Allusions and Intertextual References in Novels - Student Task Sheet
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A task sheet associated with a YouTube Video. A guide for students to understand intertextual references and allusions in novels. With an overview of the academic literature and thinking behind these core concepts. References to the various agreed upon types of intertextual references are made and different types of allusions and the differences between these two textual features and literary techniques.
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Essay Character ComparisonYou are to choose one character fro.docx
Essay: Character Comparison
You are to choose one character from the prologue of The Canterbury Tales and identify its significant characteristics. Then select any other character from Othello and frame an argument with specific thesis pertaining to both.
Example: Choose Wyf of Bath and Emilia. The narrator tells us the Wyf of Bath knew “muchel of wandring by the waye,” as well as “Of remedies of love” and “of that art [love] the olde daunce” (469, 477, 478). By these remarks, as well as her obvious wealth and wide travels, she comes across to many readers as one who possesses a great deal of knowledge. Indeed, in the opening line of the prologue to her tale, she advocates her knowledge from “Experience” as the governing authority in her life. But by comparing her to the character Emilia from Othello, one sees that Emilia is similarly knowledgeable and intuitive, and turns that experience to serving her lady Desdemona. But her experience is not enough to warn her of Iago’s intentions, and she unwittingly helps him destroy her lady. Perhaps it reveals how limited in usefulness her knowledge of the world can be.
Make sure you can answer these question in your paper:
1. Are the text and author introduced early in the paper? If they do not appear in the title, they should certainly appear in the first sentence. Acquaint the reader with the concept and suggest briefly how it is applied to the texts. Assume the reader has thorough knowledge of both texts and is reading your paper to engage a point of critical debate. The issue and your position must be established early. Finally, is the thesis clearly stated? Is it an arguable point? Does it adequately project what kind of argument will follow?
2. Remember foremost that this paper is an argument of literary analysis, and you must use the text as evidence to make your argument. Secondary sources are not allowed in the paper, so the job of convincing the reader is entirely your responsibility: a matter of quoting the text and then explaining what it means. Does this paper use the text adequately as evidence? Are all quotations explained fully? Is each related to a specific point? Does each quotation presented help support the thesis of the paper?
3. Are all quotations incorporated into the author's own prose, using either a simple introductory tag, such as, Everyman states, " . . . . " or some more sophisticated means of integrating sources? (Quotations must never stand alone; they must be incorporated into the argument logically through such means.) Does each quotation agree with the grammatical construction of the sentence it appears in? Are all such quotations presented in a consistent verb tense (normally past or present, as in the italicized example, throughout)?
4. Proper formatting and application of MLA requirements are a given for this paper. (Margins set at 1” on all sides, double-spaced, reasonable 12-pt. font; there are helpful videos on MLA form on YouTube.) ...
Overall Instruction· For any of these topic choices, you must q.docx
Overall Instruction:
· For any of these topic choices, you must quote directly from your chosen works and include page numbers in a parenthetical citation after quotes. Instructions for in-text, parenthetical citations are attached (see pages 3-5 of this handout).
· Choose quoted passages that function as strong evidence and help you communicate your main message about the works of literature you are analyzing. Once you quote a passage, be sure to USE it: that is, interpret what it’s saying and tie it back to your main point about the text. Through your interpretation (analysis) of each and every quote, you should advance your paper’s main argument (thesis).
· Avoid summary! In none of these assignment choices do I ask you to summarize or retell the storyline. Assume your audience has read the pieces that you’re writing about. Instead of summary, I want your creative-analytical response to the literature.
Topics:
1. Put any character in conversation with a character from another work by a different author. Createthe dialogue they might have. Note that your dialogue should capture an important aspect of each character and should be focused on one main theme. You might, for example, have two characters discuss their views about their adversaries or lovers, their plans for dealing with a similar problem they have (e.g. unfaithful spouses or low social status), their different encounters with the underworld, and so on. Write a dialogue (of any length) between the two characters and attach it to an essay of 4-5 pages explaining the reasons you chose to write this particular dialogue and the message you wanted to get across about the role these characters play in their respective works and the burdens or successes they represent. Keep in mind that you don’t have to choose a work’s main characters; it would be very interesting to choose minor characters who play a smaller but critical role in the text. The best essays will illuminate a surprising intersection between the character and texts, as well as an important message about both your characters and the works they represent. Be sure to quote from the original texts in your dialogue and accompanying essay. An alternate approach to this essay choice would be to put two different authors from our syllabus into dialogue with each other.
2. Imagine that you’re planning a film based on a pairing or group of works from the syllabus. Write a description of your film, making sure to answer the questions: why make a film on your chosen works? What message, drawn from the original texts, are you trying to get across, and why do you think it’s important for a contemporary audience to hear this message? Also, think about the stylistic decisions that a film director makes and explain how you would like to see your film made, and why. (Is it a big- budget action film, a romance with recognizable stars, a musical, a comedy, or a “quieter” family drama?) Write an essay of 6-8 pages in which you discuss the .
Project ConceptThe final project allows students to apply diff.docx
Project Concept
The final project allows students to apply different frameworks of discourse analysis and stylistics on an authentic text of their choice.
Text
Analyzed text should be authentic, i.e., not a figment of one’s imagination, but a record of an existent interaction. It could be spoken or written, literary or non-literary, in Arabic or English. Spoken text is to be transcribed, and the audio/video file containing the text is to be submitted along with the project for instructor review. If the text is in Arabic, examples may be cited in Arabic, but all discussion of text is to be in English.
Discourse Analysis and Stylistics Perspectives
Discourse and stylistics perspectives are to be applied in a comprehensive and sophisticated manner. That is, indices are to be clearly highlighted, explanations of their relation to frameworks are to be explained, and connections with other aspects of discourse are to be made. Perspectives discussed in class include:
1. Intertextuality in discourse
2. Differences between spoken and written discourse (grammatical intricacy, lexical density, nominalization, explicitness, contextualization, spontaneity, repetition, hesitation, redundancy)
3. Speech acts (illocutionary acts, directness/indirectness in relation to syntactic structures)
4. The cooperative principle (maxims, meta-discourse, flouting, violating, opting-out, implicatures)
5. Politeness (positive face, negative face, face-threatening acts, mitigating devices, politeness strategies)
6. Identity construction through language
7. Indexing gender in discourse
8. Critical discourse analysis
9. Stylistics
Individual Contributions
Students are to work individually or in pairs; each student/pair is to decide on whether to:
· Explore different perspectives in one text, or
· Explore one perspective in multiple texts.
Report Structure
The project is to be submitted as a Word document. Follow APA format in indicating student name, university ID number, and course number. The body of the document is to be double-spaced and structured as follows:
I. Introduction
a. State the source of the text (type of data, title of work, and year – if applicable.)
b. Provide a characterization of text context (who, what, why, where, when, and how.)
c. Indicate your main discourse analysis perspective.
d. Specify the framework followed, citing scientific research.
II. Text
a. Transcribe pre-approved text according to discourse analysis conventions
b. Number each line to the left of text.
c. Capitalize the names of each speaker and the beginning of their utterances.
III. Analysis
a. Analyze text holistically, avoiding line-by-line analysis.
b. Have a clear topic sentence for each paragraph.
c. Identify discourse phenomena using appropriate technical terminology.
d. Support statements with illustrative examples.
e. Examples are to be single-spaced, followed by line numbers in parentheses.
f. Each example is to be followed by an elaborate and clear ex ...
Term Definition Allegory an extended symbol that lasts for.docx
Term Definition
Allegory an extended symbol that lasts for the duration of the entire narrative
Alliteration
repetition of consonant sounds; (try to trick ten tiny teens) or Peter Piper picked a pack of
pickeled peppers.
Allusion a reference to something else
Archetypes symbolic elements that recur in different cultures
Assonance repetition of vowel sounds; (Owls owe our only ounce)
Author The person who wrote the text.
Diction Word Choice, determines tone
Dynamic character changes over time
First-person singular narrator
Internal; narrator uses the first person pronoun “I”
(first-person plural- “we”, less common)
Flat Character Behaves in an expected manner
Foil a character held up consistently as a contrast to another character.
Foreshadowing clues as to what is to come ahead
Illusion like a mirage or a ghost, a vision that is not real
In media res in the middle of things
Irony
when the intended meaning is the opposite to what is written or said.
(It says one thing but means the reverse)
Limited narrator external; access to thoughts and feelings of one character.
Metaphor More explicit comparison (she is the sun)
Narrative a story, whether true or fictional, that is told by a narrator
Narrator The person in the text who tells the story.
Omniscient narrator external; has access to thoughts and feelings of all characters.
Onomatopoeia words that sound like what they mean (splish splash)
Oxymoron a combination of contradictory ideas (wise fool)
Personification An inanimate object displays human behavior. (The rock talks)
Round Character Has a psychological complexity
Second person narrator
could be internal or external. Addresses “you”. Less common.
Turns reader into character in story.
Simile comparison using like or as; She is like the sun.
Static Character remains the same over time
Stock character represent a "type," often like a cliché
Symbol something that stands for something else
Syntax Sentence structure
Third-person narrator
External; refers to all characters through pronouns he, she, they.
Narrator is not a character in the action.
Tone writer's attitude toward
Unreliable narrator
often a 1
st
person narrator is unreliable.
Unknowingly reveals character flaws.
RHET 1302
Essay #1: Rhetorical Analysis
Submit: Upload online through the TurnItIn assignment button
The submission button will not be visible until the week before the assignment is due
You will also upload your draft this way
Length: 3-4 FULL pages with Works Cited (Works Cited does not count towards page total)
Sources: One speech
Points: Final (100 points), Full Draft (20 points)
Purpose: Rhetoric is the art of effective communication, or as Aristotle stated, “the ability to see or
identify in any given circumstance the available means of persuasion.” In Rhetoric, we focus on “how”
people are communicating rather than simply what they are saying. This.
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Essay Character ComparisonYou are to choose one character fro.docx
Essay: Character Comparison
You are to choose one character from the prologue of The Canterbury Tales and identify its significant characteristics. Then select any other character from Othello and frame an argument with specific thesis pertaining to both.
Example: Choose Wyf of Bath and Emilia. The narrator tells us the Wyf of Bath knew “muchel of wandring by the waye,” as well as “Of remedies of love” and “of that art [love] the olde daunce” (469, 477, 478). By these remarks, as well as her obvious wealth and wide travels, she comes across to many readers as one who possesses a great deal of knowledge. Indeed, in the opening line of the prologue to her tale, she advocates her knowledge from “Experience” as the governing authority in her life. But by comparing her to the character Emilia from Othello, one sees that Emilia is similarly knowledgeable and intuitive, and turns that experience to serving her lady Desdemona. But her experience is not enough to warn her of Iago’s intentions, and she unwittingly helps him destroy her lady. Perhaps it reveals how limited in usefulness her knowledge of the world can be.
Make sure you can answer these question in your paper:
1. Are the text and author introduced early in the paper? If they do not appear in the title, they should certainly appear in the first sentence. Acquaint the reader with the concept and suggest briefly how it is applied to the texts. Assume the reader has thorough knowledge of both texts and is reading your paper to engage a point of critical debate. The issue and your position must be established early. Finally, is the thesis clearly stated? Is it an arguable point? Does it adequately project what kind of argument will follow?
2. Remember foremost that this paper is an argument of literary analysis, and you must use the text as evidence to make your argument. Secondary sources are not allowed in the paper, so the job of convincing the reader is entirely your responsibility: a matter of quoting the text and then explaining what it means. Does this paper use the text adequately as evidence? Are all quotations explained fully? Is each related to a specific point? Does each quotation presented help support the thesis of the paper?
3. Are all quotations incorporated into the author's own prose, using either a simple introductory tag, such as, Everyman states, " . . . . " or some more sophisticated means of integrating sources? (Quotations must never stand alone; they must be incorporated into the argument logically through such means.) Does each quotation agree with the grammatical construction of the sentence it appears in? Are all such quotations presented in a consistent verb tense (normally past or present, as in the italicized example, throughout)?
4. Proper formatting and application of MLA requirements are a given for this paper. (Margins set at 1” on all sides, double-spaced, reasonable 12-pt. font; there are helpful videos on MLA form on YouTube.) ...
Overall Instruction· For any of these topic choices, you must q.docx
Overall Instruction:
· For any of these topic choices, you must quote directly from your chosen works and include page numbers in a parenthetical citation after quotes. Instructions for in-text, parenthetical citations are attached (see pages 3-5 of this handout).
· Choose quoted passages that function as strong evidence and help you communicate your main message about the works of literature you are analyzing. Once you quote a passage, be sure to USE it: that is, interpret what it’s saying and tie it back to your main point about the text. Through your interpretation (analysis) of each and every quote, you should advance your paper’s main argument (thesis).
· Avoid summary! In none of these assignment choices do I ask you to summarize or retell the storyline. Assume your audience has read the pieces that you’re writing about. Instead of summary, I want your creative-analytical response to the literature.
Topics:
1. Put any character in conversation with a character from another work by a different author. Createthe dialogue they might have. Note that your dialogue should capture an important aspect of each character and should be focused on one main theme. You might, for example, have two characters discuss their views about their adversaries or lovers, their plans for dealing with a similar problem they have (e.g. unfaithful spouses or low social status), their different encounters with the underworld, and so on. Write a dialogue (of any length) between the two characters and attach it to an essay of 4-5 pages explaining the reasons you chose to write this particular dialogue and the message you wanted to get across about the role these characters play in their respective works and the burdens or successes they represent. Keep in mind that you don’t have to choose a work’s main characters; it would be very interesting to choose minor characters who play a smaller but critical role in the text. The best essays will illuminate a surprising intersection between the character and texts, as well as an important message about both your characters and the works they represent. Be sure to quote from the original texts in your dialogue and accompanying essay. An alternate approach to this essay choice would be to put two different authors from our syllabus into dialogue with each other.
2. Imagine that you’re planning a film based on a pairing or group of works from the syllabus. Write a description of your film, making sure to answer the questions: why make a film on your chosen works? What message, drawn from the original texts, are you trying to get across, and why do you think it’s important for a contemporary audience to hear this message? Also, think about the stylistic decisions that a film director makes and explain how you would like to see your film made, and why. (Is it a big- budget action film, a romance with recognizable stars, a musical, a comedy, or a “quieter” family drama?) Write an essay of 6-8 pages in which you discuss the .
Project ConceptThe final project allows students to apply diff.docx
Project Concept
The final project allows students to apply different frameworks of discourse analysis and stylistics on an authentic text of their choice.
Text
Analyzed text should be authentic, i.e., not a figment of one’s imagination, but a record of an existent interaction. It could be spoken or written, literary or non-literary, in Arabic or English. Spoken text is to be transcribed, and the audio/video file containing the text is to be submitted along with the project for instructor review. If the text is in Arabic, examples may be cited in Arabic, but all discussion of text is to be in English.
Discourse Analysis and Stylistics Perspectives
Discourse and stylistics perspectives are to be applied in a comprehensive and sophisticated manner. That is, indices are to be clearly highlighted, explanations of their relation to frameworks are to be explained, and connections with other aspects of discourse are to be made. Perspectives discussed in class include:
1. Intertextuality in discourse
2. Differences between spoken and written discourse (grammatical intricacy, lexical density, nominalization, explicitness, contextualization, spontaneity, repetition, hesitation, redundancy)
3. Speech acts (illocutionary acts, directness/indirectness in relation to syntactic structures)
4. The cooperative principle (maxims, meta-discourse, flouting, violating, opting-out, implicatures)
5. Politeness (positive face, negative face, face-threatening acts, mitigating devices, politeness strategies)
6. Identity construction through language
7. Indexing gender in discourse
8. Critical discourse analysis
9. Stylistics
Individual Contributions
Students are to work individually or in pairs; each student/pair is to decide on whether to:
· Explore different perspectives in one text, or
· Explore one perspective in multiple texts.
Report Structure
The project is to be submitted as a Word document. Follow APA format in indicating student name, university ID number, and course number. The body of the document is to be double-spaced and structured as follows:
I. Introduction
a. State the source of the text (type of data, title of work, and year – if applicable.)
b. Provide a characterization of text context (who, what, why, where, when, and how.)
c. Indicate your main discourse analysis perspective.
d. Specify the framework followed, citing scientific research.
II. Text
a. Transcribe pre-approved text according to discourse analysis conventions
b. Number each line to the left of text.
c. Capitalize the names of each speaker and the beginning of their utterances.
III. Analysis
a. Analyze text holistically, avoiding line-by-line analysis.
b. Have a clear topic sentence for each paragraph.
c. Identify discourse phenomena using appropriate technical terminology.
d. Support statements with illustrative examples.
e. Examples are to be single-spaced, followed by line numbers in parentheses.
f. Each example is to be followed by an elaborate and clear ex ...
Term Definition Allegory an extended symbol that lasts for.docx
Term Definition
Allegory an extended symbol that lasts for the duration of the entire narrative
Alliteration
repetition of consonant sounds; (try to trick ten tiny teens) or Peter Piper picked a pack of
pickeled peppers.
Allusion a reference to something else
Archetypes symbolic elements that recur in different cultures
Assonance repetition of vowel sounds; (Owls owe our only ounce)
Author The person who wrote the text.
Diction Word Choice, determines tone
Dynamic character changes over time
First-person singular narrator
Internal; narrator uses the first person pronoun “I”
(first-person plural- “we”, less common)
Flat Character Behaves in an expected manner
Foil a character held up consistently as a contrast to another character.
Foreshadowing clues as to what is to come ahead
Illusion like a mirage or a ghost, a vision that is not real
In media res in the middle of things
Irony
when the intended meaning is the opposite to what is written or said.
(It says one thing but means the reverse)
Limited narrator external; access to thoughts and feelings of one character.
Metaphor More explicit comparison (she is the sun)
Narrative a story, whether true or fictional, that is told by a narrator
Narrator The person in the text who tells the story.
Omniscient narrator external; has access to thoughts and feelings of all characters.
Onomatopoeia words that sound like what they mean (splish splash)
Oxymoron a combination of contradictory ideas (wise fool)
Personification An inanimate object displays human behavior. (The rock talks)
Round Character Has a psychological complexity
Second person narrator
could be internal or external. Addresses “you”. Less common.
Turns reader into character in story.
Simile comparison using like or as; She is like the sun.
Static Character remains the same over time
Stock character represent a "type," often like a cliché
Symbol something that stands for something else
Syntax Sentence structure
Third-person narrator
External; refers to all characters through pronouns he, she, they.
Narrator is not a character in the action.
Tone writer's attitude toward
Unreliable narrator
often a 1
st
person narrator is unreliable.
Unknowingly reveals character flaws.
RHET 1302
Essay #1: Rhetorical Analysis
Submit: Upload online through the TurnItIn assignment button
The submission button will not be visible until the week before the assignment is due
You will also upload your draft this way
Length: 3-4 FULL pages with Works Cited (Works Cited does not count towards page total)
Sources: One speech
Points: Final (100 points), Full Draft (20 points)
Purpose: Rhetoric is the art of effective communication, or as Aristotle stated, “the ability to see or
identify in any given circumstance the available means of persuasion.” In Rhetoric, we focus on “how”
people are communicating rather than simply what they are saying. This.
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Open Workshop on Information Literacy
Dec 7th 2011
Types of Writing for english learners - beginer level.pdf
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So why would your teacher give you such an assignment? What are the benefits of learning to write analytic essays about poetry? Several important reasons suggest themselves:
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What Should I Know about Writing about Poetry?
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What's the Point?
In order to write effectively about poetry, one needs a clear idea of what the point of writing about poetry is. When you are assigned an analytical essay about a poem in an English class, the goal of the assignment is usually to argue a specific thesis about the poem, using your analysis of specific elements in the poem and how those elements relate to each other to support your thesis.
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The format for the paper should be analytic, interpretive, and normative – do not mix up the order of the three perspectives. These perspectives must be clearly delineated in your paper in order to ensure full credit.
It is essential that you remember that this is an analysis and not a report. As such, your goal is to analyze the text not “re-describe” it. Remember! This is not a book report or a “text” description.
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If you work with a partner, note where you disagree (on what and why). Not everyone shares the same position.
Refer to the "Worksheet on Reading Texts" handout below for explicit questions to guide you in the text analysis.
Worksheet For Reading Text
To really “read” a text, as opposed to just decoding it, requires the reader to construct meaning from the text. To help you in this process, you should attempt to answer at least the following questions for each text? ANALYTIC READING
1. What is the major argument (conclusions) presented in the text?
a. What is the author/speaker trying to convince you?
2. What is the evidence presented to support that claim (Premise)?
3. Is the argument implicit or explicit?
4. Is it an empirical (facts, statistics, etc.), analytical (concepts and definitions) or normative (making a moral claim) argument?
5. What type of reasoning does the author employ (inductive or deductive)?
6. How is the argument presented, i.e. what rhetorical devices are used to make the argument (narrative, metaphors, visual imagery, imagery, ideographs, euphemisms, rhetorical questions, labels, etc.)?
7. Are you able to detect any fallacies in the argument? INTERPRETIVE READING
1. When was the text made?
2. What was going on around that time that might have influenced the writing of this text or the way audiences interpreted it?
3. What might those who r ...
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Features of melanie cheng writing
Australia Day - Melanie cheng - Writing Style - Guide - Hyphenated - Asides - Dialogue - Action
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16 Teaching feedback quotes for professional development
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“The dialogue between pupils and teacher should be thoughtful, reflective, focused to evoke and explore understanding, and conducted so that all pupils have an opportunity to think and to express their ideas.” (p 12)
'pupils should be trained in self- assessment so that they can understand the main purposes of their learning and thereby grasp what they need to do to achieve.' (Black & Wiliam, 2010)
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The video covers the themes, symbols and motifs that students could consider including different readings that can be used to inform their reading of the text.
Annotation Guide Insert
https://www.slideshare.net/skolber/i-am-malala-annotation-insert-annotation-guide-cheat-sheet
Why Pakistan hates Malala
https://foreignpolicy.com/2017/08/15/why-pakistan-hates-malala/
Why is Malala so hated in Pakistan?
https://www.quora.com/Why-is-Malala-Yousafzai-so-hated-in-Pakistan
Why do some people hate Malala
https://tribune.com.pk/story/1675753/6-people-hate-malala/
the ratcatchers daughter - annotation guide
A remarkable story about a little-known tragedy in Australian history. 'A brilliant and richly evocative insight into a fascinating and little-known aspect of our past.' Jackie French, Australian Children's Laureate It's 1900. thirteen-year-old Issy McKelvie leaves school and starts her first job - very reluctantly - as a maid in an undertaking establishment. She thinks this is about as low as you can go. But there's worse to come. Issy becomes an unwilling rat-catcher when the plague - the Black Death - arrives in Australia. Issy loathes both rats and her father's four yappy, snappy, hyperactive rat-killing terriers. But when her father becomes ill it's up to Issy to join the battle to rid the city of the plague-carrying rats.
ratcatchers daughter - literary devices and examples
A remarkable story about a little-known tragedy in Australian history. 'A brilliant and richly evocative insight into a fascinating and little-known aspect of our past.' Jackie French, Australian Children's Laureate It's 1900. thirteen-year-old Issy McKelvie leaves school and starts her first job - very reluctantly - as a maid in an undertaking establishment. She thinks this is about as low as you can go. But there's worse to come. Issy becomes an unwilling rat-catcher when the plague - the Black Death - arrives in Australia. Issy loathes both rats and her father's four yappy, snappy, hyperactive rat-killing terriers. But when her father becomes ill it's up to Issy to join the battle to rid the city of the plague-carrying rats.
The ratcatchers daughter - annotating key quotes
A remarkable story about a little-known tragedy in Australian history. 'A brilliant and richly evocative insight into a fascinating and little-known aspect of our past.' Jackie French, Australian Children's Laureate It's 1900. thirteen-year-old Issy McKelvie leaves school and starts her first job - very reluctantly - as a maid in an undertaking establishment. She thinks this is about as low as you can go. But there's worse to come. Issy becomes an unwilling rat-catcher when the plague - the Black Death - arrives in Australia. Issy loathes both rats and her father's four yappy, snappy, hyperactive rat-killing terriers. But when her father becomes ill it's up to Issy to join the battle to rid the city of the plague-carrying rats.
The Penelopiad by Margaret Atwood - Comparative Annotation Exemplar (VCE 2019)
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A series of images to use in the comparison between Photograph 51 and The Penelopiad by Margaret Atwood and Anna Ziegler, respectively.
Photograph 51 Annotation Exemplar by Anna Ziegler [VCE 2019]
Video is here: https://youtu.be/RrXSWS7Nt40
London, 1953. Scientists are on the verge of discovering what they call the secret of life: the DNA double helix. Providing the key is driven young physicist Rosalind Franklin. But if the double helix was the breakthrough of the 20th century, then what kept Franklin out of the history books? A play about ambition, isolation, and the race for greatness.
Anna Ziegler is an American Playwright who is known for her use of language and whip-sharp dialogue.
(2008) Photograph 51: This play is one that she has noted as “opening many doors (for her) professionally”, due to its positive critical response and great deal of media attention due to the impressive casting of Nichole Kidman.
Slides and Worksheets available here: http://www.slideshare.net/skolber
Email me at :mrkolbersteaching@gmail.com
Backdrop images from: https://pixabay.com/en/users/hadania-19110/
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I am Malala annotation insert, to go along with the series of videos available at 'Mr Kolber's Teaching' on YouTube. I come from a country that was created at midnight. When I almost died it was just after midday.
When the Taliban took control of the Swat Valley in Pakistan, one girl spoke out. Malala Yousafzai refused to be silenced and fought for her right to an education.
On Tuesday, October 9, 2012, when she was fifteen, she almost paid the ultimate price. She was shot in the head at point-blank range while riding the bus home from school, and few expected her to survive.
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Photograph 51 is an award-winning play by Anna Ziegler. Photograph 51 opened in the West End of London in September 2015.[1] The play focuses on the often-overlooked role of X-ray crystallographer Rosalind Franklin in the discovery of the double helix structure of DNA while working at King's College London.[2][3] This play won the 3rd STAGE International Script Competition in 2008.[4] The title comes from Photo 51, the nickname given to an X-ray diffraction image taken by Raymond Gosling in May, 1952, under the supervision of Rosalind Franklin.[5] The one-act play runs for 95-minutes with no intermission.
The play premiered in the United States (where it was produced at Ensemble Studio Theatre in New York, Theater J in Washington DC, Seattle Repertory Theatre in Seattle, amongst many others),[6] then in London's Noël Coward Theatre, in the West End, directed by Michael Grandage.[7]
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