Caribbean Poems
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7 Lord of the Flies Relationships Oliver Twist the Tempest
Overall Curriculum Map 2020-2021: English End of year skills & Seminal World Literature Poetry Canonical classic Shakespeare Knowledge Key Knowledge: 1. To begin to understand concepts/ ideas and the Lord of the Flies Relationships Oliver Twist The Tempest bigger picture of different writers and different time 7 Very Important Points bespoke to the Unit: Very Important Points (building on skills from Unit Very Important Points (building on skills from Units 1 & 2) Very Important Points (Builds on all year group skills) periods. INTRODUCE, BEGIN, APPLY, FORM, IDENTIFY. 1) DEEPEN, REVISIT, BROADEN, MASTER, REVISIT, MASTER, REVISIT. 2. To introduce students to relevant myths and DEVELOP, REVISIT, CONSOLIDATE, UNDERSTAND. legends (Linked to the theme of Conflict) • Aspects of structure only (opening/ ending) • Introduce the 5-minute journey plan for • Introduce Critical viewpoint scenarios by 3. Demonstrate understanding of motifs, symbols • Introduction to Show Not Tell. • Poetic conventions introduced. narrative writing. introducing supporting student and concepts. • Write effective narrative openings. • Develop knowledge of structure through • Develop knowledge of structural features from statements and then: How much do you 4. Apply the spelling patterns and rules set out in • Introduction to ISMELL through Imagine poetry form. different points of a text, not just beginning or agree? questions the English Appendix in the English Programmes of statements only. • Single poem analysis in written form. end. • Introduce dramatic conventions and how Study. • Language analysis. • Comparison of poetry through discussion • Introduce different structural features such as these support meaning and concepts of a • Figurative language through writing. only. perspective shift, time shift, zoom and pivotal text. • Summary skills through discussion only. -
The Arts of Resistance in the Poetry of Linton Kwesi Johnson1
Revista África e Africanidades - Ano 3 - n. 11, novembro, 2010 - ISSN 1983-2354 www.africaeafricanidades.com The arts of resistance in the poetry of Linton Kwesi Johnson1 Jair Luiz França Junior2 Resumo: Este artigo analisa insubordinação e resistência manifestas na poesia pós-colonial contemporânea como forma de subverter os discursos dominantes no ocidente. Mais especificamente, a análise centra-se em estratégias textuais de resistência no trabalho do poeta britânico-jamaicano Linton Kwesi Johnson (também conhecido como LKJ). A qualidade sincretista na obra desse poeta relaciona-se com diáspora, hibridismo e crioulização como formas de re[escre]ver discursos hegemônicos com bases (neo)coloniais. Críticas pós- coloniais, em geral, irão enquadrar esta análise de estratégias de dominação e resistência, mas algumas discussões a partir do domínio de história, sociologia e estudos culturais também poderão entrar no debate. Neste sentido, há uma grande variedade de teorias e argumentos que lidam com as contradições e incongruências na questão das relações de poder interligada à dominação e resistência. Para uma visão geral do debate, este estudo compõe uma tarefa tríplice. Primeiramente, proponho-me a fazer um breve resumo autobiográfico do poeta e as preocupações sócio-políticas em sua obra. Em seguida, apresento algumas leituras críticas de seus poemas a fim de embasar teorias que lidam com estratégias de dominação e resistência no âmbito da literatura. Por fim, investigo como estratégias de resistência diaspórica e hibridismo cultural empregados na poesia de Linton Kwesi Johnson podem contribuir para o distanciamento das limitações de dicotomias e também subverter o poder hegemônico. Além disso, este debate está preocupado com a crescente importância de estudos acadêmicos voltado às literaturas pós-coloniais. -
The Arts of Resistance in the Poetry of Linton Kwesi Johnson
THE ARTS OF RESISTANCE IN THE POETRY OF LINTON KWESI JOHNSON AS ARTES DA RESISTÊNCIA NA POESIA DE LINTON KWESI JOHNSON JLFrança Junior* Resumo Este artigo analisa insubordinação e resistência manifestas na poesia pós-colonial contemporânea como forma de subverter os discursos dominantes no ocidente. Mais especificamente, a análise centra-se em estratégias textuais de resistência no trabalho do poeta britânico-jamaicano Linton Kwesi Johnson. A qualidade sincretista em sua obra relaciona-se com diáspora, hibridismo e crioulização como formas de re[escre]ver discursos hegemônicos com bases (neo)coloniais. Críticas pós-coloniais, em geral, irão enquadrar esta análise. Este estudo está organizado em três debates fundamentais: um breve relato biográfico do autor e a contextualização sociopolítica em que sua obra se insere, alguns exames críticos da poesia de LKJ e um estudo das estratégias de resistência diaspórica e hibridismo cultural empregados na sua poesia. Este artigo visa, portanto, a fazer uma análise literária de poemas pós-coloniais como técnicas estratégicas de descentramento da retórica ocidental dominante, a qual tenta naturalizar desigualdades e injustiças em ambos os contextos local e global. Palavras-chave: Poesia Contemporânea, Crítica Pós-colonial, Diáspora, Crioulização, Resistência. Abstract This paper analyses insubordination and resistance manifested in contemporary postcolonial poetry as ways of subverting dominant Western discourses. More specifically, I focus my analysis on textual strategies of resistance in the works of the British-Jamaican poet Linton Kwesi Johnson. The syncretistic quality in his oeuvre is related to diaspora, hybridity and creolisation as forms of writ[h]ing against (neo)colonially-based hegemonic discourses. Thus postcolonial critiques at large will frame this analysis. -
Derek Walcott - Poems
Classic Poetry Series Derek Walcott - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Derek Walcott(23 January 1930) Derek Walcott OBE OCC is a Saint Lucian poet, playwright, writer and visual artist who was awarded the Nobel Prize for Literature in 1992 and the T. S. Eliot Prize in 2011 for White Egrets. His works include the Homeric epic Omeros. Robert Graves wrote that Walcott "handles English with a closer understanding of its inner magic than most, if not any, of his contemporaries”. <b>Life</b> Early Life Walcott was born and raised in Castries, Saint Lucia, in the West Indies with a twin brother, the future playwright Roderick Walcott, and a sister. His mother, a teacher, had a love of the arts who would often recite poetry. His father, who painted and wrote poetry, died at 31 from mastoiditis. The family came from a minority Methodist community, which felt overshadowed by the dominant Catholic culture of the island. As a young man he trained as a painter, mentored by Harold Simmons whose life as a professional artist provided an inspiring example for Walcott. Walcott greatly admired Cézanne and Giorgione and sought to learn from them. Walcott then studied as a writer, becoming “an elated, exuberant poet madly in love with English” and strongly influenced by modernist poets such as T. S. Eliot and Ezra Pound. Walcott had an early sense of a vocation as a writer. In the Poem "Midsummer" (1984), he wrote Forty years gone, in my island childhood, I felt that the gift of poetry had made me one of the chosen, that all experience was kindling to the fire of the Muse. -
Orality in Writing: Its Cultural and Political Function in Anglophone African, African-Caribbean, and African-Canadian Poetry
ORALITY IN WRITING: ITS CULTURAL AND POLITICAL FUNCTION IN ANGLOPHONE AFRICAN, AFRICAN-CARIBBEAN, AND AFRICAN-CANADIAN POETRY A Thesis submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of English University of Saskatchewan Saskatoon By Yaw Adu-Gyamfi Spring 1999 © Copyright Yaw Adu-Gyamfi, 1999. All rights reserved. National Ubrary Bib!iotheque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON K1 A ON4 Canada Canada Your file Vol", ,eferet1C8 Our file Not,e ,life,encs The author has granted a non L' auteur a accorde une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format electronique. The author retains ownership of the L' auteur conserve la propriete du copyright in this thesis. Neither the droit d'auteur qui protege cette these. thesis nor substantial extracts from it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent etre imprimes reproduced without the author's ou autrement reproduits sans son permISSlOn. autorisation. 0-612-37868-3 Canada UNIVERSITY OF SASKATCHEWAN College of Graduate Studies and Research SUMMARY OF DISSERTATION Submitted in Partial Fulfillment of the Requirements for the DEGREE OF DOCTOR OF PHILOSOPHY by Yaw Adu-Gyamfi Department of English Spring 1999 -EXAMINING COMMITTEE: Dr. -
8 Dwight Street
LIZABETH PARAVISINI-GEBERT 8 Dwight Street Poughkeepsie, New York 12601 845 471-7998 (Home) 845 264-7541 (Mobile) http://repeatingislands.com/ (blog) http://lizabethparavisinigebert.com/ (website) OFFICE ADDRESS Vassar College, Box 541 Poughkeepsie, New York 12604 845 437-5611 (voice) 845 437-7025 (fax) [email protected] (e-mail) ACADEMIC DEGREES Ph.D. Comparative Literature. New York University (1982). [Diss. "The Novel as Parody of Popular Narrative Forms in the United States and Latin America: 1963-1980"] M.Phil. Comparative Literature. New York University (1981). M.A. Comparative Literature. New York University (1976). B.A. Comparative Literature. Magna cum laude. University of Puerto Rico (1973). TEACHING EXPERIENCE Professor, on the Randolph Distinguished Professor Chair, Multidisciplinary Programs/ Department of Hispanic Studies, Vassar College, 2004- Professor, Department of Hispanic Studies/Program in Africana Studies, Vassar College, 1997-2004. Visiting Professor, Depts. of English and Hispanic Studies, University of Puerto Rico, February 2007. Visiting Professor, Facultad de Humanidades. Universidad Carlos III de Madrid, Spring 2005. Associate Professor, Department of Hispanic Studies, Vassar College, 1991-1997. Associate Professor, Department of Puerto Rican, Caribbean and Latin American Studies, Lehman College (City University of New York), 1987-1991. Visiting Associate Professor, Department of Latin American Studies, City College, Fall 1990. Assistant Professor, Department of Puerto Rican Studies, Lehman College (CUNY), -
Pamela Mordecai
Pamela Mordecai And I don’t know how it is for other writers, but when I write, regardless of what I’m writ- ing, or how I approach the writing task, I’ve got this image or shape or feeling inside me somewhere, a sort of embroidery pattern, a sort of magic-pencil outline, a sort of distant melody, that knows how what I’m writing “should look, that senses its right shape and sound, somehow. And I know that I have to have faith in this weird process, and that it’s best not to mind other people too much. Take their advice, yes, but not mind them too much. — Pamela Mordecai Quick Facts * Born in 1942 Biography * Jamaican-born poet, novelist, and children’s Tropical weather, crashing waves on an island shore, and sun-filled days ” book writer; surrounded Pamela Mordecai throughout her childhood. But the plethora of lushness and beauty were not the original inspiration for this Jamai- currently lives in can-born author. It was instead the devastating violence of Hurricane Canada Charlie, hitting the island in 1951, which brought about Mordecai’s first * Writes in poem at the young age of nine. This first piece of writing blossomed into patois many others, stretching across multiple genres including poetry, short stories, textbooks, and children’s books. A quote from Mordecai seems to sum this up: “I guess I’ve multiple personalities, and they all need to speak.” The one thing that weaves through all her styles of writing, This page was researched and though, is her tie to her Caribbean home. -
THE AUTHORIZED BIOGRAPHY of David C. Pack
THE AUTHORIZED BIOGRAPHY OF david c. pack VOLUME TWO This book was prepared by the editorial staff of The Restored Church of God and others. Contributing writers, researchers, editors and graphic artists include: Jeffrey R. Ambrose, Frank Crowl, Jennifer L. Denee, Kevin D. Denee, Charles E. Herzog, Darnitra D. Jackson, Robert W. Pack, Shirley M. Pack, Vernia I. Pack, William R. Pack, Justin T. Palm, Stacey L. Palm, Bruce A. Ritter, Paula C. Rondeau and David C. Pack Copyright © 2009, 2012 The Restored Church of God® All Rights Reserved. Printed in the United States of America David C. Pack has held a variety of leadership roles throughout his dynamic, event-filled life: author of more than 20 books, scores of booklets and a vast array of articles— Pastor General of The Restored Church of God—voice of The World to Come pro- gram—founder of Ambassador Center—and publisher/editor-in-chief of three magazines. The Authorized Biography of David C. Pack tells the life story of a man who was care- fully prepared by God for a unique position. TABLE OF CONTENTS CHAPTER THIRTY-FIVE Spotlight on the Family ...................................................... 9 CHAPTER THIRTY-SIX Descent into Apostasy ...................................................... 19 CHAPTER THIRTY-SEVEN Startling Developments .................................................... 39 CHAPTER THIRTY-EIGHT Truth—and Consequences ............................................... 57 CHAPTER THIRTY-NINE The Global Church of God ............................................... 79 CHAPTER FORTY Growth and Priorities .................................................... 101 CHAPTER FORTY-ONE Deeper in Global ............................................................ 127 CHAPTER FORTY-TWO United Church Forms—House of Health Inc. ................ 159 CHAPTER FORTY-THREE Growing GCG Problems ................................................ 185 CHAPTER FORTY-FOUR Demoted—Gaining Business Experience ...................... 211 CHAPTER FORTY-FIVE House of Health Provides Unique Opportunity ............ -
Blood.Claat One Oomaan Story
GREAT CANADIAN THEATRE COMPANY blood.claat one oomaan story STUDY GUIDE A play written and performed by Directed by d’bi.young anitafrika Weyni Mengesha mudgu sankofa, a 15 year-old girl in Kingston, Jamaica, is bridging the gap between innocence and maturity. As blood – both life blood and death blood – cycles through her coming of age story, mudgu encounters her cleanliness- obsessed granny, a machete-wielding stranger, her reggae-loving boyfriend and her church-going aunty. Helping her traverse her past, present and future lies mudgu's mother, who left her in search of a better life for herself and mudgu in Canada. Fusing theatre and dub poetry, the extraordinary artist d'bi.young anitafrika portrays mudgu with wit, charisma and power. Student Matinees Welcome to the Great Canadian Special thank you to Mar. 10 Theatre Company! GCTC’s Student Matinée 12:00pm Noon Partners Study Guide researched and written by Jim McNabb GCTC’s Education Program GCTC STUDY GUIDE blood.claat Page 1 The Play Contents The Place and Time: The Play ………………………… 1 East Africa in the beginning d’bi.young anitafrika Toronto Airport immigration desk actor/playwright/dub artist About the Play ………. 2 - 3 three years earlier Set and Costumes………… 4 Nanny Town, Jamaica 1730-1732 Excerpt from the Kingston, Jamaica present day Script ………………… 5 - 6 The Plot (in brief): In her formative sixteenth year, Jamaica: Facts, History, mudgu is caught between the Features .………… 7 - 11 expectations of her granny and blood, a dub poem ……. 12 auntie and her boyfriend, is Traditional African emotionally wounded by the violence and incest in the Religion …………………. -
GCSE English Literature Poetry Anthology
IN THE THIRD-CLASS SEAT SAT THE JOURNEYING BOY, AND THE ROOF-LAMP’S OILY FLAME PLAYED DOWN ON HIS LISTLESS FORM AND FACE, BEWRAPT PAST KNOWING TO WHAT HE WAS GOING, INOR THE WHENCEBAND OF HIS HAT THE HE JOURNEYING CAME. BOY HAD A TICKET STUCK; AND A STRING AROUND HIS NECK BORE THE KEY OF HIS BOX, THAT TWINKLED GLEAMS OF THE LAMP’S SAD BEAMS WHATLIKE PAST A CAN LIVING BE YOURS, O JOURNEYING THING. BOY TOWARDS A WORLD UNKNOWN,UNKNOWN, WHO CALMLY, AS IF INCURIOUS QUITE ON ALL AT STAKE, CAN UNDERTAKE KNOWSTHIS YOUR PLUNGE SOUL A SPHERE, 0ALONE? JOURNEYING BOY, OUR RUDE REALMS FAR ABOVE, WHENCE WITH SPACIOUS VISION YOU MARK AND METE THIS REGION OF SIN THAT YOU FIND YOU IN, BUTUPDATED EDITION: ARE SEPTEMBER 2020 NOT OF? 1 OCR (Oxford, Cambridge and RSA Examinations) The Triangle Building, Shaftesbury Road, Cambridge, CB2 8EA © Oxford, Cambridge and RSA Examinations 2020 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, without the prior permission in writing of the publisher, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organisation. This book must not be circulated in any other binding or cover and this same condition must be imposed on any acquirer. ISBN 978 019 834090 4 Designed and produced by Oxford University Press Printed by Rotolito SpA 10 9 8 7 6 5 4 3 ACKNOWLEDGEMENTS We are grateful for permission to reprint the following copyright material in this anthology. -
Dub Poetry - Culture of Resistance
DUB POETRY - CULTURE OF RESISTANCE Christian Habekost (Mannheim) It was the great Barbadian poet and literary critic Edward Kamau Brathwaite who wrote in his standard work on the development of a “Creole Society” about the emergence of a distinctive Caribbean culture: Whatever we did that was worthwile had to be blessed by Europe. And yet the folk tradition persisted. The drums beat from the blood, the people danced and spoke their un-English English until our artists, seeking at last to paint themselves, to speak themselves, to sing themselves, returned [...] to the roots, to the soil, to the sources.1 It is dub poetry that incorporates not only these elements of folk tradi tion Brathwaite is talking about, but blends several art forms like music, drama, poetry, literature and performance into one to produce a modern expression of pop culture that has achieved international recognition. Developing out of reggae music, which had already gained an interna tional status since Bob Marley & The Wailers had crossed the borders from 1975 on, dub poetry was able to reach an audience all around the world. The poetry took over the cultural values of the music, the revolu tionary spirit and its militant stance towards society and used the well- established channels reggae had already prepared. Yet even though dub poetry emerged when reggae was in fashion internationally, it still man aged to stay out of the vicious circle of artificial fads and promotional interests of the recording industry. Today, after reggae has returned to the ghettos where it once came from, dub poetry still enjoys international success and an increasing au dience in many countries of the world. -
"The Labels Pin Them Down"
"The labels pin them down" An Interview with Mervyn Morris by Pam Mordecail PA M Mo R 0 E C AI: There have been, I think, a fow definitions of dub poetry, and I would refer you to one that recently appeared in Ted Chamber /in 's Come Back To Me My Language.2 He talks about the business ofwhat the word "dub" originally means, which is putting just the music on the reverse side of a reggae piece and somebody else doing their own words to that music. And then he says: "Dubbing words over a musical background became common enough that dub poetry came to include any rendition incorporating reggae musical rhythms and any verse combining reggae rhythms with local speech. " How would you respond to that as a definition of dub? MERVYN MORRIS Thatmay do; I'll talk about Ted's thing in a moment. What might be more useful is for me to tell you when I first heard the tenn, and from whom under what circumstances. Because I first heard the tenn from Oku Onuora, whose name was then Orlando Wong, and his notion was that dub poetry, which he had started trying to write, was poetry that incorporated a reggae-rhythm; and you might find that you should be able to hear the reggae rhythm whether there was music playing behind the voice or not. That was sort of his central definition, which he gave me in 1979. Now, later on Oku, who personally I regard as the sort of source for a lot of my notions about what dub poetry is, because he has really been someone who's been thinking about it quite a long time - - I saw recently a documentary in Toronto, on dub poetry - and I hope I am not misinterpreting or misquoting them - but they said that dub poetry origi nated with Oku.