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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. -
Poetry Library
Poetry Library All your ‘Poems of the Week’ in one collection w/c 14.05.20 Atlas by U.A Fanthorpe There is a kind of love called maintenance Which stores the WD40 and knows when to use it; Which checks the insurance, and doesn’t forget The milkman; which remembers to plant bulbs; Which answers letters; which knows the way The money goes; which deals with dentists And Road Fund Tax and meeting trains, And postcards to the lonely; which upholds The permanently ricketty elaborate Structures of living, which is Atlas. And maintenance is the sensible side of love, Which knows what time and weather are doing To my brickwork; insulates my faulty wiring; Laughs at my dryrotten jokes; remembers My need for gloss and grouting; which keeps My suspect edifice upright in air, As Atlas did the sky. w/c 21.05.20 This week we've chosen a couple of poems written by Dorset HealthCare colleagues. The first is by Suzie Thomas after undergoing an operation and she'd like to dedicate it to all the frontline staff who are putting themselves in harms way for the rest of us. The second is by Adele Sales, imagining the world on the other side of the pandemic. Walking Angels (NHS) by Suzie Thomas, E-procurement Co-ordinator If only there were people who toiled and cared for everyone out there? If only there were people who at our darkest moments of turmoil and fear were there to care? People who would tuck you in bed with love and compassion Even though they’d been dashing to another, even though they themselves are crashing. -
The Cyclone As Trope of Apocalypse and Place in Queensland Literature
ResearchOnline@JCU This file is part of the following work: Spicer, Chrystopher J. (2018) The cyclone written into our place: the cyclone as trope of apocalypse and place in Queensland literature. PhD Thesis, James Cook University. Access to this file is available from: https://doi.org/10.25903/7pjw%2D9y76 Copyright © 2018 Chrystopher J. Spicer. The author has certified to JCU that they have made a reasonable effort to gain permission and acknowledge the owners of any third party copyright material included in this document. If you believe that this is not the case, please email [email protected] The Cyclone Written Into Our Place The cyclone as trope of apocalypse and place in Queensland literature Thesis submitted by Chrystopher J Spicer M.A. July, 2018 For the degree of Doctor of Philosophy College of Arts, Society and Education James Cook University ii Acknowledgements of the Contribution of Others I would like to thank a number of people for their help and encouragement during this research project. Firstly, I would like to thank my wife Marcella whose constant belief that I could accomplish this project, while she was learning to live with her own personal trauma at the same time, encouraged me to persevere with this thesis project when the tide of my own faith would ebb. I could not have come this far without her faith in me and her determination to journey with me on this path. I would also like to thank my supervisors, Professors Stephen Torre and Richard Landsdown, for their valuable support, constructive criticism and suggestions during the course of our work together. -
EDEXCEL INTERNATIONAL GCSE (9 –1) Student Book
2017 ©Pearson part. in or whole in Shaun Gamble, Peter Inson,Robert Taylor O’Brien, Pam Shaun Gamble,Peter JamesChristie, David Farnell, FleurFrederick, Samantha Brunner, Greg Bevan, Student Book ENGLISH LITERATURE GCSE(9 INTERNATIONAL EDEXCEL included eBook distribution or circulation resale, for Not discretion. publisher at change to subject content all –1) proof, Uncorrected 2017 ©Pearson part. in or whole EDEXCEL INTERNATIONAL GCSE (9–1) in distribution or ENGLISH LITERATURE Student Book circulation resale, Greg Bevan for Not Samantha Brunner James Christie discretion. David Farnell Fleur Frederick publisher Shaun Gamble at Peter Inson change Robert O'Brien to Pam Taylor subject content all proof, Uncorrected A01_ENGL_SB_2588_FM_CS5.indd 1 30/09/2016 10:24 iv COURSE STruCTURE 2017 2 READING 32 WRITING 60 PAPER 1 SKILLS SKILLS ©Pearson 4 TEXT ANALYSIS 34 VOCABULARY 62 READING POETRY part. 4 ◼ SKIMMING AND SCANNING 34 ◼ CHOOSING THE RIGHT 62 ◼ INTRODUCTION TO POETRY in VOCABULARY or 6 ◼ EXPLICIT AND IMPLICIT 64 ◼ MAKING SENSE OF POETRY IDEAS 36 ◼ VOCABULARY FOR EFFECT 66 ◼ FIGURATIVE LANGUAGE whole 8 ◼ POINT-EVIDENCE-EXPLAIN 38 ◼ LANGUAGE FOR DIFFERENT in (P-E-E) EFFECTS 68 ◼ CREATING MOOD, ATMOSPHERE AND EMOTION 10 ◼ EVALUATING A TEXT 70 ◼ FORM, RHYTHM AND METRE 40 SENTENCES distribution 72 ◼ UNSEEN POEMS or 12 USE OF LANGUAGE 40 ◼ SENTENCE TYPES 80 ◼ COMPARING AND LINKING 12 ◼ WORD CLASSES 42 ◼ OPENING SENTENCES POEMS 14 ◼ CONNOTATIONS 44 ◼ SENTENCES FOR EFFECTS circulation 16 ◼ DIFFERENT SENTENCE 84 POETRY ANTHOLOGY TYPES resale, 46 STruCTURE 84 ◼ ‘If–’, RUDYARD KIPLING for 20 ◼ SENTENCES FOR EFFECTS 46 ◼ PRINCIPLES OF 87 ◼ ‘PRAYER BEFORE BIRTH’, Not STRUCTURE LOUIS MACNEICE 22 FICTION TEXTS 48 ◼ PARAGRAPHING FOR 90 ◼ ‘BLESSING’, EFFECT IMITIAZ DHARKER 22 ◼ FIGURATIVE LANGUAGE discretion. -
My Last Duchess Ozymandias
1 Character and voice Looking at the poems individually GradeStudio Ozymandias My Last Duchess GradeGradeStudioStudio Context by Percy Bysshe Shelley by Robert Browning Contexts Ozymandias was another name Ferrara a duchy in northern Italy. for Rameses, one of the Egyptian Read the poem in your AQA Anthology, then complete the Read the poem in your AQA activities below. Anthology, then complete the The Duke is probably based on pharaohs. Alfonso, whose wife Lucrezia died activities below. Activity 1 in 1561 at the age of 17. Initial responses Frà Pandolf/Claus of 1 Ozymandias was a great king. What tells you this in the poem? Innsbruck these two artists are 2 Find and write down the adjectives in lines 2 and 4. What picture probably ctional. do they create of the statue? How is this picture important to the GradeStudio message of the poem? 3 What do the ends of line 4 and line 5 suggest about the nature of C Sample answer the king? To achieve a C on this AO2 Activity 1 4 How do you think the king treated his subjects? Try to fi nd a detail Initial responses descriptor, you need to show to support your view. explanation of e ect(s) of 1 When you’ve read the whole poem, GradeStudio 5 ‘Look on my works, Ye Mighty, and despair!’ What did Ozymandias writers’ choices of language what is your fi rst impression of the Duke? mean when he had this written on his statue? What does it mean Sample answer C and/or structure and/or form Find some details from the poem to support what you think. -
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. -
William Shakespeare - Poems
Classic Poetry Series William Shakespeare - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive William Shakespeare(26 April 1564 - 23 April 1616) an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His surviving works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1589 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the 16th century. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, Othello, and Macbeth, considered some of the finest works in the English language. -
In This Essay I Want to Do Three Things
CORE Metadata, citation and similar papers at core.ac.uk Provided by Institute of Education EPrints Exploring multicultural literature: the text, the classroom and the world outside In this essay I want to do three things. First, to explore the notion of multicultural literature. What do we mean by the term? What is it? And where did it come from? Second, I want to look at the relationship between texts, teachers and school students. And third, I want to glance at the world beyond the classroom, and suggest ways in which the literature read and written in the classroom can contribute towards students’ understanding of and engagement with the wider world. In today’s parlance this last focus might count as something to do with citizenship. So what is multicultural literature? It certainly didn’t exist when I was at Oxford in the late 1970s and early 1980s – by which I mean that I spent seven years within the English Language and Literature faculty without ever being troubled by any awareness that there was such an animal as multicultural literature. In 1985, I started work as a schoolteacher, in a boys’ comprehensive in Tower Hamlets. One of the first texts that I chose to read with my Year 8 group was Young Warriors (1967). The novel, by Jamaican author V. S. Reid, tells a coming-of-age story of five Maroon warriors who help their people to outwit and ambush the occupying Redcoat army. At this distance, I do not know why I chose it – whether it was to do with the boys’ adventure story format of the novel, with its anti-imperialist narrative and positioning, whether it seemed to be accessible enough, to my highly inexpert eyes, for my students to be able to cope with it (whatever coping with it might mean). -
Overview Skills Wider Reading Assessment 1
Ht/topic (Y7/8) Overview Skills Wider reading Assessment 1. Conventions of Explore a range of 19th century fiction Key skill: Character/setting analysis 19th century extracts Reading (language th conventions through extracts, focusing Fast track 19th century novels – Dracula/Frankenstein analysis) 19 Century Fiction Supporting skills: on inference, language analysis in Modernised conventions (extracts from Gaslight etc.) (fiction reading) Inference and language analyis relation to character and setting and Non-fiction sources on prominent 19th century writers Comparison of conventions application of context. Culture capital (Dickens, Brontes, Hardy) Big idea: Fiction Theme and character analysis focus: life in the Victorian era Non-fiction sources on common 19th century themes reflects reality Academic language (sexism, class-divide etc.) Exploring context and applying to extracts Extracts/images from ‘Punch’ magazine 6 weeks Drama: given circumstances WoW – etymology/morphology Term 2 Term 2. Myths and Apply knowledge of using language for Key skill: Creative writing Extracts from modern M&L versions (Pandora’s Box) Creative Writing effect through creative writing of a Extracts from traditional M&L (Iliad and The Odyssey) (structure, Legends (creative Supporting skills: different genre, whilst mastering a range M&L poetry (‘Medusa’ by Duffy, ‘Failing and Flying’ by descriptive and writing) Exploring structure of writing skills. Culture capital focus: Jack Gilbert) narrative) Descriptive writing/ SPaG Greek Gods Non-fiction (origins of -
Power and Conflict Poetry
Poetry of Power and Conflict 1. William Blake: ‘London’ 1794 2. William Wordsworth: ‘The Prelude: Stealing the Boat’ 1798 3. Percy Bysshe Shelley: ‘Ozymandias’ 1817 4. Robert Browning: ‘My Last Duchess’ 1842 5. Alfred Lord Tennyson: ‘The Charge of the Light Brigade’ 1854 6. Wilfred Owen: ‘Exposure’ 1917 7. Seamus Heaney: ‘Storm on the Island’ 1966 8. Ted Hughes: ‘Bayonet Charge’ 1957 9. Carol Ann Duffy: ‘War Photographer’ 1985 10. Carol Rumens: ‘The émigree’ 1993 11. John Agard: ‘Checking Out Me History’ 1996 12. Imtiaz Dharker: ‘Tissue’ 2006 13. Simon Armitage: ‘Remains’ 2007 14. Jane Weir: ‘Poppies’ 2009 15. Beatrice Garland: ‘Kamikaze’ 2013 16. Approaching an unseen poem 1 Introduction 1 Power and conflict 2 All of the poems in this anthology take as their subject the themes of power and conflict. These themes can be 3 seen in all the poems, but are rarely identical: we see the power of nature and the power of man; physical 4 conflict like war and emotional conflict, taking place in a person’s inner psychology. 5 6 In times of conflict, people often write poetry, as we learned in year 9. Conflict, where the normal aspects of 7 people’s lives are uprooted, often spurs people to write contemplatively or in protest at what is happening. 8 Many of these poems are linked to specific historical conflicts: Tennyson’s ‘The Charge of the Light Brigade’ is 9 written about the 1854 Battle of Balaclava in the Crimean War, Wilfred Owen’s ‘Exposure’ is about World War 10 One, as is Ted Hughes’ ‘Bayonet Charge’, Simon Armitage’s ‘Remains’ is about an unidentified modern conflict, 11 and Beatrice Garland’s ‘Kamikaze’ imagines a Japanese suicide bomber in World War II. -
AQA GCSE English Literature Working with the Poetry Anthology and The
Photo credits and acknowledgements can be found on page 139. Although every effort has been made to ensure that website addresses are correct at time of going to press, Hodder Education cannot be held responsible for the content of any website mentioned. It is sometimes possible to find a relocated web page by typing in the address of the home page for a website in the URL window of your browser. Orders: please contact Bookpoint Ltd, 130 Milton Park, Abingdon, Oxon OX14 4SB. Telephone: (44) 01235 827720. Fax: (44) 01235 400454. Lines are open 9.00–17.00, Monday to Saturday, with a 24-hour message answering service. Visit our website at www.hoddereducation.co.uk © Alan Howe 2015 First published in 2015 by Hodder Education An Hachette UK Company, 338 Euston Road London NW1 3BH Impression number 5 4 3 2 1 Year 2019 2018 2017 2016 2015 All rights reserved. Apart from any use permitted under UK copyright law, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or held within any information storage and retrieval system, without permission in writing from the publisher or under licence from the Copyright Licensing Agency Limited. Further details of such licences (for reprographic reproduction) may be obtained from the Copyright Licensing Agency Limited, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Typeset in PMN Caecilia Light 9.5pt by DC Graphic Design Ltd., Swanley Village, UK Printed in Italy A catalogue record for this title is available -
Ad Alta: the Birmingham Journal of Literature Volume Ix, 2017
Ad Alta: The Birmingham Journal of Literature Volume IX, 2017 AD ALTA: THE BIRMINGHAM JOURNAL OF LITERATURE VOLUME IX 2017 Cover image taken from ‘Axiom’ by WILLIAM BATEMAN Printed by Central Print, The University of Birmingham, Birmingham, UK This issue is available online at: www.birmingham.ac.uk/adalta Ad Alta: the Birmingham Journal of Literature (Print) ISSN 2517-6951 Ad Alta: the Birmingham Journal of Literature (Online) ISSN 2517-696X © Ad Alta: the Birmingham Journal of Literature Questions and Submissions: Joshua Allsop and Jessica Pirie ([email protected]) GENERAL EDITORS Joshua Allsop & Jessica Pirie EDITORIAL BOARD Tom White REVIEW PANEL Emily Buffey Maryam Asiad Ruth Caddick POETRY AND ARTS EDITORS Hannah Comer Katherine Hughes Polly Duxfield Slava Rudin Brianna Grantham Charles Green NOTES EDITOR Christian Kusi-Obodum Yasmine Baker Paula Lameau James McCrink BOOK REVIEWS EDITOR Aurora Faye Martinez Geoff Mills Antonia Wimbush PROOFS EDITOR Jack Queenan Ad Alta: the Birmingham Journal of Literature wishes to acknowledge the hard work and generosity of a number of individuals, without whom this journal would never have made its way into your hands, or onto your computer screen. First, our editorial board Tom White and Emily Buffey should be thanked. Tom White, with tireless patience, was always available with invaluable advice and support throughout the entire process. Emily Buffey provided excellent feedback and commentary, sometimes at very short notice. Will Cooper of Central Print should also be thanked, without whose experience and expertise the publication of this journal would not have been possible. Also, our contributors, who dedicated so much precious time to writing and redrafting their submissions, and the section editors who guided and worked with them through that process.