Sophia will be entering into the 6th grade this year (2015) and has always been interested in words, phrases, analogies and idioms. One of her more quirky attributes is the ability to take an idiom and use it in an entirely new way that somehow actually fits the current situation. Sophia sees things differently than most people and this compliments her ability to churn out poetry that is sometimes good, sometimes bad, sometimes funny, and sometimes sad. When Sophia was a small child we read to her almost every night, mostly the same old children's books we have all come to love/hate, but occasionally we would read Shel Silverstein and of course Dr. Seuss, these she loved. I will never forget the time when Sophia was able to recite all of Shel Silverstein's "Hungry Mungry" after only hearing it twice. She has a gift, and while this current collection represents Sophia's efforts in its infancy, I do hope you will enjoy it. By the way if you are reading these poems out loud it helps if you imagine Seuss's "The Cat in the Hat" with a guitar singing Silverstein's "The Giving Tree." -Good Luck- John S. Fitch, Sophia's Dad
DER DUKE MEINER TRÄUME von SOPHIA JAMES Geraubte Küsse, heiße Hände auf nackter Haut, verbotenes Verlangen: Sündige Bilder quälen Lady Lucinda seit dem Kutschenunglück mit Duke of Alderworth, bei dem sie Teile ihrer Erinnerung verlor. Als sie das ihren Brüdern gesteht, zwingen sie den Duke, ihre Schwester zu heiraten ... und entsenden ihn in die amerikanischen Kolonien. Doch drei Jahre später kehrt er zurück. Noch attraktiver, noch verwegener - und wild entschlossen, die sinnlichen Träume seiner jungen Gattin wahr zu machen ... EINE HÖCHST UNMORALISCHE WETTE von JULIET LANDON Caterina liebt ihre Freiheit. Doch sie weiß: Lange lässt sich eine Heirat nicht mehr vermeiden. Aber zur Tilgung von Wettschulden an den arroganten und draufgängerischen Sir Chase Boston verkauft zu werden - das geht zu weit! Caterina ist empört über den Plan ihres Vaters. Doch Sir Chase entpuppt sich als überaus charmant. Er versetzt ihre Sinne in Aufruhr, seine verführerischen Küsse entfesseln ihr Verlangen ...
First published in an era when most novels about young women concentrated on courtship and ended with marriage, The Recess daringly portrays women involved in political intrigues, overseas journeys, and even warfare. The novel is set during the reign of Elizabeth I and features as narrators twin daughters of Mary, Queen of Scots, by a secret marriage. One of the earliest Gothic novels, The Recess pioneered the genre of historical fiction. The novel was also one of the first to describe characters and events from conflicting points of view and was wildly popular in its day.
Master's Thesis from the year 2013 in the subject Didactics for the subject English - Literature, Works, grade: Distinction, The Open University, course: M.A. English, language: English, abstract: This dissertation examines how Henry V cannot exist solely as a patriotic representation of the ‘star of England’ (Henry V, Epilogue, 6). Drawing on the theories of Stephen Greenblatt and Jonathon Dollimore, it argues that there is radical ambivalence in the text, in Henry’s character and in the war that he invokes against France. Shakespeare offers the astute reader the opportunity to distinguish between true adherence to idealism and the supposed external adherence to it, in Henry V he exposes the rulers who espouse it and other grand concepts yet still steep themselves in blood. The play’s mode of presentation is therefore used by Shakespeare as a carefully planned strategy, rather than mere historical homage. The play is not simply a reflection of the nationalist fervour which suffused England in 1599, it is a text whereby subversive perceptions of that complex and dangerous new world are voiced but also constrained. The first chapter examines the veiled challenge to Renaissance authority, seen in the way that Shakespeare recognises Henry’s duplicitous journey from youthful imperfection as the wastrel Prince Hal in Henry IV, Part I and Henry IV, Part II. It suggests that a knowing, dispassionate artificiality was always present in Henry and that this implies Shakespeare’s rebellion against Renaissance ideals. The second chapter looks at Henry V and shows Henry’s transformation, seemingly absolute and fashioned by monarchist pride but, at the same time, it is clear that the covert rebellion against Elizabethan rule offered by Shakespeare challenges orthodoxy. It is shown in the disruptive power of the scenes at Harfleur where the reader is tempted to draw parallels between Henry V and Milton’s Satan in Paradise Lost. The third chapter deals with the ending of the play and Henry’s ‘wooing’ of Katherine, an episode which effectively works to erase the cult of beauty and romance so espoused by Renaissance society. The conclusion suggests that the language of the Henry plays seems to be saturated by diverse, covert political persuasion as well as the drama of war and the beauty of aesthetics. Therefore, Shakespeare’s ideal reader is not one who sees in Henry V the reflection of a historical or political context alone, although, for Shakespeare, it seems that the dramatic poetry of the plays is inseparable from its historical and social conditions. Rather, they are perhaps one who allows himself to remain divided between these two, distinct approaches.
Mira, Aaron und Liam versuchen irgendwie durch den Unialltag ihres Chemiestudiums zu kommen. Neben Vorlesungen, Laborpraktika und üblen Projektarbeiten genießen die drei aber auch jeden anderen Vorzug des Studentenlebens. Als es jedoch nach einer verhängnisvollen Party heiß herging, droht die Freundschaft zwischen den dreien zu zerfallen.
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