Often they were shut off still more by different languages, and different beliefs. Some of them could think individually, but they had to remain individuals. Emotions they could sometimes share, but they could not think collectively. When their conditions were primitive they could get along all right, as the animals can; but the more complex they made their world, the less capable they were of dealing with it. They had no means of consensus. They learnt to co-operate constructively in small units; but only destructively in large units. They aspired greedily, and then refused to face the responsibilities they had created.
Discrimination is a huge part of what makes Waknuk society so intolerant. They believe that everything should abide by the "True Image of God" (Wyndham 17-20). An extremely biased opinion, where everything should be one way and anything different is considered a deviation and must be banished or destroyed. This results in many people being exiled to the Fringes and animals and livestock destroyed, leading to a fear of being or having deviants or offences. This is also the main problem that David and his friends have, as they are considered deviants because of their ability. Sealand however completely has this flipped. "'The kind of people that God intended, perhaps?' . .
indicating he is attracted to her and giving him a shallow demeanor. Contrastingly, his lover ?darts/behind pebbles? (9-10), indicating she is near the bottom of the bowl. She ?swallows/his charms hook, line and sinker,? (10-11) this contrast of deep and shallow reflects their love and how their relationship is viewed from different angles, but what can he do he was hooked. The male fish just ?float[s]? (2) and ?wish[es]? (3) unlike the female fish who ? makes? (8) and ?darts? (9), the juxtaposition of their effort and actions explains their failing love, one is passive and the other active.
"The world is a book, and those who do not travel read only a page"
If you loved Crime and Punishment, and your favourite books tend to be those that transport you to faraway places, then you'll probably enjoy the world literature component of IB English Literature. The course teaches you to analyse literary works from many different time periods and cultures, so you'll get the chance to read translated literature alongside English literature.
To do well, you'll need to be able to construct complicated literary arguments in writing. If you would like some practice first, study Marked by Teachers collection of student-submitted IB world literature essays. The teacher-annotated papers will give you all the tools you need to earn top marks: you'll soon see the difference in your writing.
Students who excel in this course should consider studying English literature or a modern foreign language at the university level. When applying to these courses, having good marks in higher level English will be very helpful indeed.
Good conclusions usually refer back to the question or title and address it directly - for example by using key words from the title.
How well do you think these conclusions address the title or question? Answering these questions should help you find out.
Do they use key words from the title or question?
Do they answer the question directly?
Can you work out the question or title just by reading the conclusion?
"To conclude I would say that David and Lucy's reaction to the attacks could not contrast more. Where David appeared to be scared and Lucy put on the brave front, David was the one who was strong for them both, going to the market etc, whereas Lucy was finding life after the attack very difficult, 'her thumb in her mouth like a child.' However, Lucy does not want the attack to be known to the public, she wants to move on, forget the past, but David wanted revenge on the attackers. Lucy's attitude towards the attack suggests that she felt guilty for the mistreatment of blacks and felt this was her punishment, whereas David's beliefs that change shouldn't happen were stressed by the attack."
"To conclude, throughout this essay I have attempted to show and explain how Ibsen, in his play Hedda Gabler, has updated and twisted the conventions of Greek tragedy that can be found within Euripides' classic tragedy Medea. I have examined how the death of Hedda, in particular the location and reaction to it, utilises and manipulates convention to create drama and enable the audience to draw their own conclusion from the action. The nature of the Thespian Loevborg, and how Hedda lives through him, shows how Medea's character has been twisted and changed, that Hedda is no longer seeking revenge and equality, in the perhaps two dimensional Euripidean world that Medea inhabits, but also control and success. I believe that there are many ways in which Ibsen has updated the conventions of Greek tragedy, and that it is the use of farce throughout that presents this text as a truly modernised Greek tragedy.
1 Ibsen, Henrick, Hedda Gabler, Methuen Drama Student Editions, 2002 Methuen Publishing Ltd. P. 76.
2 Hedda Gabler, p. 99
3 Euripides, Medea, Cambridge University Press 1999, l.840
4 Hedda Gabler, p. 45
5 Medea l.298
6 Hedda Gabler, p. 37
7 Hedda Gabler, p. 104
8 Medea, l. 88
9 Hedda Gabler, p. 64
10 Medea, l. 398
11 Hedda Gabler p. 95
12 Hedda Gabler p. 99
"Mr. Samsa lacks the qualities of a caring father, which is the central reason for Gregor's death. With enormous responsibilities at a young age, his life even before the metamorphosis is the life of a beetle. Much of this has a lot of to do with Kafka's strained relationship with his own father, who he describes as "huge, selfish, (and an) overbearing businessman," in his Letter to his father. Although this is not the reason why Kafka died, it sure is the reason why Gregor dies."
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