An homage to Maria Irene Fornes, Jornadas Internacionales de la Mujer UCM 2014anafcaparros
These Slides accompanied the paper titled "Contemporary American Women Playwrights’ Transatlantic Odes to Lightness: An homage to Maria Irene Fornes and her disciples in the form of a collage of fragmented reflections, pictures and poems", presented at XI International Conference on Women’s Studies GENDER STUDIES: TRANSATLANTIC VISIONS, Universidad Complutense de Madrid 8-10 April 2014. The publication of the paper is forthcoming.
An homage to Maria Irene Fornes, Jornadas Internacionales de la Mujer UCM 2014anafcaparros
These Slides accompanied the paper titled "Contemporary American Women Playwrights’ Transatlantic Odes to Lightness: An homage to Maria Irene Fornes and her disciples in the form of a collage of fragmented reflections, pictures and poems", presented at XI International Conference on Women’s Studies GENDER STUDIES: TRANSATLANTIC VISIONS, Universidad Complutense de Madrid 8-10 April 2014. The publication of the paper is forthcoming.
Directions· Mark your answers to the multiple-choice questiosuzannewarch
Directions
· Mark your answers to the multiple-choice questions on the answer sheet at the end of the multiple-choice section. Use a black or blue pen.
· Remember to complete the submission information on
every
page you turn in.
Questions 1-14 are based on the following lines from
Twelfth Night
by William Shakespeare (1564-1616). In these lines, Viola (dressed as a man) and Duke Orsino offer different views of love. Read the passage carefully before answering the questions that follow.
VIOLA But if she cannot love you, sir?
DUKE ORSINO I cannot be so answer’d.
VIOLA Sooth, but you must.
(Line)
Say that some lady, as perhaps there is,
5 Hath for your love a great a pang of heart
As you have for Olivia: you cannot love her;
You tell her so; must she not then be answer’d?
DUKE ORSINO There is no woman’s sides
Can bide* the beating of so strong a passion *tolerate, abide
10 As love doth give my heart; no woman’s heart
So big, to hold so much; they lack retention
Alas, their love may be call’d appetite,
No motion of the liver, but the palate,
That suffer surfeit, cloyment and revolt*; *abhorrence
15 But mine is all as hungry as the sea,
And can digest as much: make no compare
Between that love a woman can bear me
And that I owe Olivia.
VIOLA Ay, but I know--
20 DUKE ORSINO What dost thou know?
VIOLA Too well what love women to men may owe:
In faith, they are as true of heart as we.
My father had a daughter loved a man,
As it might be, perhaps, were I a woman,
25 I should your lordship.
DUKE ORSINO And what’s her history?
VIOLA A blank, my lord. She never told her love,
But let concealment, like a worm i’ the bud,
Feed on her damask* cheek: she pined in thought, *healthy, red
30 And with a green and yellow melancholy
She sat like patience on a monument,
Smiling at grief. Was not this love indeed?
We men may say more, swear more: but indeed
Our shows are more than will; for still we prove
35 Much in our vows, but little in our love.
1.
In line 1, who is the "she" to whom Viola refers?
Feste
Maria
Olivia
Viola
Any charming woman
2.
Line 24, "As it might be, perhaps, were I a woman," is:
instructive.
ironic.
meaningful.
sarcastic.
satirical.
3.
In lines 8-18, Orsino offers all of the following reasons to prove that his love cannot be reciprocated by a woman
except:
his heart is bigger than a woman’s heart.
women’s hearts lack retention.
a woman’s love is mere appetite.
women are as hungry as the sea.
his passion is extremely strong.
4.
In line 11, the phrase "lack retention" is contrasted with:
"be call’d appetite" (line 12)
"sides / can hide" (line 10)
"That suffer surfeit" (line 14)
"love doth give" (line 10)
"to hold so much" (line 11)
5.
It’s possible to infer that Orsino believes "the liver" (line 13) is:
subject to revolt.
likely to lack retention.
the seat of true love.
less gen ...
Module 1 Readings: Young Love
1. Christopher Marlowe, “The Passionate Shepherd to his Love” 2
2. Sir Walter Ralegh, “The Nymph’s Reply” 3
3. William Shakespeare, “Prologue” from Romeo and Juliet 4
4. William Shakespeare, “First kiss,” Act 1, scene 5 from Romeo and Juliet 4
5. Emily Brontë, “I am Heathcliff,” Ch. 9 from Wuthering Heights 14
6. Virginia Woolf, “Clarissa’s Memories of Sally Seton,” from Mrs. Dalloway 29
2
1. Christopher Marlowe, “The Passionate Shepherd to his Love”
Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
And we will sit upon the Rocks,
Seeing the Shepherds feed their flocks,
By shallow Rivers to whose falls
Melodious birds sing Madrigals.
And I will make thee beds of Roses
And a thousand fragrant posies,
A cap of flowers, and a kirtle
Embroidered all with leaves of Myrtle;
A gown made of the finest wool
Which from our pretty Lambs we pull;
Fair lined slippers for the cold,
With buckles of the purest gold;
A belt of straw and Ivy buds,
With Coral clasps and Amber studs:
And if these pleasures may thee move,
Come live with me, and be my love.
The Shepherds’ Swains shall dance and sing
For thy delight each May-morning:
If these delights thy mind may move,
Then live with me, and be my love.
3
2. Sir Walter Ralegh, “The Nymph’s Reply”
If all the world and love were young,
And truth in every Shepherd’s tongue,
These pretty pleasures might me move,
To live with thee, and be thy love.
Time drives the flocks from field to fold,
When Rivers rage and Rocks grow cold,
And Philomel becometh dumb,
The rest complains of cares to come.
The flowers do fade, and wanton fields,
To wayward winter reckoning yields,
A honey tongue, a heart of gall,
Is fancy’s spring, but sorrow’s fall.
Thy gowns, thy shoes, thy beds of Roses,
Thy cap, thy kirtle, and thy posies
Soon break, soon wither, soon forgotten:
In folly ripe, in reason rotten.
Thy belt of straw and Ivy buds,
The Coral clasps and amber studs,
All these in me no means can move
To come to thee and be thy love.
But could youth last, and love still breed,
Had joys no date, nor age no need,
Then these delights my mind might move
To live with thee, and be thy love.
4
3. William Shakespeare, “Prologue” from Romeo and Juliet
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage; ...
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
2. Ophelia: Show me the steep and thorny way to heaven,Whiles, like a puff' d and reckless libertine,Himself the primrose path of dalliance treads,And reaks not his own rede. Act 1, Scene 3 This picture is of an extravagant staircase leading up to the tower of a castle. The stairs are steep, much like the way to heaven, and they represent the primrose path. The primrose path is one of luxury and elegance , much like the stairs. Lastly, I chose the stairs because they twist on themselves much like Ophelia turning and telling Laertes to heed his own advice and to avoid the lifestyle of the “rich and famous.”
3.
4. Ophelia: O, what a noble mind is here o'erthrown! The courtier's, scholar's, soldier's, eye, tongue, sword, The expectancy and rose of the fair state, The glass of fashion and the mould of form, The observed of all observers, quite, quite down! And I, of ladies most deject and wretched, That suck'd the honey of his music vows,Now see that noble and most sovereign reason, Like sweet bells jangled, out of tune and harsh; That unmatch'd form and feature of blown youth Blasted with ecstasy. O, woe is me, To have seen what I have seen, see what I see! Act 3, Scene 1 Here Ophelia had just finished talking with Hamlet and he repeatedly told her to “get thee to a nunn’ry.” She feels that Hamlet is mad and that Denmark has lost a great man, so much so that the other men of the land would have done well to copy him. She is mourning his loss and feels bad for herself as well. That is why I picked the picture of Eeyore. He is always down or sad when it’s not his fault and he tends to feel bad for himself.
5.
6. Hamlet: I did love you once. Ophelia: Indeed, my lord, you made me believe so. Hamlet: You should not have believ'd me, for virtue cannot so inoculate our old stock but we shall relish of it. I lov'd you not. Ophelia: I was the more deceiv'd. Act 3, Scene 1 In this quote, Hamlet calls Ophelia a fool for believing that he ever loved her (even though he really did). His reasoning for doing this is so that she will not be hurt in his quest for vengeance. That is why I chose the picture of Batman. He was unable to be with anyone for fear of them being hurt and he lied to the city about who he really was, just like Hamlet lied about the reason for his madness.
7.
8. ♥ Hamlet’s Letter to Ophelia: Doubt thou the stars are fire; Doubt that the sun doth move; Doubt truth to be a liar; But never doubt I love. Act 2, Scene 2 This quote is a excerpt from a letter from Hamlet to Ophelia. It confesses his great love to her and tells her to never doubt it. It is true love. I picked this photo of love written in Braille because it symbolizes love is blind, but you just have to believe in it and that it’s real.
9.
10. Ophelia: Lord, we know what we are, but not what we may be. Act 4, Scene 5 In this quote, even though she is mad, Ophelia is wise. She says we know who we are, but there is no telling where we will go or what we will become. The future is uncertain. The picture I chose, I feel represents this well. The rest of the picture is blurry representing uncertainty, while the plant is clear representing life.
11.
12. Gertrude: Sweets to the sweet: farewell! I hop’d thou shouldst have been my Hamlet’s wife; I thought thy bride-bed to have deck’d, sweet maid, And not have stew’d thy grave. Act 5, Scene 1 Here, Queen Gertrude is laying flowers on Ophelia’s grave and saying goodbye. She says that she had hoped that her and Hamlet would be wed, but she is sad that did not happen. The picture I chose is of flowers falling. They could be either onto the bed or the grave, but because they look almost dead one would assume it is the grave. The flowers are the sweets to the sweet.
13.
14. Ophelia (singing): To-morrow is Saint Valentine ’s Day, All in the morning betime, And I a maid at your window, To be your Valentine. Then up he rose, and donn’d his clothes, And dupp’d the chamber-door; Let in the maid, that out a maid Never departed more. Act 4, Scene 5 In this passage, Ophelia is singing a song. The song is about her relationship with Hamlet. She thought they would be together forever, but one night, in her eyes, she leaves her alone in her bed and never comes back again. I chose this picture because the little girl is a lot like Ophelia and the girl represents innocence much like love. Unfortunately, the girl is all alone, just like the love between Hamlet and Ophelia was abandoned and left alone.
15.
16. Hamlet: I lov’d Ophelia: forty thousand brothers Could not, with all their quantity of love, Make up my sum. Act 5, Scene 1 Hamlet has happened upon the burial of Ophelia. He can no longer stand to watch behind the trees, so he appears to the whole procession. This is his reply when Laertes attacks him. Even though Hamlet jumped back and forth throughout the play about whether or not he truly loved Ophelia, I believed he did. That is why I chose this picture. This love is so true and innocent; there is nothing to complicate it.
17.
18. Ophelia: There’s rosemary, that’s for remembrance; pray, love, remember: and there is pansies. That’s for thoughts… There’s fennel for you, and columbines: there’s rue for you; and here’s some for me: we may call it herb-grace o’Sundays: O you must wear your rue with a difference. There’s a daisy: I would give you some violets, but they withered all when my father died: they say he made good end, - Act 4, Scene 5 In this part, Ophelia is crazy. She is handing out flowers to everyone and each flower holds significance. I chose this photo because it is a lovely Celtic garden. Even though it is beautiful, there is still some danger to it. This translates to Ophelia’s beauty, but her danger is her madness.
19.
20. Laertes: Thought and affliction, passion, hell itself, She turns to favour and to prettiness. Act 4, Scene 5 With this quote, Laertes is describing the current situation as well as what is going on with his sister. I chose a black rose for this because of the rose’s beauty and it preference over other flowers, but also because of the black signifies affliction and passion.
21.
22. Never Think I should never thinkWhat's in your heartWhat's in our homeSo I won'tYou'll learn to hate meBut still call me babyOh loveSo call me by my nameAnd save your soulSave your soulBefore you're to far goneBefore nothing can be doneI'll try to decide whenShe'll lie in the endI ain't got no fight in meIn this whole damn worldSo hold offShe should hold offIt's the one thing that I've known Once I put my coat onI'm coming out in this all wrongShe's standing outside holding meSaying "Oh please, I'm in love, I'm in love!"Girl save your soulGo on save your soulBefore it's to far goneAnd before nothing can be doneCause without meYou got it allSo hold onWithout me you got it allSo hold onWithout me you got it allWithout me you got it allSo hold onWithout me you got it allSo hold onWithout me you got it allSo hold on.
23. Thunder Storms by: Colleen Wright The day changed from sunshine into darkand from your place a light began to spark.You dined on morsels of food, and sipped wine.Oh, such a glorious life, surely it is almost divine.Thunder and storms are coming this waytherefore to you kind Sir, I now must say, 'Goodnight good friend with a pure heart, sleep soundly, as from this page I depart' The day changed from sunshine into darkand from your place a light began to spark.You dined on morsels of food, and sipped wine.Oh, such a glorious life, surely it is almost divine.Thunder and storms are coming this waytherefore to you kind Sir, I now must say, 'Goodnight good friend with a pure heart, sleep soundly, as from this page I depart'
