English Literature - Poetry Anthology
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Edexcel GCSE English Literature
GCSE ENGLISH LIT POETRY CLASHES AND COLLISIONS The Exam Structure You will answer two questions on poetry. The exam will last one hour and forty-five minutes and is worth 25% of your total GCSE. The exam is divided into two sections: Section A: Unseen Poetry Section B: Anthology Poems • You will answer 1 question in 2 parts. • You will be presented with a • Each part is worth 15 MARKS poem you have not studied. • This section is worth 30 MARKS • You read through the poem and answer the questions set. • In part (a) you will be asked a question about a named poem from the anthology This section is worth 20 MARKS collection you have studied. • In part (b) you will answer one question from a choice of two in which you will be expected to link/compare two poems. GCSE POETRY: Section B CLASHES AND COLLISIONS Foundation Tier Mark Scheme Section B: Anthology Poems: Part (a) questions Band Mark AO2: Explain how language, structure and form contribute to writer’s presentation of ideas, themes and settings • Little explanation of how the writer conveys his thoughts & feelings. 1 1-3 • Little relevant connection made between the presentation of thoughts & feelings and the language used. • Little relevant textual reference to support response. • Limited explanation of how the writer conveys his thoughts & feelings to create effect. • Limited relevant connection made between the presentation of thoughts & feelings and 2 4-6 the language used. • Limited relevant textual reference to support response. • Some explanation of how the writer conveys his thoughts & feelings to create effect. -
Durham E-Theses
Durham E-Theses 'A forest of intertextuality' : the poetry of Derek Mahon Burton, Brian How to cite: Burton, Brian (2004) 'A forest of intertextuality' : the poetry of Derek Mahon, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1271/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk "A Forest of Intertextuality": The Poetry of Derek Mahon Brian Burton A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. Submitted as a thesis for the Degree of Doctor of Philosophy University of Durham Department of English Studies 2004 1 1 JAN 2u05 I Contents Contents I Declaration 111 Note on the Text IV List of Abbreviations V Introduction 1 1. 'Death and the Sun': Mahon and Camus 1.1 'Death and the Sun' 29 1.2 Silence and Ethics 43 1.3 'Preface to a Love Poem' 51 1.4 The Terminal Democracy 59 1.5 The Mediterranean 67 1.6 'As God is my Judge' 83 2. -
Robert Browning (1812–1889) Robert Browning Was a Romantic Poet in Great Effect When Disclosing a Macabre Or Every Sense of the Word
THE GREAT Robert POETS Browning POETRY Read by David Timson and Patience Tomlinson NA192212D 1 How They Brought the Good News from Ghent to Aix 3:49 2 Life in a Love 1:11 3 A Light Woman 3:42 4 The Statue and the Bust 15:16 5 My Last Duchess 3:53 6 The Confessional 4:59 7 A Grammarian’s Funeral 8:09 8 The Pied Piper of Hamelin 7:24 9 ‘You should have heard the Hamelin people…’ 8:22 10 The Lost Leader 2:24 11 Soliloquy of the Spanish Cloister 3:55 12 The Laboratory 3:40 13 Porphyria’s Lover 3:47 14 Evelyn Hope 3:49 15 Home Thoughts from Abroad 1:19 16 Pippa’s Song 0:32 Total time: 76:20 = David Timson = Patience Tomlinson 2 Robert Browning (1812–1889) Robert Browning was a romantic poet in great effect when disclosing a macabre or every sense of the word. He was an ardent evil narrative, as in The Laboratory, or The lover who wooed the poet Elizabeth Confessional or Porphyria’s Lover. Barrett despite fierce opposition from Sometimes Browning uses this matter- her tyrannical father, while as a poet – of-fact approach to reduce a momentous inheriting the mantle of Wordsworth, occasion to the colloquial – in The Keats and Shelley – he sought to show, Grammarian’s Funeral, for instance, in in the Romantic tradition, man’s struggle which a scholar has spent his life pursuing with his own nature and the will of God. knowledge at the expense of actually But Browning was no mere imitator of enjoying life itself. -
Cambridge University Press 978-1-107-18014-7 — Seamus Heaney in Context Edited by Geraldine Higgins Index More Information
Cambridge University Press 978-1-107-18014-7 — Seamus Heaney in Context Edited by Geraldine Higgins Index More Information Index Abbey Theatre, , Balkans, Adams, Gerry, Bantock, G. H., Aeschylus, Barańczak, Stanislaw, , , Agamemnon, Batten, Guinn, – afterlife, , , , , , BBC Northern Ireland, , aisling (dream-vision poem), , , , – Heaney archive, , Allen, Donald, New American Poetry –, BBC Schools Service, Explorations, , , Allen, Michael, Beckett, Samuel, , alliteration, , , , Beecroft, Alexander, Alvarez generation, Belfast, , , , , Alvarez, Al, , –, Belfast Group, , , –, , gentility principle, Bell, Sam Hanna, New Poetry, The, –, Benjamin, Walter, ‘Critique of Violence’, – ‘Beyond the Gentility Principle’, Berkeley, University of California, –, Amis, Kingsley, –, –, Amnesty International, , , Bancroft Library archive, , Republic of Conscience Award, Bishop, Elizabeth, , , , , , Anahorish School, Blake, William, , Anglo-Irish Revival, Blandiana, Ana, Aristotle, Poetics, Bloody Friday, Armitage, Simon, Bloody Sunday, , Sir Gawain and the Green Knight, – Bloom, Harold, , Armstrong, Sean, Modern Critical Views: Seamus Heaney, Arnold, Matthew, , , , , Bly, Robert, –, ‘Dover Beach’, Silence in the Snowy Fields, Attic Press, ‘Teeth-Mother Naked at Last, The’, Auden, W. H., , , , , , , Bockhampton, , ‘In Memory of W. B. Yeats’, , , bog bodies, , , , , , , ‘Shield of Achilles, The’, bog poems, , , , , , , , , ‘Spain ’, –, , – auditory imagination, , –, –, –, bogland, – , Bogside, battle of, -
'More Than Glass': Louis Macneice's Poetics of Expansion
THE CATHOLIC UNIVERSITY OF AMERICA ‘More than glass’: Louis MacNeice’s Poetics of Expansion A DISSERTATION Submitted to the Faculty of the Department of English School of Arts & Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy © Copyright All Rights Reserved By Michael A. Moir, Jr. Washington, DC 2012 ‘More than glass’: Louis MacNeice’s Poetics of Expansion Michael A. Moir, Jr., PhD Director: Virgil Nemoianu, PhD The Northern Irish poet and dramatist Louis MacNeice, typically regarded as a minor modernist following in the footsteps of Yeats and Eliot or living in the shadow of Auden, is different from his most important predecessors and contemporaries in the way he attempts to explode conventional ideas of place, presenting human subjects in transit and shifting, melting landscapes, rooms and buildings that tend to blend in with their sur- roundings. While Yeats, Eliot and Auden evince a siege mentality that leads them to build religious or political Utopias easily separable from the chaos of the contemporary world, MacNeice denies the validity of any such imaginary constructs, instead taking apart the boundaries of imaginary private worlds, from rooms to islands to pastoral landscapes. Mac- Neice’s representations of space favor what Fredric Jameson terms ‘postmodern space’: his poems and radio plays operate outside of ideas of ‘home,’ ‘church,’ or ‘nation,’ opposing the rigidity of such places to the fluidity of travel. MacNeice has been much misunderstood and underestimated, and a reappraisal of his career is due, particularly given the amount of material that has been published or reis- sued since his centenary in 2007. -
The Victorian Newsletter
The Victorian Newsletter Deborah A. Logan, Editor Western Kentucky University Tables of Contents, #111 (2007) through #1 (1952) The Victorian Newsletter Number 111 Spring 2007 Contents Page Carlyle's Influence on Shakespeare 1 by Robert Sawyer Imagining Ophelia in Christina Rossetti's ''Sleeping at Last'' 8 by Mary Faraci The Poison Within: Robert Browning' s ''The Laboratory'' 10 by David Sonstroem ''Her life was in her books'': Jean lngelow in the Literary Marketplace 12 by Maura Ives The Buddhist Sub-Text and the Imperial Soul-Making in Kim 20 by Young Hee Kwon ''Gliding'': A Note On the Exquisite Delicacy of the Religious Glissade Motif in Hopkins's ''The Windhover'' 29 by Nathan Cervo Coming in The Victorian Newsletter 29 Books Received 30 Notice 32 The Victorian Newsletter Number 110 Fall 2006 Contents Page Reading Hodge: Preserving Rural Epistemologies in Hardy's Far from the Madding Crowd 1 by Eric G. Lorentzen Unmanned by Marriage and the Metropolis in Gissing's The Whirlpool 10 by Andrew Radford Anthony Trollope's Lady Anna and Shakespeare's Othello 18 by Maurice Hunt The Romantic and the Familiar: Third-Person Narrative in Chapter 11 of Bleak House 23 by David Paroissien Tennyson's In Memoriam, Section 123, and the Submarine Forest on the Lincolnshire Coast 28 by Patrick Scott Coming in Victorian Newsletter 30 Books Received 31 The Victorian Newsletter Number 109 Spring 2006 Contents Page Scandalous Sensations: The Woman In White on the Victorian Stage 1 by Maria K. Bachman Nostalgia to Amnesia: Charles Dickens, Marcus Clarke and Narratives of Australia’s Convict Origins 9 by Beth A. -
Edexcel Poetry Anthology – ‘Conflict’
Name: ……………………………………………………… Teacher: ………………………………………………………. EDEXCEL POETRY ANTHOLOGY – ‘CONFLICT’ Themes - the poems can be grouped or linked by theme and subject matter. Write the poems below which link together under these headings: The act of war Feelings of emotion, inner Conflict between man and The effects of war and conflict Conflict between people conflict, culture and identity nature on people and places Which poems connect? And how? A Poison Sennacherib The Prelude The Man He Cousin Kate Catrin War Belfast The Class Poppies No Problem What Were Tree Killed Photographe Confetti Game They Like r A Poison Tree Sennacherib The Prelude The Man He Killed Cousin Kate Half-caste Exposure The Charge of… Catrin War Photographe r Belfast Confetti The Class Game Poppies No Problem What Were They Like You are advised to go through the poems and complete this table. Some contextual information has been provided for you. Find key quotations from each poem and try to memorise them – you only need one for each poem. Decide what is the most unusual, interesting, useful or striking line from each poem. Poem Context Key quotation/s Key features of language Key features of structure and form A Poison Tree Blake was an 18th-century painter and printmaker Writer: William as well as a poet. He was part of the early Romantic Blake Movement, which included poets such as Lord Written in 1794 Byron and William Wordsworth (both also featured in the ‘Conflict’ collection). Blake’s work often protested against social injustices and the negative effects of the Industrial Revolution. His two best- known collections, Songs of Innocence (1789) and Songs of Experience (1794), deal with similar subject matter but with a very different tone. -
Gcse English and English Literature
GCSE ENGLISH AND ENGLISH LITERATURE INFORMATION AND PERSONAL PROFILE FOR STUDENTS AT ASHTON COMMUNITY SCIENCE COLLEGE NAME: ………………………………………….. TEACHER: ……………………………………. 1 THE COURSE(S) You will be following the AQA, Specification A syllabus for English . As an additional GCSE, many of you will be following the AQA, Specification A syllabus for English Literature . (www.aqa.org.uk) There are two methods of assessment within each course: 1. Coursework 2. Examination The following tables give you a breakdown of the elements that need to be studied and the work that needs to be completed in each area. The percentage weighting of each element in relation to your overall grade is also included: Coursework Written If you are entered for English and English Literature you will complete five written assignments. If you are entered for English only you will complete four written assignments: ASSIGNMENT EXAMPLE TASKS % OF OVERALL GCSE Original Writing A short story or an 5 % of the English GCSE (Writing assessment for autobiographical piece of English only) writing. Media A close analysis of an 5% of the English GCSE (Writing assessment for advertising campaign or of the English only) marketing for a film. Shakespeare A close analysis of the impact 5% of the English GCSE plus (Reading assessment for created by the first 95 lines in 10% of the English Literature English and English Lit.) Romeo and Juliet. GCSE Pre-Twentieth Century Prose A comparison between two 5% of the English GCSE plus Study chapters in Great Expectations 10% of the English Literature (Reading assessment for by Charles Dickens. GCSE English and English Lit.) Twentieth Century Play A close analysis of the role 10% of the English Literature (Assessment for English played by the narrator in Blood GCSE Literature only) Brothers by Willy Russell Spoken 2 In addition to written coursework there is also a spoken coursework element for English GCSE. -
Name Teacher
Anthology Poetry Revision Booklet Name Teacher A Poison Tree by William Blake Quick questions 1. What is the poet’s overall message? 2. What do you think the poem is saying about the effects of anger? 3. Why has Blake used the extended metaphor of the tree? 4. What three relevant links to context can you make? 5. Challenge: why has Blake used the ballad form? Quick comparison task 1. Write five ‘Both…’ statements for A Poison Tree and other poems from the conflict anthology that you could compare it to. e.g. Both the poems A Poison Tree and Half-caste express the strong negative emotion of anger. Sample exam questions 1. Re-read A Poison Tree. Choose one other poem from the conflict anthology. Compare how strong emotions are presented in the two poems. In your answer, you should consider the: • poet’s use of language, form and structure • influence of the contexts in which the poems were written 2. Re-read A Poison Tree. Choose one other poem from the conflict anthology. Compare how the power of humans is presented in the two poems. In your answer, you should consider the: • poet’s use of language, form and structure • influence of the contexts in which the poems were written 3. Re-read A Poison Tree. Choose one other poem from the conflict anthology. Compare how the effect of conflict is presented in the two poems. In your answer, you should consider the: • poet’s use of language, form and structure • influence of the contexts in which the poems were written The Destruction of Sennacherib by Lord Byron Quick questions 1. -
Exploring the Productive Encounter Between the Poetic and the Political in Northern Ireland During the Troubles
Sarah Bufkin Cultural Studies--Honors Thesis 7 Nov At the Frontiers of Writing: Exploring the Productive Encounter Between the Poetic and the Political in Northern Ireland during the Troubles Sarah Bufkin Cultural Studies Honors Thesis Fall 2013 1 Sarah Bufkin Cultural Studies--Honors Thesis 7 Nov Table of Contents Introduction………………………………………………………………………………………………………………………….…..3 Chapter 1 The Belfast Group as a Collective Assemblage of Enunciation………………………………………………….11 Chapter 2 John Hewitt Stakes Out the Protestant Territorial Claim…………………………………………………………..26 Chapter 3 Louis MacNeice Revels in Contradiction and Displacement………………………………………………………47 Chapter 4 A Quest for Civil Rights Devolves into a Violent Sectarianism……………………………………………………89 Chapter 5 Understanding the Political Possibilities Internal to the Poem’s Act of Enunciation………………..133 Chapter 6 Seamus Heaney Names His (Catholic) Nation…………………………………………………………………………175 Chapter 7 Derek Mahon Attempts to Escape His Unionist Roots…………………………………………………………….218 Conclusion…………………………………………………………………………………………………………………………….246 2 Sarah Bufkin Cultural Studies--Honors Thesis 7 Nov Introduction You were silly like us; your gift survived it all: The parish of rich women, physical decay, Yourself. Mad Ireland hurt you into poetry. Now Ireland has her madness and her weather still, For poetry makes nothing happen: it survives In the valley of its making where executives Would never want to tamper, flows on south From ranches of isolation and the busy griefs, Raw towns that we believe and die in; it survives, A way of happening, a mouth.1 So W.H. Auden wrote in his elegy for W.B. Yeats. His view that poetry does not do political work is one shared by many people, poets included. While some lines of verse may be held aloft as a rallying cry and others might memorialize those who have fallen, few sonnets directly exert a revolutionary fervor. -
Theodora Michaeliodu Laura Pence Jonathan Tweedy John Walsh
Look, the world tempts our eye, And we would know it all! Setting is a basic characteristic of literature. Novels, short stories, classical Greece and medieval Europe and the literary traditions the temporal and spatial settings of individual literary works, one can dramas, film, and much poetry—especially narrative poetry—typically inspired by those periods. Major Victorian poets, including Tennyson, map and visualize the distribution of literary settings across historical We map the starry sky, have an identifiable setting in both time and space. Victorian poet the Brownings, Arnold, Rossetti, and Swinburne, provide a rich variety periods and geographic space; compare these data to other information, We mine this earthen ball, Matthew Arnold’s “Empedocles on Etna,” for instance, is set in Greek of representations of classical and medieval worlds. But what does the such as year of publication or composition; and visualize networks of We measure the sea-tides, we number the sea-sands; Sicily in the fifth century B.C. “Empedocles” was published in 1852. quantifiable literary data reveal about these phenomena? Of the total authors and works sharing common settings. The data set is a growing Swinburne’s Tristram of Lyonesse (1882) is set in Ireland, Cornwall, number of published works or lines of verse from any given period, collection of work titles, dates, date ranges, and geographic identifiers We scrutinise the dates and Brittany, but in an uncertain legendary medieval chronology. or among a defined set of authors or texts, how many texts have and coordinates. Challenges include settings of imprecise, legendary, Of long-past human things, In the absence of a narrative setting, many poems are situated classical, medieval, biblical, or contemporary settings? How many texts and fictional time and place. -
Edexcel English Literature Part 1: Exploring Poetry
Edexcel AS English Literature Edexcel Edexcel English Literature Part 1: Exploring Poetry Sue Dymoke Ian McMechan Mike Royston Jennifer Smith Edexcel AS English Literature Consultant: Jen Greatrex STUDENT BOOK STUDENT BOOK STUDENT BOOK CVR_ELIT_SB_AS_2482_CVR.indd 1 8/5/08 15:38:39 Edexcel English Literature Part 1: Exploring Poetry Sue Dymoke Ian McMechan Mike Royston Jennifer Smith STUDENT BOOK Contributors: Barbara Bleiman and Lucy Webster of the English and Media Centre Consultant: Jen Greatrex A01_ELIT_SB_2482_Prelims.indd 1 22/5/08 16:10:03 Part 1 Exploring poetry This part of the book helps you develop your skills in reading and analysing poems Contents 1 What is poetry? 4 . 2 Type 7 3 Form and structure 8 4 Rhyme 20 5 Rhythm 23 6 Language 27 7 Imagery 30 8 Voice 34 9 Tone and mood 38 Contents 3 1 What is poetry? The word poetry originates from the Greek word ‘poiesis’ meaning ‘a making’ or ‘a creating’ and from a time when poetry was predominantly an oral form of carefully crafted, patterned language which was recited to listeners and then passed on to others through the medium of speech. Spoken poetry is with us all from birth, in the rhythms of words we babble when we are babies, and the word-play and rhymes we enjoy as children long before we have learned to read. Poetry of course comes in many written forms too and can serve a variety of functions in people’s lives, such as to help them make sense of their grief or their joy, or to capture a key moment or experience.