The document summarizes and analyzes the first 20 lines of Sylvia Plath's poem "Daddy". It provides background on Plath's life experiences, including her father's death from illness when she was young. Each member of the group then analyzes 2 lines of the poem, describing Plath's metaphorical comparisons of her father to a black shoe and marble statue stretching across the United States, as well as her changing feelings towards him from praying for his return to being freed from his influence.
More Information :- https://www.topfreejobalert.com
The Waste land it’s a epic poem. A poem made of collage of images. In ‘The Waste land’ Image and symbol take in city life.
Samuel Taylor Coleridge, his life and works
Prepared by Ahmad Hussain, Department of English,
Abdul Wali khan University Mardan.
Email: mr.literature123@gmail.com
Facebook page link for Literary students: www.facebook.com/englitpearls
More Information :- https://www.topfreejobalert.com
The Waste land it’s a epic poem. A poem made of collage of images. In ‘The Waste land’ Image and symbol take in city life.
Samuel Taylor Coleridge, his life and works
Prepared by Ahmad Hussain, Department of English,
Abdul Wali khan University Mardan.
Email: mr.literature123@gmail.com
Facebook page link for Literary students: www.facebook.com/englitpearls
English Phonetics and Phonology By Peter Roach
A Practical course
Second Edition
This presentation is not my own creation.
Just uploaded on Slideshare for the help of others.
This book doesn`t belong to me.
I uploaded it for educational purpose.
English Phonetics and Phonology By Peter Roach
A Practical course
Second Edition
This presentation is not my own creation.
Just uploaded on Slideshare for the help of others.
This book doesn`t belong to me.
I uploaded it for educational purpose.
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Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
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2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
2. G RO U P N O . 0 1 .
G RO U P MEMBERS: -
ALEENA FAROOQ – ROLL NO. 07.
UMM-E-ROOMAN YAQOOB – ROLL NO. 03.
MEHAK RASOOL – ROLL NO. 43.
SADAF JAMAL – ROLL NO. 36.
SAMIA SHABBIR – ROLL NO. 24.
LARAIB NADEEM – ROLL NO. 30.
H. RABIA AASHIQ – ROLL NO. 28.
ZULAIKHA HAMEED – ROLL NO. 39.
5. When Plath was four years old, her father Otto, a
professor of German and biology at Boston University
became ill.
By the time he sought medical care four years later, it
was too late.
One of his legs had to be amputated and he eventually
died of complications from his long hospitalization.
6. “Daddy” was written shortly before Plath's suicide in
1963, along with many of the other poems that ended up
in her book Ariel, which was published after her death.
Plath wrote these poems after her husband, poet Ted
Hughes, left her for another woman.
This already difficult change for Plath became more
difficult as she was left to care for their two young children
during a particularly harsh London winter.
7. His death threw the family into economic and emotional
turmoil.
Throughout the rest of her life, which she ended herself
in 1963, Plath struggled with depression.
Though she was a prolific poet, she published only one
book of poetry, The Colossus, and one novel, The Bell Jar,
while she was alive.
8. "Daddy" is disturbing on its own, but it becomes simply
haunting the moment we picture Plath writing early in the
morning before her children were awake, growing closer and
closer to self-destruction.
Sylvia Plath's "Daddy" is not just about Plath's
relationship with her father. It's also about topics such as
death, love, fascism, brutality, war, marriage, femininity, and
God – to name a few.
10. Lines 1-5:
You do not do, you do not do
Any more, black shoe
In which I have lived like a foot
For thirty years, poor and white,
Barely daring to breathe or Achoo.
11. The poem starts with the speaker declaring that she will
no longer put up with the black shoe she has lived in, poor
and scared, for thirty years.
She uses the second person throughout the poem,
saying "you," who is "Daddy." So that means that she's
comparing her father to a shoe that she's been living in
very unhappily – but she's not going to put up with it
anymore.
12. The repetition of "you do not do" in the first line
even makes this stanza sound a little song like. But this is
no happy nursery rhyme – the speaker is poor, and will
not dare to breathe or sneeze, meaning that she feels
trapped and scared.
15. The poem no longer seems like a nursery rhyme in this stanza. In
line 6, the speaker tells her father that she has had to kill him, as if she
has already murdered him.
But then in line 7, the speaker says that he died before she "had
time." Here she means to say that "before I had time to get to know
him," or "before I could make him proud."
Either way, it is shocking that the speaker claims she had to kill her
father. After hearing this violent sentiment, we can assume that she's
sad that he died and she's angry as well.
17. MARBLE-HEAVY, A BAG FULL OF GOD,
After we hear that the speaker's father is dead, the phrase
describing him, "Marble-heavy," helps us imagine the stiff
heaviness of a corpse, or even a marble gravestone.
The "bag full of God" refers that the speaker is saying that
the skin around our bodies is nothing but a bag.
18. The image of her father as a bag full of God shows her
conflicted feelings about him.
Her father died when she was young and he controlled
her world – a sort of God over her life.
Perhaps his death caused memories of him to have
more control over the speaker's life – so he seems, to her,
to be as powerful as God.
20. LINES 9-13:
Ghastly statue with one gray toe
Big as a Frisco seal
And a head in the freakish Atlantic
Where it pours bean green over blue
In the waters off beautiful Nauset.
21. These lines show us that the phrase "Marble-heavy" was
partly meant to set up an image of the speaker's father as a
statue. But he's not a normal statue – he's frightening, like a
gargoyle.
Then Plath shows us that this statue is gigantic. One of its
gray toes is as big as a San Francisco’s seal. But its head is all
the way across the United States in the Atlantic.
22. The speaker describes the Atlantic as "freakish," pouring
its water, green as a bean, over the blue of the ocean. The
speaker even comes right out and says that Nauset, a region
on the shore of Massachusetts, is beautiful.
These lines show us that the statue stretches from coast to
coast of the United States, with a toe in the Pacific and a
head in the Atlantic. The statue is actually the image of the
speaker's dead father in her head.
25. After we've gotten the image of the father as a statue,
stretching across the US, the speaker says that she used to
pray to "recover" him.
"Recover" means "regain," and a second meaning of
"get healthy again."
Knowing our speaker, "used to" is the important part of
the line. She does not pray to get her father back any more.
26. Then we get down to line no. 15. We get a sense from
the small sounds of these words that it's a sort of sigh.
The phrase in German actually means "Oh, you."
Plath's father was a German immigrant, which probably
explains why she's writing this little sigh in his language
when she thinks of praying to get him back from the
dead.
28. LINES 16 – 20
In the German tongue, in the Polish town
Scraped flat by the roller
Of wars, wars, wars.
But the name of the town is common.
My Polack friend
29. The speaker is talking about the German language, but in
a Polish town that has been destroyed by war. But the
speaker does not just say something like "destroyed by war"
– she says it has been "scraped flat by the roller of wars.”
She repeats the word "wars" three times, giving us the
idea that this place has been flattened by more than one war.
The name of the town is common. Plath’s Polish friend
says there are many towns in Poland with the same name.
31. Daddy" is perhaps Sylvia Plath's best-known poem. It
has elicited a variety of distinct reactions, from feminist
praise of its unadulterated rage towards male dominance,
to wariness at its usage of Holocaust imagery.
It has been reviewed and criticized by hundreds and
hundreds of scholars, and is upheld as one of the best
examples of confessional poetry.