Lane341 extracts
•
1 like•413 views
The speaker seeks revenge against Fortunato for past insults and vows to punish him without risk of retaliation. While smiling to Fortunato to conceal his true intentions, the speaker lures him into a crypt and walls him into a small interior space. As he builds the wall, Fortunato begins screaming and pulling on his chains, realizing he is being entombed alive. The speaker continues construction and, seeing Fortunato's figure, lets out a succession of screams to surpass Fortunato's until he falls silent.
Report
Share
Report
Share
Download to read offline
Recommended
Helen of troy
The document is a dialogue between Helen and Theoclymenos about burying Helen's deceased husband Menelaus at sea according to Greek customs. Helen asks Theoclymenos for supplies like a horse, armor, fruits, and a ship to conduct the burial far from shore so the pollution is not carried back. Theoclymenos agrees to provide everything needed for a proper burial. Menelaus then arrives and confirms the burial process before Helen promises to be a good wife to Theoclymenos and care for his needs.
Please Don't Show Me Death
The document is a poem that requests to be shown disturbing and unpleasant images like insects, animals, and injuries, but asks not to be shown death or perpetual demise. It uses vivid language to describe clusters of cockroaches, scorpions, garbage, spiders, thorns, blood, injured people, and more frightening things, but emphasizes that death should not be shown.
A DEATH MORE HORRIFIC THAN WHAT DEATH COULD EVER BE
The passage describes someone who is struggling with immense grief and pain after losing a loved one. They cannot bear the loss and desperately want to die, but do not know which horrific method to end their life as they list out numerous extremely gruesome and brutal options. In the end, all they seek is a death more terrible than any death could be in order to escape the unbearable agony of their loss and never have to experience crying over her absence again.
Nobody Is A Slave Of Anybody.
The document argues that nobody should be a slave, puppet, commodity, or subject to the will of another. It provides numerous examples of ways people are dominated or used by others, from being slaves to emotions and commands to being used as experiments, preys, or swept away as leftovers. However, in the end it acknowledges that we are all ultimately slaves to an Omnipresent Almighty Lord.
I Still Failed
The document describes numerous failed attempts by the author to get out of difficult or undesirable situations using different means. However, no matter what steps they take, the author is unable to get a woman out of their mind. Each attempt to forget her only makes the memory of her more deeply embedded in the author's mind and life.
Passing Through Her Heart
The passage describes someone's difficult experiences as they try to pass through various dangerous places and situations, such as the sun's heat, a dark tunnel, a jungle with tigers, and more, suffering injuries and close calls each time. However, when they try to pass through a woman's heart, they find themselves trapped there by love, regaining their life and receiving even more happiness and fulfillment.
Frankenstein script
Victor Frankenstein falls ill after encountering the creature he created. His friend Henry Clerval nurses Victor back to health. When Victor recovers, Henry mentions receiving a letter from Victor's family, expressing their concern over his long silence. Henry also has a letter that was written for Victor by his cousin. Victor is relieved that Henry was not referring to the creature in the "one subject" he wished to discuss.
The Rise of The Novel Lecture Notes
Ian Watt's The Rise of the Novel examines the emergence of the novel as a new literary form in the 18th century. Watt argues that the novel was characterized by its quality of realism, seen in its depth of description and attempts to portray human experience scientifically and from the perspective of individuals. Watt analyzes exemplary early novels like Robinson Crusoe and Pamela to show how they reflected contemporary ideologies like individualism and changing views of private life and social relationships. Watt also discusses how later 18th century novels by Richardson and Fielding further developed the psychological realism and complexity of the novel as a mature literary form.
Recommended
Helen of troy
The document is a dialogue between Helen and Theoclymenos about burying Helen's deceased husband Menelaus at sea according to Greek customs. Helen asks Theoclymenos for supplies like a horse, armor, fruits, and a ship to conduct the burial far from shore so the pollution is not carried back. Theoclymenos agrees to provide everything needed for a proper burial. Menelaus then arrives and confirms the burial process before Helen promises to be a good wife to Theoclymenos and care for his needs.
Please Don't Show Me Death
The document is a poem that requests to be shown disturbing and unpleasant images like insects, animals, and injuries, but asks not to be shown death or perpetual demise. It uses vivid language to describe clusters of cockroaches, scorpions, garbage, spiders, thorns, blood, injured people, and more frightening things, but emphasizes that death should not be shown.
A DEATH MORE HORRIFIC THAN WHAT DEATH COULD EVER BE
The passage describes someone who is struggling with immense grief and pain after losing a loved one. They cannot bear the loss and desperately want to die, but do not know which horrific method to end their life as they list out numerous extremely gruesome and brutal options. In the end, all they seek is a death more terrible than any death could be in order to escape the unbearable agony of their loss and never have to experience crying over her absence again.
Nobody Is A Slave Of Anybody.
The document argues that nobody should be a slave, puppet, commodity, or subject to the will of another. It provides numerous examples of ways people are dominated or used by others, from being slaves to emotions and commands to being used as experiments, preys, or swept away as leftovers. However, in the end it acknowledges that we are all ultimately slaves to an Omnipresent Almighty Lord.
I Still Failed
The document describes numerous failed attempts by the author to get out of difficult or undesirable situations using different means. However, no matter what steps they take, the author is unable to get a woman out of their mind. Each attempt to forget her only makes the memory of her more deeply embedded in the author's mind and life.
Passing Through Her Heart
The passage describes someone's difficult experiences as they try to pass through various dangerous places and situations, such as the sun's heat, a dark tunnel, a jungle with tigers, and more, suffering injuries and close calls each time. However, when they try to pass through a woman's heart, they find themselves trapped there by love, regaining their life and receiving even more happiness and fulfillment.
Frankenstein script
Victor Frankenstein falls ill after encountering the creature he created. His friend Henry Clerval nurses Victor back to health. When Victor recovers, Henry mentions receiving a letter from Victor's family, expressing their concern over his long silence. Henry also has a letter that was written for Victor by his cousin. Victor is relieved that Henry was not referring to the creature in the "one subject" he wished to discuss.
The Rise of The Novel Lecture Notes
Ian Watt's The Rise of the Novel examines the emergence of the novel as a new literary form in the 18th century. Watt argues that the novel was characterized by its quality of realism, seen in its depth of description and attempts to portray human experience scientifically and from the perspective of individuals. Watt analyzes exemplary early novels like Robinson Crusoe and Pamela to show how they reflected contemporary ideologies like individualism and changing views of private life and social relationships. Watt also discusses how later 18th century novels by Richardson and Fielding further developed the psychological realism and complexity of the novel as a mature literary form.
Unit 1-renaissance-pt-2
This document summarizes a poetry course, including its title, code, credit hours, and level. It then provides summaries of two poems by John Donne - "The Good Morrow" and "Holy Sonnet 10 (Death Be Not Proud)" along with contextual information about Donne and metaphysical poetry. Key details of each poem's themes, language, and structure are analyzed over several slides.
Educational Technology (4)
This document summarizes the content of a seminar course for a Master's program. It discusses learning outcomes, components of a research proposal and paper, and conducting a literature review. The presentation covers identifying elements of a proposal like the research question and significance. It also outlines sections of a research paper such as the introduction, literature review, methodology, results, and discussion. The document provides guidance on writing different components of a research proposal and paper.
Educational Technology (2)
This document summarizes the content of the first week of a seminar course on educational technology research. The course covers defining research, research methods, the research process, and topic selection. Specific topics discussed include learning outcomes, what research can be used for, advantages of research, researcher responsibilities, research skills, design, structure, steps, and how to select a topic, narrow it down, and develop a research proposal. The instructors are Dr. Noora Al-Malki and Dr. Amal Alshusha.
Educational Technology (5)
This document outlines the content of a seminar course on educational technology. The 3-credit course takes place in the first term of 2015. It covers qualitative and quantitative research methods, including distinguishing between the two approaches, using selected methods for research proposals, and applying the knowledge to write methodology sections. Specific topics that will be covered include learning outcomes, questionnaire design, qualitative interviewing, and ethics. The document provides details on qualitative and quantitative data collection and analysis.
Gamification in e learning
Dr. Nora Al-Malki, Assistant Professor of European Languages and Head of Development at her university, will provide a workshop on making Blackboard courses more engaging for learners through gamification. The objectives are to understand game mechanics in e-learning, learn to use Blackboard's Achievement tool effectively, and recreate a gamification scenario using its achievements. Gamification in education means using game elements like achievements, levels, and scores to motivate students without making the entire course into a game.
Class Notes
This document contains students' responses to class discussions and assignments on poems by Shakespeare and John Donne. For Shakespeare's Sonnet 18, one student analyzes how the poem illustrates the power of poetry to live on. For Donne's "The Good Morrow," multiple students discuss how Donne presents the theme of love as going beyond limitations and restoring physicality to love. Other students respond positively to the poem for how it stirs feelings and paints a portrait of the lovers.
Pit and the pendulum
This document is the beginning of Edgar Allan Poe's short story "The Pit and the Pendulum". It describes the narrator awakening after being sentenced to death by the Spanish Inquisition, unable to see in the total darkness around him. He feels along the walls to discover it is a large, circular room. After collapsing from exhaustion, he finds food and water left for him. The story sets up the terrifying situation and unknown fate that awaits the narrator.
THE CASK OF AMONTILLADOby Edgar Allan Poe(1846)THE thousand .docx
THE CASK OF AMONTILLADO
by Edgar Allan Poe
(1846)
THE thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged; this was a point definitely, settled --but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.
It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my in to smile in his face, and he did not perceive that my to smile now was at the thought of his immolation.
He had a weak point --this Fortunato --although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; --I was skilful in the Italian vintages myself, and bought largely whenever I could.
It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand.
I said to him --"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipe of what passes for Amontillado, and I have my doubts."
"How?" said he. "Amontillado, A pipe? Impossible! And in the middle of the carnival!"
"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain."
"Amontillado!"
"I have my doubts."
"Amontillado!"
"And I must satisfy them."
"Amontillado!"
"As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me --"
"Luchresi cannot tell Amontillado from Sherry."
"And yet some fools will have it that his taste is a match for your own.
"Come, let us go."
"Whither?"
"To your vaults."
"My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi--"
"I have no engagement; --come."
"My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are en.
THE CASK OF AMONTILLADOby Edgar Allan Poe(1846)THE thousand .docx
THE CASK OF AMONTILLADO
by Edgar Allan Poe
(1846)
THE thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged; this was a point definitely, settled --but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.
It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my in to smile in his face, and he did not perceive that my to smile now was at the thought of his immolation.
He had a weak point --this Fortunato --although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; --I was skilful in the Italian vintages myself, and bought largely whenever I could.
It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand.
I said to him --"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipe of what passes for Amontillado, and I have my doubts."
"How?" said he. "Amontillado, A pipe? Impossible! And in the middle of the carnival!"
"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain."
"Amontillado!"
"I have my doubts."
"Amontillado!"
"And I must satisfy them."
"Amontillado!"
"As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me --"
"Luchresi cannot tell Amontillado from Sherry."
"And yet some fools will have it that his taste is a match for your own.
"Come, let us go."
"Whither?"
"To your vaults."
"My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi--"
"I have no engagement; --come."
"My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are en ...
1 Poe, Edgar Allan. The Cask of Amontillado.” The Proj.docx
1
Poe, Edgar Allan. “The Cask of Amontillado.” The Project Gutenberg EBook.
6 Jun 2010. Web. 1 Jan 2013.
The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult,
I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that
I gave utterance to a threat. At length I would be avenged; this was a point definitely settled—but
the very definitiveness with which it was resolved, precluded the idea of risk. I must not only
punish, but punish with impunity. A wrong is unredressed when retribution overtakes its
redresser. It is equally unredressed when the avenger fails to make himself felt as such to him
who has done the wrong.
It must be understood that neither by word nor deed had I given Fortunato cause to doubt
my good will. I continued, as was my wont, to smile in his face, and he did not perceive that my
smile now was at the thought of his immolation.
He had a weak point—this Fortunato—although in other regards he was a man to be
respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have
the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and
opportunity—to practise imposture upon the British and Austrian millionaires. In painting and
gemmary, Fortunato, like his countrymen, was a quack—but in the matter of old wines he was
sincere. In this respect I did not differ from him materially: I was skillful in the Italian vintages
myself, and bought largely whenever I could.
It was about dusk, one evening during the supreme madness of the carnival season, that I
encountered my friend. He accosted me with excessive warmth, for he had been drinking much.
The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted
by the conical cap and bells. I was so pleased to see him, that I thought I should never have done
wringing his hand.
I said to him—"My dear Fortunato, you are luckily met. How remarkably well you are
looking to-day! But I have received a pipe of what passes for Amontillado, and I have my
doubts."
"How?" said he. "Amontillado? A pipe? Impossible! And in the middle of the carnival!"
"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price
without consulting you in the matter. You were not to be found, and I was fearful of losing a
bargain."
"Amontillado!"
"I have my doubts."
"Amontillado!"
"And I must satisfy them."
2
"Amontillado!"
"As you are engaged, I am on my way to Luchesi. If any one has a critical turn, it is he. He
will tell me—"
"Luchesi cannot tell Amontillado from Sherry."
"And yet some fools will have it that his taste is a match for your own."
"Come, let us go."
"Whither?"
"To your vaults."
"My friend, no; I will not impose upon your good nature. I perceive you have an
engagement. Luchesi—"
"I have no engagemen ...
THE CASK OF AMONTILLADOBy Edgar Allan Poe - Published 1847The .docx
THE CASK OF AMONTILLADO
By Edgar Allan Poe - Published 1847
The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged; this was a point definitely, settled --but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong. It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my in to smile in his face, and he did not perceive that my to smile now was atthe thought of his immolation.
He had a weak point --this Fortunato --although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; --I was skilful in the Italian vintages myself, and bought largely whenever I could. It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand. I said to him --"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipeof what passes for Amontillado, and I have my doubts."
"How?" said he. "Amontillado, A pipe? Impossible! And in the middle of the carnival!""I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain." "Amontillado!" "I have my doubts." "Amontillado!" "And I must satisfy them." "Amontillado!" "As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me --" "Luchresi cannot tell Amontillado from Sherry." "And yet some fools will have it that his taste is a match for your own. "Come, let us go." "Whither?" "To your vaults." "My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi--" "I have no engagement; --come." "My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They.
The Cask of Amontillado
Fortunato, who had insulted the narrator, is lured into the catacombs under the pretense of sampling Amontillado wine. As Fortunato becomes increasingly inebriated, the narrator leads him deeper into the catacombs and chains him inside a niche, walling him in with stone and mortar to die as revenge for the insults. The narrator leaves Fortunato entombed in the catacombs to meet a slow death.
Cask excerpt for narrative task
1) The narrator lures his acquaintance Fortunato into the catacombs under the pretext of sharing a rare amontillado sherry.
2) As they descend deeper into the catacombs, the narrator notes that Fortunato is becoming increasingly inebriated.
3) The narrator leads Fortunato to a small recess in the catacombs and reveals that it is the location of the amontillado, implying that he plans to entomb Fortunato within.
Cask excerpt for narrative task
A man named the narrator lures his acquaintance Fortunato into the catacombs under the pretext of sharing a rare amontillado sherry. As they descend deeper into the catacombs, Fortunato's condition deteriorates due to alcohol and the damp air. The narrator leads Fortunato to a small recess in the innermost crypt and wall, revealing that he plans to entomb Fortunato alive as revenge for an unspecified insult by the Fortunato family against the narrator's family, the Montresors.
The Cask of Amontillado (Full Story)
The narrator lures his acquaintance Fortunato into the catacombs under the pretext of sharing a pipe of Amontillado wine. As they descend into the catacombs, the narrator gets Fortunato drunk on sherry. He leads Fortunato to a small recess in the deepest part of the catacombs and chains him inside, then begins walling him in with bricks and mortar, entombing Fortunato alive as revenge for past insults.
The cask of amontillado, text and analysis
The document provides a summary and analysis of Edgar Allan Poe's short story "The Cask of Amontillado". It describes how the narrator lures his acquaintance Fortunato into the catacombs below the narrator's palazzo under the guise of sharing a pipe of Amontillado wine. As they descend deeper into the catacombs, the narrator chains Fortunato inside a niche in the wall. He then seals Fortunato inside, leaving him to die alone in the catacombs.
The cask of amontillado
The narrator lures his acquaintance Fortunato into the catacombs under the pretense of sharing a rare wine, but instead seals him within the walls as revenge for past insults. He bricks Fortunato into a niche, ignoring his pleas for mercy and cries for help, leaving him to die alone in the dark underground vaults.
Usher(edgar alan poe).pdf
This document provides background information and copyright details for Edgar Allan Poe's short story "The Fall of the House of Usher". It indicates that the original story, published in 1839, is in the public domain. It was created by José Menéndez as a PDF ebook. The summary then provides a high-level overview of the beginning of Poe's story, describing the narrator's arrival at the dreary House of Usher and meeting with its owner, Roderick Usher, who appears physically altered and describes being afflicted by strange sensations and fears.
Wilson Wilson
This document is an excerpt from Edgar Allan Poe's short story "William Wilson". It introduces the narrator, who calls himself William Wilson, and describes his time as a student at a boarding school in England. The narrator had a classmate and rival also named William Wilson. They were not related but had the same name. The two Williams competed academically and socially, though the narrator felt the other Wilson was his equal or superior. Their relationship was complex, involving both antagonism and an uneasy familiarity. The excerpt focuses on establishing the setting and characters at the school in vivid detail before the central conflict between the two Wilsons develops further.
History 167 athe attack by r. h. tawneyrichard henry harry taw
This document is an excerpt from R.H. Tawney's memoir "The Attack" describing his experience in the Battle of the Somme during World War I. It provides vivid details of Tawney's regiment preparing to go "over the top," including attending a religious service in the trenches, the intense bombardment, advancing across no man's land under machine gun fire, and encountering casualties among his platoon. The excerpt conveys the chaos, violence and human cost of the battle as seen from the perspective of a participant.
Jeffery farnol black bartlemys treasure
This 3 sentence summary provides the key details and context about the document:
The document is the preface to the 1920 novel "Black Bartlemy's Treasure" by Jeffery Farnol. It sets the scene aboard a Spanish slave galley called the Esmeralda, where the narrator is chained to an oar as a galley slave. After his fellow slave dies, the narrator sees an opportunity to free himself from his chains and take revenge on his captors as an English ship is engaged in battle with the Esmeralda.
More Related Content
Viewers also liked
Unit 1-renaissance-pt-2
This document summarizes a poetry course, including its title, code, credit hours, and level. It then provides summaries of two poems by John Donne - "The Good Morrow" and "Holy Sonnet 10 (Death Be Not Proud)" along with contextual information about Donne and metaphysical poetry. Key details of each poem's themes, language, and structure are analyzed over several slides.
Educational Technology (4)
This document summarizes the content of a seminar course for a Master's program. It discusses learning outcomes, components of a research proposal and paper, and conducting a literature review. The presentation covers identifying elements of a proposal like the research question and significance. It also outlines sections of a research paper such as the introduction, literature review, methodology, results, and discussion. The document provides guidance on writing different components of a research proposal and paper.
Educational Technology (2)
This document summarizes the content of the first week of a seminar course on educational technology research. The course covers defining research, research methods, the research process, and topic selection. Specific topics discussed include learning outcomes, what research can be used for, advantages of research, researcher responsibilities, research skills, design, structure, steps, and how to select a topic, narrow it down, and develop a research proposal. The instructors are Dr. Noora Al-Malki and Dr. Amal Alshusha.
Educational Technology (5)
This document outlines the content of a seminar course on educational technology. The 3-credit course takes place in the first term of 2015. It covers qualitative and quantitative research methods, including distinguishing between the two approaches, using selected methods for research proposals, and applying the knowledge to write methodology sections. Specific topics that will be covered include learning outcomes, questionnaire design, qualitative interviewing, and ethics. The document provides details on qualitative and quantitative data collection and analysis.
Gamification in e learning
Dr. Nora Al-Malki, Assistant Professor of European Languages and Head of Development at her university, will provide a workshop on making Blackboard courses more engaging for learners through gamification. The objectives are to understand game mechanics in e-learning, learn to use Blackboard's Achievement tool effectively, and recreate a gamification scenario using its achievements. Gamification in education means using game elements like achievements, levels, and scores to motivate students without making the entire course into a game.
Class Notes
This document contains students' responses to class discussions and assignments on poems by Shakespeare and John Donne. For Shakespeare's Sonnet 18, one student analyzes how the poem illustrates the power of poetry to live on. For Donne's "The Good Morrow," multiple students discuss how Donne presents the theme of love as going beyond limitations and restoring physicality to love. Other students respond positively to the poem for how it stirs feelings and paints a portrait of the lovers.
Viewers also liked (7)
Similar to Lane341 extracts
Pit and the pendulum
This document is the beginning of Edgar Allan Poe's short story "The Pit and the Pendulum". It describes the narrator awakening after being sentenced to death by the Spanish Inquisition, unable to see in the total darkness around him. He feels along the walls to discover it is a large, circular room. After collapsing from exhaustion, he finds food and water left for him. The story sets up the terrifying situation and unknown fate that awaits the narrator.
THE CASK OF AMONTILLADOby Edgar Allan Poe(1846)THE thousand .docx
THE CASK OF AMONTILLADO
by Edgar Allan Poe
(1846)
THE thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged; this was a point definitely, settled --but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.
It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my in to smile in his face, and he did not perceive that my to smile now was at the thought of his immolation.
He had a weak point --this Fortunato --although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; --I was skilful in the Italian vintages myself, and bought largely whenever I could.
It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand.
I said to him --"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipe of what passes for Amontillado, and I have my doubts."
"How?" said he. "Amontillado, A pipe? Impossible! And in the middle of the carnival!"
"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain."
"Amontillado!"
"I have my doubts."
"Amontillado!"
"And I must satisfy them."
"Amontillado!"
"As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me --"
"Luchresi cannot tell Amontillado from Sherry."
"And yet some fools will have it that his taste is a match for your own.
"Come, let us go."
"Whither?"
"To your vaults."
"My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi--"
"I have no engagement; --come."
"My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are en.
THE CASK OF AMONTILLADOby Edgar Allan Poe(1846)THE thousand .docx
THE CASK OF AMONTILLADO
by Edgar Allan Poe
(1846)
THE thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged; this was a point definitely, settled --but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.
It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my in to smile in his face, and he did not perceive that my to smile now was at the thought of his immolation.
He had a weak point --this Fortunato --although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; --I was skilful in the Italian vintages myself, and bought largely whenever I could.
It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand.
I said to him --"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipe of what passes for Amontillado, and I have my doubts."
"How?" said he. "Amontillado, A pipe? Impossible! And in the middle of the carnival!"
"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain."
"Amontillado!"
"I have my doubts."
"Amontillado!"
"And I must satisfy them."
"Amontillado!"
"As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me --"
"Luchresi cannot tell Amontillado from Sherry."
"And yet some fools will have it that his taste is a match for your own.
"Come, let us go."
"Whither?"
"To your vaults."
"My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi--"
"I have no engagement; --come."
"My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are en ...
1 Poe, Edgar Allan. The Cask of Amontillado.” The Proj.docx
1
Poe, Edgar Allan. “The Cask of Amontillado.” The Project Gutenberg EBook.
6 Jun 2010. Web. 1 Jan 2013.
The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult,
I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that
I gave utterance to a threat. At length I would be avenged; this was a point definitely settled—but
the very definitiveness with which it was resolved, precluded the idea of risk. I must not only
punish, but punish with impunity. A wrong is unredressed when retribution overtakes its
redresser. It is equally unredressed when the avenger fails to make himself felt as such to him
who has done the wrong.
It must be understood that neither by word nor deed had I given Fortunato cause to doubt
my good will. I continued, as was my wont, to smile in his face, and he did not perceive that my
smile now was at the thought of his immolation.
He had a weak point—this Fortunato—although in other regards he was a man to be
respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have
the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and
opportunity—to practise imposture upon the British and Austrian millionaires. In painting and
gemmary, Fortunato, like his countrymen, was a quack—but in the matter of old wines he was
sincere. In this respect I did not differ from him materially: I was skillful in the Italian vintages
myself, and bought largely whenever I could.
It was about dusk, one evening during the supreme madness of the carnival season, that I
encountered my friend. He accosted me with excessive warmth, for he had been drinking much.
The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted
by the conical cap and bells. I was so pleased to see him, that I thought I should never have done
wringing his hand.
I said to him—"My dear Fortunato, you are luckily met. How remarkably well you are
looking to-day! But I have received a pipe of what passes for Amontillado, and I have my
doubts."
"How?" said he. "Amontillado? A pipe? Impossible! And in the middle of the carnival!"
"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price
without consulting you in the matter. You were not to be found, and I was fearful of losing a
bargain."
"Amontillado!"
"I have my doubts."
"Amontillado!"
"And I must satisfy them."
2
"Amontillado!"
"As you are engaged, I am on my way to Luchesi. If any one has a critical turn, it is he. He
will tell me—"
"Luchesi cannot tell Amontillado from Sherry."
"And yet some fools will have it that his taste is a match for your own."
"Come, let us go."
"Whither?"
"To your vaults."
"My friend, no; I will not impose upon your good nature. I perceive you have an
engagement. Luchesi—"
"I have no engagemen ...
THE CASK OF AMONTILLADOBy Edgar Allan Poe - Published 1847The .docx
THE CASK OF AMONTILLADO
By Edgar Allan Poe - Published 1847
The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged; this was a point definitely, settled --but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong. It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my in to smile in his face, and he did not perceive that my to smile now was atthe thought of his immolation.
He had a weak point --this Fortunato --although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; --I was skilful in the Italian vintages myself, and bought largely whenever I could. It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand. I said to him --"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipeof what passes for Amontillado, and I have my doubts."
"How?" said he. "Amontillado, A pipe? Impossible! And in the middle of the carnival!""I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain." "Amontillado!" "I have my doubts." "Amontillado!" "And I must satisfy them." "Amontillado!" "As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me --" "Luchresi cannot tell Amontillado from Sherry." "And yet some fools will have it that his taste is a match for your own. "Come, let us go." "Whither?" "To your vaults." "My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi--" "I have no engagement; --come." "My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They.
The Cask of Amontillado
Fortunato, who had insulted the narrator, is lured into the catacombs under the pretense of sampling Amontillado wine. As Fortunato becomes increasingly inebriated, the narrator leads him deeper into the catacombs and chains him inside a niche, walling him in with stone and mortar to die as revenge for the insults. The narrator leaves Fortunato entombed in the catacombs to meet a slow death.
Cask excerpt for narrative task
1) The narrator lures his acquaintance Fortunato into the catacombs under the pretext of sharing a rare amontillado sherry.
2) As they descend deeper into the catacombs, the narrator notes that Fortunato is becoming increasingly inebriated.
3) The narrator leads Fortunato to a small recess in the catacombs and reveals that it is the location of the amontillado, implying that he plans to entomb Fortunato within.
Cask excerpt for narrative task
A man named the narrator lures his acquaintance Fortunato into the catacombs under the pretext of sharing a rare amontillado sherry. As they descend deeper into the catacombs, Fortunato's condition deteriorates due to alcohol and the damp air. The narrator leads Fortunato to a small recess in the innermost crypt and wall, revealing that he plans to entomb Fortunato alive as revenge for an unspecified insult by the Fortunato family against the narrator's family, the Montresors.
The Cask of Amontillado (Full Story)
The narrator lures his acquaintance Fortunato into the catacombs under the pretext of sharing a pipe of Amontillado wine. As they descend into the catacombs, the narrator gets Fortunato drunk on sherry. He leads Fortunato to a small recess in the deepest part of the catacombs and chains him inside, then begins walling him in with bricks and mortar, entombing Fortunato alive as revenge for past insults.
The cask of amontillado, text and analysis
The document provides a summary and analysis of Edgar Allan Poe's short story "The Cask of Amontillado". It describes how the narrator lures his acquaintance Fortunato into the catacombs below the narrator's palazzo under the guise of sharing a pipe of Amontillado wine. As they descend deeper into the catacombs, the narrator chains Fortunato inside a niche in the wall. He then seals Fortunato inside, leaving him to die alone in the catacombs.
The cask of amontillado
The narrator lures his acquaintance Fortunato into the catacombs under the pretense of sharing a rare wine, but instead seals him within the walls as revenge for past insults. He bricks Fortunato into a niche, ignoring his pleas for mercy and cries for help, leaving him to die alone in the dark underground vaults.
Usher(edgar alan poe).pdf
This document provides background information and copyright details for Edgar Allan Poe's short story "The Fall of the House of Usher". It indicates that the original story, published in 1839, is in the public domain. It was created by José Menéndez as a PDF ebook. The summary then provides a high-level overview of the beginning of Poe's story, describing the narrator's arrival at the dreary House of Usher and meeting with its owner, Roderick Usher, who appears physically altered and describes being afflicted by strange sensations and fears.
Wilson Wilson
This document is an excerpt from Edgar Allan Poe's short story "William Wilson". It introduces the narrator, who calls himself William Wilson, and describes his time as a student at a boarding school in England. The narrator had a classmate and rival also named William Wilson. They were not related but had the same name. The two Williams competed academically and socially, though the narrator felt the other Wilson was his equal or superior. Their relationship was complex, involving both antagonism and an uneasy familiarity. The excerpt focuses on establishing the setting and characters at the school in vivid detail before the central conflict between the two Wilsons develops further.
History 167 athe attack by r. h. tawneyrichard henry harry taw
This document is an excerpt from R.H. Tawney's memoir "The Attack" describing his experience in the Battle of the Somme during World War I. It provides vivid details of Tawney's regiment preparing to go "over the top," including attending a religious service in the trenches, the intense bombardment, advancing across no man's land under machine gun fire, and encountering casualties among his platoon. The excerpt conveys the chaos, violence and human cost of the battle as seen from the perspective of a participant.
Jeffery farnol black bartlemys treasure
This 3 sentence summary provides the key details and context about the document:
The document is the preface to the 1920 novel "Black Bartlemy's Treasure" by Jeffery Farnol. It sets the scene aboard a Spanish slave galley called the Esmeralda, where the narrator is chained to an oar as a galley slave. After his fellow slave dies, the narrator sees an opportunity to free himself from his chains and take revenge on his captors as an English ship is engaged in battle with the Esmeralda.
May tinh bang viet Nam
Máy tính bảng ngày càng đa dạng, từ kích thước màn hình đến cấu hình, phần mềm. Người dùng có thể tùy thuộc vào nhu cầu để chọn mua sản phẩm phù hợp.
The Cask of Amontillado
The narrator lures his acquaintance Fortunato to the catacombs under the pretense of sharing a pipe of Amontillado wine. As they descend into the catacombs, Fortunato becomes increasingly intoxicated. The narrator leads Fortunato into a small alcove and chains him inside, then begins sealing him in with bricks and mortar as Fortunato screams for help. The narrator finishes walling up the alcove, leaving Fortunato to die alone in the catacombs.
Amontillado
This document provides a summary of Edgar Allan Poe's short story "The Cask of Amontillado". It notes that the story, published in 1846, is in the public domain. It was created as a PDF ebook by José Menéndez. The summary then provides a brief synopsis of the plot in 3 sentences: The story is about a man named Montresor who seeks revenge on Fortunato for some insult, and lures Fortunato into his wine cellar under the guise of evaluating a wine, where he then bricks Fortunato alive within the walls.
Divine Comedy (Purgatory) by Dante
Dante and Virgil witness the arrival of the Angel of God in a small boat carrying over 100 souls. As the Angel docks, the souls chant from Psalms and disembark, gazing at their new surroundings. The sun has now risen over the Mountain of Purgatory, illuminating the new arrivals.
Nightmare-Touch By Lafcadio Hearn © 2005 b y h t t p .docx
Nightmare-Touch
By Lafcadio Hearn
© 2005 b y h t t p : / / w w w . H o r r o r M a s t e r s . c o m
What is the fear of ghosts among those who believe in ghosts?
All fear is the result of experience,—experience of the individual or of the race,—experience
either of the present life or of lives forgotten. Even the fear of the unknown can have no other
origin. And the fear of ghosts must be a product of past pain.
Probably the fear of ghosts, as well as the belief in them, had its beginning in dreams. It is a
peculiar fear. No other fear is so intense; yet none is so vague. Feelings thus voluminous and dim
are super-individual mostly,—feelings inherited,—feelings made within us by the experience of
the dead.
What experience?
Nowhere do I remember reading a plain statement of the reason why ghosts are feared. Ask
any ten intelligent persons of your acquaintance, who remember having once been afraid of
ghosts, to tell you exactly why they were afraid,—to define the fancy behind the fear;—and I
doubt whether even one will be able to answer the question. The literature of folk-lore—oral and
written—throws no clear light upon the subject. We find, indeed, various legends of men torn
asunder by phantoms; but such gross imaginings could not explain the peculiar quality of ghostly
fear. It is not a fear of bodily violence. It is not even a reasoning fear,—not a fear that can readily
explain itself,—which would not be the case if it were founded upon definite ideas of physical
danger. Furthermore, although primitive ghosts may have been imagined as capable of tearing
and devouring, the common idea of a ghost is certainly that of a being intangible and
imponderable.1
Now I venture to state boldly that the common fear of ghosts is the fear of being touched by
ghosts,—or, in other words, that the imagined Supernatural is dreaded mainly because of its im-
agined power to touch. Only to touch, remember—not to wound or to kill.
But this dread of the touch would itself be the result of experience,—chiefly, I think, of
prenatal experience stored up in the individual by inheritance, like the child’s fear of darkness.
And who can ever have had the sensation of being touched by ghosts? The answer is simple:—
Everybody who has been seized by phantoms in a dream.
Elements of primeval fears—fears older than humanity—doubtless enter into the child-terror
of darkness. But the more definite fear of ghosts may very possibly be composed with inherited
results of dream—pain,—ancestral experience of nightmare. And the intuitive terror of super-
natural touch can thus be evolutionally explained.
Let me now try to illustrate my theory by relating some typical experiences.
II
When about five years old I was condemned to sleep by myself in a certain isolated room, there-
after always called the Child’s Room. (At that time I was scarcely ever mentioned by name, but
1 I ma ...
Similar to Lane341 extracts (20)
THE CASK OF AMONTILLADOby Edgar Allan Poe(1846)THE thousand .docx
THE CASK OF AMONTILLADOby Edgar Allan Poe(1846)THE thousand .docx
THE CASK OF AMONTILLADOby Edgar Allan Poe(1846)THE thousand .docx
THE CASK OF AMONTILLADOby Edgar Allan Poe(1846)THE thousand .docx
1 Poe, Edgar Allan. The Cask of Amontillado.” The Proj.docx
1 Poe, Edgar Allan. The Cask of Amontillado.” The Proj.docx
THE CASK OF AMONTILLADOBy Edgar Allan Poe - Published 1847The .docx
THE CASK OF AMONTILLADOBy Edgar Allan Poe - Published 1847The .docx
History 167 athe attack by r. h. tawneyrichard henry harry taw
History 167 athe attack by r. h. tawneyrichard henry harry taw
Nightmare-Touch By Lafcadio Hearn © 2005 b y h t t p .docx
Nightmare-Touch By Lafcadio Hearn © 2005 b y h t t p .docx
More from King AbdulAziz University
Lane 342: Module 1
This document provides an overview of a fiction literature course being taught over the first two weeks. The course details include the title, code, credit hours, and instructor. It then summarizes the key topics to be covered in the first module, including the early development of fiction as a genre, different fiction classifications and genres/sub-genres. The module aims to help students understand the rise of fiction and be able to discuss its elements. The document concludes by outlining the next week's focus on Charles Dickens' novel Hard Times.
Phd prez 2018
The document discusses considerations for successful academic writing. It begins by defining academic writing as a formal style used by researchers to define the boundaries of their disciplines. It then outlines two common patterns used in academic writing: general-specific, which moves from broad definitions to more specific details; and problem-solution, which describes current issues and potential answers. The document also provides guidance on writing summaries, critiques, and commenting on research data by highlighting key details and implications. It emphasizes writing in your own words, being fair in critiques, and proofreading.
Research Originality: Tips & Tricks
The document provides tips for developing original research. It discusses how research is a process, not a product, and originality often emerges from ordinary scholarly activity. It addresses problems researchers face like "empty brain syndrome" and being "stuck in your brain." Tips for addressing these issues include using various search engines and alerts, engaging with research communities, analyzing literature critically, thinking in reverse, transcending disciplines, visualizing ideas, using idea generators, brainstorming, and developing hypergraphia through free writing or blogging. The goal is to stimulate new ideas and thinking outside of established patterns to create original contributions.
Educational Technology (3)
This document outlines the content covered in week 2 of a seminar course for a MA in Educational Technology. The week covered learning how to define a research problem, identify appropriate research resources, understand research ethics and documentation styles, and handle quotations correctly. Upon completing the week, students will be able to plan a research proposal and effectively use library resources for research. The following week will cover the components of a research proposal, literature review, and research paper.
LANE 342- Module 1- Week 1- Fiction history & genre
The document provides an overview of a university course on fiction. It discusses early fictional records from cultures around the world, including Epic of Gilgamesh, Zhuangzi, One Thousand and One Nights, and The Tale of Genji. It then defines what fiction is and explores genres and elements of fiction like plot, setting, characters, theme, and point of view. The course will cover the history of the English novel in subsequent sessions.
LANE 342- Induction
The document outlines an induction session for a 6th level Fiction course, providing information about the instructor, required readings, assessments, grading, class policies, and how to study for the course. Students are introduced to Dr. Noora Al-Malki and the LANE 342 course, which examines the development of fiction from early beginnings through contemporary periods, with a focus on analyzing literary elements and critical reading/writing skills. The session also reviews the syllabus, assigned novels, assessments including exams, individual and group projects, and addresses how students can best prepare to study for the course.
Module Three (part 2)
This document outlines the content of a research methods course taught by Dr. Noora Al-Malki in the spring of 2014/2015. The course is 6 credit hours per week, covers both qualitative and quantitative research methods, and aims to help students write the methods section of their research proposals. Key topics covered include the components of research proposals and papers, literature reviews, questionnaire design, and qualitative methods like interviews. Quantitative methods like experiments and surveys are also discussed.
Module Three (part 1)
This document summarizes a course on research methods. The 6-credit course is taught in the spring term for a graduate program. It covers components of research proposals and papers, literature reviews, quantitative and qualitative research methods, questionnaire design, and research applications. Upon completing the course, students will be able to identify proposal components, critically evaluate literature, and engage in collaborative discussions about research activities. The document outlines the various sections that should be included in a proposal and research paper such as the title, introduction, literature review, methods, and references.
2014 induction JSP
This 6-credit, 6-week graduate course on research methods provides an overview of the research process and different research approaches. It is taught online and in-person by Dr. Noora Al-Malki in the spring term. The course syllabus outlines topics to be covered each week, including research skills, methods, proposal writing, and ethics. Students will complete quizzes, discussions, and a final research proposal project. Upon completing the course, students will be able to understand and apply the main components of the research process to their own work.
Jsp 2 Research Methods
This document summarizes the content covered in Week 2 of a Research Methods course. The topics discussed include the framework of a research project, defining a research problem, research resources and how to evaluate them, research ethics, documentation styles, and components of a research paper. Students are expected to learn how to apply the basic research process to plan a proposal, use library resources, and complete assignments by the end of the 6-hour course session.
Jsp 1 Research Methods
This document outlines the course content for the first week of a 6-credit research methods course taught by Dr. Noora Al-Malki in spring 2014/2015. The week will introduce students to key research concepts like defining research, the research process, and topic selection. Students will learn about the advantages of research, a researcher's responsibilities, and essential research skills. They will also complete assignments introducing themselves and brainstorming potential research topics. Readings assigned for the first week cover research basics, writing a research paper, and developing a research topic. The next class will focus on research paper components, organization, resources, ethics, and documentation styles.
Lane341-2ndSem-induction
This document summarizes an introductory literature course. It provides details about the course title, code, credit hours, level, instructor information, and session content which includes introductions, syllabus overview, required readings, assessments, class policies, and how to study for the course. The course is an introduction to literature through fiction, drama, and poetry. It aims to enable students to critically and imaginatively respond to literature.
Lane341 cherry orchard
This document provides an overview of a university lecture on Anton Chekhov's play The Cherry Orchard. The course is an introduction to literature offered at the 5th level for 3 credit hours. The lecture will analyze the play, reflecting on its social and cultural themes. It will discuss the plot, setting, symbolism, and themes of the play. The learning outcomes are to analyze The Cherry Orchard and reflect on its social and cultural themes.
Lane341 5
This document outlines the content of a university literature course lecture on poetry. The lecture will analyze selected Romantic and Feminist poems, including Robert Burns' "Red, Red Rose" and Emily Dickinson's "A Narrow Fellow in the Grass." It will also cover poems by Adrienne Rich, such as "Aunt Jennifer's Tigers," and Sharon Olds. The lecture aims to discuss the major thematic concerns of these poetic genres and analyze the featured poems. It provides context on the Romantic and Feminist poetry movements, and biographies of featured poets like Burns and Dickinson. The document concludes by announcing the topic of the next lecture will be on fiction and the short stories of Edgar Allan Poe.
Lane341 25-11-2013 & 2nd DEC
This document is a lecture summary for an introductory literature course covering Edgar Allan Poe's short story "The Cask of Amontillado" and Nathaniel Hawthorne's "The Birthmark". The lecture will analyze the plot, themes of revenge and the Gothic/Dark Romantic elements in Poe's story. It will also compare Hawthorne's story as a Faustian allegory. Learning outcomes include analyzing Poe's style and themes, and reflecting on Faustian themes in "The Birthmark" with reference to Dark Romanticism.
Lane341 4
This document provides an overview of an introductory literature course. It includes the course title, code, credit hours, and level. The document then covers the first session on poetry, including unit learning outcomes on defining and analyzing poetry and poetic forms and genres. It discusses the definitions of poetry from several poets and scholars. It also covers the differences between poetry and prose, poetic structure, forms like sonnets and free verse, and genres like dramatic, lyric and narrative poetry. The document analyzes Emily Brontë's poem "The Night Wind" and provides learning outcomes and readings for the next lecture.
Worksheet[1]
The poem describes an old woman sitting alone at night who is visited by the night wind. The wind tries to persuade her to join it in the dark woods, saying it was once her childhood friend. The woman refuses, insisting she will not be seduced. The wind continues threatening that it will be her only companion even after death. The poem explores themes of loneliness, imagination, and the internal conflict within the woman between desires and obstacles as represented by the personified wind.
Sample paragraph
The plot of a literary work has five parts: exposition, rising action, climax, falling action, and resolution. The exposition introduces characters and settings. The rising action consists of major story events that develop the plot, like in Snow White where events lead to her death. The climax, falling action, and resolution complete the standard structure of a literary plot.
More from King AbdulAziz University (20)
LANE 342- Module 1- Week 1- Fiction history & genre
LANE 342- Module 1- Week 1- Fiction history & genre
Lane341 extracts
- 1. Quotes for Study THE thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult, I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. AT LENGTH I would be avenged; this was a point definitively settled -- but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish, but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong. It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued as was my wont, to smile in his face, and he did not perceive that my smile NOW was at the thought of his immolation. At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains piled to the vault overhead , in the fashion of the great catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner. From the fourth the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use in itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite. I had scarcely laid the first tier of my masonry when I discovered that the intoxication of Fortunato had in a great measure worn off. The earliest indication I had of this was a low moaning cry from the depth of the recess. It was NOT the cry of a drunken man. There was then a long and obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious vibrations of the chain. The noise lasted for several minutes, during which, that I might hearken to it with the more satisfaction, I ceased my labours and sat down upon the bones. When at last the clanking subsided , I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding the flambeaux over the mason-work, threw a few feeble rays upon the figure within. A succession of loud and shrill screams, bursting suddenly from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated, I trembled. Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. I placed my hand upon the solid fabric of the catacombs, and felt satisfied. I reapproached the wall; I replied to the yells of him who clamoured. I re-echoed, I aided, I surpassed them in volume and in strength. I did this, and the clamourer grew still.
- 2. Quotes for Study Answer the following Questions: - - Who is the speaker in this extract? ……………………………………………………………………………………………… How can you describe the speaker? ……………………………………………………………………………………………… ……………………………………………………………………………………………… ……………………………………………………………………………………………… Comment on the extract. ……………………………………………………………………………………………… ……………………………………………………………………………………………… ……………………………………………………………………………………………… ……………………………………………………………………………………………… ……………………………………………………………………………………………… ……………………………………………………………………………………………… ……………………………………………………………………………………………… ……………………………………………………………………………………………… ………………………………………………………………………………………………