REVISION: POST WORLD WAR I AND MODERNISM
LET'S SEE HOW MUCH YOU REMEMBER FROM LAST YEAR...
the_usa_and_britain_after_world_war_i__quiz_on_prezi_and_videos.pdf | |
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modernism.american_and_british.pptx | |
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THE LOST GENERATION
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PROJECT: IN GROUPS OF FOUR, YOU ARE GOING TO IMAGINE YOU ARE WRITERS OF THE LOST GENERATION BUT, INSTEAD OF WRITING IN THE 20'S, YOU WRITE NOWADAYS. DISCUSS WHICH TOPICS YOU'D WRITE ABOUT, THE CHARACTERISTICS OF THE GROUP AND THE TYPE OF TEXTS YOU'D PRODUCE.
THE OLD MAN AND THE SEA BY ERNEST HEMINGWAY
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the_old_man_and_the_sea_ppt.ppt | |
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theoldmanexcerpt.pdf | |
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PROJECT: IN GROUPS OF FOUR, YOU ARE GOING TO READ THE EXCERPT FROM THE OLD MAN AND THE SEA AND YOU ARE GOING TO ANALISE IT, COMMENTING ON THE CHARACTERISTICS AND STYLE OF HEMINGWAY'S WORK. DISCUSS WETHER THIS TEXT PORTRAYS THE CHARACTERISTICS ASSOCIATED TO THE LOST GENERATION.
DETECTIVE FICTION: RAYMOND CHANDLER'S THE BIG SLEEP
the_big_sleep_movie_guide.pdf | |
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END OF WORLD WAR II AND POST-MODERNISM
WORLD WAR II: THE AFTERMATH
general_effects_and_results_of_wwii__1_.ppt | |
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_post_wwii_quiz.powert_point_quiz.pdf | |
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POST-MODERNISM IN LITERATURE
__post-_modernism__in_literature_features_ppt__2_.pptx | |
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POETRY: W.H. AUDEN'S FUNERAL BLUES (1938)
w.h.auden_biography_and_poetry.pdf | |
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auden_biography_and_poetry_questions.pdf | |
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funeral_blues.wh.auden.pdf | |
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REBELLION AND CONTROVERSY: J.D SALINGER'S THE CATCHER IN THE RYE (1951)
anger_and_rebellion._the_catcher_in_the_rye.pdf | |
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salinger.ppt.pptx | |
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THE HOUSE ON MANGO STREET BY SANDRA CISNEROS
The House on Mango Street, which appeared in 1983, is a linked collection of forty-four short tales that evoke the circumstances and conditions of a Hispanic American ghetto in Chicago. The narrative is seen through the eyes of Esperanza Cordero, an adolescent girl coming of age. It was written by Sandra Cisneros, who was born to a Mexican father and a Mexican American mother in 1954 in Chicago, Illinois, the only daughter of seven children.
The House on Mango Street received mostly positive reviews when it was published in 1984, and it has sold more than two million copies worldwide. However, some male Mexican-American critics have attacked the novel, arguing that by writing about a character whose goal is to leave the barrio (a neighborhood or community where most of the residents are of Spanish-speaking origin), Cisneros has betrayed the barrio, which they see as an important part of Mexican tradition. Others have criticized the novel as encouraging assimilation, labeling Cisneros a vendida, or sellout. Such critics have condemned Cisneros for perpetuating what they see as negative stereotypes of Mexican-American men (the wife-beaters, the overbearing husbands), while at the same time contending that the feminism Cisneros embraces was created by white women. Cisneros’s defenders claim that a Mexican-American woman’s experiences are very different from the experiences of a Mexican-American man, and that it’s therefore unfair to expect Cisneros, a woman, to present a unified front with male Mexican-American writers. In The House on Mango Street, Cisneros focuses on the problems of being a woman in a largely patriarchal Hispanic society.
The House on Mango Street consists of what Cisneros calls “lazy poems,” vignettes that are not quite poems and not quite full stories. The vignettes are sometimes only two or three paragraphs long, and they often contain internal rhymes, as a poem might. This form also reflects a young girl’s short attention span, flitting from one topic to another, never placing too much importance on any one event. Within these very short pieces, Cisneros introduces dozens of characters, some only once or twice, and in this way, the structure of the novel imitates the geography of the barrio. No one person has very much space, either in the barrio or on the page, and the neighborhood is small enough that even a young girl can know everyone in it by name. The conflicts and problems in these little stories are never fully resolved, just as the fates of men, women, and children in the barrio are often uncertain. Finally, the novel’s structure suggests the variable fate of Chicana women, whose life stories often depend on men. Without a dominant, omniscient, masculine voice to tell the women’s stories, their narratives are left waiting and unresolved.
The House on Mango Street consists of what Cisneros calls “lazy poems,” vignettes that are not quite poems and not quite full stories. The vignettes are sometimes only two or three paragraphs long, and they often contain internal rhymes, as a poem might. This form also reflects a young girl’s short attention span, flitting from one topic to another, never placing too much importance on any one event. Within these very short pieces, Cisneros introduces dozens of characters, some only once or twice, and in this way, the structure of the novel imitates the geography of the barrio. No one person has very much space, either in the barrio or on the page, and the neighborhood is small enough that even a young girl can know everyone in it by name. The conflicts and problems in these little stories are never fully resolved, just as the fates of men, women, and children in the barrio are often uncertain. Finally, the novel’s structure suggests the variable fate of Chicana women, whose life stories often depend on men. Without a dominant, omniscient, masculine voice to tell the women’s stories, their narratives are left waiting and unresolved.
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AFTER HAVING READ THE INTRODUCTION TO THE BOOK, ANSWER THE FOLLOWING QUESTIONS
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the_house_on_mango_street____comprehension_questions.doc | |
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