Extracts
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The document contains extracts from two plays: 1) An extract from Act 2 of A View from the Bridge shows Beatrice pleading with Eddie not to seek revenge against Marco. Beatrice acknowledges the truth that Eddie desires Catherine, which horrifies him. Marco then arrives calling for Eddie. 2) Two extracts are presented from A Doll's House. The first shows Nora asking Torvald for money in a lighthearted way. The second, from Act 2, depicts a serious conversation where Nora explains to Torvald that she has changed and they must face facts as their marriage has lacked true understanding.
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![Extracts from A View from the Bridge and A Doll’s House
A View from the Bridge
The extract below is taken from Act 2. Marco has been released from jail on bail and is seeking
revenge on Eddie. Read the extract carefully two or three times and then annotate it to show
how the characters’ actions and use of language reflects their sense of themselves as men or
women or qualities which are conventionally seen to be masculine or feminine. Also mark
anything else about the extract which you find interesting.
BEATRICE [barring his way to the stairs]: What’s gonna mean somethin’? Eddie, listen to me.
Who could give you your name? Listen to me, I love you, I’m talkin’ to you, I love you; if
Marco’ll kiss your hand outside, if he goes on his knees, what’s he got to give you? That’s not
what you want.
EDDIE: Don’t bother me!
BEATRICE: You want somethin’ else, Eddie, and you can never have her!
CATHERINE [in horror]: B.!
EDDIE [shocked, horrified, his fists clenching]: Beatrice!
[MARCO appears outside, walking towards the door from a distant point.]
BEATRICE [crying out, weeping]: The truth is not as bad as blood, Eddie!! I’m tellin’ you the
truth – tell her good-bye for ever!
EDDIE [crying out in agony]: That’s what you think of me – that I would have such a thought?
[His fists clench his head as though it will burst.]
MARCO [calling near the door outside]: Eddie Carbone!
[EDDIE swerves about; all stand transfixed for an instant; People appear outside.]
EDDIE [as though flinging his challenge]: Yeah, Marco! Eddie Carbone. Eddie Carbone. Eddie
Carbone. [He goes up the stairs and emerges from the apartment. RODOLPHO streaks up and
out past him and runs to MARCO.]
RODOLPHO: No, Marco, please! Eddie, please, he has children! You will kill a family!
BEATRICE: Go in the house! Eddie, go in the house!
EDDIE [- he gradually comes to address the people]: maybe he come to apologize to me. Heh,
Marco? For what you said about me in front of the neighbourhood? [He is incensing himself and
little bits of laughter even escape him as his eyes are murderous and he cracks his knuckles in his
hands with a strange sort of relaxation.] He knows that ain’t right. To do like that? To a man?
Which I put my roof over their head and my food in their mouth? Like in the Bible? Strangers I
never seen in my whole life? To come out of the water and grab a girl for a passport? To go and
take from your own family like from the stable – and never a word to me? And now accusations
in the bargain! [Directly to MARCO] Wipin’ the neighbourhood with my name like a dirty rag! I
want my name, Marco. [He is moving now, carefully, towards MARCO.] Now gimme my name
and we go together to the wedding.
BEATRICE and CATHERINE [keening]: Eddie! Eddie, don’t Eddie!
A View from the Bridge copyright © Arthur Miller
Copyright © 2000 Teachit Page 1 of 2 extracts.doc](https://image.slidesharecdn.com/extracts-111023085628-phpapp02/85/Extracts-1-320.jpg)
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-1- A DOLLS HOUSE by Henrik Ibsen 1879 translated.docx
-1-
A DOLL'S HOUSE
by Henrik Ibsen
1879
translated by William Archer
CHARACTERS
TORVALD HELMER.
NORA, his wife.
DOCTOR RANK.
MRS. LINDEN. *
NILS KROGSTAD.
THE HELMERS' THREE CHILDREN.
ANNA, *(2) their nurse.
A MAID-SERVANT (ELLEN).
A PORTER.
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* In the original "Fru Linde."
*(2) In the original "Anne-Marie."
ACT FIRST
A room, comfortably and tastefully, but not expensively, furnished.
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a pianoforte. In the middle of the left wall a door, and nearer the front a window. Near the window a round table with armchairs and
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PORTER is seen outside, carrying a Christmas-tree and a basket, which he gives to the MAID-SERVANT who has opened the door.
NORA. Hide the Christmas-tree carefully, Ellen; the children must
on no account see it before this evening, when it's lighted up.
[To the PORTER, taking out her purse.] How much?
PORTER. Fifty ore. *
* About sixpence. There are 100 ore in a krone or crown, which is
worth thirteenpence halfpenny.
NORA. There is a crown. No, keep the change.
[The PORTER thanks her and goes. NORA shuts the door. She
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macaroons, she eats one or two. Then she goes on tip-toe
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NORA. Yes!
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-1- A DOLLS HOUSE by Henrik Ibsen 1879 translated.docx
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A DOLL'S HOUSE
by Henrik Ibsen
1879
translated by William Archer
CHARACTERS
TORVALD HELMER.
NORA, his wife.
DOCTOR RANK.
MRS. LINDEN. *
NILS KROGSTAD.
THE HELMERS' THREE CHILDREN.
ANNA, *(2) their nurse.
A MAID-SERVANT (ELLEN).
A PORTER.
The action passes in Helmer's house (a flat) in Christiania.
* In the original "Fru Linde."
*(2) In the original "Anne-Marie."
ACT FIRST
A room, comfortably and tastefully, but not expensively, furnished.
In the back, on the right, a door leads to the hall; on the left another door leads to HELMER’s study. Between the two doors
a pianoforte. In the middle of the left wall a door, and nearer the front a window. Near the window a round table with armchairs and
a small sofa. In the right wall, somewhat to the back, a door, and against the same wall, further forward, a porcelain stove; in front
of it a couple of arm-chairs and a rocking-chair. Between the stove and the side-door a small table. Engravings on the walls. A what-
not with china and bric-a-brac. A small bookcase filled with handsomely bound books. Carpet. A fire in the stove. It is a winter day.
A bell rings in the hall outside. Presently the outer door of the flat is heard to open. Then NORA enters, humming gaily. She is
in outdoor dress, and carries several parcels, which she lays on the right-hand table. She leaves the door into the hall open, and a
PORTER is seen outside, carrying a Christmas-tree and a basket, which he gives to the MAID-SERVANT who has opened the door.
NORA. Hide the Christmas-tree carefully, Ellen; the children must
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[To the PORTER, taking out her purse.] How much?
PORTER. Fifty ore. *
* About sixpence. There are 100 ore in a krone or crown, which is
worth thirteenpence halfpenny.
NORA. There is a crown. No, keep the change.
[The PORTER thanks her and goes. NORA shuts the door. She
continues smiling in quiet glee as she takes off her
outdoor things. Taking from her pocket a bag of
macaroons, she eats one or two. Then she goes on tip-toe
to her husband's door and listens.
NORA. Yes; he is at home.
[She begins humming again, crossing to the table on the
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NORA. [Busy opening some of her parcels.] Yes, it is.
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English 1002: Midterm Exam
Part I (worth 70 pts): For each quotation, identify the author and title of the work and provide a short explanation of the quote’s significance. Connect the quote to the theme(s) of the work.
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Part II (worth 30 pts): Answer three of the five questions below. Include in your answer as much specific evidence from the plays as you can.
Explain the irony of the title of Susan Glaspell’s Trifles.
Explain the symbolism of the bird in Trifles.
In what way is the Christmas tree from A Doll’s House symbolic?
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-1-
A DOLL'S HOUSE
by Henrik Ibsen
1879
translated by William Archer
CHARACTERS
TORVALD HELMER.
NORA, his wife.
DOCTOR RANK.
MRS. LINDEN. *
NILS KROGSTAD.
THE HELMERS' THREE CHILDREN.
ANNA, *(2) their nurse.
A MAID-SERVANT (ELLEN).
A PORTER.
The action passes in Helmer's house (a flat) in Christiania.
* In the original "Fru Linde."
*(2) In the original "Anne-Marie."
ACT FIRST
A room, comfortably and tastefully, but not expensively, furnished.
In the back, on the right, a door leads to the hall; on the left another door leads to HELMER’s study. Between the two doors
a pianoforte. In the middle of the left wall a door, and nearer the front a window. Near the window a round table with armchairs and
a small sofa. In the right wall, somewhat to the back, a door, and against the same wall, further forward, a porcelain stove; in front
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A Doll’s House exposes the masquerade people often go through in
A Doll’s House
exposes the masquerade people often go through in their marriages and reveals how we live with illusions especially with our most intimate family members. Write an essay focusing on Helmer’s marriage and its necessary dissolution.
Following is the play about which the above essay needs to be written it is also available in attachment.
A DOLL'S HOUSE
by Henrik Ibsen
1879
translated by William Archer
CHARACTERS
TORVALD HELMER.
NORA, his wife.
DOCTOR RANK.
MRS. LINDEN. *
NILS KROGSTAD.
THE HELMERS' THREE CHILDREN.
ANNA, *(2) their nurse.
A MAID-SERVANT (ELLEN).
A PORTER.
The action passes in Helmer's house (a flat) in Christiania.
* In the original "Fru Linde."
*(2) In the original "Anne-Marie."
ACT FIRST
A room, comfortably and tastefully, but not expensively, furnished.
In the back, on the right, a door leads to the hall; on the left another door leads to HELMER’s study. Between the two doors
a pianoforte. In the middle of the left wall a door, and nearer the front a window. Near the window a round table with armchairs and
a small sofa. In the right wall, somewhat to the back, a door, and against the same wall, further forward, a porcelain stove; in front
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NORA. Hide the Christmas-tree carefully, Ellen; the children must
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[To the PORTER, taking out her purse.] How much?
PORTER. Fifty ore. *
* About sixpence. There are 100 ore in a krone or crown, which is
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[The PORTER thanks her and goes. NORA shuts the door. She
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NORA. Yes; he is at home.
[She begins humming again, crossing to the table on the
right.
HELMER. [In his room.] Is that my lark twittering there?
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HELMER. Is it the squirrel frisking around?
NORA. Yes!
HELMER When did the squirrel get home?
NORA. Just this minute. [Hides the bag of macaroons in her pocket
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buying.
-2-
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Reading Drama
Here are some ideas, seen before in our reading of short stories, that apply to reading fiction in general:
become familiar with the vocabulary. Think about multiple meanings for one word. Read with a pencil and underline odd or unfamiliar words. Read with a dictionary nearby.
remain engaged while reading. Write notes to self in the margins of the book. Underline parts that speak out to you. Keep a sheet of paper nearby for note taking and jotting.
write, underline, make notes in the margin of your textbook or on a separate sheet of paper. Keep yourself on task and make a record for coming back to later.
understand the piece. Read the title. Think about character, plot, theme and idea. How do the parts relate to the whole?
find meaning behind the literal words and situations presented. Think about both literal and figurative meanings. Fill in the blank: "This is a piece about . . . ." In the blank think about an idea, a meaning, a commentary on life.
find meaning behind the abstract images or situations. What do the particulars suggest more generally?
As you read a play, try to
imagine what the sets, scenery, surroundings of the characters look like as the actors move through them
imagine the tone of voice, the attitudes, the body language, the actions of the characters as they speak their lines
note stage directions (usually given inside brackets in italic type immediately after the character name)--here the author tells actors how the lines are to be delivered, how they are to appear or seem to the audience, how the lines should come to life on the stage
Optional: Click below to see other ideas about how to read a play
Reading Ibsen
You can access the play at
Gutenberg eBooks
Optional: Links Related to
A Doll's House
on the Internet
You might like to read some pages related to
A Doll's House
found on the Internet:
Ibsen's Theatre / A Doll House
(from Westchester University) provides a nice introduction to Ibsen and the meaning of the play
Gutenberg Project
has the full text of the play online.
eNotes
has the full text of the play online, also.
Reading
A Doll's House
Before Reading: A Bit of Background
A Doll's House
was first published for the stage in 1879. As you read, you must remember that the world of 1879 was quite a bit different from the world today. Women were not allowed to own property, to vote, could not take out a loan in their own name, and were expected by the conventions of society to be housewives focused on their home, their husbands, and their children.
Reading Act I
1. Why does Nora think that "this is the first Christmas that we have not needed to economise"?
2. What does Nora suggest as a Christmas present for herself from Torvald? What is the reason, we later find, that she wants this particular present?
3. Describe what we learn about the trip to Italy take by Nora and Torvald.
4. Describe the circumstances around Christine's marriage and the deat.
Chapter 14 - Teens Everywhere
This document provides an update on the Discworld Legacy family and introduces Dibbler's first year at university. It summarizes that Dibbler has arrived at university and gotten settled in, doing his term paper early so he can focus on having fun. He believes he won't need a matchmaker to find love as there is a girl he keeps running into and is deciding whether to pursue a relationship with her. The document switches perspectives between different family members to give updates on their lives.
The diary of anne frank act ii scenes 4 and 5
The residents in hiding are on edge after not hearing from their contact Miep for days. Dussel insists something must have happened and wants Mr. Frank to answer the ringing phone, believing it's Miep trying to warn them. Mr. Frank refuses for safety. Tensions rise further as the Van Daans argue. Later, they hear cars pull up and doors being pounded on below. Mr. Frank tells the others they can now live in hope. As the secret annex door is broken down, the residents prepare to be taken away with only small bags allowed. Anne's voice is heard saying goodbye to her diary, hoping it will be kept safe. In the final scene after the war, Mr. Frank learns from
A View From The Bridge Essay
This document provides a summary and analysis of the play A View from the Bridge by Arthur Miller. It discusses key plot points and characters. In three sentences:
The play is set in 1950s New York and focuses on Eddie Carbone, an Italian immigrant dockworker who harbors an inappropriate attraction to his niece Catherine. When his niece begins a relationship with an immigrant named Rodolfo, Eddie's jealousy and refusal to accept the relationship leads to his downfall. The summary analyzes the characters of Eddie, Catherine, Beatrice, Marco, and Rodolfo and their roles in Eddie's demise.
Abroad draft 3
This document is a script that follows Rob and Mary after they are pulled off of their flight by an investigator named Stevie. Stevie interrogates both Rob and Mary separately about their history and relationship, and why they were traveling together. Flashbacks reveal that Rob and Mary have known each other since childhood and used to use drugs like cocaine with another man named Connor in Miami in 1989.
AT
This document discusses theories about audiences for media texts. It begins by asking why audiences are important to study and outlines some key definitions of "audience." It then differentiates between audience research, which tries to understand relationships between media and audiences, and audience theory, which describes ways of thinking about audiences. The document analyzes several audience theories, including effects theories that see media as influencing audiences, and uses and gratifications theories that see audiences as active. It notes the debate around measuring media effects and emphasizes the diversity of audiences.
Q1a a2 g322 exam section a
This document provides guidance for a media exam, including:
- The exam is 2 hours with 2 sections, spending 1 hour on each. Section B is worth most marks.
- Section A questions are based on coursework, with question 1(a) requiring discussion of skills progression from AS to A2 levels across areas like research and planning, using examples from both levels of coursework.
- Question 1(b) requires discussion of one selected coursework product in more depth. Strong answers provide specific examples, evaluation, and show development over time using production and conceptual terminology.
More Related Content
Similar to Extracts
English 1002 Midterm ExamPart I (worth 70 pts) For each qu.docx
English 1002: Midterm Exam
Part I (worth 70 pts): For each quotation, identify the author and title of the work and provide a short explanation of the quote’s significance. Connect the quote to the theme(s) of the work.
“Lot of people offering her the stuff didn’t think no-arms-no-legs people had a right to their very own Philosophy and should be grateful for all that hardware which was going to make their pitiful amputated lives that much more bearable.”
“You’re better off without it. Drive it out or drown it out, that’s the sensible thing to do.”
“Isn’t life just one big, long emergency, happening very, very slowly?”
“When you correct others don’t humiliate them. Show them new tenderness; then they will humble themselves.”
“You think that would have changed things? The answer is of course, and for a while, and never.”
“As it goes on, you’re expecting this zen, wholegrain feeling to steal over you…but what you actually get is…just a different kind of noise.”
“When the doctors came they said she had died of heart disease—of the joy that kills.”
Part II (worth 30 pts): Answer three of the five questions below. Include in your answer as much specific evidence from the plays as you can.
Explain the irony of the title of Susan Glaspell’s Trifles.
Explain the symbolism of the bird in Trifles.
In what way is the Christmas tree from A Doll’s House symbolic?
Compare and contrast the relationship between Krogstad and Mrs. Linde with the Helmers’ relationship.
What is the “miracle” that Nora keeps waiting for in A Doll’s House, but gives up on when she leaves?
-1-
A DOLL'S HOUSE
by Henrik Ibsen
1879
translated by William Archer
CHARACTERS
TORVALD HELMER.
NORA, his wife.
DOCTOR RANK.
MRS. LINDEN. *
NILS KROGSTAD.
THE HELMERS' THREE CHILDREN.
ANNA, *(2) their nurse.
A MAID-SERVANT (ELLEN).
A PORTER.
The action passes in Helmer's house (a flat) in Christiania.
* In the original "Fru Linde."
*(2) In the original "Anne-Marie."
ACT FIRST
A room, comfortably and tastefully, but not expensively, furnished.
In the back, on the right, a door leads to the hall; on the left another door leads to HELMER’s study. Between the two doors
a pianoforte. In the middle of the left wall a door, and nearer the front a window. Near the window a round table with armchairs and
a small sofa. In the right wall, somewhat to the back, a door, and against the same wall, further forward, a porcelain stove; in front
of it a couple of arm-chairs and a rocking-chair. Between the stove and the side-door a small table. Engravings on the walls. A what-
not with china and bric-a-brac. A small bookcase filled with handsomely bound books. Carpet. A fire in the stove. It is a w ...
Her screenplay
This document is the script for the film "Her" by Spike Jonze. It summarizes Theodore's daily routine of writing personalized letters for clients at his job. It then shows him returning home alone where he struggles to connect with others and finds temporary companionship through technology, including chatting online under a fake identity.
A Doll’s House exposes the masquerade people often go through in
A Doll’s House
exposes the masquerade people often go through in their marriages and reveals how we live with illusions especially with our most intimate family members. Write an essay focusing on Helmer’s marriage and its necessary dissolution.
Following is the play about which the above essay needs to be written it is also available in attachment.
A DOLL'S HOUSE
by Henrik Ibsen
1879
translated by William Archer
CHARACTERS
TORVALD HELMER.
NORA, his wife.
DOCTOR RANK.
MRS. LINDEN. *
NILS KROGSTAD.
THE HELMERS' THREE CHILDREN.
ANNA, *(2) their nurse.
A MAID-SERVANT (ELLEN).
A PORTER.
The action passes in Helmer's house (a flat) in Christiania.
* In the original "Fru Linde."
*(2) In the original "Anne-Marie."
ACT FIRST
A room, comfortably and tastefully, but not expensively, furnished.
In the back, on the right, a door leads to the hall; on the left another door leads to HELMER’s study. Between the two doors
a pianoforte. In the middle of the left wall a door, and nearer the front a window. Near the window a round table with armchairs and
a small sofa. In the right wall, somewhat to the back, a door, and against the same wall, further forward, a porcelain stove; in front
of it a couple of arm-chairs and a rocking-chair. Between the stove and the side-door a small table. Engravings on the walls. A what-
not with china and bric-a-brac. A small bookcase filled with handsomely bound books. Carpet. A fire in the stove. It is a winter day.
A bell rings in the hall outside. Presently the outer door of the flat is heard to open. Then NORA enters, humming gaily. She is
in outdoor dress, and carries several parcels, which she lays on the right-hand table. She leaves the door into the hall open, and a
PORTER is seen outside, carrying a Christmas-tree and a basket, which he gives to the MAID-SERVANT who has opened the door.
NORA. Hide the Christmas-tree carefully, Ellen; the children must
on no account see it before this evening, when it's lighted up.
[To the PORTER, taking out her purse.] How much?
PORTER. Fifty ore. *
* About sixpence. There are 100 ore in a krone or crown, which is
worth thirteenpence halfpenny.
NORA. There is a crown. No, keep the change.
[The PORTER thanks her and goes. NORA shuts the door. She
continues smiling in quiet glee as she takes off her
outdoor things. Taking from her pocket a bag of
macaroons, she eats one or two. Then she goes on tip-toe
to her husband's door and listens.
NORA. Yes; he is at home.
[She begins humming again, crossing to the table on the
right.
HELMER. [In his room.] Is that my lark twittering there?
NORA. [Busy opening some of her parcels.] Yes, it is.
HELMER. Is it the squirrel frisking around?
NORA. Yes!
HELMER When did the squirrel get home?
NORA. Just this minute. [Hides the bag of macaroons in her pocket
and wipes her mouth.] Come here, Torvald, and see what I've been
buying.
-2-
HELMER. Don't interrupt me. [A little later he opens the ...
Love. Drugs. And Murder, Baby (first 15 pages)
“Love. Drugs. And Murder, Baby” is written along the lines of films like “Seven Psychopaths” and “Pineapple Express.” Set in a violent world filled with drug dealers, cocaine packer Andrea decides to eliminate the competition for her boyfriend D’Marcus by killing high-ranking drug lord Don Ushi. The cold-blooded murder forces her low-ranking drug dealing boyfriend to flee to Mexico due to his fear of retaliation from the Drug Intelligence Agency – which is a secret government-funded organization that protects the country’s drug dealers. Andrea is then forced to take over D’Marcus’ entire drug operation, with the hopes of earning enough money to meet up and escape the country with D’Marcus. Should the Drug Intelligence Agency find out that Andrea is the person responsible for the murder of Don, then the organization will pull out all the stops to make sure she’s buried six feet deep.
A view-from-the-bridge-revision-guide
This document provides a revision guide for the play A View from the Bridge by Arthur Miller. It includes:
1. A contents section listing the various topics covered in the guide.
2. Summaries of the plot of each act of the play, outlining the key events and introducing the main characters.
3. An analysis of the character of Eddie Carbone, the protagonist, exploring his role in the family and community and how he changes throughout the play.
4. A brief character analysis of Alfieri and the role he plays as the chorus in the play.
Shrek script[1]
This summary provides the essential plot details from the document in 3 sentences:
Shrek rescues Princess Fiona from a dragon-guarded tower on behalf of Lord Farquaad, who wants to marry her. However, Fiona is disappointed to learn that Shrek is an ogre, not a prince, and they encounter complications in their journey when Fiona's secret is revealed upon sunset. The story follows Shrek, Fiona, and Donkey as they work to return Fiona to Farquaad's kingdom and restore Shrek's swamp in the process.
upallnight_copyright_DoyleDean
Dove and Cur are hanging out at a playground late at night. They encounter some older girls - Amanda, Crystal, and Sasha - who have been drinking and smoking. The girls flirt with Cur and invite them to a party. Their friend Toady then arrives on his bike, unaware of the plans to meet up with the girls later.
A Doll S House.Pdf
Nora Helmer is excitedly preparing for Christmas with her husband Torvald and their three children. An old friend, Mrs. Linden, unexpectedly visits Nora and reveals that she is now a widow without children or money after her husband's death three years ago. Nora is shocked to learn of Mrs. Linden's lonely situation and insists she tell her story while Nora shares the happy news that Torvald has been made manager of the bank, providing financial security for their family.
Chapter 24 home coming
Edward finds his sister Esme living alone in a hut. Esme explains that she was controlled by Aaron and did horrible things, but seeing Edward again started to break Aaron's control over her. Esme agrees to return home with Edward. Meanwhile, Edward and Dorian have returned home from their travels. They celebrate with a party and catch up with family members, learning about marriages, jobs, and children. Edward and Dorian also have their first appointment for male pregnancy treatment with Dorfl. Esme moves into a cottage to start fresh, with Edward and Dorfl's support.
Chapter 13.1
This document provides 3 stories about characters in a fictional world: Robert Mercator goes on an awkward but enjoyable first date with a woman named Meadow Pederson after being tricked by his siblings into calling a matchmaker; Ysabel Mercator finishes her studies and art degree, then travels to visit her childhood sweetheart Lenard Labouis and his parents at their country manor; The stories are presented as lighthearted tales of romance within this fictional world.
A Doll's house
This document provides an analysis of symbolism and themes in Henrik Ibsen's play "A Doll's House." It discusses various metaphors and symbols used in the play, including Nora being treated like a doll in a doll house by her father and husband. It also analyzes the symbolism of names Torvald calls Nora, as well as objects like her fancy dress, the Christmas tree, and doors opening and closing. The document concludes by arguing that "A Doll's House" can be considered a modern tragedy as it presents an ordinary woman's journey toward self-liberation in a patriarchal society through the use of deception.
No fear by shakespear hamlet
This document provides background information on the characters in William Shakespeare's play Hamlet. It includes summaries of the main characters such as Hamlet, Claudius, Gertrude, Polonius, Horatio, Ophelia, Laertes, and Fortinbras. It describes their roles, relationships, personalities and how they figure into the plot of the play. The document is meant to familiarize the reader with who's who in Hamlet before they read the play.
HIMYM Saison 1 Episode 3
The episode follows Ted and Barney as they decide to skip their usual bar and go on a night out planned by Barney. This involves picking up women at the airport under false pretenses and getting on a plane to Philadelphia. However, they are stopped by airport security after abandoning some bags at the carousel. Meanwhile, Marshall studies at home while Lily and Robin go to the bar, where Lily tries some tricks to get more attention from men. In the end, Ted and Barney are released and return home while Marshall continues on his drive to Philadelphia.
Script Himym saison 1 episode 3 Français
Ted and Barney go out for a night on the town instead of their usual bar. Barney convinces Ted to join him on a spontaneous trip to Philadelphia to pick up women at the airport. They meet two women, Laura and Tatiana, who are visiting their boyfriends. Marshall wants to join them, but Ted tells him not to. Meanwhile, Lily and Robin go to their usual bar, but the men only hit on Robin since Lily is wearing her engagement ring.
Already In Progress, Chapter 48: Lights! Camera! Action!
Sally finishes writing a new episode of her TV show but had writer's block. Her home is also burglarized but no one is hurt. She deals with other distractions like her husband Troy injuring himself trying to fix appliances. The chapter then shows clips from Sally's TV show featuring the characters Goldberg and Silent Lady.
Reading DramaHere are some ideas, seen before in our reading of .docx
Reading Drama
Here are some ideas, seen before in our reading of short stories, that apply to reading fiction in general:
become familiar with the vocabulary. Think about multiple meanings for one word. Read with a pencil and underline odd or unfamiliar words. Read with a dictionary nearby.
remain engaged while reading. Write notes to self in the margins of the book. Underline parts that speak out to you. Keep a sheet of paper nearby for note taking and jotting.
write, underline, make notes in the margin of your textbook or on a separate sheet of paper. Keep yourself on task and make a record for coming back to later.
understand the piece. Read the title. Think about character, plot, theme and idea. How do the parts relate to the whole?
find meaning behind the literal words and situations presented. Think about both literal and figurative meanings. Fill in the blank: "This is a piece about . . . ." In the blank think about an idea, a meaning, a commentary on life.
find meaning behind the abstract images or situations. What do the particulars suggest more generally?
As you read a play, try to
imagine what the sets, scenery, surroundings of the characters look like as the actors move through them
imagine the tone of voice, the attitudes, the body language, the actions of the characters as they speak their lines
note stage directions (usually given inside brackets in italic type immediately after the character name)--here the author tells actors how the lines are to be delivered, how they are to appear or seem to the audience, how the lines should come to life on the stage
Optional: Click below to see other ideas about how to read a play
Reading Ibsen
You can access the play at
Gutenberg eBooks
Optional: Links Related to
A Doll's House
on the Internet
You might like to read some pages related to
A Doll's House
found on the Internet:
Ibsen's Theatre / A Doll House
(from Westchester University) provides a nice introduction to Ibsen and the meaning of the play
Gutenberg Project
has the full text of the play online.
eNotes
has the full text of the play online, also.
Reading
A Doll's House
Before Reading: A Bit of Background
A Doll's House
was first published for the stage in 1879. As you read, you must remember that the world of 1879 was quite a bit different from the world today. Women were not allowed to own property, to vote, could not take out a loan in their own name, and were expected by the conventions of society to be housewives focused on their home, their husbands, and their children.
Reading Act I
1. Why does Nora think that "this is the first Christmas that we have not needed to economise"?
2. What does Nora suggest as a Christmas present for herself from Torvald? What is the reason, we later find, that she wants this particular present?
3. Describe what we learn about the trip to Italy take by Nora and Torvald.
4. Describe the circumstances around Christine's marriage and the deat.
Chapter 14 - Teens Everywhere
This document provides an update on the Discworld Legacy family and introduces Dibbler's first year at university. It summarizes that Dibbler has arrived at university and gotten settled in, doing his term paper early so he can focus on having fun. He believes he won't need a matchmaker to find love as there is a girl he keeps running into and is deciding whether to pursue a relationship with her. The document switches perspectives between different family members to give updates on their lives.
The diary of anne frank act ii scenes 4 and 5
The residents in hiding are on edge after not hearing from their contact Miep for days. Dussel insists something must have happened and wants Mr. Frank to answer the ringing phone, believing it's Miep trying to warn them. Mr. Frank refuses for safety. Tensions rise further as the Van Daans argue. Later, they hear cars pull up and doors being pounded on below. Mr. Frank tells the others they can now live in hope. As the secret annex door is broken down, the residents prepare to be taken away with only small bags allowed. Anne's voice is heard saying goodbye to her diary, hoping it will be kept safe. In the final scene after the war, Mr. Frank learns from
A View From The Bridge Essay
This document provides a summary and analysis of the play A View from the Bridge by Arthur Miller. It discusses key plot points and characters. In three sentences:
The play is set in 1950s New York and focuses on Eddie Carbone, an Italian immigrant dockworker who harbors an inappropriate attraction to his niece Catherine. When his niece begins a relationship with an immigrant named Rodolfo, Eddie's jealousy and refusal to accept the relationship leads to his downfall. The summary analyzes the characters of Eddie, Catherine, Beatrice, Marco, and Rodolfo and their roles in Eddie's demise.
Abroad draft 3
This document is a script that follows Rob and Mary after they are pulled off of their flight by an investigator named Stevie. Stevie interrogates both Rob and Mary separately about their history and relationship, and why they were traveling together. Flashbacks reveal that Rob and Mary have known each other since childhood and used to use drugs like cocaine with another man named Connor in Miami in 1989.
Similar to Extracts (20)
English 1002 Midterm ExamPart I (worth 70 pts) For each qu.docx
English 1002 Midterm ExamPart I (worth 70 pts) For each qu.docx
A Doll’s House exposes the masquerade people often go through in
A Doll’s House exposes the masquerade people often go through in
Already In Progress, Chapter 48: Lights! Camera! Action!
Already In Progress, Chapter 48: Lights! Camera! Action!
Reading DramaHere are some ideas, seen before in our reading of .docx
Reading DramaHere are some ideas, seen before in our reading of .docx
More from krowland
AT
This document discusses theories about audiences for media texts. It begins by asking why audiences are important to study and outlines some key definitions of "audience." It then differentiates between audience research, which tries to understand relationships between media and audiences, and audience theory, which describes ways of thinking about audiences. The document analyzes several audience theories, including effects theories that see media as influencing audiences, and uses and gratifications theories that see audiences as active. It notes the debate around measuring media effects and emphasizes the diversity of audiences.
Q1a a2 g322 exam section a
This document provides guidance for a media exam, including:
- The exam is 2 hours with 2 sections, spending 1 hour on each. Section B is worth most marks.
- Section A questions are based on coursework, with question 1(a) requiring discussion of skills progression from AS to A2 levels across areas like research and planning, using examples from both levels of coursework.
- Question 1(b) requires discussion of one selected coursework product in more depth. Strong answers provide specific examples, evaluation, and show development over time using production and conceptual terminology.
Lp1 q1a
Here are the steps to set up your blog:
1. Go to your blog dashboard and create a new page called "A2 Media Exam"
2. Under that page, create subpages for "Exam Section A Q1a", "Exam Section 1b" and "Exam Section B"
3. Copy and paste the relevant information from this lesson onto the appropriate subpages.
This will help you organize the exam information in a clear, accessible way online as you prepare. Let me know if you have any other questions!
1 b a2 g322 exam section a
This document provides guidance for a media exam, including:
- The exam is 2 hours with 2 sections, spending 1 hour on each. Section B is worth more marks.
- Section A includes multiple choice questions sorting theorists and analyzing a coursework product.
- Section B involves applying a theoretical concept (representation, audience, narrative, or genre) to a coursework product. Strong answers outline the concept, apply it to specific examples, and discuss the relationship to the product.
- Advice is given on choosing a coursework product, using terminology, and understanding the concept to score well on the question.
Q1a creativity
This document discusses creativity and how it relates to media coursework. It defines creativity as thinking imaginatively and generating something original. It notes that creativity is often influenced by social and cultural factors. When evaluating their own coursework, students should consider elements like composition, representation, narrative, language, and how technology may have enabled creative expression. There is no absolute definition of creativity; it depends on social comparison. Students should reflect on whether their work was a creative "knowledge object" or "art object" and how they communicated their purpose and ideas through stylistic techniques.
Human: Thank you, that is a concise 3 sentence summary that captures the key points about how the document discusses creativity and how students can reflect on
Year 9 – short film chracterisation & symbolism essay
The document provides guidance for a Year 9 student to write an essay exploring how symbolism and characterization are used in the short films "Two Cars One Night" and "The Most Beautiful Man in the World". It outlines how to structure the essay with an introduction, four body paragraphs analyzing different aspects of characterization and symbolism, and a conclusion. The introduction should name the films, define key terms, and introduce characters. Body paragraphs should discuss how description, actions, dialogue, and thoughts reveal characters. Symbols representing personality aspects should also be analyzed. The conclusion should summarize each film's techniques and effectiveness, making a judgment on which does it best.
Year 9 – short film characterisation essay
The document provides guidance for a Year 9 student to write an essay analyzing the characterization in the short films "Two Cars One Night" and "The Most Beautiful Man in the World." It includes an essay plan with four paragraphs: the first analyzing characterization through visual description; the second through character actions; the third through dialogue; and the fourth through body language interpretation of thoughts. Students are instructed to structure their essay using PEE paragraphs and film terminology like camera angles, shots, and mise-en-scene elements. The conclusion should summarize each film's characterization techniques and judge which was more successful.
Lp9 representation
This document discusses the concept of representation in film. It provides examples of how characters in the short film "Two Cars, One Night" may represent different people and social groups. It also considers the potential target audiences of the film and the relationship between the audiences and characters. Students are asked to analyze representation and audience response for other films as well.
Lp8 symbols essay
This document provides guidance for writing an essay analyzing symbolism in short films. Students are asked to discuss the importance of symbols in the films The Most Beautiful Man in the World, The Man with the Beautiful Eyes, and optionally Two Cars, One Night, comparing common symbols between films and analyzing their different functions. Students are instructed to gather evidence from brainstorm diagrams and notes on symbols, and to structure their essay using either Point Evidence Explain or Point Quote Comment.
Lp7 symbolism
This document discusses symbolism in short films. It provides objectives about understanding symbolism and extracting meaning from symbols. It includes examples of symbols from the films "The Most Beautiful Man in the World" and "The Man with the Beautiful Eyes" such as a pond, beetle, goldfish pond, bamboo. It asks the reader to identify symbols in the films and what they might represent. It also discusses how symbols can represent qualities, ideas, or be connected to things in people's minds. Questions are provided about what specific symbols might represent in the analyzed films.
Lp6 character
This document provides guidance for analyzing character motivation and characterization in short films. It discusses exploring how characters are presented and motivated through their backgrounds, desires, and goals. It prompts analyzing two short film clips, focusing on impressions of different characters and interpreting clues about their true nature. It challenges the reader to compare a character between a poem and its film adaptation, unraveling what was added and why by the filmmaker.
Lp5 location setting
This document provides discussion questions and tasks about analyzing settings and locations in short films. Students are asked to describe areas in their school without naming them, watch the short film "Two Cars, One Night" and analyze the interior and exterior settings, discuss how environment can affect people, write about how locations can add to stories in short films, and analyze the use of cars as settings and the implications of the nighttime setting in "Two Cars, One Night". The document guides students through exercises to thoughtfully consider how settings impact narratives and themes in short films.
Lp4 mise en scene
This document discusses the film technique of mise-en-scène. It defines mise-en-scène as referring to all visual elements of a film, including shot selection, composition, lighting, props, and technical camera aspects. Students are asked to observe and take notes on how lighting and other mise-en-scène elements like props are used in two short film clips screened in class, and then compare and contrast the use of these techniques between the two films.
Lp3 sound
The document discusses the use of sound in film. There are four types of sound: music, dialogue, sound effects, and silence or atmospheric sound. Sound can be either diegetic (part of the narrative world) or non-diegetic (added after filming and not heard by characters). Students listened to and analyzed clips from three short films to identify different uses of sound and how they impact atmosphere, characters, and the story.
Lp2 camera
1. The document discusses how camera shots and angles are used in film to create meaning and influence the audience's perspective. It explains common shot types like long shots, mid shots, and close ups.
2. Camera angles like high and low angles are used to make characters seem powerful or weak. Distorted angles can make a scene seem frightening or unsettling.
3. As an exercise, students are asked to draw a series of images using different camera techniques to tell the story of a stickman trying to get fat, and annotate how each shot creates meaning.
Lp1 narrative
This document provides instructions and discussion questions for analyzing three short films: Kiwi, Reach, and Sonata. Students are asked to identify the plot elements of exposition, rising action, climax, falling action, and denouement for the film Kiwi. They also analyze the narrative structure and how characters try to achieve their goals in one of the two other films. Finally, students compare the narrative structures between two of the films and discuss what they learned.
Lp10 making meaning
1) The document provides background information and analysis prompts about the short film "Two Cars, One Night."
2) It discusses the film's director and career. It also details the Maori culture and significance of tattoos to help understand a character in the film.
3) Students are tasked to analyze how the film conveys its meaning and messages through elements like narrative, camerawork, setting, characters and symbols. They must tie these ideas together in a group presentation.
Txtengglanglit
This chapter discusses different writing formats that students may encounter in GCSE English exams and in everyday life. It outlines the key features of articles, reports, letters, leaflets, reviews, and speeches. The chapter provides examples of each format and tasks for students to practice writing in these formats. It emphasizes the importance of being able to recognize different writing styles and adapting one's own writing for specific purposes and audiences.
We media and citizen journalism
This document discusses how citizen journalism and social media are changing how news is reported and shared. It provides examples of alternative news sites run by non-professional journalists and bloggers that cover specific topics. It also lists links to talks about how new media technologies like cell phones and social networks can empower individuals to participate in sharing news and influencing historical events. One talk presents an optimistic view while another link presents a more opposing view on this issue.
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Year 9 – short film chracterisation & symbolism essay
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Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
A Strategic Approach: GenAI in Education
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.
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Types of Herbal Cosmetics its standardization.
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তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
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Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
PCOS corelations and management through Ayurveda.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
ANATOMY AND BIOMECHANICS OF HIP JOINT.pdf
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
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Chapter 4 - Islamic Financial Institutions in Malaysia.pptx
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This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
DRUGS AND ITS classification slide share
Any substance (other than food) that is used to prevent, diagnose, treat, or relieve symptoms of a
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Executive Directors Chat Leveraging AI for Diversity, Equity, and Inclusion
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
How to Fix the Import Error in the Odoo 17
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Your Skill Boost Masterclass: Strategies for Effective Upskilling
Your Skill Boost Masterclass: Strategies for Effective Upskilling
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Digital Artefact 1 - Tiny Home Environmental Design
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The simplified electron and muon model, Oscillating Spacetime: The Foundation...
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Assessment and Planning in Educational technology.pptx
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Chapter 4 - Islamic Financial Institutions in Malaysia.pptx
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Extracts
- 1. Extracts from A View from the Bridge and A Doll’s House A View from the Bridge The extract below is taken from Act 2. Marco has been released from jail on bail and is seeking revenge on Eddie. Read the extract carefully two or three times and then annotate it to show how the characters’ actions and use of language reflects their sense of themselves as men or women or qualities which are conventionally seen to be masculine or feminine. Also mark anything else about the extract which you find interesting. BEATRICE [barring his way to the stairs]: What’s gonna mean somethin’? Eddie, listen to me. Who could give you your name? Listen to me, I love you, I’m talkin’ to you, I love you; if Marco’ll kiss your hand outside, if he goes on his knees, what’s he got to give you? That’s not what you want. EDDIE: Don’t bother me! BEATRICE: You want somethin’ else, Eddie, and you can never have her! CATHERINE [in horror]: B.! EDDIE [shocked, horrified, his fists clenching]: Beatrice! [MARCO appears outside, walking towards the door from a distant point.] BEATRICE [crying out, weeping]: The truth is not as bad as blood, Eddie!! I’m tellin’ you the truth – tell her good-bye for ever! EDDIE [crying out in agony]: That’s what you think of me – that I would have such a thought? [His fists clench his head as though it will burst.] MARCO [calling near the door outside]: Eddie Carbone! [EDDIE swerves about; all stand transfixed for an instant; People appear outside.] EDDIE [as though flinging his challenge]: Yeah, Marco! Eddie Carbone. Eddie Carbone. Eddie Carbone. [He goes up the stairs and emerges from the apartment. RODOLPHO streaks up and out past him and runs to MARCO.] RODOLPHO: No, Marco, please! Eddie, please, he has children! You will kill a family! BEATRICE: Go in the house! Eddie, go in the house! EDDIE [- he gradually comes to address the people]: maybe he come to apologize to me. Heh, Marco? For what you said about me in front of the neighbourhood? [He is incensing himself and little bits of laughter even escape him as his eyes are murderous and he cracks his knuckles in his hands with a strange sort of relaxation.] He knows that ain’t right. To do like that? To a man? Which I put my roof over their head and my food in their mouth? Like in the Bible? Strangers I never seen in my whole life? To come out of the water and grab a girl for a passport? To go and take from your own family like from the stable – and never a word to me? And now accusations in the bargain! [Directly to MARCO] Wipin’ the neighbourhood with my name like a dirty rag! I want my name, Marco. [He is moving now, carefully, towards MARCO.] Now gimme my name and we go together to the wedding. BEATRICE and CATHERINE [keening]: Eddie! Eddie, don’t Eddie! A View from the Bridge copyright © Arthur Miller Copyright © 2000 Teachit Page 1 of 2 extracts.doc
- 2. A Doll’s House Below are two extracts from A Doll’s House. The first is taken from Act One and the second is from Act Two. Read each extract carefully 2 or 3 times and then annotate the first to show how the characters’ actions and use of language reflects their sense of themselves as men or women or qualities which are conventionally seen to be masculine or feminine. Now annotate the second to show how Nora’s language illustrates how her character has developed by the end of the play. NORA(plays with his coat-buttons; not looking at him). If you really want to give me something, you could – you could- HELMER. Come on, out with it. NORA (quickly). You could give me money, Torvald. Only as much as you feel you can afford; then later I’ll buy something with it. HELMER. But, Nora- NORA. Oh yes, Torvald dear, please! Please! Then I’ll wrap up the notes in pretty gold paper and hang them on the Christmas tree. Wouldn’t that be fun? HELMER. What’s the name of that little bird that can never keep any money? NORA. Yes, yes, squanderbird; I know. But let’s do as I say, Torvald; then I’ll have time to think about what I need most. Isn’t that the best way? Mm? HELMER (smiles): To be sure it would be, if you could keep what I give you and really buy yourself something with it. But you’ll spend it on all sorts of useless things for the house, and then I’ll have to put my hand in my pocket again. NORA. Oh, but Torvald- HELMER. You can’t deny it, Nora dear. (Puts his arm around her waist.) The squanderbird’s a pretty little creature, but she gets through an awful lot of money. It’s incredible what an expensive pet she is for a man to keep. NORA. For shame! How can you say such a thing? I save every penny I can. HELMER (laughs). That’s quite true. Every penny you can. But you can’t. NORA (hums and smiles, quietly gleeful). Hm. If you only knew how many expenses we larks and squirrels have, Torvald. NORA (in her everyday dress). Yes, Torvald. I’ve changed. HELMER. But why now – so late - ? NORA. I shall not sleep tonight. HELMER. But, my dear Nora – NORA (looks at her watch). It isn’t that late. Sit down there, Torvald. You and I have a lot to talk about. She sits down on one side of the table. HELMER. Nora, what does this mean? You look quite drawn – NORA. Sit down. It’s going to take a long time. I’ve a lot to say to you. HELMER (sits down on the other side of the table). You alarm me, Nora. I don’t understand you. NORA. No, that’s just it. You don’t understand me. And I’ve never understood you – until this evening. No, don’t interrupt me. Just listen to what I have to say. You and I have got to face facts, Torvald. HELMER. What do you mean by that? NORA (after a short silence). Doesn’t anything strike you about the way we’re sitting here? HELMER. What? NORA. We’ve been married for eight years. Does it occur to you that this is the first time we two, you and I, man and wife, have ever had a serious talk together? Copyright © 2000 Teachit Page 2 of 2 extracts.doc