DOCSLIB.ORG

And Charles Dickens' Oliver Twist

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
And Charles Dickens' Oliver Twist A OUEY OUG E UEWO I SAI A EGA RINC'ONETE Y CORTADILLO A OIE TWIST EOAI-I IEICK UIESIA E AAOI eoayuaes E Oliver Twist, C ickes se eaya e ua cíica e as coicioes sociaes e a Igaea e sigo I cuya uea aía eeimeao e iño E uuo e Oie u oe uéao se eae ee as gaas e ama y a iáaa ia e a cases acomoaas E Rinconete y Cortadillo, uicao o Migue e Ceaes e 113 ceemos e e uo e aia e a eesa oea e ickes Ese aícuo esuia os uos e coaco ee amas oas o que oiga a ua eeió soe as caaceísicas e géeo y amié ua iagació e a iuecia e Ceaes e a ieaua igesa Caes ickes ook i uo imse o ciicie e socia coiios i 19 ceuy Ega o wic e imse as a ci a ee a oeia icim i e soy o Oie wis a youg oa wose uue as a eique o a uig meme o sociey is e suec o eae a iigue Rinconete and Cortadillo, wie wo ceuies eaie y Migue e Ceaes wou seem o e a saig oi o ickes Oliver Twist as umeous ois o coac ca e ieiie is eas o e quesio o e caaceisics o gee as we as e iuece o Ceaes o Egis ieaue A cose eaig o Migue e Ceaes Rinconete y Cortadillo (113 a Caes ickes Oliver Twist (137-139 igs o ig a seies o eemes wic wou o seem o oey o mee coiciece Ee gie e ieeces ewee Goe Age Seiia sociey a eay 19á ceuy oo a commo ea aiuae o Exemplaria 6, 1-9 ISS 113-19 © Uiesia e uea Universidad de Huelva 2009 82 EOA IEICK sae iogaica eeieces a a commo ouook o ie ueies o woks o is mus e ae o e eouio o e icaesque oe a e ieay aiio o Ceaes a is woks i Ega o oy wi eeece o ickes imse u aso o e iis wies wo iuece im Seie i e 1h a 17h ceuies was a meig o a aace eoe om may couies a a waks o ie Ayoe esiig o emak o Sais ew Wo eioies was oige o se eoug ime ee o eay a ei ocumes I e emoy o e goeme cage wi equisiioig wea o e Amaa Ceaes equee ciy a couy icuig e is a a iso (Aog 1979 5-3 e aws omugae i Ega aou e egiig o e 19 ceuy aoe e aowes o suc ee a e couyok a o assuace o eig ae o eke ou a iig eseciay i yeas o aese weae is esue i ei ockig en masse t ciies wic acke e iasucue eee o oie e asic ecessiies eaig e goeme o eac a seies o "oo aws" ésige o oie a meage oom a oa o ose wo cou o e uy emoye wie a e same ime akig gea cae o esue a e coiios wee ee so emig as o aac ae-oie me wo cou wok o e iae seco (oso 195 73-3 A e age o wee ickes was oce o eae scoo a wok og ous i a ackig waeouse wie is ae se ee mos i eos iso (aicoug 195 7 is a e ac a e woe amiy esie i iso wi e ea o e ouseo was o mak ickes o ie a coo is wiigs ae as a youg ouais e coee o ias a e wokigs o aiame a mae uic is oiios egaig e eame aoe o e esiue (oso 195 us ickes oo a a is-a kowege o e eoe a aces e oaye o Rinconete y Cortadillo a Oliver Twist ake e eae o a ouey oug e owe ees o sociey i e comay o ogues ascas a eiques is eas us o cosie ei eaiosi o e icaesque oe wic ieo Gaá (197 1-55 cosies o e e "oea e oeaiao aoco " oug eie o e woks AA ake (1971 37 aises oecios o e accusome asaio of pícaro o "ogue" eeig isea o seak o "eiques" Universidad de Huelva 2009 ICOEE Y CORixoluO AND GuvER i s 8 ca e cassiie as ue icaesque oes o uouey sae some commo caaceisics wi is muc-iscusse sugee 2 oug iece a e Sais pícaro, Ceas eiiio ca easiy e aae o oe ogues o eiques u io umao escaao aaeao y esigao que iió e a Esaña e os sigos I y II oeao e u amiee coeieemee osi y aaeao o goeaes eios o ecuáimes e su oeiee ceguea céigos aueaoes e su aa e caia y caaeos soeios e su aaia que oo aía e ocase e eoa; a su ame os isoiaoes e suee ama iaaació cuao o e aica eoes y más cuees eíeos (Cea 197 1 Moe cosey eae o ou oes is Gome Yeas (19 13-3 1 suy o e niño pícaro, i wic e ouies e eucaio o a uue eique a ouey om i o e age o eigee (we e youg au cooses e ie e o se wi ea e niño is ses ae ake i e comay o aes o uos uícaos e wi come o ee uwae a ecie o aao is ome eas ee wi e essig o is cae-gies uig is ouey wee i e mae aoe o i e comay o oes e yougses wi e eucae i e ias a oes o ie uig e couse o wic ey wi sue a auma eaig em eie o aao e eiques ie a ecome a uig meme o sociey o a io e es o e uewo icoee y Coaio "os mucacos e asa ea e caoce a quice años; e uo i e oo o asaa e ie y siee" (ogiue Maí 199 133 mee a e venta del Molinillo. Wie akig gea cae o o eea is ieiy Coaio coesses o eaig ome "oque mi iea o es mía ues o ego e ea más e u ae que o me iee o io y ua maasa que me aa como aao" a i esose o icoees quey as o is ae e amis a "o sé oo sio que coo como ua iee y sao como u gamo y coo e iea muy eicaamee " oe y is comaio e coesses a is ae is a aio a osie a a e imse as 2 We wi ea ee eie wi e eouio o e novela picaresca i Sai o wi is ae oce i eue ousie e Sais oes wee i e om o asaios o aaaios o is use as a moe e i suice o ememe a e caaceisics ca e summe u as a "umoous ae ook" (ake 1971 33-5 Universidad de Huelva 2009 84 ES IEICK oe aiiies a "o so aa e úico" 3 Imesse y is succic iogay a esie eig "uo e os más seceos moos que e ga ae se uea aa" icoee ecaes a wie e ega y eaig is aes ae as a aa u see aiéome u ía aicioao más a ieo e as uas que a as mismas uas me aacé co e aego E] io e que eía a cago e ieo as mí eiéome; ue oco ao; auque ieo aqueos señoes mi oca ea se coeao co que me aimase a aaia y me mosquease as esaas o u ao y co que saiese eseao o cuao años e a Coe (oígue Maí 199 13- Ae usig make cas o cea a mue ie a oig e aees wo ake em o as ea oys ey aie i Seie wee a Asuia oe eais ow ey ca make a moe o ess oes iig ay a ey egu o wok we Ganchuelo ("e ai" aises em o ese emsees o Monipodio ("e Moooie" ea o a aie gag o ogaie ogues o a saes sies isguises a waks o ie wom icoee y Coaio ae occasio o mee i e aio o is weig wee ey ea aes o y memes o e gag wo ae iiae iee eamso sociey ae a socia ee a wiess seea quaes Oce iiiae io e oeoo a o ei way o ei oss icoee akes i uo imse o wa is youge comaio o o ige i a "ia a eia y a maa" aoug e aao ioms e eae a ei ack o eeiece e e oys o se seea mos i is seemigy sae ae (oígue Maí 199 1 Mysey suous e ieiy o Oliver Twist om e ey mome o is i a e ea o is moe i a uic amsouse ickes oays Oie as a wa o e goeme wo cou muc moe easiy a io a ie o cime a sumou e iicuies o is i a ecome a oucie ciie e eg o ickes oe emis im o eou o youg Oies ouey a acica eucaio i e scoo o ie A e ee age o ie aig suie e igos o e oaage e wokouse a 3 Coaio wi soo oe is skis y cuig oe e ag o oe o e ecma i wose comay ey ae o Seie a y seaig is a sacisas use a e is akecie wie coesig wi im (oígue Maí 199 13- 1 15-51 15-55 Universidad de Huelva 2009 I.COEE Y COAIO A OLIVER iWS 5 seea aems a aeicesi Oie makes is way o oo wee e is immeiaey eiee y ack awkis e "Au oge" ("e Aeo eiá " wo eses im o e agi igeae o a oo oeoo o ogues a cimias Oie is oaye as a aw oo youg o goe is ow ie wo is imse isue y agis wo o ei a e kiess o wo eeacos M owow a Ms Mayie wo eiee i im ee we a e eiece ois o is gui We Oie waces ow Caey aes a e Au oge sea a akecie om a geeme owsig oug ooks a a ooksees is iae gooess causes im o ee o wic easo e is immeiaey ake o e e auo o e cime aoug e ooksee imse wi ae esiy o is iocece We agis coies ee a sma ci o ugaie a ome Oie is oce o ake a i e cime i e couse o wic e is woue y e ue eiee y e owe o e ouse aks o e iecessio o e aoe iece ie Oie wo o is occasio is iee guiy o ouseeakig aei agais is wi is ow eoeae oug e ieeio o a ae ucoice amiy oco wo is ae o coice o e seas a e oice isecos summoe o iesigae e aeme ugay a is ie oy cou o ossiy ae ee e oe wo ie o ociy ee e ouse ea e e o e soy e eae eas a Oie wose ae was M owows es ie a wose au a ee aoe y Ms Mayie is a-oe o Moks oe o agis coies e o eoes aou a cause i e aes wi accoig o wic Oie may oy iei is a o e esae i e gows u o e a oes aw-aiig au Oies ie as a niño pícaro es aiy a e age o wee Ye i is o oy Oie o wom we wou comae icoee y Coaio u aso o agis youg aeices e Au oge a is siekick Caey aes Aoug e oge is "aou [Oies] ow age" (ickes 199 e is muc moe seewise a ie-yea-o Oie ese wo youg ickockes moe easiy aou oo a oie agi wi a wea o akecies a esoa iems wic wi ae e so o uscuuous eces Moioios aio cogegaes a aie isay o uewo caaces i woy isguise e eg o a novela ejemplar oes o emi Ceaes o eeo e caaces wo ee Moioios aio o e suise o icoee a Coaio a e eese seea costumbrista scees ai ou i e om o a aeau Universidad de Huelva 2009 EOA IEICK e eae eas o e eigiosiy o ioa a e oe youg gis a e ie ae o e icic uc e oows Moioios meiaios is i e "maia" oems ewee uiaa a Caiaa a eoio (wic e i a ou o sigig a acig e ewee Coaio a a cou eeseaie o e aw wo comes o ecoe e use a a ee uwiigy soe om a "oece" meme o e cegy4 a iay ewee Ciquiaque oe o Moioios oys a a isgue "cie" wo a ai goo moey o ae a ias ace sase o e oi o equiig ouee sices Oce e oem as ee soe o e coe o a Monipodio akes ou a seies o accou ooks wee e as oe ow e weeks wok a eais is a o e usiess Aoug Ceaes as muc ess sace o eoe o e eeome o is caaces i is ossie o ieiy e same yes i o woks 5 Rinconete y Cortadillo Oliver Twist E IGEAE Monipodio agi CIE icoee Coaio Oie Gacueo (Gacoso Au oge Caes aes YOUG AUS eoio uiaa i Sykes acy Renegado, a Escaaa om Ciig esy Ceoiés a Gananciosa oa Cayooe Caoe AUS a vieja ioa O Say I o woks e eae sees e ae o youg ogues o mae a emae wo ae oe o a ie o cime Oy ickes owee makes eici use o em o wa o Oies ow eig ae a ays o e eme i e caace eeome o acy 6 4 Oce "usice" as ee see Coaios ea wi e e oec o aise eaig im e eic ie o "Coaio e Bueno" as we as ceai eogaies i agis uewo muc o e aoa o ose ese 5 e is so ae suice as a eame as sace oes o emi geae eai Seea o ese simiaiies ae ee oie ou y og (1994: 11-119 13 6 ickes uemoe eos o e uue o e oe mai caaces i e ia cae o Oliver Twist.
Load more

Recommended publications
  • Oliver Twist
    APPENDIX B Summary of Charles Dickens’s Oliver Twist In a parish workhouse, a nameless young woman dies after giving birth. Her son, Oliver Twist—as named by the beadle, Mr. Bumble—is sent to a separate branch of the workhouse with other orphaned infants and raised by the monstrous Mrs. Mann. Oliver miraculously survives the horrors of the “baby farm,” and, on his ninth birthday, is transferred to the central workhouse. After three months of slow starvation, the boys draw lots to see who will ask for more gruel; Oliver draws the long straw and carries out this unenviable task. Bumble and the board of directors severely punish Oliver and plan to turn him out of the workhouse. After a failed attempt to apprentice him to a brutal chimney sweep, Bumble eventually manages to unload Oliver on Mr. Sowerberry, the undertaker. On top of his depressing new trade, Oliver must deal with the bullying of his fel- low apprentice, Noah Claypole. Oliver finally fights back against Noah when his rival taunts him about his deceased mother. This second “rebellion” earns Oliver a stern rebuke from Bumble and a brutal beating from Sowerberry. Consumed by the misery of his life, Oliver decides to run away, though he first returns to the baby farm to bid goodbye to his friend, Dick. Oliver barely survives the seventy-five mile walk to London. On arriving at Barnett, he encounters a strangely attired cockney boy who introduces himself as Jack Dawkins (though he goes by the name of the Artful Dodger). The Dodger invites Oliver to come and lodge with a respectable old gentleman, and he conducts a wary Oliver through the slums of London to a dilapidated flat.
    [Show full text]
  • Hunger for Life in Oliver Twist Novel
    www.ijcrt.org © 2018 IJCRT | Volume 6, Issue 4 October 2018 | ISSN: 2320-2882 HUNGER FOR LIFE IN OLIVER TWIST NOVEL Karabasappa Channappa Nandihally Assistant Professor Of English Government First Grade College, U.G.&P.G.Centre Dental College Road,Vidyanagar,Davanagere. Abstract This novel focusing on Poverty is a prominent concern in Oliver Twist. Throughout the novel, Dickens enlarged on this theme, describing slums so decrepit that whole rows of houses are on the point of ruin. In an early chapter, Oliver attends a pauper's funeral with Mr. Sowerberry and sees a whole family crowded together in one miserable room.This prevalent misery makes Oliver's encounters with charity and love more poignant. Oliver owes his life several times over to kindness both large and small.[14] The apparent plague of poverty that Dickens describes also conveyed to his middle-class readers how much of the London population was stricken with poverty and disease. Nonetheless, in Oliver Twist, he delivers a somewhat mixed message about social caste and social injustice. Oliver's illegitimate workhouse origins place him at the nadir of society; as an orphan without friends, he is routinely despised. His "sturdy spirit" keeps him alive despite the torment he must endure. Most of his associates, however, deserve their place among society's dregs and seem very much at home in the depths. Noah Claypole, a charity boy like Oliver, is idle, stupid, and cowardly; Sikes is a thug; Fagin lives by corrupting children, and the Artful Dodger seems born for a life of crime. Many of the middle-class people Oliver encounters—Mrs.
    [Show full text]
  • Oliver Twist~
    OLIVER TWIST~ A Family Musical Adapted from the Novel by Charles Dickens Music & Lyrics by MICHAEL LANCY Book by MICHAEL LANCY & CHUCK LAKIN CENTERSTAGE PRESS, INC. Phoenix Arizona OLIVER TWIST Copyright 1976 by Michael Lancy Copyright 1981 by Michael Lancy & Chuck Lakin Printed in U.S.A. ISBN: 1-890298-27-1 ALL RIGHTS RESERVED Warning: Professionals and amateurs are hereby warned that OLIVER TWIST is subject to royalty. It is fully protected under the copyright laws of the United States of America, the British Empire, including the Dominion of Canada, and all other countries of the Copyright Union. All rights, including professional, amateur, motion pictures, recita- tion, lecturing, public reading, radio broadcasting, television, and the rights of transla- tion into foreign languages are strictly reserved. For all rights apply to CENTERSTAGE PRESS, www.centerstagepress.com, (602) 242-1123. Copying from this script, in whole or in part, by any means is strictly forbidden by law and the right of performance is not transferable. Particular emphasis is laid on the ques- tion of amateur or professional readings, permission and terms for which must be secur- ed in written form from Centerstage Press, Inc. Whenever this play is produced the following notice must appear on all programs, printing and advertising for the play: “Produced by special arrangement with Centerstage Press.” Due authorship credit must be given on all programs, printing and advertising for the play. NO CHANGES SHALL BE MADE IN THE PLAY FOR THE PURPOSE OF YOUR PRODUCTION UNLESS AUTHORIZED IN WRITING. ~ CHARACTERS ~ MR. BUMBLE: A portly man of middle age, Bumble fancies himself a man of some great importance and distinction.
    [Show full text]
  • Oliver Twist Co-Planning: Fagin T14/F16
    Oliver Twist Co-planning: Fagin T14/F16 Subject knowledge development Mastery Content for Fagin lesson Review this mastery content with your teachers. Be aware that the traditional and foundation pathways are very different for this lesson. Foundation Traditional • Oliver wakes up and notices Fagin looking at his jewels and Fagin snaps at him in a threatening way. • The meaning of the word villain • Fagin is a corrupt villain • Fagin is selfish. • Fagin teaches Oliver a new game: how to pick pockets. • Oliver doesn’t realise Fagin is a villain • Fagin is a villain because he tricks Oliver into learning how to • Fagin is a corrupt villain steal. • Nancy and Bet arrive and Oliver thinks Nancy is beautiful. Start at the end. Briefly look through the lesson materials for this lesson in your pathway, focusing in particular on the final task before the MCQ: what will be the format of this final task before the MCQ with your class? Get teachers to decide what they want the final task before the MCQ to look like in their classroom. What format will it take? It would be good to split teachers into traditional and foundation pathway teachers at this point. Below is a list of possible options that you could use to steer your teachers: • Students write an analytical paragraph about Fagin as a villain (traditional) • Students write a bullet point list of what evidence suggests Fagin is a villain (traditional) • Students write a paragraph about how Fagin is presented in chapter 10 (foundation). • Students explode a quotation from chapter 10 explaining how Fagin is presented.
    [Show full text]
  • “The Other Woman” – Eliza Davis and Charles Dickens
    44 DICKENS QUARTERLY “The Other Woman” – Eliza Davis and Charles Dickens MURRAY# BAUMGARTEN University of California, Santa Cruz he letters Eliza Davis wrote to Charles Dickens, from 22 June 1863 to 8 February 1867, and after his death to his daughter Mamie on 4 August 1870, reveal the increasing self-confidence of English Jews.1 TIn their careful and accurate comments on the power of Dickens’s work in shaping English culture and popular opinion, and their pointed discussion of the ways in which Fagin reinforces antisemitic English and European Jewish stereotypes, they indicate the concern, as Eliza Davis phrases it, of “a scattered nation” to participate fully in the life of “the land in which we have pitched our tents.2” It is worth noting that by 1858 the fits and starts of Jewish Emancipation in England had led, finally, to the seating of Lionel Rothschild in the House of Commons. After being elected for the fifth time from Westminster he was not required, due to a compromise devised by the Earl of Lucan and Benjamin Disraeli, to take the oath on the New Testament as a Christian.3 1 Research for this paper could not have been completed without the able and sustained help of Frank Gravier, Reference Librarian at the University of California, Santa Cruz, Assistant Librarian Laura McClanathan, Lee David Jaffe, Emeritus Librarian, and the detective work of David Paroissien, editor of Dickens Quarterly. I also want to thank Ainsley Henriques, archivist of the Kingston Jewish Community of Jamaica, Dana Evan Kaplan, the rabbi of the Kingston Jewish community, for their help, and the actress Miryam Margolyes for leading the way into genealogical inquiries.
    [Show full text]
  • “Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens's
    “Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens’s Novels Marc Napolitano A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2009 Approved by Advisor: Allan Life Reader: Laurie Langbauer Reader: Tom Reinert Reader: Beverly Taylor Reader: Tim Carter © 2009 Marc Napolitano ALL RIGHTS RESERVED ii ABSTRACT Marc Napolitano: “Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens’s Novels (Under the direction of Allan Life) This project presents an analysis of various musical adaptations of the works of Charles Dickens. Transforming novels into musicals usually entails significant complications due to the divergent narrative techniques employed by novelists and composers or librettists. In spite of these difficulties, Dickens’s novels have continually been utilized as sources for stage and film musicals. This dissertation initially explores the elements of the author’s novels which render his works more suitable sources for musicalization than the texts of virtually any other canonical novelist. Subsequently, the project examines some of the larger and more complex issues associated with the adaptation of Dickens’s works into musicals, specifically, the question of preserving the overt Englishness of one of the most conspicuously British authors in literary history while simultaneously incorporating him into a genre that is closely connected with the techniques, talents, and tendencies of the American stage. A comprehensive overview of Lionel Bart’s Oliver! (1960), the most influential Dickensian musical of all time, serves to introduce the predominant theoretical concerns regarding the modification of Dickens’s texts for the musical stage and screen.
    [Show full text]
  • Answer Sheet
    Vocabulary List Below is a list of more complex words that can be found in the story. Use the definitions to explain to children what these words mean. For an extra activity, you can use these words in a spelling test. beadle an officer of a church loot stolen goods orphan a child whose parents are both dead people who steal things from people’s pockets pickpockets ramshackle in really poor condition and not looked after workhouse a place to work in exchange for shelter and food @SweetCherryPub For more worksheets and activity packs, visit @sweetcherrypublishing www.sweetcherrypublishing.com/resources. /SweetCherryPublishing Plot Sequencing Answer Sheet 1. Oliver Twist is forced out of the workhouse for asking for more food. The Sowerberrys take him in but treat him horribly. 2. Oliver runs away from the Sowerberrys and spends a week walking to London. 3. Oliver meets the Artful Dodger who introduces him to Fagin’s gang. 4. Oliver is accused of stealing with the gang and the police arrest him. 5. The Brownlows take Oliver in while he recovers from a fever. 6. Bill Sikes finds Oliver and brings him back to the gang. 7. The police come to arrest Fagin. Everyone splits up and runs away. 8. Oliver returns to the Brownlows and learns more about his real family. @SweetCherryPub For more worksheets and activity packs, visit @sweetcherrypublishing www.sweetcherrypublishing.com/resources. /SweetCherryPublishing Reading Comprehension Answer Sheet Q1: What was Oliver’s job at the workhouse? Answer: To unpick old tar-covered strands of ship’s rope so the fibre could be used again.
    [Show full text]
  • Download This PDF File
    Copyright © 2020 The Author IDEAS IDEAS is licensed under CC-BY-SA 4.0 License Journal of Language Teaching and Learning, Linguistics and Literature Issued by English study program of IAIN Palopo ISSN 2338-4778 (Print) ISSN 2548-4192 (Online) Volume 8, Number 1, June 2020 pp. 217 – 229 Fagin’s Criminal Thought in Charles Dickens’ Oliver Twist Rahmi Munfangati*1, Desi Ramadhani2 * [email protected] 1,2 Faculty of Teacher Training and Education, Universitas Ahmad Dahlan, Yogyakarta, Indonesia Received: 27 May 2020 Accepted:31 May 2020 DOI: 10.24256/ideas.v8i1.1351 Abstract This research aims to reveal Fagin’s criminal thought in Charles Dickens’ Oliver Twist and to examine the factors that influence Fagin’s criminal thought presented in the novel. This research is classified into library research. The subject of the research is Oliver Twist, Charles Dickens’ fiction novel. The novel is used as the primary source, while books, journals, and articles related to criminal thought theories in psychology were taken as the secondary source. A psychological approach is applied to analyze the data. The collected data were analyzed qualitatively. In analyzing the data, the researcher took five steps. The data were collected from reading and re-reading the text, identifying those that embody criminal thinking, categorizing them based on the objectives of the research, comparing them to the theoretical frameworks, and finally interpreting them using a psychological approach. After conducting the research, it can be drawn some conclusions; first, by seeing the eight aspects of criminal thought, Fagin has five aspects which are classified in the high category, and second, the factors that influence Fagin’s criminal thought reflected in the novel are societal and economic, neighbor-hood and local institutions, and drugs.
    [Show full text]
  • Year 7 English Oliver Twist Student Workbook
    Student Name: _____________________________________ Year 7 English Oliver Twist Student Workbook A special thanks to Mona Maret, Ark Globe Academy for the adaption and formatting of this material. This workbook has been created to follow the English Mastery 4Hr Traditional Curriculum. This workbook is an optional supplement and should not replace the standard English Mastery resources. It is specifically designed to provide consistency of learning, should any students find their learning interrupted. Due to the nature of the format – some deviations have been made from the EM Lesson ppts. These have been made of necessity and for clarity. Guide for Teachers - Mona Maret, Ark Globe This workbook was designed to function primarily as an independent resource. However, it can be – and is recommended to be – used in the classroom, alongside the lessons, where it can become a valuable tool for quality learning and teaching. It contains all the information provided in the Mastery lessons, the tasks that the students are required to complete and the writing space to complete these tasks. Therefore, it not only has all the information and resources from the lessons, but also the students’ own work. This will give the teacher a clear image of how the students have understood and assimilated the content while also providing the students with an excellent revision tool. However, as this workbook was created first and foremost in the event that students would be forced to work without a teacher, the following elements were heavily factored into its design: 1. Independence – trying to ensure that students could work through the workbook and understand as much of the content as possible on their own.
    [Show full text]
  • Oliver Twist
    Oliver Twist Charles Dickens Written in 1838, this is the story of a young orphan, Oliver, who runs away to London and meets up with another boy, Jack Dawkins, known as the ARTFUL DODGER. The DODGER introduces Oliver to the sinister Fagin, who runs a Thieves Den, sending out young boys to pick the pockets of the rich. In this scene, Oliver is on his knees cleaning the DODGER's boots for him, while DODGER explains the advantages of joining Fagin s gang. Although the DODGER is young and only four foot six tall, he has all the airs and manners of a man about town. DODGER (Sighs and resumes his pipe) I suppose you don't even know what a prig is? ... I am. I'd scorn to be anything else. So's Charley. So's Fagin. So's Sikes. So's Nancy. So's Bet. So we all are, down to the dog. And he's the downiest one of the lot! He wouldn't so much as bark in a witness-box for fear of committing himself; no, not if you tied him up in one, and left him there without wittles for a fortnight. He's a rum dog. Don't he look fierce at any strange cove that laughs or sings when he's in company! Won't he growl at all, when he hears a fiddle playing! And don't he hate other dogs as ain't of his breed! - Oh no! He's an out-and-out Christian . Why don't you put yourself under Fagin, Oliver? And make a fortun' out of hand? And so be able to retire on your property, and do the gen-teel; as I mean to, in the very next leap-year but four that ever comes, and the forty-second Tuesday in Trinity-week ..
    [Show full text]
  • The Antagonist Character's Criminal Thought in Charles Dickens' Oliver Twist
    THE ANTAGONIST CHARACTER’S CRIMINAL THOUGHT IN CHARLES DICKENS’ OLIVER TWIST Desi Ramadhani [email protected] English Education Department Universitas Ahmad Dahlan ABSTRACT This thesis entitled The Antagonist Character’s Criminal Thought in Charles Dickens’ Oliver Twist: A Psychological Approach . There are two objectives in this research. Those are: to describe the antagonist character’s criminal thought in Charles Dickens’ Oliver Twist and to explain the factors that influence the antagonist character’s criminal thought presented in the novel. In this thesis, the researcher takes a library research. The subject of the research is Oliver Twist, a fiction novel by Charles Dickens. The novel is used as the primary source, while books, journals, and articles are taken as the secondary source. The data were collected by visiting libraries, reading, taking notes, and categorizing data. Then, the researcher applied a psychological approach to analyze the data. The collected data were analyzed qualitatively in the form of statements and sentences. After conducting the research, the researcher comes to the conclusion that first, from the eight aspects of criminal thought, Fagin has five aspects which are classified in the high category, Fagin is intended as the criminal masterpiece in Oliver Twist novel. Second, the factors that influence the antagonist character’s criminal thought in Charles Dickens’ Oliver Twist are societal & economic factors, neighbor-hood and local institutions, and drugs. Keywords: Criminal thought, psychological approach, Fagin, Oliver Twist 1 2 I. INTRODUCTION Criminal is a crime in the form of thoughts or ideas without using physical violence. In a problem, an idea is the most important thing because without an idea, a thing cannot happen or be carried out.
    [Show full text]
  • Artistic Director
    A MESSAGE FROM THE artistic director Thank you for joining us for Oliver!, with book music, and lyrics by Lionel Bart. We are excited to continue with our seasonal tradition of a large-scale, family-friendly musical. I am particularly thrilled with this production, as it’s my directing/ choreographing debut at New Rep. We decided to lean fully into the show’s themes to give this classic production a fresh look (see more about my inspiration behind this on page 7). I truly hope you enjoy it. We invite you to join us as our season continues in 2020 with Hair: The American Tribal Love-Rock Musical. When Hair first hit Broadway in 1968, its ground-breaking rock music changed the face of musical theatre and paved the way for a new brand of creativity to enter the art form. We can’t wait to shake away the winter blues with this colorful and exciting show. Don’t forget, there’s still time to subscribe! Subscriptions start from 3 shows at just $168. Our A La Carte packages allow you to mix and match shows to your content, and come with full subscriber benefits. Consider giving the gift of live theatre, and sharing a New Rep subscription with a loved one this holiday season. Thank you for visiting with us today. And please do share your experience with friends and family. As we enter the holiday season, and cheer and goodwill are in the air, remember that there is still time to donate and support live theatre in your community.
    [Show full text]