English Literature

From one of the greatest and most prolific authors of twentieth century weird fiction come four of the very best strange stories ever told.

The Willows:

Two men become stranded on an island in the Danube delta, only to find that they might be in the domain of some greater power from beyond the limits of human experience.

The Wendigo:

A hunting party in Ontario begin to fear that they are being stalked by an entity thought to be confined to legend.

The Man Whom the Trees Loved:

A couple is driven apart as the husband is enthralled by the possessive and jealous spirits dwelling in the nearby forest.

Ancient Sorceries:

In conversation with the occult detective and physician Dr. John Silence, a traveller relates his nightmarish visit to a strange town in Northern France, and the maddening secret from his past revealed by its inhabitants.

A. Pengertian Present Perfect Tense Present perfect tense adalahsuatubentuk kata kerja yang digunakan untuk menyatakan suatu aksi atau situasi yang telah dimulai di masa lalu dan telah selesai pada suatu titik waktu tertentu di masa lalu atau masih berlanjut sampai sekarang.

The paper reports a study on the teaching of character education in higher education using English Bildungsroman, Jane Eyre. The participants were 35 sixth-semester students of English Literature program in an Indonesian state university. Guided by the approach to teaching character education exemplified by Ryan & Bohlin (1999), the teaching was focused on the virtues of the story. To find whether students were able to identify, get involved, and have insights with the virtues contained in the story, a textual analysis drawing upon Parker and Ackerman’s (2007) of the students’ literary response essays was then conducted. The results show that most students have successfully identified the virtues in the novel and can relate to the characters and their events. However, only a few students are able to show their involvement with and insight of the virtues contained in the novel. It can be inferred then that Bildungsromans such as Jane Eyre can help the teaching of character education. Nevertheless, character education should be integrated with all subjects for better results.

Este artigo procura ofertar uma reflexão crítica sobre o
conjunto de textos escritos pelo poeta anglo-americano Wystan
Hugh Auden referentes à obra de J.R.R. Tolkien, tentando precisar
suas linhas de força. Dentre estas, nosso foco analítico privilegia a
noção de demanda heroica e a constituição de seu protagonista,
assim como a natureza do bem e do mal em O Senhor dos Anéis.
Com base nas observações de Auden, procuramos pensar a relação
entre a presença singular dos hobbits e a construção de um
realismo particular e, complementarmente, a importância da
imaginação na composição de um ethos tolkieniano marcado por
uma dimensão subversiva em constante tensão com a noção de
alegoria.

Religious poetry seems to have flourished in northern England-Northumbria-throughout the eight century, though most of it has survived only in West Saxon transcriptions of the late tenth century. Monks produced not only manuscripts, masonry, sculpture and missionaries but also a lot of Christian poetry. Much of it consists of retellings of books and episodes from the Old Testament. Much of this religious poetry is anonymous, but the names of two poets are known: CAEDMON (d.c. 670), the first English poet known by name, and CYNEWULF (late eighth or early ninth century). They wrote on biblical and religious themes. According to Bede Caedmon became the founder of a school of Christian poetry and the he was the first to use the traditional metre diction for Christian religious poetry. The glory of Alfred's reign is Alfred himself(849-901) writes George Simpson. It was under his influence that the earlier poetic works, which had almost all been written in the Northumbrian dialect, were transcribed into the language of the West Saxons. King Alfred played an important role in this literary movement. He surrounded himself with scholars and learned men, learnt Latin after he was grown up, and began to translate the works which seemed to him most apt to civilize his people. In this way he became the father of English prose-writers. He himself is credited with a translation of the Universal History of Orosius.

2/3:- A succinct poem capturing the essence of the moment and chaos now gripping the UK over its vote to leave the European Union in September 2019. It is the focal point from which other parts of this trilogy are derived, reflexively looking back, and also forward into the future. Britannia is dead, long live Britannia!

Brexit the Fall - Before and After: https://www.academia.edu/40463448/Brexit_the_Fall_Trilogy_-_Before_and_After
Brexit the Fall - Endgame: https://www.academia.edu/40453026/Haiku_Poem_-_Brexit_the_Fall_Trilogy_-_Endgame

The omnipresence of William Shakespeare's works is striking (although understandable) when it comes to the complex process of the self-definition of non-hegemonic cultures. After all, how to outline one's own portrait when the model adopted implies the centrality of the other in defining the self? This is the inescapable predicament derived from the mimetic dimension of identity in non-hegemonic contexts and its vulnerability concerning the centrality of the other in shaping one's own desire and self-image. Indeed, non-hegemonic, instead of "periphery," "peripheral," is one of the concepts that I am proposing in the theoretical framework I have been developing over the past years.

List of 400+ words used to describe a character or their behaviour. This simple resource helps students to build their vocabulary, enabling them to speak and write more accurately about their experiences and their emotions. In summary, reading or constructing a character requires emotional intelligence and creative engagement. Equally, critical inference and judgment often hinges on finding the word(s) that best suit(s) the the reader's interpretation of a character.

‘the author’s presence will be obvious on every occasion when he moves into or out of a character’s mind’ (Booth, The Rhetoric of Fiction, 1961: 17).

‘Everything [the author] shows will tell; the line between showing and telling is always to some degree an arbitrary one. In short, the author’s judgment is always present, always evident to anyone who knows how to look for it. Whether its particular forms are harmful or serviceable is always a complex question, a question that cannot be settled by an easy reference to abstract rules. As we begin now to deal with this question, we must never forget that though the author can to some extent choose his disguises, he can never choose to disappear’ (Booth, The Rhetoric of Fiction, 1961: 20).

How does your voice sound today?
What does your voice say about who you are?
How can I use voice to build a character in my creative writing?
What inferences can I make about a person, based on the sound of their voice?
How would I vocally perform this speech from a play?
This teaching resource provides 52 examples of speech-related vocabulary.

"Thus, the very dialogue becomes mixed with the narration; for he must not only tell what the characters actually said, in which his task is the same as that of the dramatic author, but must also describe the tone, the look, the gesture, with which their speech was accompanied,—telling, in short, all which, in the drama, it becomes the province of the actor to express. " --- Walter Scott, "Henry Fielding - Biographical Sketches."

Bringing together theoretical writing on objects, testimony, and trauma to develop the category of the “nonhuman witness,” this essay considers the narrative, ethical, and ecological work performed by peripheral objects in J. M. Coetzee’s Dusklands (1974). Coetzee’s insistent object catalogues acquire narrative agency and provide material for a counter-narrative parody of first-personal reports of violence in Dusklands. Such collections of nonhuman witnesses further disclose the longer temporality of ecological violence that extends beyond the text’s represented and imagined casualties. Linking the paired novellas of Dusklands, which concern 1970s America and 1760s South Africa, the essay finds in Coetzee’s strange early work a durable ethical contribution to South African literature precisely for its attention to nonhuman claimants and environments.

Menstruation is a unlikely theme to be found in British and American literature and media
because of its historical and cultural associations as something impure and maudit. The aim of this
article is to present the reasons for such rare depictions and analyze the processes behind the omis-
sion of menstruation. I will sketch the history of menstruation in British and American culture, which
will serve as a background to discuss the twenty-first century cultural understanding of menstruation.
A Young Adult novel will serve as an example to show how the desired gender behaviours are consoli-
dated and perpetuated by means of the novel addressed to young readers and what role menstruation
plays in performativity of gender.