Green Acres School Reading Suggestions for 5Th Or 6Th Graders Updated June 2019
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Mythlore Index Plus
MYTHLORE INDEX PLUS MYTHLORE ISSUES 1–137 with Tolkien Journal Mythcon Conference Proceedings Mythopoeic Press Publications Compiled by Janet Brennan Croft and Edith Crowe 2020. This work, exclusive of the illustrations, is licensed under the Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/us/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. Tim Kirk’s illustrations are reproduced from early issues of Mythlore with his kind permission. Sarah Beach’s illustrations are reproduced from early issues of Mythlore with her kind permission. Copyright Sarah L. Beach 2007. MYTHLORE INDEX PLUS An Index to Selected Publications of The Mythopoeic Society MYTHLORE, ISSUES 1–137 TOLKIEN JOURNAL, ISSUES 1–18 MYTHOPOEIC PRESS PUBLICATIONS AND MYTHCON CONFERENCE PROCEEDINGS COMPILED BY JANET BRENNAN CROFT AND EDITH CROWE Mythlore, January 1969 through Fall/Winter 2020, Issues 1–137, Volume 1.1 through 39.1 Tolkien Journal, Spring 1965 through 1976, Issues 1–18, Volume 1.1 through 5.4 Chad Walsh Reviews C.S. Lewis, The Masques of Amen House, Sayers on Holmes, The Pedant and the Shuffly, Tolkien on Film, The Travelling Rug, Past Watchful Dragons, The Intersection of Fantasy and Native America, Perilous and Fair, and Baptism of Fire Narnia Conference; Mythcon I, II, III, XVI, XXIII, and XXIX Table of Contents INTRODUCTION Janet Brennan Croft .....................................................................................................................................1 -
On Morals, Fictions, and Genres
On Morals, Fictions, and Genres by Shen-yi Liao A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Philosophy) in The University of Michigan 2011 Doctoral Committee: Professor Kendall L. Walton, Chair Professor Daniel Jacobson Associate Professor Sarah Buss Assistant Professor Sekhar Chandra Sripada c Shen-yi Liao 2011 All Rights Reserved ACKNOWLEDGEMENTS To start, I would like to thank the members of my committee, whose incisive feedback and patient guidance made this dissertation possible. Ken Walton sparked my interest in aesthetics and guided this project from the very beginning. The influence of his thoughtful criticisms can be seen on nearly every page. Sarah Buss has been a source of constant encouragement and her attention to detail greatly improved this work. Dan Jacobson consistently provided invaluable comments on this work and equally invaluable advice on navigating academia. Chandra Sripada served as an exemplary model for integrating empirical methods into philosophical inquiry. I also owe much gratitude to all others who have contributed to the finished dissertation and my growth as a philosopher. In particular, although their names do not appear on the cover page, Tamar Gendler, Shaun Nichols, and Andy Egan more than deserve the title of unofficial committee members. Each of them had a tremendous impact on the way I think about the topics covered in this dissertation, and more importantly, the way I think as a philosopher. In addition, Lina Jansson taught me much about scientific explanation and Nina Strohminger taught me much about experimental design and statistical analysis. Other members of the Michigan philosophical community deserve thanks. -
The Low-Status Character in Shakespeare's Comedies Linda St
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1973 The Low-Status Character in Shakespeare's Comedies Linda St. Clair Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation St. Clair, Linda, "The Low-Status Character in Shakespeare's Comedies" (1973). Masters Theses & Specialist Projects. Paper 1028. http://digitalcommons.wku.edu/theses/1028 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ARCHIVES THE LOW-STATUS CHARACTER IN SHAKESPEAREf S CCiiEDIES A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bov/ling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Linda Abbott St. Clair May, 1973 THE LOW-STATUS CHARACTER IN SHAKESPEARE'S COMEDIES APPROVED >///!}<•/ -J?/ /f?3\ (Date) a D TfV OfThesis / A, ^ of the Grafduate School ACKNOWLEDGEMENTS With gratitude I express my appreciation to Dr. Addie Milliard who gave so generously of her time and knowledge to aid me in this study. My thanks also go to Dr. Nancy Davis and Dr. v.'ill Fridy, both of whom painstakingly read my first draft, offering invaluable suggestions for improvement. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii INTRODUCTION 1 THE EARLY COMEDIES 8 THE MIDDLE COMEDIES 35 THE LATER COMEDIES 8? CONCLUSION 106 BIBLIOGRAPHY Ill iv INTRODUCTION Just as the audience which viewed Shakespeare's plays was a diverse group made of all social classes, so are the characters which Shakespeare created. -
The Unexpected Animorphs #44 K.A
The Unexpected Animorphs #44 K.A. Applegate Table of Contents Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 Chapter 1 I swooped low. This had to be it. Plane at the far gate. Two Marine guards, trying to look casual. Well, as casual as you can get wearing combat boots and a pistol strapped to your chest. <Jake, I think I found it. Jake?> I circled, flapped my wings to gain altitude. <Rachel? Tobias? Anybody?> An armored truck rumbled toward the plane. The driver stopped, showed one of the guards a clipboard, then backed up to the cargo hold. The rear of the truck opened. Two guys in hooded yellow coveralls climbed out. Pulled oxygen masks over their faces and unlatched the plane's cargo door. Okay. These guys definitely weren't unloading souvenirs from Disneyland. If somebody was transporting a chunk of Bug fighter wreckage, it had to be on this plane. I caught a thermal and rose above the airport. A baggage cart trundled across the tarmac. A jet screamed in for a landing. Guys in jumpsuits and headsets scrambled around, trying to keep the 747's from mowing down the commuter planes. And everywhere I looked - seagulls. On the roof, on the tarmac, against the fence. Seagulls are perfect cover. Part of the landscape, just like pigeons. -
The Importance of Being Earnest Noah | Meliha Grbic’ | Mia Klopfenstein | Geneve Lau the Meeting of Cecily & Gwendolen
The Importance of Being Earnest Noah | Meliha Grbic’ | Mia Klopfenstein | Geneve Lau The Meeting of Cecily & Gwendolen Click ↯ https://www.youtube.com/wat ch?v=1Yvb25Ypvhw&t=137s Let’s Talk! stock conflict? satire? characters? dramatic irony? foreshadowing? Convention 1 : Foil Algernon and Jack ★ Older/younger sibling ★ Jack: more responsible, compassionate ○ “For Heaven’s sake, don’t try to be cynical. It’s perfectly easy to be cynical.” ○ “My dear Algy, I don’t know whether you will be able to understand my real motives. You are hardly serious enough.” ★ Algernon: frivolous, less responsible, aesthetically concerned ○ “If I am occasionally over-dressed, I make up for it by being immensely over-educated” (1292-1293) ○ Cucumber sandwich situation Convention 1 : Foil Gwendolen and Cecily ★ Urban/Country life ★ Similarities: both love Ernest, diary, ★ Gwendolen: sophisticated, polished ○ “Gwendolen: [Satirically.] I am glad to say that I have never seen a spade. It is obvious that our social spheres have been widely different.” (II. 297-229) ★ Cecily: simple, witty and charming ○ “Gwendolen: Five counties! I don’t think I should like that; I hate crowds. ○ Cecily: [Sweetly] I suppose that is why you live in town? [Gwendolen bites her lip, and beats her foot nervously with her parasol.] Convention 2 : Denouement ★ Bunburying conflict climaxes in the garden, Resolution occurs in the house ★ Cecily and Gwendolen swear to remain distant to Jack and Algernon ○ However, Gwendolen makes the first move: “Mr. Worthing, I have something very particular to ask you” (1891-1892). ○ Characterization of Gwendolen and Cecily lends itself to a fast resolution ★ Gwendolen and Cecily are immediately content with the bunburying explanations ○ “Gwendolen: ...Their explanations appear to be quite satisfactory.../ Cecily: I am more than content…” (1913-1915) ★ Jack reveals Algernon’s deception to Lady Bracknell → She doesn’t care ○ Condones the marriage of Algernon and Cecily. -
The Death of Genre: Why the Best YA Fiction Often Defies Classification
LoriScot Goodson Smith & Jim Blasingame The Death of Genre: Why the Best YA Fiction Often Defies Classification few years ago, I received a phone call from a adding a list called genre-busters, novels which do not desperate sixth grade reading teacher. “Help!” easily fit into a single category. The more I think about Ashe cried, “I have a literary mutiny on my my YA favorite titles of the past few years, the more hands. I need your help now!!” I immediately raced bewildered I become. Zusak’s The Book Thief— upstairs. historical fiction or fantasy? Anderson’s The Astonish- Our sixth graders read Louis Sachar’s Holes as a ing Life of Octavian Nothing—historical fiction or required novel. The teacher uses Holes as part of her science fiction? Rosoff’s How I Live Now?—realistic unit on fantasy. In a time where many middle fiction or science fiction? Shusterman’s The Schwa schoolers are steeped in Harry Potter and Paolini, Was Here—realistic fiction or fantasy? I have come to Holes just did not seem to fit into that the same the realization that genre might be dead, that many of category of fantasy. recently published YA novels no longer fit into the “Mr. Smith,” they argued, “It can’t be fantasy. It’s predictable categories we typically designate for too real.” books. Is it time to despair? I think not. Rather, let us What followed was a long discussion about the celebrate the innovative fashion in which today’s YA different types of fantasy. We debated over the effects authors are bending the traditional definitions of of rattlesnake nail polish, the existence of yellow genre. -
Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). -
Romeo and Juliet Tragedy and Tragic Heroes
ROMEO AND JULIET TRAGEDY AND TRAGIC HEROES Tragedy (as a type of drama) is not concerned with the act of violence in the play but with what the act of violence says about life. Tragedy deals with profound and universal problems: a person’s destiny, the nature of good and evil, a person’s relations with forces greater than him/herself, consequences of individual actions. The tragic hero is an admirable character but s/he has a flaw (known as a tragic flaw), an imperfection that links him/her to us (makes them seem like normal humans rather than heroic). THE TRAGIC HERO ❑ Usually is a positive and active protagonist (the good character (pro=good/for) as opposed to the antagonist (anti=against/bad) who is the bad character, who usually causes the problems for the protagonist) caught up in a sharp conflict with opposing forces. ❑ In the main conflict or struggle for the tragic hero, s/he suffers greatly, moving from good fortune to misfortune. ❑ The struggle is usually spiritual or ethical. ❑ Tragic actions arise from inner conflicts that test the hero’s integrity. ❑ Death may overtake the protagonist, but usually s/he is spiritually triumphant. DIFFERENT VIEWS OF LOVE EXIST IN THE PLAY Juliet: Prior to meeting Romeo, Juliet’s attitude toward love is one of modesty and lack of comprehension. After she meets Romeo, she allows the passion of love to consume her, but she remains practical and strong. Romeo: His love for Rosaline consists of his melancholy at being rejected by one who refuses to love at all; his passion for Juliet is fully developed when he is able share his love and passion with one who is willing to accept love. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
The Unexpected Discovery of a Novel Low-Oxygen-Activated Locus for the Anoxic Persistence of Burkholderia Cenocepacia
The ISME Journal (2013), 1–14 OPEN & 2013 International Society for Microbial Ecology All rights reserved 1751-7362/13 www.nature.com/ismej ORIGINAL ARTICLE The unexpected discovery of a novel low-oxygen-activated locus for the anoxic persistence of Burkholderia cenocepacia Andrea M Sass1,2, Crystal Schmerk3, Kirsty Agnoli4, Phillip J Norville1, Leo Eberl4, Miguel A Valvano3,5 and Eshwar Mahenthiralingam1 1Organisms and Environment Division, Cardiff School of Biosciences, Cardiff University, Cardiff, Wales, UK; 2Laboratorium voor Farmaceutische Microbiologie, Universiteit Gent, Gent, Belgium; 3Centre for Human Immunology, Department of Microbiology and Immunology, University of Western Ontario, London, Ontario, Canada; 4Department of Microbiology, Institute of Plant Biology, University of Zu¨rich, Zu¨rich, Switzerland and 5Centre for Infection and Immunity, Queen’s University of Belfast, Belfast, Ireland, UK Burkholderia cenocepacia is a Gram-negative aerobic bacterium that belongs to a group of opportunistic pathogens displaying diverse environmental and pathogenic lifestyles. B. cenocepa- cia is known for its ability to cause lung infections in people with cystic fibrosis and it possesses a large 8 Mb multireplicon genome encoding a wide array of pathogenicity and fitness genes. Transcriptomic profiling across nine growth conditions was performed to identify the global gene expression changes made when B. cenocepacia changes niches from an environmental lifestyle to infection. In comparison to exponential growth, the results demonstrated that B. cenocepacia changes expression of over one-quarter of its genome during conditions of growth arrest, stationary phase and surprisingly, under reduced oxygen concentrations (6% instead of 20.9% normal atmospheric conditions). Multiple virulence factors are upregulated during these growth arrest conditions. -
No. 3 / May 2014 Ecdysis Masthead
No. 3 / May 2014 Ecdysis Masthead Ecdysis No. 3 / May 2014 Jonathan Crowe editor Zvi Gilbert Jennifer Seely art Tamara Vardomskaya Send hate mail, letters of comment, and submissions to: All content is copyright © their respective contributors. mail PO Box 473 Shawville QC J0X 2Y0 Photo/illustration credits: [1, 8, 17, 19, 24] Art by CANADA Jennifer Seely. [25] Photo of Samuel R. Delany by e-mail [email protected] Houari B., and used under the terms of its Creative web mcwetboy.net/ecdysis Commons Licence. 2 Some Twitter responses to a mass e-mail begging fellow SFWA members for a Nebula nomination in early January 2014. EDITORIAL The Value of Awards I’ll be honest: I have ambivalent feelings ess, or whether the wrong works or individu- about awards. als were nominated, or whether the wrong On the one hand, I find awards useful: works or individuals won, as so many fans when so much is published in science fiction seem to do every year. and fantasy every year, they serve to winnow No, the problem I have with awards is the wheat from the chaff. For the past few how much we talk about them, and how im- years I’ve made a point of reading as many of portant we make them. the award nominees as possible, even if I’m Which is to say: too much and too much. not in a position to vote for them. One problem with awards is that there But on the other hand, I find awards an- are so many of them. -
The Amazon Rainforest of Pre-Modern Literature: Ethics, Values, and Ideals from the Past for Our Future
humanities Editorial The Amazon Rainforest of Pre-Modern Literature: Ethics, Values, and Ideals from the Past for Our Future. With a Focus on Aristotle and Heinrich Kaufringer Albrecht Classen Department of German Studies, University of Arizona, Tucson, AZ 85721, USA; [email protected] Received: 3 December 2019; Accepted: 18 December 2019; Published: 24 December 2019 Abstract: The tensions between the STEM fields and the Humanities are artificial and might be the result of nothing but political and financial competition. In essence, all scholars explore their topics in a critical fashion, relying on the principles of verification and falsification. Most important proves to be the notion of the laboratory, the storehouse of experiences, ideas, imagination, experiments. For that reason, here the metaphor of the Amazon rainforest is used to illustrate where the common denominators for scientists and scholars rest. Without that vast field of experiences from the past the future cannot be built. The focus here is based on the human condition and its reliance on ethical ideals as already developed by Aristotle. In fact, neither science nor humanities-based research are possible without ethics. Moreover, as illustrated by the case of one of the stories by Heinrich Kaufringer (ca. 1400), human conditions have always been precarious, contingent, puzzling, and fragile, especially if ethics do not inform the individual’s actions. Pre-modern literature is here identified as an ‘Amazon rainforest’ that only waits to be explored for future needs. Keywords: Amazon rainforest as laboratory; pre-modern literature; Aristotle; Heinrich Kaufringer; ethics; STEM; Humanities; STEAM; STEAHM Even though research on the pre-modern world has been well established for a very long time, globally speaking there is a steady decline in interest especially in history (Brookins 2016).