Knowledge 3 Teacher Guide Grade 1 Different Lands, Similar Stories Grade 1 Knowledge 3 Different Lands, Similar Stories
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Rudyard Kipling's Techniques
Rudyard Kipling's Techniques The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Friedman, Robert Louis. 2016. Rudyard Kipling's Techniques. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797390 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA ! Rudyard Kipling’s Techniques: Their Influence on a Novel of Stories An Introductory Essay and an Original Novel, Answers Lead Us Nowhere Robert Louis Friedman A Thesis in the Field of Literature and Creative Writing for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 ! ! Copyright 2016 Robert Louis Friedman ! ! Abstract This thesis investigates the techniques of Rudyard Kipling and his influence on my “novel of short stories”. How did Kipling advance the short story form over a half-century of experimentation? How did his approaches enliven the reader’s experience to such a degree that his greatest works have remained in print? Beginning in 1888 with Plain Tales From the Hills, Kipling utilized three innovative techniques: the accretion of unrelated stories into the substance of a novel; the use of tales with their fantastical dreamlike appeal (as opposed to standard fictional styles of realism or naturalism) to both salute and satirize characters in adult fiction; and the swift deployment of back story to enhance both the interwoven nature and tale-like feel of the collection. -
Confronting Racism and Sexism
TheWomen's Movement in the United States: Confronting Racism and Sexism Leslie R.Wolfe At the risk of seeming ridiculous, let me say that thc true revolution ary is guided by great feelings of love che Guevara Preface: A Personal Note This chapter presents some verbal snapshots of the U.S. women's movement in the context of gender and race relations. This has been central to my work and life since 1972-when I flrst went to work at the National Welfare Rights Organization and then to the U.S. Commission on Civil Rights; and today it is in full flower in the work of the Center for Women Policy Studies. In all of these years, I have shared with many other feminists the mission to speak out about racism-plus-sexism as having a unique quality of oppression for women of color. We have talked about the importance of "doing our homework" about other sisters' origins, cul- tures, and histories. We have encouraged white feminists to be outspo- ken against racism and not to leave that task solely to women of color. We have insisted on our responsibility to root out the vestiges of racism in ourselves, in our organizations, and in our feminist theory and policy priorities. And we have talked to women of color as well about multiethnic visions of feminism and the importance of doing the hard work to break down racial. ethnic, and cultural barriers both to sisterhood and to the institutional change that will foreshadow an egal- itarian future. 231 232 Counvy Pottroits fheWomen's Movement in the United Stotes 255 Setting the Stager Defining premises Our Central sex. -
Kipling 'If–' and Other Poems Rudyard Kipling
M I C H A E L O ’ M A R A T I T L E I N F O R M A T I O N M I C H A E L O ' M A R A Kipling 'If–' and Other Poems Rudyard Kipling Keynote This pocket-sized selection of Rudyard Kipling’s verse contains not only this classic, but many of his greatest poems, in testimony to a writer who possessed a precocious gift for rhyme and a brilliant ear for language. Description ‘If–‘ is, by British readers’ choice, the most popular poem in the language. Publication date Thursday, November 03, 2016 This pocket-sized selection of Rudyard Kipling’s verse contains not only this classic, but Price £4.99 many of his greatest poems, in testimony to a writer who possessed a precocious gift for rhyme and a brilliant ear for language, coupled with a pin-sharp use of spare, vivid ISBN-13 9781782437109 imagery. Binding Paperback This pocket-sized selection includes: ‘Tommy’, ‘The Way Through the Woods’, Format 144 x 111 mm ‘Recessional’, ‘Boots’, ‘The Female of the Species’, ‘Mandalay’, ‘Gunga Din’, The Young Depth 9.5mm British Soldier’ and many more of Kipling’s greatest poems. Extent 128 pages Word Count Sales Points Territorial Rights World Includes forty of his well-known poems such as ‘If…’, ‘The Ballad of East and West’ and In-House Editor Louise Dixon ‘For All We Have and Are’ The Pocket Poets series makes the perfect gift Also available in the Pocket Poets series: Burns, Keats and Wordsworth Comparative titles: The Emergency Poet (9781782434054), pub date: 01/10/2015 The Everyday Poet (9781782436577), pub date 06/10/2016 Author Biography Born in 1865 in India, and educated in England, Rudyard Kipling returned to India in 1882 to work as a journalist. -
Tolkien As a Child of <I>The Green Fairy Book</I>
Volume 26 Number 1 Article 9 10-15-2007 Tolkien as a Child of The Green Fairy Book Ruth Berman Independent Scholar Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Berman, Ruth (2007) "Tolkien as a Child of The Green Fairy Book," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 26 : No. 1 , Article 9. Available at: https://dc.swosu.edu/mythlore/vol26/iss1/9 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Considers the influence of some of olkienT ’s earliest childhood reading, the Andrew Lang fairy books, and the opinions he expressed about these books in “On Fairy-stories.” Examines the series for possible influences on olkienT ’s fiction in its portrayal of fairy queens, dragons, and other fantasy tropes. -
Confessions of an Ugly Stepsister
Reading Guide Confessions of an Ugly Stepsister By Gregory Maguire ISBN: 9780060987527 Summary We have all heard the story of Cinderella, the beautiful child cast out to slave among the ashes. But what of her stepsisters, the homely pair exiled into ignominy by the fame of their lovely sibling? What fate befell those untouched by beauty...and what curses accompanied Cinderella's exquisite looks? Set against the rich backdrop of seventeenth-century Holland, Confessions of an Ugly Stepsister tells the story of Iris, an unlikely heroine who finds herself swept from the lowly streets of Haarlem to a strange world of wealth, artifice, and ambition. Iris's path quickly becomes intertwined with that of Clara, the mysterious and unnaturally beautiful girl destined to become her sister. Far more than a mere fairy-tale, Confessions is a novel of beauty and betrayal, illusion and understanding, reminding us that deception can be unearthed -- and love unveiled -- in the most unexpected of places. Questions for Discussion 1. While versions of the Cinderella story go back at least a thousand years, most Americans are familiar with the tale of the glass slippers, the pumpkin coach, and the fairy godmother. In what ways does Confessions of an Ugly Stepsister contain the magical echo of this tale, and in what ways does it embrace the traditions of a straight historical novel? 2. Confessions is, in part, about the difficulty and the value of seeing-seeing paintings, seeing beauty, seeing the truth. Each character in Confessions has blinkers or blinders on about one thing or another. What do the characters overlook, in themselves and in one another? 3. -
Abstract Rereading Female Bodies in Little Snow-White
ABSTRACT REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISIBILITY By Dianne Graf In this thesis, the circumstances and events that motivate the Queen to murder Snow-White are reexamined. Instead of confirming the Queen as wicked, she becomes the protagonist. The Queen’s actions reveal her intent to protect her physical autonomy in a patriarchal controlled society, as well as attempting to prevent patriarchy from using Snow-White as their reproductive property. REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISffiILITY by Dianne Graf A Thesis Submitted In Partial Fulfillment of the Requirements For the Degree of Master of Arts-English at The University of Wisconsin Oshkosh Oshkosh WI 54901-8621 December 2008 INTERIM PROVOST AND VICE CHANCELLOR t:::;:;:::.'-H.~"""-"k.. Ad visor t 1.. - )' - i Date Approved Date Approved CCLs~ Member FORMAT APPROVAL 1~-05~ Date Approved ~~ I • ~&1L Member Date Approved _ ......1 .1::>.2,-·_5,",--' ...L.O.LJ?~__ Date Approved To Amanda Dianne Graf, my daughter. ii ACKNOWLEDGEMENTS Thank you Dr. Loren PQ Baybrook, Dr. Karl Boehler, Dr. Christine Roth, Dr. Alan Lareau, and Amelia Winslow Crane for your interest and support in my quest to explore and challenge the fairy tale world. iii TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………… 1 CHAPTER I – BRIEF OVERVIEW OF THE LITERARY FAIRY TALE AND THE TRADITIONAL ANALYSIS OF THE FEMALE CHARACTERS………………..………………………. 3 CHAPTER II – THE QUEEN STEP/MOTHER………………………………….. 19 CHAPTER III – THE OLD PEDDLER WOMAN…………..…………………… 34 CHAPTER IV – SNOW-WHITE…………………………………………….…… 41 CHAPTER V – THE QUEEN’S LAST DANCE…………………………....….... 60 CHAPTER VI – CONCLUSION……………………………………………..…… 67 WORKS CONSULTED………..…………………………….………………..…… 70 iv 1 INTRODUCTION In this thesis, the design, framing, and behaviors of female bodies in Little Snow- White, as recorded by Wilhelm and Jacob Grimm will be analyzed. -
Kamigawa by Gaunlet AKA Waddle Proofread By
Kamigawa By Gaunlet AKA Waddle Proofread By The world of Kamigawa, positioned far from any other world known to the Walkers, is governed by the interplay between the mortals and the kami, minor gods or spirits of the world. However, when a child of the supreme kami, O-Kagachi, was stolen away, the physical and spiritual worlds gird for war against each other. The Kakuriyo, sometimes called the Reikai, is the spirit world where the kami dwell; its other half is that of the Utsushiyo where mortals live. Together they form a great sphere that makes the whole of the world. You have come at a troubling time, dear Jumper. The war with the spirit realm has begun. In a world of mysticism and honor, the war is brewing. Spirits launch attacks against humans as, in the shadows, a terror lurks just beyond sight. This world is filled with mysteries and it’s depths have yet to be properly understood. So many things are coming to light and old grudges are being settled wholesale and into this world you have entered. Take this 1000 CP to aid in your journey in this place. Age and Gender matter little here. Age: 1d8+20 Free Choice on Gender. Location Roll 1d8 or pay 100 CP for a free choice of location. 1. Towabara — A massive plain, the name means "eternal field". Within the Towabara is the Araba, the "ruined land", a blasted place filled with craters from kami attacks. Eiganjo Castle is in the center of the Araba. It is the fortification of daimyo Takeshi Konda and his samurai. -
Oriental Adventures James Wyatt
620_T12015 OrientalAdvCh1b.qxd 8/9/01 10:44 AM Page 2 ® ORIENTAL ADVENTURES JAMES WYATT EDITORS: GWENDOLYN F. M. KESTREL PLAYTESTERS: BILL E. ANDERSON, FRANK ARMENANTE, RICHARD BAKER, EIRIK BULL-HANSEN, ERIC CAGLE, BRAIN MICHELE CARTER CAMPBELL, JASON CARL, MICHELE CARTER, MAC CHAMBERS, TOM KRISTENSEN JENNIFER CLARKE WILKES, MONTE COOK , DANIEL COOPER, BRUCE R. CORDELL, LILY A. DOUGLAS, CHRISTIAN DUUS, TROY ADDITIONAL EDITING: DUANE MAXWELL D. ELLIS, ROBERT N. EMERSON, ANDREW FINCH , LEWIS A. FLEAK, HELGE FURUSETH, ROB HEINSOO, CORY J. HERNDON, MANAGING EDITOR: KIM MOHAN WILLIAM H. HEZELTINE, ROBERT HOBART, STEVE HORVATH, OLAV B. HOVET, TYLER T. HURST, RHONDA L. HUTCHESON, CREATIVE DIRECTOR: RICHARD BAKER JEFFREY IBACH, BRIAN JENKINS, GWENDOLYN F.M. KESTREL, TOM KRISTENSEN, CATIE A. MARTOLIN, DUANE MAXWELL, ART DIRECTOR: DAWN MURIN ANGEL LEIGH MCCOY, DANEEN MCDERMOTT, BRANDON H. MCKEE, ROBERT MOORE, DAVID NOONAN, SHERRY L. O’NEAL- GRAPHIC DESIGNER: CYNTHIA FLIEGE HANCOCK, TAMMY R. OVERSTREET, JOHN D. RATELIFF, RICH REDMAN, THOMAS REFSDAL, THOMAS M. REID, SEAN K COVER ARTIST: RAVEN MIMURA REYNOLDS, TIM RHOADES, MIKE SELINKER, JAMES B. SHARKEY, JR., STAN!, ED STARK, CHRISTIAN STENERUD, OWEN K.C. INTERIOR ARTISTS: MATT CAVOTTA STEPHENS, SCOTT B. THOMAS, CHERYL A. VANMATER-MINER, LARRY DIXON PHILIPS R. VANMATER-MINER, ALLEN WILKINS, PENNY WILLIAMS, SKIP WILLIAMS CRIS DORNAUS PRONUNCIATION HELP: DAVID MARTIN RON FOSTER, MOE MURAYAMA, CHRIS PASCUAL, STAN! RAVEN MIMURA ADDITIONAL THANKS: WAYNE REYNOLDS ED BOLME, ANDY HECKT, LUKE PETERSCHMIDT, REE SOESBEE, PAUL TIMM DARRELL RICHE RICHARD SARDINHA Dedication: To the people who have taught me about the cultures of Asia—Knight Biggerstaff, Paula Richman, and my father, RIAN NODDY B S David K. -
Kipling, the Story-Writer
UNIVERSITY OF CALIFO! AT LOS ANGELES SEMICENTENNIAL PUBLICATIONS OF THE UNIVERSITY OF CALIFORNIA 1868-1918 42 1 6 KIPLING THE STORY-WRITER BY WALTER MORRIS HART UNIVERSITY OF CALIFORNIA PRESS BERKELEY 1918 28412 TO A. B. H. VA PREFACE In the course of an attempt to trace the history of the Short- Story in English it came to seem desirable, three or four years ago, to examine with some thoroughness, as the terminus ad quern, the work of Rudyard Kipling. The results of this study were rather fully set forth in the form of notes intended for class-room lectures. Revision and publication of these notes was advised by Professor Bliss Perry of Harvard College and by Professor Charles Mills Gayley of the University of Califor- nia. To these good friends of the writer this little book owes its being. Without their criticisms and suggestions, moreover, it would have been even less worthy than it is of the author with whom it is concerned. To him, to Mr. Kipling himself, thanks are due for gracious permission to take from his works the many illustrative passages with which these pages are adorned. CONTENTS PAGE Introduction 1 PART ONE: THE INDIAN PERIOD CHAPTER I Settings 5 CHAPTER II Characters and Psychology 12 CHAPTER III Plots and Their Significance 33 CHAPTER IV General Characteristics of the First Period Ill PART TWO: THE PERIOD OF TRANSITION CHAPTER V The Transitional Technique 131 PART THREE: THE ENGLISH PERIOD CHAPTER VI Settings 160 CHAPTER VII Characters and Psychology 170 CHAPTER VIII Plots and Their Significance 192 CHAPTER IX Conclusion 2 1 7 KIPLING THE STORY WRITER 53-2./. -
And the Visual Representation of the Korean Dokkaebi Abstract the Oni and the Dokkaebi Are Mythological Characters in Japan and Korea
theme 2 strand 1 memory design histories: tradition, transgression and transformations Mikyung Bak [email protected] Blucher Design Proceedings author(s) Dezembro de 2014, Número 5, Volume 1 Kyoto University www.proceedings.blucher.com.br/evento/icdhs2014 The Folktale “Hokpuri Yongkam” and the Visual Representation of the Korean Dokkaebi abstract The Oni and the Dokkaebi are mythological characters in Japan and Korea. The question of the originality of the Dokkaebi has been raised because, although the Oni and the Dokkaebi are certainly different in many respects, the image of the Dokkaebi today is described as being identical to that of Oni. A prime example cited is an illustration for the folk story “Hokpuri Yongkam” [The Old Man with a Lump] in school textbooks during the colonial period (1910–1945). Almost all scholars insist that this illustration is evidence of an affection for Japanese colonial unification ideology and that the image thus has to be corrected urgently. Moreover, some of them also insist that the folktale itself is Japanese. In this paper, I want to show another possibility for the origin of this folktale and its visual representation of the Dokkaebi. keywords Dokkaebi, Oni, representation, visualization, colonial period Introduction The current visualization of the Dokkaebi has one or two horns and a long tooth, wears tiger-skin pants and carries a magic stick. While there are variations on this appearance, the horns and tiger-skin pants fundamentally symbolize the Oni, as well (Yanagida, 1951) and are used in many designs of Oni-based characters. The Dokkaebi is a beloved symbolic icon of Korean culture, showing up in animation, comics, soap operas, and movies. -
Cinderella – Beautiful Girl
Cinderella – Beautiful Girl Once upon a time, there was a beautiful girl named Cinderella. She lived with her wicked stepmother and two stepsisters. They treated Cinderella very badly. One day, they were invited for a grand ball in the king’s palace. But Cinderella’s stepmother would not let her go. Cinderella was made to sew new party gowns for her stepmother and stepsisters, and curl their hair. They then went to the ball, leaving Cinderella alone at home. Cinderella felt very sad and began to cry. Suddenly, a fairy godmother appeared and said, “Don’t cry, Cinderella! I will send you to the ball!” But Cinderella was sad. She said, “I don’t have a gown to wear for the ball!” The fairy godmother waved her magic wand and changed Cinderella’s old clothes into a beautiful new gown! The fairy godmother then touched Cinderella’s feet with the magic wand. And lo! She had beautiful glass slippers! “How will I go to the grand ball?” asked Cinderella. The fairy godmother found six mice playing near a pumpkin, in the kitchen. She touched them with her magic wand and the mice became four shiny black horses and two coachmen and the pumpkin turned into a golden coach. Cinderella was overjoyed and set off for the ball in the coach drawn by the six black horses. Before leaving. the fairy godmother said, “Cinderella, this magic will only last until midnight! You must reach home by then!” When Cinderella entered the palace, everybody was struck by her beauty. Nobody, not even Cinderella’s stepmother or stepsisters, knew who she really was in her pretty clothes and shoes. -
Hans Christian Andersen's Fairy Tales Ballet Production Cast 2015
HANS CHRISTIAN ANDERSEN’S FAIRY TALES BALLET PRODUCTION CAST 2015 (REVISED 12/4) The Storyteller (5:30 – 6:00pm Studio C) Hans Christian Andersen: TBD Storybook Children – Caroline Geiling, Alivia Sutter, Joleen Wobby, Madison White, Gianni Lombardi The Red Shoes (1:30– 2:00pm Studio D) Karen – Taylor Hollingsworth Shoemaker – Ellie Meck Red Shoe Dancers – Lillian Pisarczyk, Lily Buckner, Eden Stambaugh, Annalisa Conca, Annabelle Fait, Shalene Blanchard Ugly Duckling Baby Ducks (2:45‐3:15pm Studio D) ‐ Stella Pannacciulli, Reese Lockerman, Kaylee Wilson, Olivia Johnson, Addilynne Gaeta, Presley Moore, Paige Paulsen, Anya Contrino, Autumn O’Sullivan, Bria Patt Little Ugly Duckling (2:45‐3:15pm Studio D) – Maddy Blechschmidt Ducks (2:00‐2:30pm Studio B) – Sierra Anderson, Oliver Skiver, Sierra Blechschmidt, Sophia Kelly, McKinna Barnes, Kaitlynn Ellis, Natalie Beck, Eliza Engle, Samantha Fischer, Alex Morel, Sydney Madison, Madelyn Kamholz, Maya Wong, Mandie Simpson Swans (4:00‐4:30pm Studio B) – Megan Wagner, Maddie A’bell, Eliza Cervantes, Erin Klaerich, Valerie Yermian, Emma Marshall, Megan Overbey, Monique Dufault Grown Swan (4:00‐4:30pm Studio B) – Jillian Porath Mamma Duck (4:00‐4:30pm Studio B) – Narissa Urcioli Thumbelina Thumbelinas (3:30‐4:00pm Studio C) – Gabrielle Esposito, Nadia Gibbs, Sophia Parraga, Valeria Bedoya, Avery Paulsen, Reese Raymundo, Alyssia Garza, Lauren Shim, Zoe Dai Herrera, Grace Molina Tom Thumb (3:30‐4:00pm Studio C) – Will Weitz Lead Flowers (5:30‐6:00pm Studio D) – Charlotte Fait, Sidney Greene Flowers