Categories
English Literature

For this activity, you are to read chapter 5 in on african american rhetoric and make not of two topics that are of particular interest to you.

For this activity, you are to read chapter 5 in On African American Rhetoric and make not of two topics that are of particular interest to you. Then write 1 page reading reflection on these topics and how this new information informs your understanding of these topics and larger society.

Categories
English Literature

Keep in mind m 18 now, and im going too collage to become an er nurse.

A discriptive essay on what like will be like in the year 2040. Keep in mind m 18 now, and Im going too collage to become an ER nurse.

Categories
English Literature

When wasteful war shall statues overturn,

PLEASE SEE ATTACHMENT FOR INSTRUCTIONS
**Please see link:
https://www.masterclass.com/articles/how-to-analyze-poetry
**Chosen poem below
Sonnet 55: Not marble nor the gilded monuments
BY WILLIAM SHAKESPEARE
Not marble nor the gilded monuments
Of princes shall outlive this powerful rhyme,
But you shall shine more bright in these contents
Than unswept stone besmeared with sluttish time.
When wasteful war shall statues overturn,
And broils root out the work of masonry,
Nor Mars his sword nor war’s quick fire shall burn
The living record of your memory.
’Gainst death and all-oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the Judgement that yourself arise,
You live in this, and dwell in lovers’ eyes.

Categories
English Literature

What significant similarities and differences can you find between the use the two passages make of literary devices?

Write an essay analysing and comparing the two passages. What significant similarities and differences can you find between the use the two passages make of literary devices?
Passage A: Thomas Hardy, Far from the Madding Crowd
Passage B: Edith Wharton, The Custom of the Country.
Structure your answer as one continuous answer, not as two separate mini-essays.
Your essay should be no more than 2000 words.

Categories
English Literature

Keep in mind m 18 now, and im going too collage to become an er nurse.

A discriptive essay on what like will be like in the year 2040. Keep in mind m 18 now, and Im going too collage to become an ER nurse.

Categories
English Literature

Which thou owedst yesterday.

Write an essay of no more than 1500 words in continuous prose on the passage. You should consider the following:
Why the passage is important
The distinctive features of its language
Two ways in which the distinctive features of the language could be translated into performance.
Othello
Act 3 Scene 3
DESDEMONA
How now, my dear Othello?
Your dinner, and the generous islanders
By you invited, do attend your presence.
OTHELLO I am to blame.
DESDEMONA Why do you speak so faintly? 285
Are you not well?
OTHELLO I have a pain upon my forehead, here.
DESDEMONA Faith, that’s with watching: ’twill away again.
Let me but bind it hard, within this hour
It will be well.
OTHELLO
Your napkin is too little.
290
She drops her handkerchief
Let it alone. Come, I’ll go in with you.
DESDEMONA
I am very sorry that you are not well.
Exeunt Othello and Desdemona
EMILIA I am glad I have found this napkin:
This was her first remembrance from the Moor;
My wayward husband hath a hundred times 295
Wooed me to steal it; but she so loves the token—
For he conjured her she should ever keep it—
That she reserves it evermore about her
To kiss and talk to. I’ll have the work ta’en out,
And give’t Iago: what he will do with it 300
Heaven knows, not I—
I nothing, but to please his fantasy.
Enter Iago
IAGO How now? What do you here alone?
EMILIA Do not you chide: I have a thing for you.
IAGO You have a thing for me? It is a common thing— 305
EMILIA Hah?
IAGO To have a foolish wife.
EMILIA O, is that all? What will you give me now
For that same handkerchief?
IAGO What handkerchief?
EMILIA What handkerchief? 310
Why that the Moor first gave to Desdemona,
That which so often you did bid me steal.
IAGO Hast stolen it from her?
EMILIA No, faith, she let it drop by negligence,
And, to th’advantage, I being here took’t up: 315
Look, here it is.
IAGO
A good wench! Give it me.
[He snatches it]
EMILIA What will you do with it, that you have been
So earnest to have me filch it?
IAGO Why, what’s that to you?
EMILIA If it be not for some purpose of import,
Give’t me again. Poor lady, she’ll run mad 320
When she shall lack it.
IAGO Be not acknown on’t:
I have use for it. Go, leave me.
Exit Emilia
I will in Cassio’s lodging lose this napkin,
And let him find it. Trifles light as air
Are to the jealous confirmations strong 325
As proofs of holy writ. This may do something.
The Moor already changes with my poison:
Dangerous conceits are in their natures poisons,
Which at the first are scarce found to distaste,
But, with a little act upon the blood, 330
Burn like the mines of sulphur. I did say so.
Enter Othello
Look where he comes. Not poppy, nor mandragora,
Nor all the drowsy syrups of the world
Shall ever medicine thee to that sweet sleep
Which thou owedst yesterday.
(Act 3, Scene 3, pp. 299–302; ll. 282–335)
Guidance notes
This assignment is an exercise in close textual analysis, so you should begin by reading the subsection ‘Textual analysis’ in Section 4.2 of this Assessment Guide.
There are three parts to this question, but make sure you present your TMA as an essay written in continuous prose; that is, although your TMA will inevitably fall into three sections, you should not number them or include sub-headings.
Consider carefully how much space you allocate to each part of the question. With the first part – identifying why the passage is important – avoid just telling the story of the play. Think about why the passage is important; what dramatic function does it serve? Where does the extract occur in the play and in what way is it significant for the play as a whole? It is important to present this first section clearly and concisely.
You will want to spend most of your time considering the second part of the assignment: the distinctive features of the language. Here you will find it useful to go back to Chapters 1 and 2 of The Renaissance and Long Eighteenth Century and remind yourself of the different aspects of Shakespeare’s language examined there. Then re-read the extract carefully, and think about the use of, for example, metre and rhythm, sound patterns, registers of language, imagery and figurative language. You may feel after studying the passage that there are other features that should be mentioned, but remember that your tutor does not want a simple list of poetic and linguistic devices. You should not only identify the distinctive qualities of the language but also say why you think the passage is written in this particular way. What effect is created by Shakespeare’s use of particular poetic techniques? How do these contribute to his creation of character? How does the language of the extract help to create and convey particular meanings?
After discussing the distinctive features of the language and the ways in which this shapes the meanings of the extract, try to identify TWO ways in which this could be translated into performance. For example, if the language of the passage creates a particular mood or tone, how would you try to get this across to the audience if you were staging the play? You might think about lighting, or about how the actors’ delivery of the lines could help to convey the mood of the scene. If the language works to evoke a particular character’s personality or emotions, how would you go about conveying those to the audience through performance? How might the position and movement of the characters on the stage underline the meanings created by the language of the passage? Does the mood or tone change at any point? Does the language contain clues about how the passage should be performed? Are there any dramatic pauses or sudden breaks in the rhythm? You will find it helpful to watch the video ‘Othello: from text to performance’ again for specific guidance on performance issues.
Your job is to focus on what the language itself tells us about how the passage should be performed. Remember that you only need to identify TWO ways in which the meaning of the extract might be related through performance, so the bulk of your TMA should be devoted to the analysis of the language.
You were advised to study the ‘Skills tutorial: drama’ in the opening weeks of A230, so please make sure you have worked through this material carefully before beginning your preparation for this TMA.

Categories
English Literature

Does the language contain clues about how the passage should be performed?

Write an essay of no more than 1500 words in continuous prose on the passage. You should consider the following:
Why the passage is important
The distinctive features of its language
Two ways in which the distinctive features of the language could be translated into performance.
Othello
Act 3 Scene 3
DESDEMONA
How now, my dear Othello?
Your dinner, and the generous islanders
By you invited, do attend your presence.
OTHELLO I am to blame.
DESDEMONA Why do you speak so faintly? 285
Are you not well?
OTHELLO I have a pain upon my forehead, here.
DESDEMONA Faith, that’s with watching: ’twill away again.
Let me but bind it hard, within this hour
It will be well.
OTHELLO
Your napkin is too little.
290
She drops her handkerchief
Let it alone. Come, I’ll go in with you.
DESDEMONA
I am very sorry that you are not well.
Exeunt Othello and Desdemona
EMILIA I am glad I have found this napkin:
This was her first remembrance from the Moor;
My wayward husband hath a hundred times 295
Wooed me to steal it; but she so loves the token—
For he conjured her she should ever keep it—
That she reserves it evermore about her
To kiss and talk to. I’ll have the work ta’en out,
And give’t Iago: what he will do with it 300
Heaven knows, not I—
I nothing, but to please his fantasy.
Enter Iago
IAGO How now? What do you here alone?
EMILIA Do not you chide: I have a thing for you.
IAGO You have a thing for me? It is a common thing— 305
EMILIA Hah?
IAGO To have a foolish wife.
EMILIA O, is that all? What will you give me now
For that same handkerchief?
IAGO What handkerchief?
EMILIA What handkerchief? 310
Why that the Moor first gave to Desdemona,
That which so often you did bid me steal.
IAGO Hast stolen it from her?
EMILIA No, faith, she let it drop by negligence,
And, to th’advantage, I being here took’t up: 315
Look, here it is.
IAGO
A good wench! Give it me.
[He snatches it]
EMILIA What will you do with it, that you have been
So earnest to have me filch it?
IAGO Why, what’s that to you?
EMILIA If it be not for some purpose of import,
Give’t me again. Poor lady, she’ll run mad 320
When she shall lack it.
IAGO Be not acknown on’t:
I have use for it. Go, leave me.
Exit Emilia
I will in Cassio’s lodging lose this napkin,
And let him find it. Trifles light as air
Are to the jealous confirmations strong 325
As proofs of holy writ. This may do something.
The Moor already changes with my poison:
Dangerous conceits are in their natures poisons,
Which at the first are scarce found to distaste,
But, with a little act upon the blood, 330
Burn like the mines of sulphur. I did say so.
Enter Othello
Look where he comes. Not poppy, nor mandragora,
Nor all the drowsy syrups of the world
Shall ever medicine thee to that sweet sleep
Which thou owedst yesterday.
(Act 3, Scene 3, pp. 299–302; ll. 282–335)
Guidance notes
This assignment is an exercise in close textual analysis, so you should begin by reading the subsection ‘Textual analysis’ in Section 4.2 of this Assessment Guide.
There are three parts to this question, but make sure you present your TMA as an essay written in continuous prose; that is, although your TMA will inevitably fall into three sections, you should not number them or include sub-headings.
Consider carefully how much space you allocate to each part of the question. With the first part – identifying why the passage is important – avoid just telling the story of the play. Think about why the passage is important; what dramatic function does it serve? Where does the extract occur in the play and in what way is it significant for the play as a whole? It is important to present this first section clearly and concisely.
You will want to spend most of your time considering the second part of the assignment: the distinctive features of the language. Here you will find it useful to go back to Chapters 1 and 2 of The Renaissance and Long Eighteenth Century and remind yourself of the different aspects of Shakespeare’s language examined there. Then re-read the extract carefully, and think about the use of, for example, metre and rhythm, sound patterns, registers of language, imagery and figurative language. You may feel after studying the passage that there are other features that should be mentioned, but remember that your tutor does not want a simple list of poetic and linguistic devices. You should not only identify the distinctive qualities of the language but also say why you think the passage is written in this particular way. What effect is created by Shakespeare’s use of particular poetic techniques? How do these contribute to his creation of character? How does the language of the extract help to create and convey particular meanings?
After discussing the distinctive features of the language and the ways in which this shapes the meanings of the extract, try to identify TWO ways in which this could be translated into performance. For example, if the language of the passage creates a particular mood or tone, how would you try to get this across to the audience if you were staging the play? You might think about lighting, or about how the actors’ delivery of the lines could help to convey the mood of the scene. If the language works to evoke a particular character’s personality or emotions, how would you go about conveying those to the audience through performance? How might the position and movement of the characters on the stage underline the meanings created by the language of the passage? Does the mood or tone change at any point? Does the language contain clues about how the passage should be performed? Are there any dramatic pauses or sudden breaks in the rhythm? You will find it helpful to watch the video ‘Othello: from text to performance’ again for specific guidance on performance issues.
Your job is to focus on what the language itself tells us about how the passage should be performed. Remember that you only need to identify TWO ways in which the meaning of the extract might be related through performance, so the bulk of your TMA should be devoted to the analysis of the language.
You were advised to study the ‘Skills tutorial: drama’ in the opening weeks of A230, so please make sure you have worked through this material carefully before beginning your preparation for this TMA.

Categories
English Literature

Write an essay analysing and comparing the two passages.

Write an essay analysing and comparing the two passages. What significant similarities and differences can you find between the use the two passages make of literary devices?
Passage A: Thomas Hardy, Far from the Madding Crowd
Passage B: Edith Wharton, The Custom of the Country.
Structure your answer as one continuous answer, not as two separate mini-essays.
Your essay should be no more than 2000 words.

Categories
English Literature

What is the role of marriage in their lives and how does it solve or create problems?

Compare the character journeys of Lizzie in Pride and Prejudice and Esther in Bleak House. Compare and contrast their relationships, gender roles, and social statuses. What is the role of marriage in their lives and how does it solve or create problems? What about socioeconomics? How do they exercise autonomy, or do they, and what are the consequences?
You must use at least one secondary source from JSTOR.
In your bid, please confirm that you can access JSTOR, and please briefly describe the angle you’d take or name the article you might use if you have one in mind.
Hard deadline.

Categories
English Literature

What about socioeconomics?

Compare the character journeys of Lizzie in Pride and Prejudice and Esther in Bleak House. Compare and contrast their relationships, gender roles, and social statuses. What is the role of marriage in their lives and how does it solve or create problems? What about socioeconomics? How do they exercise autonomy, or do they, and what are the consequences?
You must use at least one secondary source from JSTOR.
In your bid, please confirm that you can access JSTOR, and please briefly describe the angle you’d take or name the article you might use if you have one in mind.
Hard deadline.