Paythan an' the Zulu an' Burmese; But the Fuzzy was the finest o' the lot. We never got a ha'porth's change of 'im: 'E squatted in the scrub an' 'ocked our 'orses, 'E cut our sentries up at Sua~kim~, An' 'e played the cat an' banjo with our forces. So 'ere's ~to~ you, Fuzzy-Wuzzy, at your 'ome in the Soudan; You're a pore benighted 'eathen but a first-class fightin' man; We gives you your certificate, an' if you want it signed We'll come an' 'ave a romp with you whenever you're inclined. We took our chanst among the Khyber 'ills, The Boers knocked us silly at a mile, The Burman give us Irriwaddy chills, An' a Zulu ~impi~ dished us up in style: But all we ever got from such as they Was pop to what the Fuzzy made us swaller; We 'eld our bloomin' own, the papers say, But man for man the Fuzzy knocked us 'oller. Then 'ere's ~to~ you, Fuzzy-Wuzzy, an' the missis and the kid; Our orders was to break you, an' of course we went an' did. We sloshed you with Martinis, an' it wasn't 'ardly fair; But for all the odds agin' you, Fuzzy-Wuz, you broke the square. 'E 'asn't got no papers of 'is own, 'E 'asn't got no medals nor rewards, So we must certify the skill 'e's shown In usin' of 'is long two-'anded swords: When 'e's 'oppin' in an' out among the bush With 'is coffin-'eaded shield an' shovel-spear, An 'appy day with Fuzzy on the rush Will last an 'ealthy Tommy for a year. -
Mapping Psychic Spaces in Rudyard Kipling's Fiction Elizabeth Welby
Out of Eden: Mapping Psychic Spaces in Rudyard Kipling's Fiction Elizabeth Welby Thesis submitted for the degree of Doctor of Philosophy School of Literature and Creative Writing University of East Anglia 30 June 2010 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior, written consent. Part of Chapter 2 has been previously published in The Kipling Journal as ‘The Lords of Misrule and the Pleasant Isle of Aves’, June 2010. A version of part of Chapter 4 has been previously published as ‘Solar Midnight: Traversing the Abject Borderline State in Rudyard Kipling’s “The City of Dreadful Night”’, in The Domination of Fear, ed. by Mikko Canini (Amsterdam: Rodopi Press, 2010), pp. 147-177. Acknowledgements I owe debts of gratitude to many people. First and foremost, I would like to thank my supervisor, Professor John Thieme, whose dedication to my project coupled with his unfailing energy and tireless perseverance would have, I am certain, surprised even Kipling. John took over the project during the latter stages of my PhD and I am sincerely grateful for his unending enthusiasm and willingness to read, consider and constructively comment on my numerous drafts. I would also like to acknowledge The Kipling Society, both for its electronic research tool, ‘The Reader’s Guide’ and its warm human contact. Many thanks are due to, in particular, John Walker, David Page, John Radcliffe and John Lambert who replied to my frequent questions, large and small, about Kipling’s life and art with grace, good humour and speedy efficiency. -
Characters Deer Raksha Seyva Dhani Other Wolves Bagheera Akela
Characters Deer Raksha Seyva Dhani Other Wolves Bagheera Akela Shere Khan Gray Mowgli Keva Fatin Baloo Monkey 1 Monkey 2 Monkey 3 Monkey 4 Kaa Asa Villager 1 Villager 2 Child 1 Child 2 Toomai Scene 1 (Stage is set with small pots of fake greenery. There are also two ‘rocks’ onstage; one being Council Rock, the other, Bagheera’s Perch. A DEER enters, gracefully. Music begins softly as the deer moves from plant to plant, dancing. The music changes ominously. Quickly, the WOLF PACK surrounds the DEER. The WOLVES circle in on the deer, blocking it from view. DEER exits by the time the pack opens up again. A rustling from the bushes. The pack turns as one.) RAKSHA. Who moves within our grounds who does not use the Stranger’s Hunting Call? BAGHEERA. (Entering SR, carrying a bundle) We be of one blood, ye and I. RAKSHA. Bagheera. BAGHEERA. I tell you now, return to your den. It is not safe out tonight. RAKSHA. What is it? BAGHEERA. Shere Khan is out hunting. RAKSHA. On our grounds? BAGHEERA. He will not obey the Law of the Jungle. He is lame and wishes for easier prey. SEYVA. Our buck will be no easier for a lame tiger to catch. BAGHEERA. It is not buck he hunts tonight ... but man. RAKSHA. Man? SEYVA. In the jungle? BAGHEERA. Travelers. And their kin (nodding toward the bundle.) SEYVA. Bagheera. BAGHEERA. (Looking only at RAKSHA) I ask only that you take the cub with you. Just until Shere Khan moves on. RAKSHA. And you believe he will be safe then? BAGHEERA. -
Just So Stories
Just So Stories By Rudyard Kipling Free E-Book From TRW STORIES: trwheeler.com/ebooks.html Contents Free E-Book ............................................................................................................................... 1 HOW THE WHALE GOT HIS THROAT ......................................................................................... 2 HOW THE CAMEL GOT HIS HUMP............................................................................................. 4 HOW THE RHINOCEROS GOT HIS SKIN ..................................................................................... 7 HOW THE LEOPARD GOT HIS SPOTS ......................................................................................... 9 THE ELEPHANT'S CHILD ........................................................................................................... 14 THE SING-SONG OF OLD MAN KANGAROO ............................................................................ 20 THE BEGINNING OF THE ARMADILLOS ................................................................................... 24 HOW THE FIRST LETTER WAS WRITTEN .................................................................................. 30 HOW THE ALPHABET WAS MADE ........................................................................................... 37 THE CRAB THAT PLAYED WITH THE SEA ................................................................................. 45 THE CAT THAT WALKED BY HIMSELF ..................................................................................... -
Jungle-Book-Playbill-Virtual.Pdf
Virginia’s Leading Family Theatre Company Hugh R. Copeland—Artistic Director PRODUCTION STAFF Director…………..……..….………..……………...………………… HUGH R. COPELAND Production Stage Manager……….……………………………….………….LAURA LAVAN Sponsored in part by Costume Designer……………………………………………….………...…..ANNE HILTON Costumers Volunteers……..….ROBIN POWELL, STACY CARTWRIGHT AND KATY DOTY, SEPHANIE TREVINO Set Crew…………………………….SCOTT CHASEY, BECKY CHASEY, ANDY THORNHILL KATY DOTY, DEANNA HAMMOND, JOHN LAPETINA, ALAN TAYLOR, JIMMY MCKENZIE AND KAYVON HOSSEINIPOOR Photographer………………………………………………………………….....JERRY DUCK Stage Managers………………………………… ANDY THORNHILL, STEPHANIE TREVINO Backstage Crew……….. SHANNON THORNHILL, LAURIE GLICK, MARIE VACCARELLA, KATY DOTY, ANGELA TAYLOR, THERESA BREMBY, JENNIFER WHITMORE, BETTINA SELBY, JESSICA MCKENZIE, MEGAN HOOSEINIPOOR Music and Lyrics by House Managers………………………………...THERESA HYLER, STACEY CARTWRIGHT Richard M. Sherman, Robert B. Sherman Ushers………………… ANGELA TAYLOR, SHAWTINA CROSS, MEGAN HOSSEINIPOOR THERESA BREMBY, KATY DOTY, DAWN KERMAN, VALERIE WANG, KELLY YOUNG And Terry Gilkyson JESSICA MCKENZIE Book adapted and Additional Lyrics by Marcy Heisler HURRAH STAFF Founder and Artistic Director……………………………………......HUGH. R. COPELAND Music Adapted and Arranged by Managing Director………………………………………....………..…….….KELSEY BACKE Bryan Louiselle Director of Education/ Box Office Manager…………………...…..……....LISA WALLACE Director of Development……………………………………………..…EILEEN CARPENTER Based on the Screenplay by Production Manager…………………………...………………………..…….LAURA -
Trailfinderwolf 01.Pdf
Cub Scout Booklet All rights reserved. No part of this publication may be translated or adapted into any language, or reproduced, stored or transmitted by any means whatsoever, including illustrations and cover designs, without the prior written authorisation of the Interamerican Scout Office, which represents the owners of the copyright. Reservation of rights applies equally to the national scout associations which are members of the World Organization of the Scout Movement. Copyright registration: 133.001 ISBN: 956-8057-12-9 This first edition of 3,000 copies was printed in June 2003. Interamerican Scout Office Av. Lyon 1085, 6650426, Providencia, Santiago, Chile tel. (56 2) 225 75 61 fax (56 2) 225 65 51 [email protected] www.scout.org/interamerica World Organization of the Scout Movement Cub Scout Booklet You are already at the Trail-Finder Wolf stage! Now you and you think can walk and a little before run faster and acting, too. more freely you must be asking a lot more about the things you don't know You will learn a lot of new things with us You are going to have some good times. We promise. 2 You are also able to help your smaller sisters and brothers in the Pack, who will be beginning to follow in your footsteps. This Booklet belongs to Address Telephone Pack Scout Group I joined the Pack on This Booklet is private property. Please do not read it without permission. Thank you! 3 the adventure of the cold lairs Near the hills of Seonnee, the home of Akela's Free People of the Wolves, were the Cold Lairs. -
Textual and Historical Revision in Rudyard Kipling's
UNIVERSITY OF CENTRAL OKLAHOMA Edmond, Oklahoma Jackson College of Graduate Studies Something of Himself: Textual and Historical Revision in Rudyard Kipling’s Kim A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of MASTER OF ARTS IN ENGLISH By Lexi Stuckey Edmond, Oklahoma 2008 Abstract of Thesis University of Central Oklahoma Edmond, Oklahoma NAME: Lexi Stuckey TITLE OF THESIS: Something of Himself: Textual and Historical Revision in Rudyard Kipling’s Kim DIRECTOR OF THESIS: Dr. Gladys S. Lewis PAGES: 80 The thesis asks whether Kim, as a fin de siècle novel, helped to bridge the Victorian and Modern periods in British literature, and whether the novel, published at the midpoint of Kipling’s career, stands as a marker of his literary development. This thesis contends that Kim holds significance as both a personal and a national narrative. Each chapter explores a specific aspect of Kim: the text itself, its author, and the historical milieu in which it was composed. My theoretical roots, as detailed in the opening chapter, are in the works of Mikhail Bakhtin and his concept of “novelness,” or the warring centrifugal and centripetal forces that constantly work against each other but ultimately hold the text together. My interpretation of Kim identifies the theme of childhood as the centripetal force and the theme of empire as the centrifugal force. These opposing currents move Kipling forward in his literary life. As he puts the demons of his childhood definitively behind him and offers his final word on India, he uncovers a new thematic source of conflict in his now-complicated belief in the infallibility of the British Empire, a result of his experience in South Africa during the Boer War. -
Kipling, the Story-Writer
UNIVERSITY OF CALIFO! AT LOS ANGELES SEMICENTENNIAL PUBLICATIONS OF THE UNIVERSITY OF CALIFORNIA 1868-1918 42 1 6 KIPLING THE STORY-WRITER BY WALTER MORRIS HART UNIVERSITY OF CALIFORNIA PRESS BERKELEY 1918 28412 TO A. B. H. VA PREFACE In the course of an attempt to trace the history of the Short- Story in English it came to seem desirable, three or four years ago, to examine with some thoroughness, as the terminus ad quern, the work of Rudyard Kipling. The results of this study were rather fully set forth in the form of notes intended for class-room lectures. Revision and publication of these notes was advised by Professor Bliss Perry of Harvard College and by Professor Charles Mills Gayley of the University of Califor- nia. To these good friends of the writer this little book owes its being. Without their criticisms and suggestions, moreover, it would have been even less worthy than it is of the author with whom it is concerned. To him, to Mr. Kipling himself, thanks are due for gracious permission to take from his works the many illustrative passages with which these pages are adorned. CONTENTS PAGE Introduction 1 PART ONE: THE INDIAN PERIOD CHAPTER I Settings 5 CHAPTER II Characters and Psychology 12 CHAPTER III Plots and Their Significance 33 CHAPTER IV General Characteristics of the First Period Ill PART TWO: THE PERIOD OF TRANSITION CHAPTER V The Transitional Technique 131 PART THREE: THE ENGLISH PERIOD CHAPTER VI Settings 160 CHAPTER VII Characters and Psychology 170 CHAPTER VIII Plots and Their Significance 192 CHAPTER IX Conclusion 2 1 7 KIPLING THE STORY WRITER 53-2./. -
Home and Who: a Rhetorical Analysis of Rudyard Kipling's "Tiger! Tiger!' and "Letting in the Jungle"
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2003 Home and who: A rhetorical analysis of Rudyard Kipling's "Tiger! tiger!' and "Letting in the jungle" Steven Clark Estus Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Estus, Steven Clark, "Home and who: A rhetorical analysis of Rudyard Kipling's "Tiger! tiger!' and "Letting in the jungle"" (2003). Theses Digitization Project. 2343. https://scholarworks.lib.csusb.edu/etd-project/2343 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. HOME AND WHO: A RHETORICAL ANALYSIS OF RUDYARD KIPLING'S "TIGER! TIGER!" AND "LETTING IN THE JUNGLE" A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Steven Clark Estus June 2003 HOME AND WHO: A RHETORICAL ANALYSIS OF RUDYARD KIPLING'S "TIGER! TIGER!" AND "LETTING IN THE JUNGLE" A Thesis Presented to the Faculty of California State University, San Bernardino by Steven Clark Estus June 2003 Approved by: Mat, Bruce/G.o ldenl, Chair, English Date Holly Hdnry Maureen Newlin ABSTRACT It has often been expressed that British writer Rudyard Kipling was a pitiless, xenophobic imperialist, the nineteenth century's chief apologist for imperialism. In the flesh, guilty: at one time or another, he was all of these things. -
Works in the Kipling Collection "After" : Kipling, Rudyard, 1865-1936. 1924 BOOK PR 4854 R4 1924 "After"
Works in the Kipling Collection Title Main Author Publication Year Material Type Call Number "After" : Kipling, Rudyard, 1865-1936. 1924 BOOK PR 4854 R4 1924 "After" : Kipling, Rudyard, 1865-1936. 1924 BOOK PR 4854 R4 1924 "Collectanea" Rudyard Kipling. Kipling, Rudyard, 1865-1936. 1908 BOOK PR 4851 1908 "Curry & rice," on forty plates ; or, The ingredients of social life at Atkinson, George Francklin. 1859 BOOK DS 428 A76 1859 "our station" in India / : "Echoes" by two writers. Kipling, Rudyard, 1865-1936. 1884 BOOK PR 4854 E42 1884 "Kipling and the doctors" : Bateson, Vaughan. 1929 BOOK PR 4856 B3 "Teem"--a treasure-hunter / Kipling, Rudyard, 1865-1936. 1935 BOOK PR 4854 T26 1935 "Teem"--a treasure-hunter / Kipling, Rudyard, 1865-1936. 1938 BOOK PR 4854 T26 1938 "The Times" and the publishers. Publishers' Association. 1906 BOOK Z 323 T59 1906 "They" / Kipling, Rudyard, 1865-1936. 1905 BOOK PR 4854 T35 1905 "They" / Kipling, Rudyard, 1865-1936. 1905 BOOK PR 4854 T35 1905 "They" / Kipling, Rudyard, 1865-1936. 1905 BOOK PR 4854 T35 1905a "They" / Kipling, Rudyard, 1865-1936. 1905 BOOK PR 4854 T35 1905a "They" / Kipling, Rudyard, 1865-1936. 1906 BOOK PR 4854 T35 1906 "They" / Kipling, Rudyard, 1865-1936. 1905 BOOK PR 4854 T35 1905 "They"; and, The brushwood boy / Kipling, Rudyard, 1865-1936. 1925 BOOK PR 4854 T352 1925 "They"; and, The brushwood boy / Kipling, Rudyard, 1865-1936. 1926 BOOK PR 4854 T352 1926 [Autograph letter from Stephen Wheeler, editor of the Civil & Wheeler, Stephen, 1854-1937. 1882 BOOK PR 4856 A42 1882 military gazette, reporting his deputy [Diary, 1882].