Possibility Thinking Research

Possibility Thinking Research Introduction Most people accept that early years education should aim to develop childrens creativity but this raises a number of questions; namely what is creativity? How does it relate to imagination, self expression and intelligence? What ways can creativity be taught and assessed and why is it valuable? Fostering childrens creativity involves more than the creative corner in the classroom it involves recognising their creative engagement manifested by young learners. According to Wilson (20.10.05) It is important that we foster creativity at an early stage so that children are more prepared to lead an active role in their own learning, develop better self-esteem and are more willing to take chances. Possibility thinking is at the heart of all creativity in young children. (Craft 2002) Possibilities are generated by children in all areas of learning e.g. play, music and scientific enquiry. It allows children to explore imaginative ways to produce a variety of outcomes e.g. is a banana a fruit or is it a telephone? The possibilities to develop childrens creative thinking are endless. Possibility thinking has been acknowledged in some educational literature on creativity but it has not been fully accepted by some educationalists (Craft 2001). Jeffrey (2005) believes it is at the core to creative learning and represents the being imaginative part of the current policy framework for creativity in England. Craft and Jeffrey (2004) believe that possibility thinking involves enabling children to find and refine problems as well as solve them. The aim of this research is to investigate whether possibility thinking is at the heart of creativity in young children. I hypothesise that: Possibility thinking is at the heart of creativity in young children Creativity and imagination allows young children to learn and develop Possibility thinking will only take place if adults give children time and space The resources, environment and available tasks affect the possibilities for creative thinking Literature Review Creativity has been described as a voyage of discovery (Craft 2008). When it comes to creativity in schools the second half of the 20th century can be first seen as a drought following the introduction of the National Curriculum in 1989 which rejected children centred curriculum practices. After 1999 there were numerous opportunities for creativity in terms of curriculum and learning due to a shift in values in educational provision and the landscape of the classroom. During the end of the 20th and the start of the 21st century creativity has become significant in education due to the advice of the National Advisory Committee on creative and culture education (NACCCE 1999) led by Sir Ken Robinson and researchers such as Woods and Craft (1997) and Harland et al (1998). The key findings from their work was that creative learning involves children experiencing innovation in the classroom, control over activities, together with a sense of ownership in their learning. These features are characteristic of creative teaching (Jeffery and Woods 2003). The NACCCE saw creativity as imaginative activity, fashioned so as to produce outcomes that are original and of value (NACCCE 1999 pg 29). The approach together with linking creativity with culture saw a shift away from the view that creativity was only attainable by the gifted and a view of learning as empowerment in and beyond the classroom (Jeffrey and Craft 2001, Sefton-Green 2008). From 2002 the establishment of creative partnerships has promoted creative learning. The most recent curriculum polices of creativity within the early years are the Early Years Foundation Stage (DFES 2007, DCSF 2008) which continues to emphasize the significance of creativity. It encourages student engagement and offers teachers a means of personalised learning (Hargreaves 2008). The message seems to be creativity is for everyone everywhere! However there are problems as to how creativity is documented, assessed and how progression is supported (Rose 2008). Learning through the arts has the potential to stimulate open ended activity that encourages discovery, exploration, experimentation and invention contributing to a childs development (Bernadette Duffy 2006). Music, dance, and drama enable children to express their feelings. Creativity and imagination in the light of Every Child matters, Sure Start and the Foundation Stage curriculum enables young children to learn and develop whilst expressing their feelings, thoughts and responses. Anna Craft (2000) introduced and developed the notion of possibility thinking as core to little c creativity. Possibility thinking is means by which intelligence, self-creation, self-expression and know-how are bought together and expressed, It finds a way around a problem by posing questions and finding a problem through identifying a question or topic to be investigated. Fostering young childrens possibility thinking involves moving their thinking on from what does this do? to what can i do with this? It involves a move from the convergent to more divergent thinking. The paper Pedagogy and Possibility Thinking in the Early Years (Cremin, Burnard and Craft May 2006) sought to identify what characterises possibility thinking expanded on young childrens learning experiences and how teachers pedagogical practices fosters this critical aspect of creativity. Possibility thinking is central to creative learning and at the heart of all creative engagement. A 12 month study carried out in a primary school by University researchers showed that teachers use the practice of standing back whilst giving pupils time and space so as to foster possibility thinking. Studies undertaken by the team (Craft 2001, Burnard et al 2006, Chappel 2006, Cremin et al 2006) suggest that the concept of Possibility thinking has creative engagement across all contexts. Possibility thinking implies attention to impact of ideas and nurtures trusteeship (Claxton 2008). The Curriculum Guidance for the foundation stage emphasizes that creativity begins with curiosity and involves children in exploration and experimentation. They draw upon their imagination and originality. They make decisions, take risks and play with ideas. If they are to be truly creative, children need the freedom to develop and the support of adults (DFES 2000:118). The work of researchers such as Craft (2002), Csikszentmhalyi (1997), Fisher (1990) and Lipman (1988) has demonstrated the value of creativity in learning in the early years. In the foundation stage curriculum document creativity is presented as a subject and promoted in areas such as dance, music and stories. However they argue young childrens learning is not compartmentalised (DFES:45). Thus subjects such as mathematics should provide opportunities for creative thinking as teachers need to recognise the importance of creativity throughout the whole curriculum so as to develop childrens creative thinking and extend t heir learning whenever possible. (Worthington and Carruthers 2005) Given the pace of change in the 21st century education needs to be creative whilst enhancing the creativity of both young children and the adults who work with them (Facer 2007). Methodology The researcher chose to use a combination of both secondary source materials alongside primary sources. The already published literature provided her with a solid base on which she was able to begin to base the investigation as well as providing the researcher with possible areas to explore and correlations to look out for when carrying out her research. The primary sources enabled her to support the research that already existed and helped to draw balanced conclusions when it came to answering the research question. This made her investigation current and valid but will also aid the researchers future practice. Research in education is a disciplined attempt to address questions or solve problems through the collection and analysis of primary data for the purpose of description, explanation, generalisation and prediction (Anderson et al, 1998). There are many types of research but they all share the following basic characteristics; They are all, or aim to be planned, cautious, systematic and reliable ways of finding out or deepening understanding (Blaxter et al, 2001, p.5). The researcher used a variety of primary methods: Unstructured interviews Unstructured interviews are a qualitative method of research that provides informal, open ended flowing conversations. The advantage of this method, when discussing a subjective area such as creativity is that it provides in depth information. Interviews provide valid and useful information which will enrich her research and by gathering opinions on possibility of thinking she will gain insight into the benefits and motivation it provides to young children. Participant Observations The researcher will carry out overt observations in a variety of settings namely a primary school, a playgroup and a residential home. She will use overt observations whereby adults, and children are aware of her presence so as to avoid ethical issues. The researcher chose participant observations so that as a trusted adult she could join in with the creative activities and thus fully understand what was happening in each individual setting. The researcher was also keen to observe how an adult intervention and presence affected the childrens creative process. Ethics considered There are research concerns specific to children and young people set out in the British Educational Research Association (BERA) ethical guidelines. Primarily, these are focused upon the informed and valid consent of participants, and ways of assuring that this is attained (Lindsay, 2000). It was ensured that the BERA ethical guidelines were followed. This included, informing the primary school teacher, playgroup leader and childminder what the research entailed and what would be expected of the children included in the sample. In line with ethical issues it was stressed that the data would remain anonymous. Empirical chapter 1: Observations Introduction Observations are an interpretivist approach. Interpretivism emphasizes that people have consciousness involving personal beliefs, values and interpretations and these influence the way people out. They do not simply respond to forces outside of them. (K.Browne 2006) The researcher aims to interpret the values and feelings of both individuals and the group. The information will be in-depth and on a micro scale. Aims Participant observations aim to develop an understanding from the view point of the subjects of the research without allowing the researchers own values and prejudices to distort the observation. Children pose questions and find solutions to stimulate creative thinking. If young children are prepared to take risks they are more creative. Methodology Participant Observation The first task of any research is to gather information. The researcher will be doing this by carrying out observations so that explanations and correlations can be made. The information generated will provide her with opinions about the extent to which possibility thinking is at the heart of creativity in young children. She will carry out three observations the first at a primary school in Stafford where she will observe a year one numeracy lesson. The second at a playgroup in Wolverhampton and finally the third at the residential home of a childminder in Northampton. The observations will be overt and participant. The researcher will be honest with the children and adults so they understand what she is doing. All observations will take place in a non-threatening, safe atmosphere. At both the playgroup and childminders home the children will be either playing or involved in creative activities. At school the year one pupils will be involved in a numeracy lesson. The researcher will use an observation sheet to record information and write the observations up at a later date. She has chosen participant observation as the researcher joins the group being studied and can therefore see things through their eyes. Observation 1 Participants Barnfield Primary school Stafford year one class 25 pupils 14 girls 11 boys Materials Numeracy lesson plan on shape Procedures Firstly she wrote to the head to ask permission to carry out the observation and then visited the school on Monday 14th December 2009 for a pre-visit to discuss the observation with the class teacher. She carried out the observation on Tuesday 12th January 2010. Analysis The data will be written up on the observation sheet and analysed at a later date. Observation 2 Participants Portobello Community Centre pre-school playgroup 8 children 5 boys 3 girls Materials Cut out reindeers, card Construction toys Observation sheet Procedures Firstly she contacted the play leader by telephone to discuss the observations. She carried out the observations on the 7th December 2009 and the 18th January 2010. Analysis The data will be written up on the observation sheet and analysed at a later date. Observation 3 Particpants Registered childminders home in Northampton. At present she looks after boys aged seven and five and a girl aged three. Materials Toys e.g doll house, brio and magnetix Musical instruments e.g drums and shakers Observation sheet Procedures The child minder is a family friend so the researcher made contact by phone. The researcher then visited on Monday 21st December 2009 to carry out the observation. Analysis The data will be written up on the observation sheet and analysed at a later date. Results from observations The researcher chose to observe young children in a variety of settings. The children at school were involved in a directed task namely a numeracy lesson about shape. The children at playgroup and at the childminders home were either playing or involved in semi-structured activities which gave scope for creativity and allowed for personal expression, unlike the numeracy lesson the play, art and music tasks excluded the notation for right and wrong. The children in all 3 settings produced a variety of results and their scope for creativity was dependent upon The environment The activity The resources available The level of adult support and intervention Discussion of Playgroup Observation 1 The observations at the playgroup showed three aspects of the process using the Possibility Thinking framework namely: Posing questions Play Immersion and making connections They also included three aspects of process outcome: Being imaginative Innovation Risk taking There was little evidence of development or innovation but this was probably due to the fact that the children were aged between two to four. The first observation on 7th December 2009 showed the youngsters involved in a Christmas workshop making cards and 3D reindeers. The children were excited and constantly posing questions about what colours and materials to use. The children were immersed in the activity and the outcomes were imaginative and showed they were happy to take risks. The youngsters were confident and supported by numerous adults thus the level of adult supervision was high. Discussion of Playgroup Observation 2 The second observation took place at the playgroup on January 18th 2010. The youngsters were allowed to play in the sand and water, home corner and with construction toys such as bricks and Lego. The boys were more interested in the construction toys, whilst the girls predominately played in the home corner. All children were immersed in play and asked questions. They were imaginative and took risks; however there was little evidence of innovation or development. The level of adult supervision was quite high however the intervention by the adults was low. Discussion of Childminders Observation The researcher visited a childminders home on Friday 18th December 2009 when she was looking after three children. The youngsters played with construction toys, jigsaws, dolls house, and my little ponies. They then played with musical instruments such as a drum set and maracas. The children were thrilled to make music. The three children constantly chatted to each other. They played together and on their own. The boys were immersed in creating a brio track and Lego models whereas the girl immersed herself in the imaginary world of my little pony. All three children were imaginative and creative especially when the musical instruments appeared. They discovered different sounds and ways of making music and formed a mini band. Discussion of Numeracy Lesson observation (year one on shape) The researcher expected the lesson to have limited opportunities for creativity due to space and structure constraints. She views numeracy as a factual, uncreative lesson which focuses on the understanding of set rules. However the researcher was surprised that the pupils ideas were welcomed and they could pose questions. The children could not really produce original work as there were right and wrong answers although they did explore different methods to get there so were given some ownership for their own learning. There was also some scope for development and innovation in their work. Conclusion of observations The aim of participant observations is to develop an understanding from the point of view of subjects without prejudice. The researcher achieved this by observing youngsters and their adult supervisors in a variety of settings whilst becoming a full trusted member of the group. All the children posed questions so as to find solutions to stimulate creative thinking. The youngsters at both the playgroup and childminders home had more opportunities to take risks than those in the classroom so had more chance to be creative. Empirical Chapter 2: Unstructured Interviews Introduction An unstructured interview is like a guided conversation. The interviewer has the topic to cover but questions are open-ended. The researcher seeks to put the respondent at ease, in a relaxed informal situation and hopefully the questions will trigger further discussion. The interviewer aims to obtain further depth than is possible in a structured interview. Unstructured interviews are from an interpretivist approach and provide qualitative data as they are concerned with peoples feelings and views. Aims Unstructured interviews provide rich, detailed information where by the respondents can express their feelings about the issue of creativity and possibility thinking. Certain tasks such as art, music, drama and dance are more suitable to creative thinking. The learning environment and teaching strategies need to provide scope for imagination if children are to produce a variety of outcomes and thus accommodate creative learning. Methodology Unstructured interviews The researcher will interview three adults and conduct the interviews like a discussion with open-ended questions. She will be careful not to influence the replies so as to avoid interviewer bias. She will write down the replies on an interview sheet but try not to disrupt the flow of the interviews. The replies will hopefully produce rich, qualitative information and comparisons between interviews can be drawn. The use of interviews, stimulate reflection and critical conversations about possibility thinking as a form of engagement and strategy of creativity and the creative thinking process. The probing questions will allow the adults to focus on what they consider to be significant in the creative learning experiences. Interview 1 Particpants Barnfield Primary School Stafford Year one class teacher. Materials Procedures The researcher wrote to head to ask permission to interview a class teacher. The researcher visited the school to meet the teacher on Monday 14th December. The researcher carried out the interview on Tuesday 12th January 2010. Analysis The researcher will write the interview up on the interview sheet and compare the three interviews. Interview 2 Particpants Portobello Community Centre playleader Materials Procedures The researcher contacted the play leader by telephone to discuss the interview. The researcher then carried out the interview on January 18th 2010. Analysis The researcher will write the interview up on the interview sheet and compare the three interviews. Interview 3 Particpants Registered childminder who is also a qualified teacher. Materials Procedures The researcher contacted the childminder by phone to discuss the interview. The interview was carried out on Monday 21st December 2009. Analysis The researcher will write the interview up on the interview sheet and compare the three interviews. Results from Interviews The researcher chose to interview the three adults who were involved in her observations. The questions had a focus related to creativity and possibility thinking but were open ended so allowed for development. All adults were interviewed in a quiet environment where they felt at ease. The three adults all said they used similar strategies to encourage creativity namely standing back and providing a safe environment, with multiple resources that encouraged creative thinking. Two out of three adults were unsure that possibility thinking was central to creative learning but thought strategies such as posing questions and giving children time and space does develop the notation of possibility thinking. All three adults thought the environment was important for creative learning and believed a safe, challenging experience helps to provide opportunities for imaginative experiences. All three adults felt some tasks were more suited to creative thinking such as dance, music and play however the class teacher thought subjects such as maths and science should provide opportunities for creative thinking. Discussion of Interviews with year one teacher, play leader and registered childminder All three adults interviewed discussed different strategies they used to encourage children to be creative that included giving youngsters time and space and providing a variety of resources which allowed children to explore activities in imaginative ways. The children were allowed to pose questions and take risks. They felt the environment and the tasks offered were crucial to creative thinking however only the class teacher thought possibility thinking was central to creative learning. They all thought that creativity begins with curiosity and is developed if children are given the opportunity to explore and experiment with different resources and ideas. Conclusion of interviews The aim of unstructured interviews was to provide rich identical information whereby respondents could express their feelings about creativity and possibility thinking. All three interviewees gave the researcher detailed insight into the adults views about the research issue. All three interviews felt certain tasks such as art and music were more suitable to creative thinking. They gave a detailed account of how the learning environment and strategies such as giving children time and space provide opportunities for imagination and creative learning. Conclusion NACCCE (1999) argued creativity is imaginative actively fashioned so as to produce outcomes that are both original and of value. According to Craft possibility thinking is at the heart of creativity in education. This idea has implications as the engagement of learners according to Jeffrey (2005) leads to engagement with problems. Fostering childrens possibility thinking can be seen as building their resilience and confidence and referencing their capabilities as confident explorers, meaning makers and decision makers. (Craft 2005). Possibility thinking involves problem finding and solving. Creative teaching may foster learner creativity providing there are co-participative partnerships between teachers and learners, in which they explore issues, pose questions, identify problems and reflect upon their thinking and learning. The key factor being that the control has to be handed back to the learner (Craft and Jeffery 2003). In seeking to unravel the issues of what constitutes possibility thinking in the learning experiences of young children and how teachers, play leaders and childminders foster possibility thinking as an aspect of creativity, the researcher carried out observations and interviews. She used probing questions and encouraged the adults to engage in in-depth reflective practice. Following close observations in each context using the possibility thinking documentation framework and further interviews with the adults in charge, core areas of possibility thinking in childrens learning were identified. They included the three aspects of process i.e posing questions, play immersion and inversion. They also included the three aspects of process outcome i.e being imaginative, innovation and risk taking. The observations were written up in the light of the three-fold-structure. Many of the youngsters were involved in risk taking and were immersed in an activity. On the outcomes there was little evidence of development and the question of taking intentional action was problematic as many of the children were too young. In terms of process outcome the notation of innovation was also difficult as what might be normal for one child in one particular environment may not be normal for another. The separation of process and outcome is not easy during the early years as young children often take risks to move their thinking forward but this may not be an outcome. The integration between creative teaching and learning also seemed to foster possibility thinking. If young children feel safe they gain confidence as with the children in all three observational settings. The three interviews highlighted the fact that they all tried to foster creativity in their youngsters by providing a stimulating learning environment which allowed the children to pose questions and explore a variety of outcomes in an imaginative way. The adults tried to stand back but felt some tasks were more suited to creative thinking than others. The aim of the research was to investigate whether possibility thinking is at the heart of creativity in young children. Researchers such as Professor Anna Craft believe it is so as does one out of three of the adults interviewed. Many researchers such as Craft, Jeffrey, Burnard and Chappel all feel creativity and imagination allow young children to learn and develop. If children are to be creative, adults need to give them freedom to develop. Cremin, Burnard and Craft (2006) found that in a twelve month study carried out in schools; that teachers needed to stand back and give children time and space to foster possibility thinking. The observations and interviews carried out by the researcher reinforced this. The final hypothesis was that the resources, environment and tasks affect the possibilities for creative thinking. The observations and interviews with adults confirmed this. Deciding whether the motivation of pupils based on the creative setting was difficult to determine as she only carried out observations in three settings and only interviewed three adults, thus her findings were limited. Possibility thinking does appear to influence creativity but the sample was small and the decisions the researcher made were subjective and not based upon objective scientific testing. Bibliography Blaxter,L. (2001). How To Research. Second edition. England. Open University press. Browne,K. (2006). Introducing Sociology for AS level. Second edition. Cambridge. Polity Press. British Educational Research Association (BERA). [Online]. (http://www.bera.ac.uk/blog/2010/03/04/exploration-and-analysis-on-creativity-and-innovation-in-initial-vocational-education-and-training/). (Accessed 10.12.2009) Britzman, D. (1986) Cultural myths in the making of a teacher: biography and social structurein teacher education. Harvard Educational Review, 56(4), pp. 442-446. Burnard, P., Craft, A. and Grainger, T. (2006), Possibility Thinking, International Journal of Early Years Education. Volume 14. No. 3, October 2006 pp 243-262 Chappell, K. (2006). Creativity within late primary age dance education: Unlocking expert specialist dance teachers conceptions and approaches. [Online].(Available from http://kn.open.ac.uk/public/document.cfm?documentid=8627). London. (Accessed 21.01.2010) Claxton, G. (2008). Creativity, Wisdom and Trusteeship. Thousand Oaks, CA., Corwin Press. Craft, A. (1997).Can You Teach Creativity? Nottingham. Routeledge. Craft, A. (1999) Creative development in the early years: some implications of policy for practice.[Online]. (http://www.informaworld.com/smpp/content~content=a739635700db=all). The Curriculum Journal. Volume 10(Issue 1). (Accessed 002.01.2010). Craft, A. (2000), Creativity Across the Primary Curriculum. London. Routledge Craft, A. (2001) Little c Creativity. In A. Craft, B. Jeffrey and M. Leibling Creativity in Education. London.Continuum. Craft, A. (2002).Creativity and Early Years Education. London. Continuum Books Craft, A. (2005) Creativity in schools: tensions and dilemmas. Abingdon.Routledge. Craft ,A. (2008). Creativity in the school.[Online].(http://www.beyondcurrenthorizons.org.uk/wp-content/uploads/ch3_final_craft_creativityinschool_20081218.pdf). Exeter. Open University. (Accessed 02.01.2010) Craft, A. Creativity and Possibillity in the Early Years.[Online] (http://www.tactyc.org.uk/pdfs/Reflection_craft.pdf). (Accessed 02.12.2009) Craft, A. Cremin, T., Burnard, P.(2006) Pedagogy and possibility thinking in the early years.[Online]. (http://www.sciencedirect.com/science?_ob=ArticleURL_udi=B7XN8-4M2WTP9-1_user=10_coverDate=11%2F30%2F2006_rdoc=1_fmt=high_orig=search_sort=d_docanchor=view=c_searchStrId=1255424291_rerunOrigin=google_acct=C000050221_version=1_urlVersion=0_userid=10md5=0241bbe9052a7b6bb3b1e704447d2c06). International Journal of Thinking Skills and Creati

Storm Fear Essay -- Literary Analysis, Robert Frost

The poem â€Å"Storm Fear† by Robert Frost describes a scene in which â€Å"the wind works against us in the dark.† Throughout the poem, the frozen landscape acts as an antagonist fighting against man. In the classic novella Ethan Frome, author Edith Wharton also personifies the landscape. The village of Starkfield, New England during the harsh winters is also an antagonist, prohibiting the characters from communicating with each other effectively. Throughout both works the environment causes Ethan and the speaker of the poem to suppress their feelings until it is too late to act. Both authors use vivid and detailed imagery to portray a dark winter storm. Frost starts the poem by describing the chilled atmosphere. In the second line, the author denotes a harsh winter storm that â€Å"pelts with snow.† This statement, along with the line mentioned earlier, indicates that the scene is working against the characters. The word â€Å"pelt† is a key word in this sentence. Pelt may mean to attack or assault, but it can also be another word for the hide of a dead animal. This implies that the snow is so harsh that it can be classified as deadly. The title â€Å"Storm Fear† doesn’t give off a positive connotation. . Rather than mentioning the beauty of a snowflake, or describing a â€Å"winter wonderland†, the author chooses to describe the winter as if it is looking to bring an end to something (or someone). It is referred to as a â€Å"storm†, not a snowfall. â€Å"Fear† also is not positive, as it can be defined as à ¢â‚¬Å"an unpleasant emotion†. In Ethan Frome, Wharton’s dark description of the winters in New England is prevalent throughout the work. She refers to the winter as a â€Å"sunless cold.† (pg. 8). Harmon Gow even claims that â€Å"Most of the smart ones get away [from the winte... ...than could have gone over to Mattie when he alone with her by the fire, but instead he has her move into Zeena’s chair. Wharton indicates that he is to â€Å"indolent† and â€Å"lazy† (pg. 77) to move over to her. Neither character can make the change and overcome the influence of the storm unless they put in the effort, and do so â€Å"unaided†. In both â€Å"Storm Fear† by Robert Frost and Edith Wharton’s great novella Ethan Frome, the landscape is personified to fight against the characters. Frost and the characters in the novella are challenged by brutal winter storms that do not allow them to communicate with each other effectively. Only when it is to late do they say what must be said and do what must be done. In the end, the landscape leaves Mattie and Ethan crippled, and Frost snowed in. If they were able to articulate, things would have been different.

First world war poetry Essay

First world war poetry 39†² faris-slm Web definitions A war poet iS a poet written at that time and on the subject of war. This term, at the beginning applied especially to those in military service during World War I. then, documented as early as IS4B in reference to German revolutionary poet, Georg Herwegh The main figures in the first world war Siegfried Sassoon (1886-1967)-1 Siegfried Sassoon was perhaps the most innocent of the war poets. John Hildebdle has called Sassoon the â€Å"accidental hero. Born Into a wealthy Jewish family In 1886, Sassoon lived the pastoral life of a young squire: fox-hunting, playing cricket, golfing nd writing romantic verses. Being an Innocent, Sassoon’s reaction to the realities of the war were all the more bitter and vlolent both his reaction Trough his poetry and his reaction on the battlefield (after the death ot fellow officer David Thomas and has brother Hamo at Gallipoli). Sassoon sadness, he believed that the Germans were entire ly to blame. Sassoon showed innocence by gong public to protest against the war. Luckily. his friend and fellow poet Robert Graves convinced the review board that Sassoon was suffering from shell-shock and he was sent instead to the military ospital at Craig Lockhart where he met and influenced Wilfred Owen. Sassoon is a key figure in the study of the poetry of the Great War: he brought with him to the war the ideal pastoral background. he began by writing war poetry reminiscent of Rupert Brooke. he wrote with such war poets as Robert Graves and Edmund Blunden. e spoke out publicly against the war. he spent thirty years reflecting on the war through his memoirs, and at last he found peace in his religious faith. Some critics found his later poetry lacking in comparison to his war poems. How to Die† ‘ Dark clouds are smouldering into red While down the Craters morning burns The dying soldier shifts his head TO watch the glory that returns He lifts his fingers toward the skies Where hol y brightness breaks in name: Radiance reflected in his eyes, And on his lips a whispered name. You’d think, to hear some people talk, That lads go West with sobs and curses, And sullen faces white as chalk, Hankering for wreaths and tombs and hearses. But they’ve been taught the way to do it Like Christian soldiers: not with haste And shuddering groans: but passing through it With due regard for decent taste. From the age of nineteen Owen wanted to be a poet and immersed himself in poetry, eing especially impressed by Keats and Shelley. He wrote almost no poetry of importance until he saw action in France in 1917. He was deeply attached to his mother to whom most of his 664 letters are addressed. (She saved everyone. ) He was a committed Christian and became lay assistant to the vicar of Dunsden near Reading 1911-1913 – teaching Bible classes and leading prayer meetings as well as visiting parishioners and helping in other ways. He escaped bullets until the last week of the war, but he saw a good deal of front-line action: he was blown up, concussed and suffered shell-shock. At Craig Lockhart, the psychiatric hospital in Edinburgh, he met Siegfried Sassoon who inspired him to develop his war poetry. He was sent back to the trenches in September, 1918 and in October won the Military Cross. by seizing a German machine-gun and using it to kill a number of Germans. On 4th November he was shot and killed near the village of Ors. The news of his death reached his parents’ home as the Armistice bells were ringing on 11 November. Wilfred Owen is the greatest writer of war poetry in the English language. He wrote out of his intense personal experience as a soldier and wrote with matchless power of the physical, moral and psychological impact of the First World War. All of his great war poems about his reputation rests were written only in a fifteen months. Anthem for Doomed Youth BY WILFRED OWEN What passing-bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons. No mockeries now for them; no prayers nor bells, Nor any voice of mourning save the choirs,† The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of good-byes. The pallor of girls’ brows shall be their pall; Their flowers the tenderness of patient minds, And each slow dusk a drawing-down of blinds In England For the first time, am essential number of important English poets were soldiers, writing about their experiences of war. A number of them died on the battlefield, most famously Rupert Brooke, Edward Thomas, and Wilfred Owen. Siegfried Sassoon survived but were scarred by their experiences, and this was reflected in their poetry. Wilfred Gibson (1878-1962) -3 Wilfred Wilson Gibson was born in Hexham, England in 1878. Gibson worked for a time as a social worker in London’s East End. He published his first verse in 1902, Mountain Lovers. He had several poems included in various Georgian poetry 1910. After the outbreak of war, Gibson served as a private in the infantry on the Western Front. It was therefore from the perspective of the ordinary soldier that Gibson wrote his war poetry. His active service was brief, but his poetry contradict his lack of experience, â€Å"Breakfast† being a prime example of ironic war verse written during the very early stages of the conflict following the armistice, Gibson continued riting poetry and plays. His work was particularly concerned with the poverty of industrial workers and village workers. Back They ask me where I’ve been, And what I’ve done and seen. But what can I reply Who know it wasn’t l, But someone Just like me, Who went across the sea And with my head and hands Killed men in foreign lands†¦ Though I must bear the blame, Because he bore my name. str Herbert Read (1893-1968) -4 the poet and critic, was born in France, Yorkshire in 1893 His college studies, at Leeds University, were interrupted by the outbreak of the First World War, in which he served with the Yorkshire Regiment in France and Belgium. During his service he was awarded the Distinguished Service Order (DSO) and Military Cross in the same year, 1918. Read wrote two volumes of poetry based upon his war experiences: Songs of Chaos (1915) and Naked Warriors, published in 1919, along with two volumes of autobiography, In Retreat (1925) and Ambush (1930). He became an outspoken pacifist during the Second World War. He continued to publish poetry for the remainder of his life, his final volume, Collected Poems, being published in 1966. As a literary critic he championed the 19th-century English Romantic authors, for example in â€Å"The True Voice of Feeling† Studies in English Romantic Poetry . Ernest Hemingway -5 Ernest Hemingway, the son of Clarence Edmonds Hemingway, a doctor, was was born in Oak Park, Illinois, on 21st July, 1899. His mother, Grace Hall Hemingway, was a music teacher but had always wanted to be an opera singer. According to Carlos Baker, the author of Ernest Hemingway: A Life Story (1969), he began writing stories as a child: â€Å"Ernest loved to dramatize everything, continuing his boyhood habit of aking up stories in which he was invariably the swashbuckling hero†. When the United States entered the First World War in 1917 Hemingway attempted to sign up for the army but was rejected because of a defective eye. He therefore Joined the Red Cross as an ambulance driver. He later wrote: â€Å"One becomes so accustomed to all the dead being men that the sight of a dead woman is quite shocking. I first saw inversion of the usual sex of the dead after the explosion of a munition factory which had been situated in the countryside near Milan. We drove to the scene of the disaster in trucks along poplar-shaded roads. Arriving where the munition plant had been, some of us were put to patrolling about those large stocks of munitions which which had gotten into the grass of an adjacent field, which task being concluded, we were ordered to search the immediate vicinity and surrounding fields for bodies. We found and carried to an improvised mortuary a good number of these and I must admit, frankly, the shock it was to find that those dead were women rather than men†. A Farewell to Arms (1929), Hemingway’s great novel set against the background of the war in Italy, and eclipses the poetry dealing with his war-time experiences.

Essay on Racism and Interracial Marriage in Othello

Racism and Interracial Marriage in Othello Othello: The Moor of Venice is probably Shakespeares most controversial play. Throughout this work, there is a clear theme of racism, a racism that has become commonplace in Venetian society which rejects the marriage of Othello and Desdemona as anathema. The text expresses racism throughout the play within the language transaction of the dialogue to question the societal ethos established by Othello, thereby making him nothing less than a cultural other. Furthermore, the character of Desdemona is displayed as mad, or out of her wits, for marrying such an other, and the audience sees her slip from an angelic state of purity to that of a tainted character. Also, the menacing Iago, a†¦show more content†¦Why else would he address the senator Brabantio with something that was really none of his business? If one believes that miscegenation is a taboo currently manifested within the play then he/she will see how Iago was acting as a representative of society -- a synecdoche respo nsible for pointing out that something has gone wrong -- with a hidden purpose or motive that was the locus for his actions. Iago is the antithetical character of Shakespeares creation. He is the catalyst of all the destructive happenings within the play starting from the very beginning of the play when he and Roderigo approach the residence of Brabantio, Desdemonas father, in Act 1 scene 1. He uses racist language to appeal to the senators traditional beliefs, including such phrases as Even now, now, very now, an old black ram / Is tupping your white ewe (1.1.85-86). Iago even goes so far as to hypothesize that Brabantios grandchildren will be animals because of his daughters base marriage with an other. youll have your daughter covered with a Barbary horse, youll have your nephews neigh to you youll have coursers for cousins, and gennets for germans. (1.1.108-111) Iago plays out the importance of his role when he further states that he is the one, almost as if he were appointed to such a position, who must inform Brabantio that his daughter and the Moor were making the beast with two backs (1.1.112-113). ButShow MoreRelatedOthello, By William Shakespeare894 Words   |  4 Pagesthose that which occurred in Othello written by William Shakespeare. Throughout the play Othello, we see the struggles of a marriage that is not accepted by their society. Othello is a extremely cherished black general living in a primarily white community. The play begins with Othello secretly becoming married to a white woman named Desdemona. This reasons others who are white to become angry and excuse to dislike this black man further more than they already do. Othello is a downward spiral from loveRead MoreThe Venetian Society in Othello by William Shakespeare746 Words   |  3 PagesOthello by William Shakespeare raises the issue of how rampant beliefs and attitu des in a society can cause a person to question their sense of self. In a society where racial equality is near non-existent, Othello, a black skinned foreigner in the Venetian society, is constantly reminded of his status as an outsider. Othello, however, is not depicted in a stereotypical manner and despite occupying a highly respected position he is often confronted with blatant racism throughout the play. The prevailingRead MoreExaming the Interracial Marriage of Othello and Desdemona Essay1105 Words   |  5 PagesCenturies ago in Elizabethan England there were many traditions about marriage and the treatment of women. One strong tradition of these times was the practice of marriage between races. Interracial marriages were considered extremely taboo. (High Beam). In this era marriages were arranged by the parents with strong help from the local church. The individuals had little choice as to who they would marry. (Elizabethan England Life). Yet another example of these tradit ions was the respectable treatmentRead MoreRacial Integrity Act Of 1924 And Mildred Loving1479 Words   |  6 Pagesand Mildred Loving, were arrested for violating the Racial Integrity Act of 1924, or the marriage of a â€Å"white† man and a â€Å"colored† woman in Virginia 1967. This story is one of many examples of when the status quo of race has been challenged. This couple, along with others, disregarded the norm of opposing interracial relationships, and above all chose love as the only thing that matters. In the play, Othello by William Shakespeare, the book Adventures Of Huckleberry Finn by Mark Twain, and the articleRead MoreOthello Character Analysis1241 Words   |  5 PagesOthello, a play written in the setting of Venice City during a period of war between Venice and Turkey in the 16 century is one of the numerous William Shakespeare’s plays. Othello a middle-aged black moor who is also a general in the defense forces marries Desdemona, a white aris tocratic lady against the wishes of her father. Their love, however, does not have the happily ever after ending due to the manipulations, deceptions, and scheming of Iago who is driven by revenge and selfish ambitions.Read MoreRacism in Othello by William Shakespeare Essay1235 Words   |  5 Pageshow much Othello’s race and the racism around him affected his life? Othello struggled a lot during the play because of his dark skin color. He was called several racist names like â€Å"the Moor,† â€Å"old black ram,† â€Å"Barbary horse,† and â€Å"thick lips† (Shakespeare 1.1.40; 1.1.88; 1.1.111; 1.1.66).The term â€Å"racism† has been around for several years; it started in the twentieth century (Bartels 433). By the way the Elizabethan era viewed black people was similar to how racism is today with all of the racialRead MoreThe Failure Of Leadership And How It Can Affect A Nation A Story About Othello854 Words   |  4 Pagesessay will fo cus Racism, Othello motivation, his marriage to his wife, and his downfall resulting in killing his wife as well as himself. This essay will paint a picture of how real this can be in real life regarding normal human beings who have leadership positions. Leaders will always be tested and will have to overcome obstacles to ensure success for their specific position and the people they represent. In the beginning of the story Iago tells Roderigo his hatred for Othello and how he his upsetRead MoreRacism In Othello Essay1414 Words   |  6 PagesShakespeare’s Othello depicts the downfall of a highly respected war general and explores themes such as jealousy, gender, and deception. The exploration of these themes evinces the racial, cultural, and social climate of Venice. The primary philosophies of the seventeenth century about race are a substantial part of Othello’s doubt and insecurity, which ultimately lead to his tragic demise. The encounter between worlds with differing values and ideas plays a considerable role in the context of Othello. ThereRead MoreRelationship Between Desdemona And Othello1132 Words   |  5 Pagesa breaking point when Othello’s â€Å"so called† right hand man, Iago, traduces about Desdemona. Their marriage is constantly being put to test. Desdemona and Othello have the most troubling relationship due to the influences of outside forces. To begin with, Othello and Desdemona’s relationship is troubled due to Iago’s manipulation. Firstly, Iago wants to get retribution against Othello because Othello does not give him the title of being lieutenant. Iago says, â€Å"But for my sport and profit. I hate theRead MoreKahron Fyffe. . World Literature . . Dr. Fiore. . 28 April1036 Words   |  5 PagesLiterature Dr. Fiore 28 April 2017 Othello: Hero or Stranger Othello is a hero due to being a hardened and vicious warrior on the battlefield but he is also a tragic hero in this play. A tragic hero by definition is a literary character who makes a judgment error that inevitably leads to his/her own destruction. For example Othello is the husband of Desdemona whom he murders because he has been misled by the villainous Iago