Reading List WS15

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Reading List BA Lecture Ulla Ratheiser I. Novels Jonathan Swift Gulliver’s Travels Jane Austen Pride and Prejudice Charlotte Brontë Jane Eyre Charles Dickens Great Expectations Virginia Wool f Mrs Dalloway Jean Rhys Wide Sargasso Sea Chinua Achebe Things Fall Apart Hanif Kureishi Black Album Fay Weldon Life and Loves of a She-Devil Andrea Levy Small Island II. Short Stories Katherine Mansfield “The Garden Party” George Orwell “Shooting an Elephant” James Joyce “The Dead” Doris Lessing “To Room Nineteen” Roald Dahl “Genesis and Catastrophe” Patricia Grace “A Way of Talking” Margaret Atwood “Gertrude Talks Back” III. Essays Jonathan Swift “A Modest Proposal” Virginia Woolf “A Room of One’s Own” Doris Lessing “Group Minds” Salman Rushdie “Commonwealth Literature Does not Exist” IV. Plays William Shakespeare Hamlet Much Ado About Nothing Aphra Behn The Rover John Gay The Beggar’s Opera Oscar Wilde The Importance of Being Earnest Samuel Beckett Waiting for Godot Brian Friel Translations Tom Stoppard Rosencrantz and Guildenstern Are Dead Caryl Churchill Top Girls V. Poems Philip Sidney “Loving in truth …” William Shakespeare Sonnet 18 Sonnet 130 John Donne “The Sunne Rising” Andrew Marvell “To His Coy Mistress” William Wordsworth “I Wandered Lonely as a Cloud” “Composed Upon Westminster Bridge” P. B. Shelley “Ozymandias” Elizabeth Barrett “A Man’s Requirements” Christina Rossetti “Up-hill” T.S. Eliot The Waste Land, “I. The Burial of the Dead” W.H. Auden “Funeral Blues” Seamus Heaney “Digging“ Fleur Adcock “For a Five-Year-Old“ Michael Ondaatje “The Cinnamon Peeler” Carol Ann Duffy “Education for Leisure” .

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Carol Ann Duffy
NCTE Verse - Carol Ann Duffy mail.google.com/mail/u/1 Poet of the Day: Carol Ann Duffy 1/5 Carol Ann Duffy, born in 1955, became the first female poet laureate of Britain in 2009. She often explores the perspectives of the voiceless women of history, mythology, and fairy tales as well as those on the fringes of society in her dramatic monologues. Duffy is most well-known for her collections Standing Female Nude (1985) and The World’s Wife (1999). She has also written plays and poetry for children. CC image “Carol Ann Duffy 8 Nov 2013 5” courtesy of Steel Wool on Flickr under a CC BY-NC-ND 2.0 license. This poet belongs in our classrooms because… she explores the voices of those who have traditionally been silenced. Her poetry uses humor and emotion with simple language that hits us in the gut with its truth. It’s poetry that students can understand quickly but can also explore at length, uncovering its layers and relating to the speakers and their experiences. A Poem by Carol Ann Duffy Warming Her Pearls for Judith Radstone Next to my own skin, her pearls. My mistress bids me wear them, warm them, until evening when I'll brush her hair. At six, I place them round her cool, white throat. All day I think of her, 2/5 resting in the Yellow Room, contemplating silk or taffeta, which gown tonight? She fans herself whilst I work willingly, my slow heat entering each pearl. Slack on my neck, her rope.
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Shakespeare Merchant of Venice Unit 3: Detective Fiction Unit 4
Year 7 UNIT 1: Origins of Literature Unit 2: Shakespeare Unit 3: Detective Fiction Unit 4: The Effects of war and Conflict Unit 5: Novel Merchant of Venice OVERVIEW An introduction to, and exploration Students will begin to explore the effects of Students will consider how writers present the effects of TBC—Not of, a range of Greek Myths. Students are introduced to language and structure across a range of texts, war and conflict across poetry, fiction and non-fiction. being taught Students are introduced to the Shakespeare and read the whole considering the purpose and effects of writers’ They will be introduced to poetic form and methods in 2020-2021 structure and features of myths, text as a class. methods: used, develop analytical skills and then compare the in response to consider the plot and structure effects of war in two poems. Covid. and then write their own. Throughout the unit, students will: Adventures of Sherlock Holmes Develop their understanding of The Speckled Band short story AN exploration of Aim of unit Shakespeare’s language/grammar The Red Headed League Fiction: will be to: Orpheus and Eurydice patterns. The Final Problem Private Peaceful- Michael Morpurgo Explore Demeter and Persephone Explore characterisation. The Bone Sparrow characters, Theseus and the Minotaur Discuss and develop Other extracts Non-Fiction: ideas and Cyclops and Odysseus understanding of themes, ideas The Cuckoo’s Calling Major Gerald Ritchie 8th (Yorkshire) parachute regiment, themes in Prometheus and structural devices. A Murder is Announced letter to his sister (WW2) texts. Pandora’s Box Practice and develop their skills in Siegfried Sassoon: Letter of Defiance Analyse Hercules annotation and analysis.
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Tradução Comentada De the World's Wife, De Carol Ann
Bernardo Antônio Beledeli Perin AS VOZES DA ESPOSA DO MUNDO: TRADUÇÃO COMENTADA DE THE WORLD’S WIFE, DE CAROL ANN DUFFY Dissertação submetido(a) ao Programa de Pós- Graduação em Estudos da Tradução da Universidade Federal de Santa Catarina para a obtenção do Grau de Mestre em Estudos da Tradução. Orientador: Prof. Dr. Sergio Luiz Rodrigues Medeiros Florianópolis 2018 Ficha de identificação da obra elaborada pelo autor através do Programa de Geração Automática da Biblioteca Universitária da UFSC. Bernardo Antônio Beledeli Perin AS VOZES DA ESPOSA DO MUNDO: TRADUÇÃO COMENTADA DE THE WORLD’S WIFE, DE CAROL ANN DUFFY Esta Dissertação foi julgada adequada para obtenção do Título de “Mestre” e aprovada em sua forma final pelo Programa de Pós- Graduação em Estudos da Tradução Florianópolis, 10 de agosto de 2018. ________________________ Prof.ª Dr.ª Dirce Waltrick do Amarante Coordenador do Curso Banca Examinadora: ________________________ Prof. Dr. Sérgio Luiz Rodrigues Medeiros Orientador Universidade Federal de Santa Catarina ________________________ Prof. Dr. André Cechinel Universidade do Extremo Sul Catarinense ________________________ Profª. Drª. Clélia Maria Lima de Mello e Campigotto Universidade Federal de Santa Catarina ________________________ Prof. Dr. Gilles Jean Abes Universidade Federal de Santa Catarina Para minha mãe Itamara – minha Deméter particular AGRADECIMENTOS Dizem que a poesia é palavra do solitário. E é solitário escrever uma dissertação, mas sempre se encontra alguma companhia. Para agradecer a quem esteve do meu lado durante essa caminhada, deixo aqui alguns versos de Carol Ann Duffy herself: À minha mãe Itamara, meu referencial primeiro e maior de mulher: pelo amor, por manter-se perto mesmo quando estamos longe, por todo o esforço sem o qual eu não seria possível como pessoa e tampouco minha formação.
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Character in the Dramatic Monologue
‘A voice comes to one in the dark. Imagine.’ (Samuel Beckett, Company) Explore the creation of character in the dramatic monologue. Robert Browning: ‘The Laboratory’; ‘My Last Duchess.’ Thomas Hardy: ‘The Man He Killed’. Carol Ann Duffy: ‘Education for Leisure’. Simon Armitage: ‘Hitcher’. Janet S. Lewison In his recent book Going Sane, the writer and psychoanalyst Adam Phillips revisits Hamlet’s famous ‘madness’ and argues: ‘Hamlet’s madness…is more poetic, more suggestive, more evocative, more flaunting of its verbal gifts and talents than mere sanity…Sanity tempers where madness excels. Both are ‘pregnant’, promising the new life that is new words, but they deliver quite differently. It is a difference of quality but not of kind. ‘ Phillips’ ideas about Hamlet are particularly useful when we consider the relationship between the dramatic monologue and ‘madness’. For if we borrow from Phillips’ ideas about madness above, then we could say that it is the verbal giftedness of the speaker in the dramatic monologue that draws and holds the attention of the listeners both within and without the monologue. Articulacy is always an ambivalent virtue in the dramatic monologue, and the protagonists’ words should never be trusted. The narrators’ injection of ‘new life’ and ‘new words’ into a monologue serve to fascinate and ensnare their (captive) audience. This ‘captivation’ of the reader through the articulacy of the speaker serves to mimic at least in part, the original ‘crime scene’ from which the poem originates. This repetition makes the relationship between the speaker and the reader morally ambivalent. It raises interesting questions about the identity of the final victim of a monologue.
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Barbarian Masquerade a Reading of the Poetry of Tony Harrison And
1 Barbarian Masquerade A Reading of the Poetry of Tony Harrison and Simon Armitage Christian James Taylor Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English August 2015 2 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others This copy has been supplied on the understanding that it is copyright material and that no quotation fro m the thesis may be published without proper acknowledgement The right of Christian James Taylor to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. © 2015 The University of Leeds and Christian James Taylor 3 Acknowledgements The author hereby acknowledges the support and guidance of Dr Fiona Becket and Professor John Whale, without whose candour, humour and patience this thesis would not have been possible. This thesis is d edicat ed to my wife, Emma Louise, and to my child ren, James Byron and Amy Sophia . Additional thanks for a lifetime of love and encouragement go to my mother, Muriel – ‘ never indifferent ’. 4 Abstract This thesis investigates Simon Armitage ’ s claim that his poetry inherits from Tony Harrison ’ s work an interest in the politics o f form and language, and argues that both poets , although rarely compared, produce work which is conceptually and ideologically interrelated : principally by their adoption of a n ‘ un - poetic ’ , deli berately antagonistic language which is used to invade historically validated and culturally prestigious lyric forms as part of a critique of canons of taste and normative concepts of poetic register which I call barbarian masquerade .
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39 Steps to Engaging with Poetry
Features: Literature … TO ENGAGING WITH POETRY Reading and writing poems in the English classroom This is the first of a series of articles in which Trevor Millum and Chris Warren suggest 39 enjoyable approaches to poetry in the English classroom. Introduction We also believe that students’ engagement with poetry Poetry is something every pupil or student has a right should begin in Y7 and build from there. Of course, for to. It should be part of every young person’s experience fortunate students, the building will be on good at school: something which brings enjoyment in the foundations from KS 1 and 2. widest sense, something which enhances life. If this seems a long way from the experiences of your Y10 and 11 students and, perhaps, from your own experience, “The experience of a number read on. Please, read on, anyway! of schools suggests that Because of its part in high stakes testing at KS4, poetry has become a hurdle to be leapt over or a holistic and integrated scrambled across, rather than an intrinsic and rewarding part of English teaching and learning. However, the approach to poetry works not experience of a number of schools where a different only to engage students but attitude has been adopted suggests that a holistic approach works not only to engage students but also to also to improve exam results.” improve exam results. This approach means students becoming involved In the same issue of Teaching English, Peter Kahn, with poetry, becoming participants rather than introduces a ‘new poetic form’, the ‘Golden Shovel’, onlookers.
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The Poems of Carol Ann Duffy
Higher English The Poems of Carol Ann Duffy Jennifer Ness City of Edinburgh Council Higher Carol Ann Duffy Higher Scottish Set Text A Teaching Resource The aim of this resource is to exemplify approaches to learning and teaching which will develop the skills sampled by the final assessment – Critical Reading, Part 2. Learners are developing the skills they have acquired in understanding, analysis and evaluation, applying them as they respond critically to an imaginative Scottish text (prose, poetry or drama) they have studied. In the external assessment, Critical Reading, learners will complete questions which analyse ONE of the texts/extracts presented and draw on the wider knowledge of the text and/or writer in order to evaluate its impact. There will be a mixture of restricted response questions requiring short answers and extended responses. Twenty marks are allocated to this task. Further information about the assessment is available via the link below: http://www.sqa.org.uk/files_ccc/Cfe_CourseAssessSpec_Higher_Languages_english .pdf Working with these materials will develop learners’ skills in: Understanding of the context of the text (what the writer says) Analysis of the techniques used (how the writer says it) Evaluation of the effectiveness/impact of the text (how well, in the learner’s opinion, the writer has explored the topic/achieved his/her purpose) Learners will have regular opportunities to assess their progress. Links to close reading These materials link to the following areas of close reading: understanding texts – information, theme, character and narrative summarising main points analysing word choice analysing language style deconstructing imagery explaining the effect of sentence structure.
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WJEC Eduqas Poetry Anthology Revision Guide
WJEC Eduqas Poetry Anthology Revision Guide Name…………………………………………….. Class……………………………………………… Teacher…………………………………………. 1 Table of Contents War/Conflict ..................................................................................................................................................................... 3 Dulce et Decorum Est (Owen) ....................................................................................................................................... 4 The Soldier (Brooke) ................................................................................................................................................. 6 Mametz Wood (Sheers) ............................................................................................................................................ 8 A Wife in London (Hardy) ........................................................................................................................................ 11 The Manhunt (Armitage)) ....................................................................................................................................... 13 Love/Relationships ......................................................................................................................................................... 15 She Walks in Beauty (Byron) ....................................................................................................................................... 16 Valentine (Duffy) ....................................................................................................................................................
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Carol Ann Duffy Poet for Our Times Carol Ann Duffy
Jane Dowson Carol Ann Duffy Poet for Our Times Carol Ann Duffy Jane Dowson Carol Ann Duffy Poet for Our Times Jane Dowson De Montfort University Leicester , UK ISBN 978-1-137-41562-2 ISBN 978-1-137-41563-9 (eBook) DOI 10.1057/978-1-137-41563-9 Library of Congress Control Number: 2016938778 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identifi ed as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.
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Love As Sarcasm: the Treatment of Love in the Poetry of Carol Ann Duffy. by Dr
Dr. BahaaAbdelmegid Love as Sarcasm: The treatment of Love in the Poetry of Carol Ann Duffy. By Dr. BahaaAbdelmegid A Lecturer . Department of English Faculty of Education, Ain Shams University Abstract My paper investigates how Carol Ann Duffy has treated love in her poetry. It appears that she has treated love as a theme in an ironic and non- traditional way. She has always been preoccupied by the idea of love in her poetry. The paper also attempts to unfold the hidden messages which the poet wants to reveal through her poems. The paper introduces the definition of sarcasm and how it is employed by Duffy in a very subtle way. This is then followed by her views about love and how she looks at it. Major poems from her distinguished body of work are analyzed from a thematic and a symbolic point of view. Being a feminist and keen to present a different concept of love, Duffy introduces many types of women especially those who are preoccupied by the idea of gender and the social role of women. Her books The World's Wife and Love Poems as well as many other famous individual poems such as ‘Valentine’, ‘You’ and ‘Warming Her Pearls’ are extensively explained and interpreted to demonstrate how she employs sarcasm in very elaborate way. Although Scottish by birth, Carol Ann Duffy is the first female Poet Laureate of England in the role's 400-year history. Her combination of tenderness and toughness, humour and lyricism, unconventional attitudes and conventional forms, has won her a wide international audience of readers and listeners.1 One of the defining features of Duffy’s work is her use of sarcasm, wit and strange images (conceits) in her poetry, especially when she writes about emotional topics.
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DUFFY, CAROL ANN. Carol Ann Duffy Papers, 1970-2010
DUFFY, CAROL ANN. Carol Ann Duffy papers, 1970-2010 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Duffy, Carol Ann. Title: Carol Ann Duffy papers, 1970-2010 Call Number: Manuscript Collection No. 834 Extent: 9.75 linear feet (20 boxes), 3 oversized papers boxes and 1 oversized papers folder (OP), 1 bound volume (BV), AV Masters: .5 linear ft. (1 box), and 93 MB of born digital materials (59 files) Abstract: Papers of Scottish poet and playwright Carol Ann Duffy, including correspondence and personal papers, writings, printed material, audiovisual materials, and a small amount of born digital materials.Papers of Scottish poet and playwright Carol Ann Duffy, including correspondence and personal papers, writings, printed material, audiovisual materials, and a small amount of born digital materials. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. Use copies have not been made for all audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Emory Libraries provides copies of its finding aids for use only in research and private study.
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First Day at School
King’s High School English Dept. Poetry Anthology First Day at School A millionbillionwillion miles from home Waiting for the bell to go. (To go where?) Why are they all so big, other children? So noisy? So much at home they Must have been born in uniform Lived all their lives in playgrounds Spent the years inventing games That don't let me in. Games That are rough, that swallow you up. And the railings. All around, the railings. Are they to keep out wolves and monsters? Things that carry off and eat children? Things you don't take sweets from? Perhaps they're to stop us getting out Running away from the lessins. Lessin. What does a lessin look like? Sounds small and slimy. They keep them in the glassrooms. Whole rooms made out of glass. Imagine. I wish I could remember my name Mummy said it would come in useful. Like wellies. When there's puddles. Yellowwellies. I wish she was here. I think my name is sewn on somewhere Perhaps the teacher will read it for me. Tea-cher. The one who makes the tea. Roger McGough King’s High School English Dept. Poetry Anthology The Tiger By William Blake 1757-1827 TIGER, tiger, burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire? And what shoulder and what art Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand and what dread feet? What the hammer? what the chain? In what furnace was thy brain? What the anvil? What dread grasp Dare its deadly terrors clasp? When the stars threw down their spears, And water'd heaven with their tears, Did He smile His work to see? Did He who made the lamb make thee? Tiger, tiger, burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry? King’s High School English Dept.
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