Provides a new account of the emergence of Irish gothic fiction in mid-eighteenth century. This book provides a robustly theorised and thoroughly historicised account of the ‘beginnings’ of Irish gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. The main argument the book makes is that the Irish gothic should be read in the context of the split in Irish Anglican public opinion that opened in the 1750s, and seen as a fictional instrument of liberal Anglican opinion in a changing political landscape. By providing a fully historicized account of the beginnings of the genre in Ireland, the book also addresses the theoretical controversies that have bedevilled discussion of the Irish gothic in the 1980s, 1990s and 2000s. The book gives ample space to the critical debate, and rigorously defends a reading of the Irish gothic as an Anglican, Patriot tradition. This reading demonstrates the connections between little-known Irish gothic fictions of the mid-eighteenth century (The Adventures of Miss Sophia Berkley and Longsword), and the Irish gothic tradition more generally, and also the gothic as a genre of global significance. Key Features * Examines gothic texts including Mary Shelley's Frankenstein, Horace Walpole's The Castle of Otranto, Bram Stoker's Dracula, Charles Robert Maturin's Melmoth the Wanderer, (Anon), The Adventures of Miss Sophia Berkley and Thomas Leland's Longsword * Provides a rigorous and robust theory of the Irish Gothic * Reads early Irish gothic fully into the political context of mid-eighteenth century Ireland This title was made Open Access by libraries from around the world through Knowledge Unlatched.

The 11th grade learning experience consists of 7 mostly month-long units aligned to the Common Core State Standards, with available course material for teachers and students easily accessible online. Over the course of the year there is a steady progression in text complexity levels, sophistication of writing tasks, speaking and listening activities, and increased opportunities for independent and collaborative work. Rubrics and student models accompany many writing assignments.Throughout the 11th grade year, in addition to the Common Read texts that the whole class reads together, students each select an Independent Reading book and engage with peers in group Book Talks. Students move from learning the class rituals and routines and genre features of argument writing in Unit 11.1 to learning about narrative and informational genres in Unit 11.2: The American Short Story. Teacher resources provide additional materials to support each unit.

People often say that mankind should learn from history. Charles Dickens, whose books are considered classics, set his novel A Tale of Two Cities in the past. He wanted his readers to learn from the bloody French Revolution and from the widespread brutality in London. Both cities (Paris and London) offer the reader a glimpse into dark and dangerous times. As students read about Dickens's Victorian setting and learn his view of the French Revolution, they will think about what makes a just world. Students will have a chance to think about their own experiences, and, using techniques they have learned from Charles Dickens, they will do some writing that sends a message about your own world.

ACCOMPLISHMENTS

To complete the unit accomplishments, students will:

Read the Charles Dickens novel A Tale of Two Cities.
Read several short pieces, including a biography of Dickens and excerpts from other literature, to help them understand Dickens’s world and the world of the novel.
Explore new vocabulary to build their ability to write and speak using academic language.
Practice close reading and participate in several role plays and dramatic readings to help them experience the dramatic writing style of Charles Dickens.
Write a vignette and a short narrative piece, and practice using descriptive detail and precise language.
Write a reflection about the meaning of Dickens’s novel.

GUIDING QUESTIONS

These questions are a guide to stimulate thinking, discussion, and writing on the themes and ideas in the unit. For complete and thoughtful answers and for meaningful discussions, students must use evidence based on careful reading of the texts.

How does good storytelling affect the reader, and how can a good story promote change in the world?
What was the Victorian view of gender roles?
How can power be abused?
What is loyalty ? What are the limits of loyalty?

In this lesson, you will talk about the way that Dickens cries out for justice. You will begin by looking at mythical avengers.In this lesson, students will talk about the way that Dickens cries out for justice. They will begin by looking at mythical avengers.

U.S. Army recruiting poster showing a Revolutionary War era soldier loading, firing, and carrying a rifle. Poster caption continues: in this neighborhood, who have any inclination to join the troops, now raising under General Washington. For the defence of the liberties and independence of the United States, against the hostile designs of foreign enemies, take notice, that [...] ; Do as our forefathers did in 1776 Enlist Army Recruiting Office ; Open day and night.

Short Description:
A Few Words that Changed the World brings together short texts - many less than one page long - that profoundly changed the world in which we live. In its initial form, the book's focus is on the growth and development of European empires, and the ways in which peoples responded to that expansion. Over time, we hope that this resource will grow to include other sources, such as songs, poems, and perhaps pieces of art.

Long Description:
A word is dead When it is said, Some say.

I say it just Begins to live That day.

Emily Dickinson, A Word is Dead (1862)

Word Count: 41764

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Short Description:
A Few Words that Changed the World brings together short texts - many less than one page long - that profoundly changed the world in which we live. In its initial form, the book's focus is on the growth and development of European empires, and the ways in which peoples responded to that expansion. Over time, we hope that this resource will grow to include other sources, such as songs, poems, and perhaps pieces of art.

Long Description:
A word is dead When it is said, Some say.

I say it just Begins to live That day.

Emily Dickinson, A Word is Dead (1862)

Word Count: 33169

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

This course examines the production, transmission, preservation and qualities of folk music in the British Isles and North America from the 18th century to the folk revival of the 1960s and the present. There is a special emphasis on balladry, fiddle styles, and African-American influences. The class sings ballads and folk songs from the Child and Lomax collections as well as other sources as we examine them from literary, historical, and musical points of view. Readings supply critical and background materials from a number of sources. Visitors and films bring additional perspectives.

This course studies several important examples of the genre that between the early 18th century and the end of the 20th has come to seem the definitive literary form for representing and coming to terms with modernity. Syllabi vary, but the class usually attempts to convey a sense of the form’s development over the past few centuries. Among topics likely to be considered are: developments in narrative technique, the novel’s relation to history, national versus linguistic definitions of an “English” novel, social criticism in the novel, realism versus “romance,” the novel’s construction of subjectivities. Writers studied have included Daniel Defoe, Henry Fielding, Samuel Richardson, Lawrence Sterne, Mary Shelley, Jane Austen, Walter Scott, Emily and Charlotte Brontë, Charles Dickens, George Eliot, Joseph Conrad, H. G. Wells, James Joyce, Virginia Woolf, Salman Rushdie.

This class is a global survey of the great transformation in history known as the “Industrial Revolution.” Topics include origins of mechanized production, the factory system, steam propulsion, electrification, mass communications, mass production and automation. Emphasis on the transfer of technology and its many adaptations around the world. Countries treated include Great Britain, France, Germany, the US, Sweden, Russia, Japan, China, and India. Includes brief reflection papers and a final paper.

Digital Disruptions in the Colonial Archive

Short Description:
Digital Disruptions is a five-module (10 weekly lessons) asynchronous, online course that uses archival case studies related to Acadian and Mi'kmaw history to teach digital historical methods. Planned as a mid-size, second- or third-year university course, Digital Disruptions offers a deep examination of 18th-century settler colonialism, provides extensive training in critical digital methods, and creates a repository of rare primary sources.

Word Count: 21736

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

This course is a survey of significant orchestral masterworks composed during three centuries. Listening assignments include 34 symphonies and 24 concertos, composed from the 1720s to the 1990s. Class discussion and oral presentations focus on the works in 18 miniature scores; prior score-reading experience is helpful. Each of the three written papers reviews a concert attended during the term. Since this is a participatory subject, each student will give oral presentations concerning composers and their symphonies and/or concertos.