This critical study guide is designed to support a student's understanding of the AQA's AS and A Level English Language and Literature Paris Anthology. Elements such as mode, purpose and audience are clearly identified, and the use of language, literary and linguistic techniques, as well as tone and narrative voice, are all suitably analysed within each summary. The guide also includes appropriate exam information, suggests relevant approaches and contains a suitable timeline for Paris. A comprehensive glossary at the end gives the reader a clear appreciation of the key terms required at this level.
A new series of bespoke, full-coverage resources developed for the 2015 A Level English qualifications. Endorsed for the AQA A/AS Level English Language and Literature specification for first teaching from 2015, this print Student Book offers stretch opportunities for the more able and additional scaffolding for those who need it. Providing full coverage of the specification, the unique three-part structure bridges the gap between GCSE and A Level and develops students' understanding of descriptive linguistics and literary and non-literary stylistics, together with support for the revised coursework component and new textual intervention task. An enhanced digital edition and free Teacher's Resource are also available.
Literary Criticism by Ingo Gildenhard and John Henderson
A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the book opens in a mournful mood as the warring parties revisit yesterday’s killing fields to attend to their dead. One casualty in particular commands attention: Aeneas’ protégé Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundational act of sacrificial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefigured by that of his ally Camilla, a maiden schooled in the martial arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the final third of Aeneid 11, she wreaks havoc not just on the battlefield but on gender stereotypes and the conventions of the epic genre, before she too succumbs to a premature death. In the portions of the book selected for discussion here, Virgil offers some of his most emotive (and disturbing) meditations on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. This course book offers the original Latin text, vocabulary aids, study questions, and an extensive commentary. Designed to stretch and stimulate readers, Ingo Gildenhard’s volume will be of particular interest to students of Latin studying for A-Level or on undergraduate courses. It extends beyond detailed linguistic analysis to encourage critical engagement with Virgil’s poetry and the most recent scholarly thought. King's College, Cambridge, has generously contributed to this publication.
جلست جيدانكن في مقعدها وربطت الأحزمة، ثم قالت بجزم: "انطلق يا ديك... إلى القمر."+++أجابها الكمبيوتر: "أف! حسناً. افعل هذا، افعل ذاك، دائماً...". ضغطت جيدانكن على الزر الأحمر الكبير في لوحة التحكم أمامها. فدارت محركات المركبة وطغى هديرها على احتجاجات ديك.+++ما هو إلا وقت قصير حتى حطت المركبة على السطح القمر. وإذ ذاك، ذكرها ديك بأن ترتدي بزتها الفضائية قبل الخروج بسبب انعدام أي غلاف جوي. بدت البزة ضخمة، لكنها كانت مصممة جيداً ويسهل ارتداؤها. عبرت جيدانكن حجرة الضغط ثم نزلت الدرجات المعدنية وخرجت من المركبة إلى سطح القمر المغبر. وراحت تلهو بعض الوقت وتقفز صعوداً ونزولاً. وأعجبها أن تتمكن من الوثوب إلى مستوى أعلى مما تفعل على السطح الأرض. وفكرت أن الأمر "يشبه حتماً ما يفعله أبطال الوثب في الألعاب الأولمبية".
An account of the bold struggle that transforms Mr. Jone's Manor Farm into Animal Farm - a wholly democratic society built on the credo that All Animals Are Created Equal. Out of their cleverness, the pigs Napoleon, Squealer and Snowball emerge as leaders of the new community in a subtle evolution that bears an insidious familiarity. The climax is the brutal totalitarian rule is re-established with the bloodstained postscript to the founding slogan: But Some Animals Are More Equal Than Others ...