Multiple Intelligences in Communication

Faculty of Teacher Training – English Department

Course Title: Applied Communication Skills (Elective)

Instructor: Dr. Rod

Multiple Intelligences in Communication

Preparation: Go to the following web site and complete the assignment there. Print out YOUR individual Multiple Intelligence chart and bring to class: http://www.bgfl.org/bgfl/custom/resources_ftp/client_ftp/ks3/ict/multiple_int/questions/questions.cfm

Above is the chart for Dr. Rod. What does it tell you about how he learns?

Note: This is an interactive worksheet which produces a Multiple Intelligences wheel based upon Gardner’s eight multiple intelligences. With thanks to Jean Maund from whom this idea originated and colleagues in the University of the First Age who helped develop the questionnaire.

To start the activity, sign in and fill in a little bit of information about yourself. You can then begin to answer the questions. When you have finished, click on the submit button. If you have not filled in all the questions you will get a warning sign telling you what questions need answering. You can print the intelligences wheel and the unique number printed on the sheet will allow you to re-visit your wheel at any time.

Now try this one:

http://literacyworks.org/mi/assessment/findyourstrengths.html

Again, here are the results from Dr Rod.

Dr Rod’s top three intelligences:

Intelligence	Score (5.0 is highest)	Description
	4.86	Social: You like to develop ideas and learn from other people. You like to talk. You have good social skills. Effective techniques of enhancing your learning using your social intelligence include taking part in group discussions or discussing a topic one-to-one with another person. Find ways to build reading and writing exercises into your group activities, such as: Reading a dialogue or a play with other people Doing team learning/investigating projects Setting up interview questions and interviewing your family, and writing down the interview Writing notes to another instead of talking.
	4	Self: You have a very good sense of self. You like to spend time by yourself and think things over. You will often take in information from another person, mull it over by yourself, and come back to that person later to discuss it. You like working on projects on your own. You often prefer to learn by trial and error. Effective techniques to enhance your learning include keeping a journal and giving yourself time to reflect on new ideas and information. More ideas: Go on "guided imagery" tours. Set aside time to reflect on new ideas and information. Encourage journal writing. Work on the computer. Practice breathing for relaxation. Use brainstorming methods before reading. Listen to and read "how to" tapes and books. Read cookbooks.
	3.43	Language: You enjoy enjoy saying, hearing, and seeing words. You like telling stories. You are motivated by books, records, dramas, opportunities for writing. Effective techniques of enhancing your learning using your language intelligence include reading aloud, especially plays and poetry. Another idea is to write down reflections on what you’ve read. You may also enjoy exploring and developing your love of words, i.e., meanings of words, origin of words and idioms, names. Use different kinds of dictionaries. Other ideas: Keep a journal Use a tape recorder to tape stories and write them down Read together, i.e., choral reading Read a section, then explain what you’ve read Read a piece with different emotional tones or viewpoints — one angry, one happy, etc. Trade tall tales, attend story-telling events and workshops Research your name

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The scores for your other five intelligences:

3.29	3.14	3.14	2.86	1.57

Just because these five are not in your top three doesn’t mean you’re not strong in them. If your average score for any intelligence is above three, you’re probably using that intelligence quite often to help you learn.

OK, So now you know how I learn from two different online assessments. What are your strengths and weaknesses. For the next session you need to have completed the above two tests and print for me the results.

Look at the results and see if you have the same strengths on both charts, if not how would you explain the differences? (DO NOT retake the tests to manipulate your scores.)

Example 2: Alex (15 yrs Old)

Alex top three intelligences:

Intelligence	Score (5.0 is highest)	Description
	4.71	Body Movement: You like to move, dance, wiggle, walk, and swim. You are likely good at sports, and you have good fine motor skills. You may enjoy taking things apart and putting them back together. Incorporating body movement into your learning will help you process and retain information better. Here are some ideas. Trace letters and words on each other’s back. Use magnetic letters, letter blocks, or letters on index cards to spell words. Take a walk while discussing a story or gathering ideas for a story. Make pipe cleaner letters. Form letters out of bread dough. After you shape your letters, bake them and eat them! Use your whole arm (extend without bending your elbow) to write letters and words in the air. Change the place where you write and use different kinds of tools to write, ie., typewriter, computer, blackboard, or large pieces of paper. Write on a mirror with lipstick or soap. Take a walk and read all the words you find during the walk. Handle a Koosh ball or a worry stone during a study session. Take a break and do a cross-lateral walk.
	4.43	Spatial: You remember things visually, including exact sizes and shapes of objects. You like posters, charts, and graphics. You like any kind of visual clues. You enjoy drawing. Effective techniques of enhancing your learning using your spatial intelligence include creating and/or using pictures, maps, diagrams, and graphs as you learn things. Other suggestions: Write a language experience story and then illustrate it. Color code words so each syllable is a different color. Write a word on the blackboard with a wet finger. Visualize the word as it disappears. See if you can spell it afterwards. Take a survey. Put the information in a chart. Write words vertically. Cut out words from a magazine and use them in a letter. Visualize spelling words. Use colorful newspapers like USA Today. Use crossword puzzles.
	4.29	Social: You like to develop ideas and learn from other people. You like to talk. You have good social skills. Effective techniques of enhancing your learning using your social intelligence include taking part in group discussions or discussing a topic one-to-one with another person. Find ways to build reading and writing exercises into your group activities, such as: Reading a dialogue or a play with other people Doing team learning/investigating projects Setting up interview questions and interviewing your family, and writing down the interview Writing notes to another instead of talking.

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The scores for your other five intelligences:

4	3.57	3.43	3.29	3.14

Question:

How would you describe the differences between Alex and Dr Rod?

What would be the best learning environment for Alex?

How would you express that in a language arts situation?

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Introduction to the multiple intelligences

According to multiple intelligence theory, there are seven basic types of intelligence.

• Visual-spatial
• Verbal-linguistic
• Logical-mathematical
• Bodily-kinesthetic
• Musical-rhythmic
• Interpersonal
• Intrapersonal

Visual-spatial

This area deals with the ability to visualize with the mind’s eye, so to speak and spatial judgement. Careers which is suit those with this intelligence include, architects.

Verbal-linguistic

This area has to do with words, spoken or written. People with high verbal-linguistic intelligence display a facility with words and languages. They are typically good at reading, writing, telling stories and memorizing words along with dates. They tend to learn best by reading, taking notes, listening to lectures, and discussion and debate. They are also frequently skilled at explaining, teaching and oration or persuasive speaking. Those with verbal-linguistic intelligence learn foreign languages very easily as they have high verbal memory and recall, and an ability to understand and manipulate syntax and structure.

Careers that suit those with this intelligence include writers, lawyers, philosophers, journalists, politicians, poets, and teachers.

Logical-mathematical

This area has to do with logic, abstractions, reasoning, and numbers. While it is often assumed that those with this intelligence naturally excel in mathematics, chess, computer programming and other logical or numerical activities, a more accurate definition places less emphasis on traditional mathematical ability and more reasoning capabilities, abstract patterns of recognition, scientific thinking and investigation, and the ability to perform complex calculations. It correlates strongly with traditional concepts of "intelligence" or IQ.

Careers which suit those with this intelligence include scientists, mathematicians, engineers, doctors and economists.

Bodily-kinesthetic

In theory, people who have bodily-kinesthetic intelligence should learn better by involving muscular movement (e.g. getting up and moving around into the learning experience), and are generally good at physical activities such as sports or dance. They may enjoy acting or performing, and in general they are good at building and making things. They often learn best by doing something physically, rather than [by] reading or hearing about it. Those with strong bodily-kinesthetic intelligence seem to use what might be termed muscle memory – they remember things through their body such as verbal memory or images.

Careers that suit those with this intelligence include: athletes, dancers, musicians, actors, surgeons, doctors, builders, police officers, and soldiers. Although these careers can be duplicated through virtual simulation, they will not produce the actual physical learning that is needed in this intelligence

Musical-rhythmic

This area has to do with rhythm, music, and hearing. Those who have a high level of musical-rhythmic intelligence display greater sensitivity to sounds, rhythms, tones, and music. They normally have good pitch and may even have absolute pitch, and are able to sing, play musical instruments, and compose music. Since there is a strong auditory component to this intelligence, those who are strongest in it may learn best via lecture. Language skills are typically highly developed in those whose base intelligence is musical. In addition, they will sometimes use songs or rhythms to learn and memorize information.

Careers that suit those with this intelligence include instrumentalists, singers, conductors, disc-jockeys, orators, writers and composers.

Interpersonal

This area has to do with interaction with others. In theory, people who have a high interpersonal intelligence tend to be extroverts, characterized by their sensitivity to others’ moods, feelings, temperaments and motivations, and their ability to cooperate in order to work as part of a group. They communicate effectively and empathize easily with others, and may be either leaders or followers. They typically learn best by working with others and often enjoy discussion and debate.

Careers that suit those with this intelligence include sales, politicians, managers, teachers and social workers.

Intrapersonal

This area has to do with introspective and self-reflective capacities. People with intrapersonal intelligence are intuitive and typically introverted. They are skillful at deciphering their own feelings and motivations. This refers to having a deep understanding of the self; what are your strengths/ weaknesses, what makes you unique, can you predict your own reactions/ emotions.

Careers which suit those with this intelligence include philosophers, psychologists, theologians, lawyers, and writers. People with intrapersonal intelligence also prefer to work alone.

Naturalistic

This area has to do with nature, nurturing and relating information to one’s natural surroundings. They learn best by collecting and analyzing.

Careers which suit those with this intelligence include naturalists, farmers, and gardeners.

Existential

This area has do to with philosophical issues of life. The learn best by thinking analytical questions.

Careers which suit those with this intelligence include readers, religious speakers.

Use in education

Traditionally, schools have emphasized the development of logical intelligence and linguistic intelligence (mainly reading and writing). In fact, IQ tests (given to about 1,000,000 students each year) focus mostly on logical and linguistic intelligence. While many students function well in this environment, there are those who do not. Gardner’s theory argues that students will be better served by a broader vision of education, wherein teachers use different methodologies, exercises and activities to reach all students, not just those who excel at linguistic and logical intelligence.

Many teachers see the theory as simple common sense. Some say that it validates what they already know: that students learn in different ways. On the other hand, James Traub’s article in The New Republic notes that Gardner’s system has not been accepted by most academics in intelligence or teaching.

George Miller, the esteemed psychologist credited with discovering the mechanisms by which short term memory operates, wrote in The New York Times Book Review that Gardner’s argument boiled down to "hunch and opinion" (p. 20). Gardner’s subsequent work has done very little to shift the balance of opinion. A recent issue of Psychology, Public Policy, and Law devoted to the study of intelligence contained virtually no reference to Gardner’s work. Most people who study intelligence view M.I. theory as rhetoric rather than science, and they’re divided on the virtues of the rhetoric.

The application of the theory of multiple intelligences varies widely. It runs the gamut from a teacher who, when confronted with a student having difficulties, uses a different approach to teach the material, to an entire school using MI as a framework. In general, those who subscribe to the theory strive to provide opportunities for their students to use and develop all the different intelligences, not just the few at which they naturally excel.

A Harvard-led study of 41 schools using the theory came to the conclusion that in these schools there was "a culture of hard work, respect, and caring; a faculty that collaborated and learned from each other; classrooms that engaged students through constrained but meaningful choices, and a sharp focus on enabling students to produce high-quality work.”

Of the schools implementing Gardner’s theory, the most well-known is “New City School”, in St. Louis, Missouri, which has been using the theory since 1988. The school’s teachers have produced two books for teachers, Celebrating Multiple Intelligences and Succeeding With Multiple Intelligences and the principal, Thomas Hoerr, has written Becoming a Multiple Intelligences School as well as many articles on the practical applications of the theory. The school has also hosted four conferences, each attracting over 200 educators from around the world and remains a valuable resource for teachers interested in implementing the theory in their own classrooms.

See also http://www.miinstitute.info/ Multiple Intelligence Institute. – The Multiple Intelligences (MI) Institute is committed to the understanding and application of Multiple Intelligences Theory in educational settings, from pre-school through adult education. Through our online course and support channels, face to face professional development, consulting services, and curriculum and resource development offerings, we support programs and educators seeking to tap into Multiple Intelligences and pedagogical framework to create and provide learner-centered, goal-driven applications of Multiple Intelligences Theory in any learning context.

Sources: http://www.miinstitute.info/ Multiple Intelligence Institute

http://en.wikipedia.org/wiki/Theory_of_multiple_intelligences Wikipedia – Theory of Multiple Intelligence

http://www.bgfl.org/bgfl/custom/resources_ftp/client_ftp/ks3/ict/multiple_int/questions/questions.cfm Birmingham Grid for Learning.

http://literacyworks.org/mi/assessment/findyourstrengths.html – Literacy Works

William Shakespeare Plays

 

William Shakespeare – the Complete Works

Shakespeare Site Map
Shakespeare Biography
Bubonic Plague
Shakespeare Sonnets

First Folio
Shakespearean Insults!
Pictures of Shakespeare
Shakespeare Poems

Shakespeare Facts
Shakespeare Dictionary
Globe Theater
Identity Problem

Shakespeare Quotes
Shakespeare Quiz!
Elizabethan Theater
Shakespeare Forum

The Plays of William Shakespeare  
The plays written by the great Bard are listed below by category and alphabetical order. The section relating to the Chronology of Plays provides a list of when plays were written and published. This section provides access to the plot summary of each play, pictures, key dates, characters, history and the full script of every one of William Shakespeare’s plays.

History themed Plays
Click a link below to access full scripts and information about Shakespeare’s Plays

• King Henry IV Part 1 – play by William Shakespeare
• King Henry IV Part 2 – a Shakespearean play
• King Henry V – play by William Shakespeare
• King Henry VI Part 1 – play by William Shakespeare
• King Henry VI Part 2 – a Shakespearean play
• King Henry VI Part 3 – a Shakespearean play
• King Henry VIII – play by William Shakespeare
• King John – play by William Shakespeare
• Richard II – play by William Shakespeare
• Richard III – play by William Shakespeare

Tragedy themed Plays
Click a link below to access full scripts and information about Shakespeare’s Plays

• Antony and Cleopatra – play by William Shakespeare
• Coriolanus – a Shakespearean play
• Hamlet – play by William Shakespeare
• Julius Caesar – play by William Shakespeare
• King Lear – play by William Shakespeare
• Macbeth – play by William Shakespeare
• Othello – play by William Shakespeare
• Romeo and Juliet – play by William Shakespeare
• Timon of Athens – a Shakespearean play
• Titus Andronicus – a Shakespearean play

Comedy themed Plays
Click a link below to access full scripts and information about Shakespeare’s Plays

• Alls Well That Ends Well – play by William Shakespeare
• As You Like It – play by William Shakespeare
• Comedy of Errors – play by William Shakespeare
• Cymbeline – a Shakespearean play
• Love’s Labour’s Lost – a Shakespearean play
• Measure for Measure – play by William Shakespeare
• Merchant of Venice – play by William Shakespeare
• Merry Wives of Windsor – play by William Shakespeare
• Midsummer Nights Dream – play by William Shakespeare
• Much Ado About Nothing – play by William Shakespeare
• Pericles, Prince of Tyre – a Shakespearean play
• Taming of the Shrew – play by William Shakespeare
• The Tempest – play by William Shakespeare
• Troilus and Cressida – a Shakespearean play
• Twelfth Night – play by William Shakespeare
• Two Gentlemen of Verona – a Shakespearean play
• Winter’s Tale – a Shakespearean play

Registration of Plays

Plays were required to be registered prior to publication. It was important that plays were regulated as  playwrights used the stage as a forum to express their own views on religion and politics. Registration provided an opportunity to invoke a form of censorship and the means to suppress too much freedom of thought and criticism of the crown and public affairs.

Information provided about the plays

The Bard never published any of his plays and therefore none of the original manuscripts have survived. Eighteen unauthorised versions of his plays were, however, published during his lifetime in quarto editions by unscrupulous publishers (there were no copyright laws protecting Shake-speare and his works during the Elizabethan era). A collection of his works did not appear until 1623 (a full seven years after Shakespeare’s death on April 23, 1616) when two of his fellow actors, John Hemminges and Henry Condell, posthumously recorded his work and published 36 of William’s plays in the First Folio. Some dates are therefore approximate other dates are substantiated by historical events, records of performances and the dates plays appeared in print.

The Characters and Scripts
These enduring works  feature many famous and well loved characters. The text and scripts convey vivid impressions. The language used today is, in many ways, different to that used in the 16th century Elizabethan era and this is often reflected in the script and text used in the plays. It is therefore not surprising that we have no experience or  understanding of some of the words contained in the text / script of the various works. We have therefore included a Shakespearean Dictionary for most of the more obscure words used in the script of his plays, some of which are obsolete in modern language or Dictionaries. Make a note of any unusual words that you encounter whilst reading the scripts and check their definition in the Dictionary by clicking Dictionary at the top of the page to access Elizabethan Dictionary – Guide to language and words used in the Elizabethan era.

Chronology of Plays
The section relating to the Chronology of Plays provides a list of when plays were written and published. This section provides access to the plot summary of each of the plays, pictures, key dates, characters, history and the full script of every one of William Shake-speare’s plays. 

Chronology of Plays – First performance and publications

Editions of Plays
This selection of Collections of Shake-speare conveys the number of different editions of the Plays of the Bard that have been published. Editions may vary in content and variations are generally detailed and explained in the modern forewords.1623 The First Folio (F1) 
1632 The Second Folio (F2) 
1663 The Third Folio (F3) Second issue of the F3 in the following year includes Pericles. 
1685 The Fourth Folio (F4)
1709 Nicholas Rowe’s edition
1723-25 Alexander Pope’s edition. 
1733 Lewis Theobald’s edition. 
1734-5 Robert Walker’s small-format editions of the individual plays
1734-6 Jacob Tonson
1743-4 Thomas Hanmer’s edition.
1747 William Warburton’s edition. 
1765 Samuel Johnson’s edition. 
1767-8 Edward Capell’s edition.
1773 George Stevens’s revision of Samuel Johnson’s edition. 
1773-4 John Bell’s edition – Based on the prompt books then being used in the London theatres. 
1778 Isaac Reed’s revision of Stevens’s Johnson edition. 
1790 Edmond Malone’s edition.
1791-1802 J. & J. Boydell’s edition.
1795 First American edition published at Philadelphia. 
1807 Francis Douce’s edition
1821 A revised edition of Malone, prepared by James Boswell.
1822-23 Pickering edition.
1838-43 Charles Knight’s edition.
1859-60 Mary Cowden Clarke’s edition.
1863-6 Clark, Wright and Glover Cambridge University Press edition.
1870-1911 William J. Rolfe edition 
1899-1931 W. J. Craig and R. H. Case’s ‘The Arden Shakespeare’.
1921-66 John Dover Wilson and Arthur Quiller-Couch’s ‘New Cambridge Shakespeare’.
1937-59 George B. Harrison’s ‘Penguin Shakespeare’.
1951 Peter Alexander’s edition.
1956-67 Alfred Harbage’s ‘Pelican Shakespeare’. 
1974 G. Blakemore Evans’s ‘Riverside Shakes-peare’.The edition most widely used among US colleges  
1986 Stanley Wells and Gary Taylor’s ‘Oxford Shakespeare’.
1995- Richard Proudfoot, Ann Thompson and David Scott Kastan’s revision of the Arden (now known as ‘Arden 3’).

First Folio – Description of William Shakespeare Quarto Texts and first published plays as Comedies, Histories and Tragedies

Plays and the Globe Theatre
Plays were big!! There was money to be made!! There was a constant demand for new material!! Rivalry between the Theatres Playhouses was enormous!! As soon as plays were written they was immediately produced – printing followed productions! So the actors initially used ‘foul papers’ or prompts. Rival theater companies would send their members to attend plays to produce unauthorised copies of plays – notes were made and copied as quickly as possible. In Shakespeare’s time copyright did not exist. Alternative versions of Shakespearean plays were produced! These unauthorised and inferior text copies of Shakespeare’s plays are called Quarto Texts.

The success of the Elizabethan theaters, including that of the Globe, was such that other  forms of Elizabethan entertainment were being seriously affected. In 1591 the growing popularity of theatres led to a law closing all theaters on Thursdays so that the bull and bear bating industries would not be neglected! Many of the plays of the Great Playwright were first featured in the Globe Theatre of London.

Comedies, Histories and Tragedies

William Shakespeare Plays

English for Specific Purposes – 2010 – M.A. ELT Program (4+1 / 3+2)

Faculty of Teacher Training – English Department

Course Title: English for Specific Purposes – 2010 – M.A. ELT Program (4+1 / 3+2)

Instructor: Dr. Rod

E-mail: sjrod55@gmail.com

DRAFT OUTLINE

*The instructor reserves the right to change the syllabus as the course progresses if necessary

Course Overview and Objectives:

English for Specific Purposes (ESP) is known as a learner-centered approach to teaching English as a foreign or second language. It meets the needs of adult learners who need to learn a foreign language for use in their specific fields, such as science, technology, medicine, leisure, and academic learning. This course is recommended for graduate students and foreign and second language professionals who wish to learn how to design ESP courses and programs in an area of specialization such as English for business, Engineering, and for Academic Purposes. In addition, they are introduced to ESP instructional strategies, materials adaptation and development, and evaluation.

Its objectives include:

• To develop an understanding about the factors that led to the emergence of ESP and the forces, both theoretical and applied, that have shaped its subsequent development.
• To assist students develop needs assessments and genre analyses for specific groups of learners.
• To provide guidelines to adapt or create authentic ESP materials in a chosen professional or occupational area and to critically evaluate currently available materials
• To become knowledgeable about assessment procedures appropriate for ESP and apply this knowledge in developing course and lesson evaluation plans in their professional or occupational area.
• To assist students in preparing a syllabus, lesson and assessment plan based upon their needs assessments and genre analyses.

Knowledge and Understanding:

Learning Outcomes
A1 : Knowledge of key principles involving the historical development and existing practice in ESP
A2 : A detailed acquaintance of genres spanning written/spoken discourse and a variety of specialised contexts (academic and non-academic) in which English is taught and used
A3 : An appreciation of the strategies employed by ESP learners in different disciplines and of the roles of ESP teachers
A4 : An understanding of how the above apply to particular teaching situations, especially those that the student is familiar with, in the context of accepted contemporary professional practice

Teaching Methods
1-4 are taught initially through staff-led modules, using a variety of means of delivery (formal lecture, seminar, question-answer discussion session, group-work task-based session, computer lab session, student oral reports, workshop). 4 is enhanced by classroom observation where possible. Staff feedback to students on coursework is a connected important feature enhancing learning. Learning is expected to be deepened through directed and independent self-access library study and use of web material both put up by staff and generally available on the internet.

Intellectual / Cognitive Skills:

Learning Outcomes
B1 : Critical skills needed to evaluate disparate sources of information, both academic (e.g. lectures, books) and experiential, and collate, select, and apply the information to a specific teaching issue or situation critical skills needed to evaluate disparate sources of information, both academic (e.g. lectures, books) and experiential, and collate, select, and apply the information to a specific teaching issue or situation
B2 : An ability to formulate coherent and logically sound arguments
B3 : Ability to reflect independently on own teaching/learning experience and relate it to the ideas and research in the field
B4 : Ability to identify a research question or hypothesis, choose appropriate research methods, and interpret own and others’ data and see the implications for a hypothesis or question

Teaching Methods
1-4 are fostered repeatedly by all the means of teaching/learning described in (A)

Practical Skills:

Learning Outcomes
C1 : Ability to seek and retrieve relevant information from a variety of sources (e.g. library, journals, WWW)
C2 : Ability to communicate lucidly in speech and writing about theoretical matters, teaching and learning issues and own teaching experience, in appropriate style
C3 : Practical skills in analysing the core properties of syllabuses and materials in different language learning/teaching situations
C4 : Ability to propose, plan, execute and write up an original, complete but limited study related to ESP with due treatment of appropriate prior research and theory, generation of research aims, application of relevant methods (e.g. empirical data gathering, or syllabus/materials design or evaluation) and management and presentation of the whole project with due attention to proper professional practice and ethics.

Teaching Methods
1 is promoted by staff guidance as well as being guided by staff teaching, and giving advice
2 is promoted by the oral and written tasks associated with the taught modules, and feedback on them, and by guidance in course booklet and an unassessed module on assignment and dissertation writing
3 is dealt with by embedding practical data analysis tasks into specialist modules.
4 is promoted by supervision of the obligatory dissertation
1-4 are further supported by advice from me in consultation hours or by email, and by web-based self-access material.

Key Skills:

Learning Outcomes
D1 : a. Oral participation in group discussion and lectures b. Academic writing, both in the form of argumentative academic papers and research reports, in appropriate style c. Critical reading: researching and utilising information, including scanning, recognising opinion and bias, detecting relevant points, collating different sources.
D2 : Using advanced computational tools and software packages to obtain, store and process information stored in electronic form (e.g. from the Library, WWW or CD-rom).

D3 : a. Analysis of tasks and identification of objectives b. Identification and use of relevant information sources c. Establishing main features of a complex problem d. Planning and selection of approach to reach a solution
D4 : Participation in pair/group class tasks (including organising and evaluating own and others’ contributions)
D5 : a. Use of independent time management skills, initiative, and different approaches to working autonomously to meet assignment and dissertation targets b. Use of feedback and support from peers, lecturers and supervisor to meet targets and improve over the year

Teaching Methods
1 and 5 are promoted by many taught modules, and involve listening and note taking in lectures. They are also facilitated by feedback.
2 is promoted mainly by self access material on WWW. More generically, students will be expected to become familiar with basic PC management and the word processing of academic documents, internet searching, etc. in connection with their work for all modules.
4 and 6 are promoted via the assignments which impose requirements for students to apply these skills
1-2 and 4-6 are all further practised for the dissertation, and aided when necessary by staff advice by email or consultation

Attendance policy:

In accordance with the university’s attendance policy, students must attend 70% of the meetings in order to be able to pass the course.  If a student misses more than 30 % of the classes, the student will automatically fail the course, regardless of performance on the assignments.  The dismissal of excused absences (medical appointments, family emergencies, etc.) will be taken up on a case by case basis.

Academic Dishonesty

An incident of academic dishonesty occurs when a student commits any of the following acts (this list does not preclude other acts of academic fraud):

1. Cheating refers to the use or attempted use of unauthorized materials, information, or study aids in an academic exercise or assignment.

2. Fabrication refers to the unauthorized falsification or invention of any information or citation in an academic exercise.

3. Facilitating academic dishonesty is the act of helping or attempting to help another to violate any provision of the institutional policy on academic dishonesty.

4. Plagiarism describes the unacknowledged adoption or reproduction of the ideas, words, statements of another person, including classroom peers.

Students caught engaging in academic dishonesty once will fail the assignment. Two or more incidents of academic dishonesty will result in failure of the course.

Assessment:

Grade Scale	Grade Description	Grade Points
95% – 100%	Excellent	10.0
86% – 94%	Very good	9.0
77% – 85%	Good	8.0
68% – 76%	Satisfactory	7.0
60% – 67%	Passing	6.0

Assessment in this course will be continuous (ongoing).  Students therefore should be advised that each and every meeting is crucial to their success in the course.  The students will be assessed for these components:

Please be well aware that while there will not be formalized mid and final year examinations, the continuous assessments, in total, have the same effect and weigh equally.

Grading Rubric:

Attendance	10 %
Homework	20 %
Participation	20 %
Debate	10 %
Writing assignments	40 %
Total	100 %

Course Outline:

Session 1	Introductions and backgrounds ESP: Teaching to perceived needs and imagined futures in worlds of work, study and everyday life How is ESP different from ESL Syllabus and course outline
Session 2	What is ESP? Needs Analysis and Course Design Identifying as completely as possible a real group of English language learners. Give and receive feedback on each other’s target population.
Session 3	Discussing issues related to the design of needs analysis tools for your specific group of learners Assignment 1: Design a needs analysis plan for your target population that you would carry out if you had sufficient time and money.
Session 4	Defining what genre is and operationally identifying different types of genre. Discussing issues related to planning, conceptualizing, developing, implementing and evaluating ESP programs. Assignment 2: Find written or spoken texts for analysis that are appropriate for your learners and conduct genre analysis
Session 5	Discussing how the results of your needs analysis help setting the parameters of your ESP course design. Give and receive feedback. Assignment 3: Propose a course design plan
Session 6	Discussing factors involved in the identification of ESP materials. Discussing issues related to how technology can enhance teaching ESP, and important points to consider when integrating technology into classroom practice. Assignment 4: Write a reflection paper on selecting materials for your target population
Session 7	Discussing student evaluation methods Discussing issues related to the evaluation of the ESP course

Incomplete (IN): An incomplete grade may be assigned if a student has not finished all course requirements by the end of the semester, but has completed a substantial amount of the work. It is the student’s responsibility to bring pertinent information to the teacher and to reach an agreement on how the remaining course requirements will be satisfied. If requirements are not completed within one year, a failing grade is automatically assigned.

Recommended reading:

English for Specific Purposes by Keith Harding –

Oxford University Press 2007.

ISBN – 13: 987 019 442575 9 and ISBN – 10: 0 19 442575 9

Articles:

Basturkmen, H. (1998). Refining procedures: A needs analysis project at Kuwait University. English Teaching Forum, 36(4). Also available at: http://exchanges.state.gov/forum/vols/vol36/no4/p2.htm

Bhatia, V. K. (1997). Applied genre analysis and ESP. In T. Miller (Ed.), Functional approaches to written text: Classroom applications (pp. 134-149). English Language Programs: United States Information Agency. Also available at: http://exchanges.state.gov/education/engteaching/pubs/BR/functionalsec4_10.htm

Bosher, S. & Smalkoski, K. (2002). From needs analysis to curriculum development: Designing a course in health-care communication for immigrant students in the USA. English for Specific Purposes, 21(1): 59-79. (can be accessed online from IU Library website with an IU account)

Douglas, D. (1999) Assessing Languages for Specific Purposes CUP
Dudley-Evans,T and M. St. John (1998) Developments in ESP: a Multi-Disciplinary Approach C UP

Dudley-Evans, T. (2000). Genre analysis: A key to a theory of ESP? Iberica, 2, 3-11. Also available at: www.uv.es/aelfe/WebRAs/RA-2-Dudley.pdf

Hutchinson, T. and A. Waters (1997) English for Specific Purposes, CUP

Johns, A. M. (1991). English for specific purposes (ESP): Its history and contributions. In M. Celce-Murcia (Ed.), Teaching English as a second or foreign language (2nd ed., pp. 67-77). New York: Newbury House.

Johns, A. M., & Price-Machada, D. (2001). English for specific purposes (ESP): Tailoring courses to students’ needs-and to the outside world. In M. Celce-Murcia (Ed.), Teaching English as a second or foreign language (3^rd ed., pp. 43-54). Boston: Heinle & Heinle.

Mackay , R and A Mountford (Eds) (1978) English for Specific Purposes Longman

McDonough, J. (1984) ESP in Perspective. Collins

Munby, J (1978) Communicative Syllabus Design CUP

Richterich, R (Ed.) (1983) Case Studies in Identifying Language Needs Pergamon

Robinson, P. (1991) ESP: A Practitioner’s Guide. Prentice Hall International

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West, R. (1994). Needs analysis in language teaching. Language Teaching 27(1): 1-19.

Lord of the Flies Chapter 10

The next morning, Ralph and Piggy meet on the beach. They are bruised and sore and feel awkward and deeply ashamed of their behavior the previous night. Piggy, who is unable to confront his role in Simon’s death, attributes the tragedy to mere accident. But Ralph, clutching the conch desperately and laughing hysterically, insists that they have been participants in a murder. Piggy whiningly denies the charge. The two are now virtually alone; everyone except Sam and Eric and a handful of littluns has joined Jack’s tribe, which is now headquartered at the Castle Rock, the mountain on the island.

At the Castle Rock, Jack rules with absolute power. Boys are punished for no apparent reason. Jack ties up and beats a boy named Wilfred and then warns the boys against Ralph and his small group, saying that they are a danger to the tribe. The entire tribe, including Jack, seems to believe that Simon really was the beast, and that the beast is capable of assuming any disguise. Jack states that they must continue to guard against the beast, for it is never truly dead. He says that he and two other hunters, Maurice and Roger, should raid Ralph’s camp to obtain more fire and that they will hunt again tomorrow.

The boys at Ralph’s camp drift off to sleep, depressed and losing interest in the signal fire. Ralph sleeps fitfully, plagued by nightmares. They are awakened by howling and shrieking and are suddenly attacked by a group of Jack’s hunters. The hunters badly beat Ralph and his companions, who do not even know why they were assaulted, for they gladly would have shared the fire with the other boys. But Piggy knows why, for the hunters have stolen his glasses, and with them, the power to make fire.

Analysis

In the period of relative calm following Simon’s murder, we see that the power dynamic on the island has shifted completely to Jack’s camp. The situation that has been slowly brewing now comes to a full boil: Jack’s power over the island is complete, and Ralph is left an outcast, subject to Jack’s whims. As civilization and order have eroded among the boys, so has Ralph’s power and influence, to the extent that none of the boys protests when Jack declares him an enemy of the tribe. As Jack’s power reaches its high point, the figures of the beast and the Lord of the Flies attain prominence. Similarly, as Ralph’s power reaches its low point, the influence and importance of other symbols in the novel—such as the conch shell and Piggy’s glasses—decline as well. As Ralph and Piggy discuss Simon’s murder the following morning, Ralph clutches the conch shell to him for solace, but the once-potent symbol of order and civilization is now useless. Here, Ralph clings to it as a vestige of civilization, but with its symbolic power fading, the conch shell is merely an object. Like the signal fire, it can no longer give Ralph comfort. Piggy’s glasses, the other major symbol of civilization, have fallen into Jack’s hands. Jack’s new control of the ability to make fire emphasizes his power over the island and the demise of the boys’ hopes of being rescued.

We learn a great deal about the different boys’ characters through their varying reactions to Simon’s death. Piggy, who is used to being right because of his sharp intellect, finds it impossible to accept any guilt for what happened. Instead, he sets his mind to rationalizing his role in the affair. Ralph refuses to accept Piggy’s easy rationalization that Simon’s death was accidental and insists that the death was a murder. Yet the word murder, a term associated with the rational system of law and a civilized moral code, now seems strangely at odds with the collective madness of the killing. The foreignness of the word in the context of the savagery on the island reminds us how far the boys have travelled along the moral spectrum since the time when they were forced to follow the rules of adults.

Jack, for his part, has become an expert in using the boys’ fear of the beast to enhance his own power. He claims that Simon really was the beast, implying that the boys have a better grasp of the truth in their frenzied bloodlust than in their calmer moments of reflection. This conclusion is not surprising coming from Jack, who seems almost addicted to that state of bloodlust and frenzy. Jack’s ability to convince the other boys that the state of bloodlust is a valid way of interacting with the world erodes their sense of morality even further and enables Jack to manipulate them even more.

Lord of the Flies – Plot Overview

William Golding

Plot Overview

In the midst of a raging war, a plane evacuating a group of schoolboys from Britain is shot down over a deserted tropical island. Two of the boys, Ralph and Piggy, discover a conch shell on the beach, and Piggy realizes it could be used as a horn to summon the other boys. Once assembled, the boys set about electing a leader and devising a way to be rescued. They choose Ralph as their leader, and Ralph appoints another boy, Jack, to be in charge of the boys who will hunt food for the entire group.

Ralph, Jack, and another boy, Simon, set off on an expedition to explore the island. When they return, Ralph declares that they must light a signal fire to attract the attention of passing ships. The boys succeed in igniting some dead wood by focusing sunlight through the lenses of Piggy’s eyeglasses. However, the boys pay more attention to playing than to monitoring the fire, and the flames quickly engulf the forest. A large swath of dead wood burns out of control, and one of the youngest boys in the group disappears, presumably having burned to death.

At first, the boys enjoy their life without grown-ups and spend much of their time splashing in the water and playing games. Ralph, however, complains that they should be maintaining the signal fire and building huts for shelter. The hunters fail in their attempt to catch a wild pig, but their leader, Jack, becomes increasingly preoccupied with the act of hunting.

When a ship passes by on the horizon one day, Ralph and Piggy notice, to their horror, that the signal fire—which had been the hunters’ responsibility to maintain—has burned out. Furious, Ralph accosts Jack, but the hunter has just returned with his first kill, and all the hunters seem gripped with a strange frenzy, re-enacting the chase in a kind of wild dance. Piggy criticizes Jack, who hits Piggy across the face. Ralph blows the conch shell and reprimands the boys in a speech intended to restore order. At the meeting, it quickly becomes clear that some of the boys have started to become afraid. The littlest boys, known as “littluns,” have been troubled by nightmares from the beginning, and more and more boys now believe that there is some sort of beast or monster lurking on the island. The older boys try to convince the others at the meeting to think rationally, asking where such a monster could possibly hide during the daytime. One of the littluns suggests that it hides in the sea—a proposition that terrifies the entire group.

Not long after the meeting, some military planes engage in a battle high above the island. The boys, asleep below, do not notice the flashing lights and explosions in the clouds. A parachutist drifts to earth on the signal fire mountain, dead. Sam and Eric, the twins responsible for watching the fire at night, are asleep and do not see the parachutist land. When the twins wake up, they see the enormous silhouette of his parachute and hear the strange flapping noises it makes. Thinking the island beast is at hand, they rush back to the camp in terror and report that the beast has attacked them.

The boys organize a hunting expedition to search for the monster. Jack and Ralph, who are increasingly at odds, travel up the mountain. They see the silhouette of the parachute from a distance and think that it looks like a huge, deformed ape. The group holds a meeting at which Jack and Ralph tell the others of the sighting. Jack says that Ralph is a coward and that he should be removed from office, but the other boys refuse to vote Ralph out of power. Jack angrily runs away down the beach, calling all the hunters to join him. Ralph rallies the remaining boys to build a new signal fire, this time on the beach rather than on the mountain. They obey, but before they have finished the task, most of them have slipped away to join Jack.

Jack declares himself the leader of the new tribe of hunters and organizes a hunt and a violent, ritual slaughter of a sow to solemnize the occasion. The hunters then decapitate the sow and place its head on a sharpened stake in the jungle as an offering to the beast. Later, encountering the bloody, fly-covered head, Simon has a terrible vision, during which it seems to him that the head is speaking. The voice, which he imagines as belonging to the Lord of the Flies, says that Simon will never escape him, for he exists within all men. Simon faints. When he wakes up, he goes to the mountain, where he sees the dead parachutist. Understanding then that the beast does not exist externally but rather within each individual boy, Simon travels to the beach to tell the others what he has seen. But the others are in the midst of a chaotic revelry—even Ralph and Piggy have joined Jack’s feast—and when they see Simon’s shadowy figure emerge from the jungle, they fall upon him and kill him with their bare hands and teeth.

The following morning, Ralph and Piggy discuss what they have done. Jack’s hunters attack them and their few followers and steal Piggy’s glasses in the process. Ralph’s group travels to Jack’s stronghold in an attempt to make Jack see reason, but Jack orders Sam and Eric tied up and fights with Ralph. In the ensuing battle, one boy, Roger, rolls a boulder down the mountain, killing Piggy and shattering the conch shell. Ralph barely manages to escape a torrent of spears.

Ralph hides for the rest of the night and the following day, while the others hunt him like an animal. Jack has the other boys ignite the forest in order to smoke Ralph out of his hiding place. Ralph stays in the forest, where he discovers and destroys the sow’s head, but eventually, he is forced out onto the beach, where he knows the other boys will soon arrive to kill him. Ralph collapses in exhaustion, but when he looks up, he sees a British naval officer standing over him. The officer’s ship noticed the fire raging in the jungle. The other boys reach the beach and stop in their tracks at the sight of the officer. Amazed at the spectacle of this group of bloodthirsty, savage children, the officer asks Ralph to explain. Ralph is overwhelmed by the knowledge that he is safe but, thinking about what has happened on the island, he begins to weep. The other boys begin to sob as well. The officer turns his back so that the boys may regain their composure.

Lord of the Flies Character Notes

Lord of the Flies

William Golding

Analysis of Major Characters

Ralph

Ralph is the athletic, charismatic protagonist of Lord of the Flies. Elected the leader of the boys at the beginning of the novel, Ralph is the primary representative of order, civilization, and productive leadership in the novel. While most of the other boys initially are concerned with playing, having fun, and avoiding work, Ralph sets about building huts and thinking of ways to maximize their chances of being rescued. For this reason, Ralph’s power and influence over the other boys are secure at the beginning of the novel. However, as the group gradually succumbs to savage instincts over the course of the novel, Ralph’s position declines precipitously while Jack’s rises. Eventually, most of the boys except Piggy leave Ralph’s group for Jack’s, and Ralph is left alone to be hunted by Jack’s tribe. Ralph’s commitment to civilization and morality is strong, and his main wish is to be rescued and returned to the society of adults. In a sense, this strength gives Ralph a moral victory at the end of the novel, when he casts the Lord of the Flies to the ground and takes up the stake it is impaled on to defend himself against Jack’s hunters.

In the earlier parts of the novel, Ralph is unable to understand why the other boys would give in to base instincts of bloodlust and barbarism. The sight of the hunters chanting and dancing is baffling and distasteful to him. As the novel progresses, however, Ralph, like Simon, comes to understand that savagery exists within all the boys. Ralph remains determined not to let this savagery -overwhelm him, and only briefly does he consider joining Jack’s tribe in order to save himself. When Ralph hunts a boar for the first time, however, he experiences the exhilaration and thrill of bloodlust and violence. When he attends Jack’s feast, he is swept away by the frenzy, dances on the edge of the group, and participates in the killing of Simon. This firsthand knowledge of the evil that exists within him, as within all human beings, is tragic for Ralph, and it plunges him into listless despair for a time. But this knowledge also enables him to cast down the Lord of the Flies at the end of the novel. Ralph’s story ends semi-tragically: although he is rescued and returned to civilization, when he sees the naval officer, he weeps with the burden of his new knowledge about the human capacity for evil.

Jack

The strong-willed, egomaniacal Jack is the novel’s primary representative of the instinct of savagery, violence, and the desire for power—in short, the antithesis of Ralph. From the beginning of the novel, Jack desires power above all other things. He is furious when he loses the election to Ralph and continually pushes the boundaries of his subordinate role in the group. Early on, Jack retains the sense of moral propriety and behavior that society instilled in him—in fact, in school, he was the leader of the choirboys. The first time he encounters a pig, he is unable to kill it. But Jack soon becomes obsessed with hunting and devotes himself to the task, painting his face like a barbarian and giving himself over to bloodlust. The more savage Jack becomes, the more he is able to control the rest of the group. Indeed, apart from Ralph, Simon, and Piggy, the group largely follows Jack in casting off moral restraint and embracing violence and savagery. Jack’s love of authority and violence are intimately connected, as both enable him to feel powerful and exalted. By the end of the novel, Jack has learned to use the boys’ fear of the beast to control their behavior—a reminder of how religion and superstition can be manipulated as instruments of power.

Simon

Whereas Ralph and Jack stand at opposite ends of the spectrum between civilization and savagery, Simon stands on an entirely different plane from all the other boys. Simon embodies a kind of innate, spiritual human goodness that is deeply connected with nature and, in its own way, as primal as Jack’s evil. The other boys abandon moral behavior as soon as civilization is no longer there to impose it upon them. They are not innately moral; rather, the adult world—the threat of punishment for misdeeds—has conditioned them to act morally. To an extent, even the seemingly civilized Ralph and Piggy are products of social conditioning, as we see when they participate in the hunt-dance. In Golding’s view, the human impulse toward civilization is not as deeply rooted as the human impulse toward savagery. Unlike all the other boys on the island, Simon acts morally not out of guilt or shame but because he believes in the inherent value of morality. He behaves kindly toward the younger children, and he is the first to realize the problem posed by the beast and the Lord of the Flies—that is, that the monster on the island is not a real, physical beast but rather a savagery that lurks within each human being. The sow’s head on the stake symbolizes this idea, as we see in Simon’s vision of the head speaking to him. Ultimately, this idea of the inherent evil within each human being stands as the moral conclusion and central problem of the novel. Against this idea of evil, Simon represents a contrary idea of essential human goodness. However, his brutal murder at the hands of the other boys indicates the scarcity of that good amid an overwhelming abundance of evil.

Lord of the Flies – Chapter 6 Notes

William Golding

Chapter 6

Summary

In the darkness late that night, Ralph and Simon carry a littlun back to the shelter before going to sleep. As the boys sleep, military airplanes battle fiercely above the island. None of the boys sees the explosions and flashes in the clouds because the twins Sam and Eric, who were supposed to watch the signal fire, have fallen asleep. During the battle, a parachutist drifts down from the sky onto the island, dead. His chute becomes tangled in some rocks and flaps in the wind, while his shape casts fearful shadows on the ground. His head seems to rise and fall as the wind blows.

When Sam and Eric wake up, they tend to the fire to make the flames brighter. In the flickering firelight, they see the twisted form of the dead parachutist and mistake the shadowy image for the figure of the dreaded beast. They rush back to the camp, wake Ralph, and tell him what they have seen. Ralph immediately calls for a meeting, at which the twins reiterate their claim that a monster assaulted them. The boys, electrified and horrified by the twins’ claims, organize an expedition to search the island for monsters. They set out, armed with wooden spears, and only Piggy and the littluns remain behind.

Ralph allows Jack to lead the search as the group sets out. The boys soon reach a part of the island that none of them has ever explored before—a thin walkway that leads to a hill dotted with small caves. The boys are afraid to go across the walkway and around the ledge of the hill, so Ralph goes to investigate alone. He finds that, although he was frightened when with the other boys, he quickly regains his confidence when he explores on his own. Soon, Jack joins Ralph in the cave.

The group climbs the hill, and Ralph and Jack feel the old bond between them rekindling. The other boys begin to play games, pushing rocks into the sea, and many of them lose sight of the purpose of their expedition. Ralph angrily reminds them that they are looking for the beast and says that they must return to the other mountain so that they can rebuild the signal fire. The other boys, lost in whimsical plans to build a fort and do other things on the new hill, are displeased by Ralph’s commands but grudgingly obey.

Analysis

As fear about the beast grips the boys, the balance between civilization and savagery on the island shifts, and Ralph’s control over the group diminishes. At the beginning of the novel, Ralph’s hold on the other boys is quite secure: they all understand the need for order and purposive action, even if they do not always want to be bothered with rules. By this point, however, as the conventions of civilization begin to erode among the boys, Ralph’s hold on them slips, while Jack becomes a more powerful and menacing figure in the camp. In Chapter 5, Ralph’s attempt to reason with the boys is ineffective; by Chapter 6, Jack is able to manipulate Ralph by asking him, in front of the other boys, whether he is frightened. This question forces Ralph to act irrationally simply for the sake of preserving his status among the other boys. This breakdown in the group’s desire for morality, order, and civilization is increasingly enabled—or excused—by the presence of the monster, the beast that has frightened the littluns since the beginning of the novel and that is quickly assuming an almost religious significance in the camp.

The air battle and dead parachutist remind us of the larger setting of Lord of the Flies: though the boys lead an isolated life on the island, we know that a bloody war is being waged elsewhere in the world—a war that apparently is a terrible holocaust. All Golding tells us is that atom bombs have threatened England in a war against “the reds” and that the boys were evacuated just before the impending destruction of their civilization. The war is also responsible for the boys’ crash landing on the island in the first place, because an enemy aircraft gunned down their transport plane. Although the war remains in the background of Lord of the Flies, it is nevertheless an important extension of the main themes of the novel. Just as the boys struggle with the conflict between civilization and savagery on the island, the outside world is gripped in a similar conflict. War represents the savage outbursts of civilization, when the desire for violence and power overwhelms the desire for order and peace. Even though the outside world has bestowed upon the boys a sense of morality and order, the danger of savagery remains real even within the context of that seemingly civilized society that has nurtured them.

Source:  http://www.sparknotes.com/lit/flies/section6.rhtml

Lord of the Flies – Chapter 5 Notes

William Golding

Chapter 5

“What I mean is . . . Maybe it’s only us . . .”

Summary

As Ralph walks along the beach, he thinks about how much of life is an improvisation and about how a considerable part of one’s waking life is spent watching one’s feet. Ralph is frustrated with his hair, which is now long, mangy, and always manages to fall in front of his eyes. He decides to call a meeting to attempt to bring the group back into line. Late in the evening, he blows the conch shell, and the boys gather on the beach.

At the meeting place, Ralph grips the conch shell and berates the boys for their failure to uphold the group’s rules. They have not done anything required of them: they refuse to work at building shelters, they do not gather drinking water, they neglect the signal fire, and they do not even use the designated toilet area. He restates the importance of the signal fire and attempts to allay the group’s growing fear of beasts and monsters. The littluns, in particular, are increasingly plagued by nightmare visions. Ralph says there are no monsters on the island. Jack likewise maintains that there is no beast, saying that everyone gets frightened and it is just a matter of putting up with it. Piggy seconds Ralph’s rational claim, but a ripple of fear runs through the group nonetheless.

One of the littluns speaks up and claims that he has actually seen a beast. When the others press him and ask where it could hide during the daytime, he suggests that it might come up from the ocean at night. This previously unthought-of explanation terrifies all the boys, and the meeting plunges into chaos. Suddenly, Jack proclaims that if there is a beast, he and his hunters will hunt it down and kill it. Jack torments Piggy and runs away, and many of the other boys run after him. Eventually, only Ralph, Piggy, and Simon are left. In the distance, the hunters who have followed Jack dance and chant.

Piggy urges Ralph to blow the conch shell and summon the boys back to the group, but Ralph is afraid that the summons will go ignored and that any vestige of order will then disintegrate. He tells Piggy and Simon that he might relinquish leadership of the group, but his friends reassure him that the boys need his guidance. As the group drifts off to sleep, the sound of a littlun crying echoes along the beach.

Analysis

The boys’ fear of the beast becomes an increasingly important aspect of their lives, especially at night, from the moment the first littlun claims to have seen a snake-monster in Chapter 2. In this chapter, the fear of the beast finally explodes, ruining Ralph’s attempt to restore order to the island and precipitating the final split between Ralph and Jack. At this point, it remains uncertain whether or not the beast actually exists. In any case, the beast serves as one of the most important symbols in the novel, representing both the terror and the allure of the primordial desires for violence, power, and savagery that lurk within every human soul. In keeping with the overall allegorical nature of Lord of the Flies, the beast can be interpreted in a number of different lights. In a religious reading, for instance, the beast recalls the devil; in a Freudian reading, it can represent the id, the instinctual urges and desires of the human unconscious mind. However we interpret the beast, the littlun’s idea of the monster rising from the sea terrifies the boys because it represents the beast’s emergence from their own unconscious minds. As Simon realizes later in the novel, the beast is not necessarily something that exists outside in the jungle. Rather, it already exists inside each boy’s mind and soul, the capacity for savagery and evil that slowly overwhelms them.

As the idea of the beast increasingly fills the boys with dread, Jack and the hunters manipulate the boys’ fear of the beast to their own advantage. Jack continues to hint that the beast exists when he knows that it probably does not—a manipulation that leaves the rest of the group fearful and more willing to cede power to Jack and his hunters, more willing to overlook barbarism on Jack’s part for the sake of maintaining the “safety” of the group. In this way, the beast indirectly becomes one of Jack’s primary sources of power. At the same time, Jack effectively enables the boys themselves to act as the beast—to express the instinct for savagery that civilization has previously held in check. Because that instinct is natural and present within each human being, Golding asserts that we are all capable of becoming the beast.

Source:  http://www.sparknotes.com/lit/flies/section5.rhtml

Lord of the Flies – Chapter 4 Notes

 

William Golding

Chapter 4

Here, invisible yet strong, was the taboo of the old life. Round the squatting child was the protection of parents and school and policemen and the law.

Summary

Life on the island soon develops a daily rhythm. Morning is pleasant, with cool air and sweet smells, and the boys are able to play happily. By afternoon, though, the sun becomes oppressively hot, and some of the boys nap, although they are often troubled by bizarre images that seem to flicker over the water. Piggy dismisses these images as mirages caused by sunlight striking the water. Evening brings cooler temperatures again, but darkness falls quickly, and night time is frightening and difficult.

The littluns, who spend most of their days eating fruit and playing with one another, are particularly troubled by visions and bad dreams. They continue to talk about the “beastie” and fear that a monster hunts in the darkness. The large amount of fruit that they eat causes them to suffer from diarrhea and stomach ailments. Although the littluns’ lives are largely separate from those of the older boys, there are a few instances when the older boys torment the littluns. One vicious boy named Roger joins another boy, Maurice, in cruelly stomping on a sand castle the littluns have built. Roger even throws stones at one of the boys, although he does remain careful enough to avoid actually hitting the boy with his stones.

Jack, obsessed with the idea of killing a pig, camouflages his face with clay and charcoal and enters the jungle to hunt, accompanied by several other boys. On the beach, Ralph and Piggy see a ship on the horizon—but they also see that the signal fire has gone out. They hurry to the top of the hill, but it is too late to rekindle the flame, and the ship does not come for them. Ralph is furious with Jack, because it was the hunters’ responsibility to see that the fire was maintained.

Jack and the hunters return from the jungle, covered with blood and chanting a bizarre song. They carry a dead pig on a stake between them. Furious at the hunters’ irresponsibility, Ralph accosts Jack about the signal fire. The hunters, having actually managed to catch and kill a pig, are so excited and crazed with bloodlust that they barely hear Ralph’s complaints. When Piggy shrilly complains about the hunters’ immaturity, Jack slaps him hard, breaking one of the lenses of his glasses. Jack taunts Piggy by mimicking his whining voice. Ralph and Jack have a heated conversation. At last, Jack admits his responsibility in the failure of the signal fire but never apologizes to Piggy. Ralph goes to Piggy to use his glasses to light a fire, and at that moment, Jack’s friendly feelings toward Ralph change to resentment. The boys roast the pig, and the hunters dance wildly around the fire, singing and reenacting the savagery of the hunt. Ralph declares that he is calling a meeting and stalks down the hill toward the beach alone.

Analysis

At this point in the novel, the group of boys has lived on the island for some time, and their society increasingly resembles a political state. Although the issue of power and control is central to the boys’ lives from the moment they elect a leader in the first chapter, the dynamics of the society they form take time to develop. By this chapter, the boys’ community mirrors a political society, with the faceless and frightened littluns resembling the masses of common people and the various older boys filling positions of power and importance with regard to these underlings. Some of the older boys, including Ralph and especially Simon, are kind to the littluns; others, including Roger and Jack, are cruel to them. In short, two conceptions of power emerge on the island, corresponding to the novel’s philosophical poles—civilization and savagery. Simon, Ralph, and Piggy represent the idea that power should be used for the good of the group and the protection of the littluns—a stance representing the instinct toward civilization, order, and morality. Roger and Jack represent the idea that power should enable those who hold it to gratify their own desires and act on their impulses, treating the littluns as servants or objects for their own amusement—a stance representing the instinct toward savagery.

As the tension between Ralph and Jack increases, we see more obvious signs of a potential struggle for power. Although Jack has been deeply envious of Ralph’s power from the moment Ralph was elected, the two do not come into open conflict until this chapter, when Jack’s irresponsibility leads to the failure of the signal fire. When the fire—a symbol of the boys’ connection to civilization—goes out, the boys’ first chance of being rescued is thwarted. Ralph flies into a rage, indicating that he is still governed by desire to achieve the good of the whole group. But Jack, having just killed a pig, is too excited by his success to care very much about the missed chance to escape the island. Indeed, Jack’s bloodlust and thirst for power have overwhelmed his interest in civilization. Whereas he previously justified his commitment to hunting by claiming that it was for the good of the group, now he no longer feels the need to justify his behavior at all. Instead, he indicates his new orientation toward savagery by painting his face like a barbarian, leading wild chants among the hunters, and apologizing for his failure to maintain the signal fire only when Ralph seems ready to fight him over it.

The extent to which the strong boys bully the weak mirrors the extent to which the island civilization disintegrates. Since the beginning, the boys have bullied the whiny, intellectual Piggy whenever they needed to feel powerful and important. Now, however, their harassment of Piggy intensifies, and Jack begins to hit him openly. Indeed, despite his position of power and responsibility in the group, Jack shows no qualms about abusing the other boys physically. Some of the other hunters, especially Roger, seem even crueler and less governed by moral impulses. The civilized Ralph, meanwhile, is unable to understand this impulsive and cruel behavior, for he simply cannot conceive of how physical bullying creates a self-gratifying sense of power. The boys’ failure to understand each other’s points of view creates a gulf between them—one that widens as resentment and open hostility set in.

Source:   http://www.sparknotes.com/lit/flies/section4.rhtml

Lord of the Flies – Chapter 3 Notes

Chapter 3

Summary

Carrying a stick sharpened into a makeshift spear, Jack trails a pig through the thick jungle, but it evades him. Irritated, he walks back to the beach, where he finds Ralph and Simon at work building huts for the younger boys to live in. Ralph is irritated because the huts keep falling down before they are completed and because, though the huts are vital to the boys’ ability to live on the island, none of the other boys besides Simon will help him. As Ralph and Simon work, most of the other boys splash about and play in the lagoon. Ralph gripes that few of the boys are doing any work. He says that all the boys act excited and energized by the plans they make at meetings, but none of them is willing to work to make the plans successful. Ralph points out that Jack’s hunters have failed to catch a single pig. Jack claims that although they have so far failed to bring down a pig, they will soon have more success. Ralph also worries about the smaller children, many of whom have nightmares and are unable to sleep. He tells Jack about his concerns, but Jack, still trying to think of ways to kill a pig, is not interested in Ralph’s problems.

Ralph, annoyed that Jack, like all the other boys, is unwilling to work on the huts, implies that Jack and the hunters are using their hunting duties as an excuse to avoid the real work. Jack responds to Ralph’s complaints by commenting that the boys want meat. Jack and Ralph continue to bicker and grow increasingly hostile toward each other. Hoping to regain their sense of camaraderie, they go swimming together in the lagoon, but their feelings of mutual dislike remain and fester.

In the meantime, Simon wanders through the jungle alone. He helps some of the younger boys—whom the older boys have started to call “littluns”—reach fruit hanging from a high branch. He walks deeper into the forest and eventually finds a thick jungle glade, a peaceful, beautiful open space full of flowers, birds, and butterflies. Simon looks around to make sure that he is alone, then sits down to take in the scene, marvelling at the abundance and beauty of life that surrounds him.

Analysis

The personal conflict between Ralph and Jack mirrors the overarching thematic conflict of the novel. The conflict between the two boys brews as early as the election in Chapter 1 but remains hidden beneath the surface, masked by the camaraderie the boys feel as they work together to build a community. In this chapter, however, the conflict erupts into verbal argument for the first time, making apparent the divisions undermining the boys’ community and setting the stage for further, more violent developments. As Ralph and Jack argue, each boy tries to give voice to his basic conception of human purpose: Ralph advocates building huts, while Jack champions hunting. Ralph, who thinks about the overall good of the group, deems hunting frivolous. Jack, drawn to the exhilaration of hunting by his bloodlust and desire for power, has no interest in building huts and no concern for what Ralph thinks. But because Ralph and Jack are merely children, they are unable to state their feelings articulately.

At this point in the novel, the conflict between civilization and savagery is still heavily tilted in favour of civilization. Jack, who has no real interest in the welfare of the group, is forced to justify his desire to hunt rather than build huts by claiming that it is for the good of all the boys. Additionally, though most of the boys are more interested in play than in work, they continue to re-create the basic structures of civilization on the island. They even begin to develop their own language, calling the younger children “littluns” and the twins Sam and Eric “Samneric.”

Simon, meanwhile, seems to exist outside the conflict between Ralph and Jack, between civilization and savagery. We see Simon’s kind and generous nature through his actions in this chapter. He helps Ralph build the huts when the other boys would rather play, indicating his helpfulness, discipline, and dedication to the common good. Simon helps the littluns reach a high branch of fruit, indicating his kindness and sympathy—a sharp contrast to many of the older boys, who would rather torment the littluns than help them. When Simon sits alone in the jungle glade marvelling at the beauty of nature, we see that he feels a basic connection with the natural world. On the whole, Simon seems to have a basic goodness and kindness that comes from within him and is tied to his connection with nature. All the other boys, meanwhile, seem to have inherited their ideas of goodness and morality from the external forces of civilization, so that the longer they are away from human society, the more their moral sense erodes. In this regard, Simon emerges as an important figure to contrast with Ralph and Jack. Where Ralph represents the orderly forces of civilization and Jack the primal, instinctual urges that react against such order, Simon represents a third quality—a kind of goodness that is natural or innate rather than taught by human society. In this way, Simon, who cannot be categorized with the other boys, complicates the symbolic structure of Lord of the Flies.

Source:  http://www.sparknotes.com/lit/flies/section3.rhtml