DUFFY, CAROL ANN. Carol Ann Duffy Papers, 1970-2010
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Carol Ann Duffy
NCTE Verse - Carol Ann Duffy mail.google.com/mail/u/1 Poet of the Day: Carol Ann Duffy 1/5 Carol Ann Duffy, born in 1955, became the first female poet laureate of Britain in 2009. She often explores the perspectives of the voiceless women of history, mythology, and fairy tales as well as those on the fringes of society in her dramatic monologues. Duffy is most well-known for her collections Standing Female Nude (1985) and The World’s Wife (1999). She has also written plays and poetry for children. CC image “Carol Ann Duffy 8 Nov 2013 5” courtesy of Steel Wool on Flickr under a CC BY-NC-ND 2.0 license. This poet belongs in our classrooms because… she explores the voices of those who have traditionally been silenced. Her poetry uses humor and emotion with simple language that hits us in the gut with its truth. It’s poetry that students can understand quickly but can also explore at length, uncovering its layers and relating to the speakers and their experiences. A Poem by Carol Ann Duffy Warming Her Pearls for Judith Radstone Next to my own skin, her pearls. My mistress bids me wear them, warm them, until evening when I'll brush her hair. At six, I place them round her cool, white throat. All day I think of her, 2/5 resting in the Yellow Room, contemplating silk or taffeta, which gown tonight? She fans herself whilst I work willingly, my slow heat entering each pearl. Slack on my neck, her rope. -
Shakespeare Merchant of Venice Unit 3: Detective Fiction Unit 4
Year 7 UNIT 1: Origins of Literature Unit 2: Shakespeare Unit 3: Detective Fiction Unit 4: The Effects of war and Conflict Unit 5: Novel Merchant of Venice OVERVIEW An introduction to, and exploration Students will begin to explore the effects of Students will consider how writers present the effects of TBC—Not of, a range of Greek Myths. Students are introduced to language and structure across a range of texts, war and conflict across poetry, fiction and non-fiction. being taught Students are introduced to the Shakespeare and read the whole considering the purpose and effects of writers’ They will be introduced to poetic form and methods in 2020-2021 structure and features of myths, text as a class. methods: used, develop analytical skills and then compare the in response to consider the plot and structure effects of war in two poems. Covid. and then write their own. Throughout the unit, students will: Adventures of Sherlock Holmes Develop their understanding of The Speckled Band short story AN exploration of Aim of unit Shakespeare’s language/grammar The Red Headed League Fiction: will be to: Orpheus and Eurydice patterns. The Final Problem Private Peaceful- Michael Morpurgo Explore Demeter and Persephone Explore characterisation. The Bone Sparrow characters, Theseus and the Minotaur Discuss and develop Other extracts Non-Fiction: ideas and Cyclops and Odysseus understanding of themes, ideas The Cuckoo’s Calling Major Gerald Ritchie 8th (Yorkshire) parachute regiment, themes in Prometheus and structural devices. A Murder is Announced letter to his sister (WW2) texts. Pandora’s Box Practice and develop their skills in Siegfried Sassoon: Letter of Defiance Analyse Hercules annotation and analysis. -
Poetry Live! Trip 31St January 2019 16Th November 2018 Dear Parents/Carers
Poetry Live! Trip 31st January 2019 16th November 2018 Dear Parents/Carers, As part of the process of supporting revision for key sections of the literature exam, we are delighted to announce the Poetry Live! Trip to Cambridge Corn Exchange on 31st January 2019. This is an all day trip and would require students to be ready to leave SWA by 08:20 and return by 16:30. Students will need to bring a packed lunch with them. The total payment to secure a place on this trip is £18 which needs to be paid by 4th December 2018. I have been able to provisionally book tickets for every member of Year 11 and it would be excellent to see you all there. We have an incredible itinerary which includes: Simon Armitage. He is one of Britain’s best poets, with a superb ear for language. This is a great opportunity to hear the Oxford Professor of Poetry read his work from the anthology. Carol Ann Duffy and Gillian Clarke will give an exhilarating joint reading. Their session is one of the most illuminating parts of the day for students. Carol Ann Duffy is one of the most read, studied and loved of today’s poets and such an inspired choice for the role of Poet Laureate. Her poems are sharp, funny and contemporary, and also full of a literary past, whether from mythology, or Shakespeare. John Agard gives one of the most exciting performances in contemporary poetry, not only in the way he delivers his poems, but also in how he talks about them, combining historical awareness, cultural insight and extraordinary humour. -
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. -
Gillian Clarke Papers, (GB 0210 GCLARKE)
Llyfrgell Genedlaethol Cymru = The National Library of Wales Cymorth chwilio | Finding Aid - Gillian Clarke Papers, (GB 0210 GCLARKE) Cynhyrchir gan Access to Memory (AtoM) 2.3.0 Generated by Access to Memory (AtoM) 2.3.0 Argraffwyd: Mai 06, 2017 Printed: May 06, 2017 Wrth lunio'r disgrifiad hwn dilynwyd canllawiau ANW a seiliwyd ar ISAD(G) Ail Argraffiad; rheolau AACR2; ac LCSH This description follows NLW guidelines based on ISAD(G) Second Edition; AACR2; and LCSH https://archifau.llyfrgell.cymru/index.php/gillian-clarke-papers-2 archives.library .wales/index.php/gillian-clarke-papers-2 Llyfrgell Genedlaethol Cymru = The National Library of Wales Allt Penglais Aberystwyth Ceredigion United Kingdom SY23 3BU 01970 632 800 01970 615 709 [email protected] www.llgc.org.uk Gillian Clarke Papers, Tabl cynnwys | Table of contents Gwybodaeth grynodeb | Summary information .............................................................................................. 3 Hanes gweinyddol / Braslun bywgraffyddol | Administrative history | Biographical sketch ......................... 3 Natur a chynnwys | Scope and content .......................................................................................................... 4 Trefniant | Arrangement .................................................................................................................................. 5 Nodiadau | Notes ............................................................................................................................................. 5 Pwyntiau -
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. -
Tradução Comentada De the World's Wife, De Carol Ann
Bernardo Antônio Beledeli Perin AS VOZES DA ESPOSA DO MUNDO: TRADUÇÃO COMENTADA DE THE WORLD’S WIFE, DE CAROL ANN DUFFY Dissertação submetido(a) ao Programa de Pós- Graduação em Estudos da Tradução da Universidade Federal de Santa Catarina para a obtenção do Grau de Mestre em Estudos da Tradução. Orientador: Prof. Dr. Sergio Luiz Rodrigues Medeiros Florianópolis 2018 Ficha de identificação da obra elaborada pelo autor através do Programa de Geração Automática da Biblioteca Universitária da UFSC. Bernardo Antônio Beledeli Perin AS VOZES DA ESPOSA DO MUNDO: TRADUÇÃO COMENTADA DE THE WORLD’S WIFE, DE CAROL ANN DUFFY Esta Dissertação foi julgada adequada para obtenção do Título de “Mestre” e aprovada em sua forma final pelo Programa de Pós- Graduação em Estudos da Tradução Florianópolis, 10 de agosto de 2018. ________________________ Prof.ª Dr.ª Dirce Waltrick do Amarante Coordenador do Curso Banca Examinadora: ________________________ Prof. Dr. Sérgio Luiz Rodrigues Medeiros Orientador Universidade Federal de Santa Catarina ________________________ Prof. Dr. André Cechinel Universidade do Extremo Sul Catarinense ________________________ Profª. Drª. Clélia Maria Lima de Mello e Campigotto Universidade Federal de Santa Catarina ________________________ Prof. Dr. Gilles Jean Abes Universidade Federal de Santa Catarina Para minha mãe Itamara – minha Deméter particular AGRADECIMENTOS Dizem que a poesia é palavra do solitário. E é solitário escrever uma dissertação, mas sempre se encontra alguma companhia. Para agradecer a quem esteve do meu lado durante essa caminhada, deixo aqui alguns versos de Carol Ann Duffy herself: À minha mãe Itamara, meu referencial primeiro e maior de mulher: pelo amor, por manter-se perto mesmo quando estamos longe, por todo o esforço sem o qual eu não seria possível como pessoa e tampouco minha formação. -
Character in the Dramatic Monologue
‘A voice comes to one in the dark. Imagine.’ (Samuel Beckett, Company) Explore the creation of character in the dramatic monologue. Robert Browning: ‘The Laboratory’; ‘My Last Duchess.’ Thomas Hardy: ‘The Man He Killed’. Carol Ann Duffy: ‘Education for Leisure’. Simon Armitage: ‘Hitcher’. Janet S. Lewison In his recent book Going Sane, the writer and psychoanalyst Adam Phillips revisits Hamlet’s famous ‘madness’ and argues: ‘Hamlet’s madness…is more poetic, more suggestive, more evocative, more flaunting of its verbal gifts and talents than mere sanity…Sanity tempers where madness excels. Both are ‘pregnant’, promising the new life that is new words, but they deliver quite differently. It is a difference of quality but not of kind. ‘ Phillips’ ideas about Hamlet are particularly useful when we consider the relationship between the dramatic monologue and ‘madness’. For if we borrow from Phillips’ ideas about madness above, then we could say that it is the verbal giftedness of the speaker in the dramatic monologue that draws and holds the attention of the listeners both within and without the monologue. Articulacy is always an ambivalent virtue in the dramatic monologue, and the protagonists’ words should never be trusted. The narrators’ injection of ‘new life’ and ‘new words’ into a monologue serve to fascinate and ensnare their (captive) audience. This ‘captivation’ of the reader through the articulacy of the speaker serves to mimic at least in part, the original ‘crime scene’ from which the poem originates. This repetition makes the relationship between the speaker and the reader morally ambivalent. It raises interesting questions about the identity of the final victim of a monologue. -
Post 1914 Poems
POST 1914 POEMS Students must also recite one poem published in or after 1914. For school/college competitions, they can choose from EITHER the Timeline Anthology (listed below and available on poetrybyheart. org.uk) OR the First World War Poetry showcase on the website. 148 Craig Raine - A Martian sends a 179 Seamus Heaney - St Kevin and the blackbird postcard home 180 Grace Nichols - Blackout 149 Rita Dove - Ö 181 Alice Oswald - Wedding 150 Linton Kwesi Johnson - Sonny’s lettah 182 Imtiaz Dharker - Minority 151 Carolyn Forché - The colonel 183 Paul Farley - A minute’s silence 152 Tony Harrison - Timer 184 Jane Draycott - Prince Rupert’s drop 153 Patricia Beer - The lost woman 185 Michael Donaghy - Machines 154 James Fenton - God, a poem 186 Denise Riley - A misremembered lyric 155 Peter Porter - Your attention please 187 Benjamin Zephaniah - It’s work 156 Kit Wright - The boys bump-starting the 188 Sean O’Brien - Cousin coat hearse 189 Ian Duhig - The Lammas hireling 157 David Dabydeen - Catching crabs 190 Don Paterson - Waking with Russell 158 U.A. Fanthorpe - The cleaner 191 Choman Hardi - Two pages 159 Wendy Cope - Proverbial ballade 192 Michael Symmons Roberts - Pelt 160 Sujata Bhatt - What is worth knowing? 193 Kamau Brathwaite - Bread 161 Gwendolyn Brooks - Boy breaking glass 194 Colette Bryce - The full Indian head trick 162 Kathleen Jamie - The way we live 195 Owen Sheers - Mametz Wood 163 Paul Muldoon - Meeting the British 196 John Agard - Toussaint L’Ouverture 164 Gillian Clarke - Border acknowledges Wordsworth’s sonnet “To 165 Carol Ann Duffy - Originally Toussaint L’Ouverture” 166 Eavan Boland - The black lace fan my 197 Daljit Nagra - Look we have coming to Dover mother gave me 198 Jean Sprackland - The stopped train 167 Maura Dooley - Explaining magnetism 199 Patience Agbabi - Josephine Baker 168 Mimi Khalvati - Rubaiyat finds herself 169 Lavinia Greenlaw - Love from a foreign city 200 Mick Imlah - Maren 170 Glyn Maxwell - The eater 201 E.A. -
Welsh Horizons Across 50 Years Edited by John Osmond and Peter Finch Photography: John Briggs
25 25 Vision Welsh horizons across 50 years Edited by John Osmond and Peter Finch Photography: John Briggs 25 25 Vision Welsh horizons across 50 years Edited by John Osmond and Peter Finch Photography: John Briggs The Institute of Welsh Affairs exists to promote quality research and informed debate affecting the cultural, social, political and economic well being of Wales. The IWA is an independent organisation owing no allegiance to any political or economic interest group. Our only interest is in seeing Wales flourish as a country in which to work and live. We are funded by a range of organisations and individuals, including the Joseph Rowntree Charitable Trust, the Esmée Fairbairn Foundation, and the Waterloo Foundation. For more information about the Institute, its publications, and how to join, either as an individual or corporate supporter, contact: IWA - Institute of Welsh Affairs, 4 Cathedral Road, Cardiff CF11 9LJ T: 029 2066 0820 F: 029 2023 3741 E: [email protected] www.iwa.org.uk www.clickonwales.org Inspired by the bardd teulu (household poet) tradition of medieval and Renaissance Wales, the H’mm Foundation is seeking to bridge the gap between poets and people by bringing modern poetry more into the public domain and particularly to the workplace. The H’mm Foundation is named after H’m, a volume of poetry by R.S. Thomas, and because the musing sound ‘H’mm’ is an internationally familiar ‘expression’, crossing all linguistic frontiers. This literary venture has already secured the support of well-known poets and writers, including Gillian Clarke, National Poet for Wales, Jon Gower, Menna Elfyn, Nigel Jenkins, Peter Finch and Gwyneth Lewis. -
Barbarian Masquerade a Reading of the Poetry of Tony Harrison And
1 Barbarian Masquerade A Reading of the Poetry of Tony Harrison and Simon Armitage Christian James Taylor Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English August 2015 2 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others This copy has been supplied on the understanding that it is copyright material and that no quotation fro m the thesis may be published without proper acknowledgement The right of Christian James Taylor to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. © 2015 The University of Leeds and Christian James Taylor 3 Acknowledgements The author hereby acknowledges the support and guidance of Dr Fiona Becket and Professor John Whale, without whose candour, humour and patience this thesis would not have been possible. This thesis is d edicat ed to my wife, Emma Louise, and to my child ren, James Byron and Amy Sophia . Additional thanks for a lifetime of love and encouragement go to my mother, Muriel – ‘ never indifferent ’. 4 Abstract This thesis investigates Simon Armitage ’ s claim that his poetry inherits from Tony Harrison ’ s work an interest in the politics o f form and language, and argues that both poets , although rarely compared, produce work which is conceptually and ideologically interrelated : principally by their adoption of a n ‘ un - poetic ’ , deli berately antagonistic language which is used to invade historically validated and culturally prestigious lyric forms as part of a critique of canons of taste and normative concepts of poetic register which I call barbarian masquerade . -
39 Steps to Engaging with Poetry
Features: Literature … TO ENGAGING WITH POETRY Reading and writing poems in the English classroom This is the first of a series of articles in which Trevor Millum and Chris Warren suggest 39 enjoyable approaches to poetry in the English classroom. Introduction We also believe that students’ engagement with poetry Poetry is something every pupil or student has a right should begin in Y7 and build from there. Of course, for to. It should be part of every young person’s experience fortunate students, the building will be on good at school: something which brings enjoyment in the foundations from KS 1 and 2. widest sense, something which enhances life. If this seems a long way from the experiences of your Y10 and 11 students and, perhaps, from your own experience, “The experience of a number read on. Please, read on, anyway! of schools suggests that Because of its part in high stakes testing at KS4, poetry has become a hurdle to be leapt over or a holistic and integrated scrambled across, rather than an intrinsic and rewarding part of English teaching and learning. However, the approach to poetry works not experience of a number of schools where a different only to engage students but attitude has been adopted suggests that a holistic approach works not only to engage students but also to also to improve exam results.” improve exam results. This approach means students becoming involved In the same issue of Teaching English, Peter Kahn, with poetry, becoming participants rather than introduces a ‘new poetic form’, the ‘Golden Shovel’, onlookers.