Is a play by Samuel Beckett, about two characters, Vladimir and Astragon, waiting for the arrival of a person named Goodot who never arrived, while they were waiting in a variety of discussions waiting for Godot. The original text was composed between October 9, 1948 and January 29, 1949. The premiere was on January 5, 1953 at the Theater de la Babylon, Paris. Was the first English version to be published in London in 1955. In a poll conducted by the British Royal Theater in 1990 it was voted "The Most Important Play of English in the Twentieth Century"

هي مسرحية من قبل صمويل بيكيت، حول شخصيتين، فلاديمير واستراغون، ينتظرون وصول شخص يدعى غودوت الذي لم يصل ابدا ، وفي حين أنهم ينتظرون في مجموعة متنوعة من المناقشات في انتظار غودوت. النص الأصلي كان مؤلفا بين 9 أكتوبر 1948 و 29 يناير 1949.  وكان العرض الأول في 5 يناير 1953 في مسرح دي بابلون، باريس. كان أول إصدار للغة الإنجليزية في لندن في عام 1955. في استطلاع أجراه المسرح الملكي  البريطاني في عام 1990 تم التصويت عليه "أهم لعب للغة الإنجليزية في القرن العشرين"...

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Gods and Goddesses In Greek mythology

The Olympian Gods and Goddesses 

In Greek mythology, twelve gods and goddesses ruled the universe from atop Greece's Mount Olympus. These Olympians had come to power after their leader, Zeus, overthrew his father, Kronos, leader of the Titans. All the Olympians are related to one another. The Romans adopted most of these Greek gods and goddesses, but with new names.

Zeus (Roman name: Jupiter)

The most powerful of all, Zeus was god of the sky and the king of Olympus. His temper affected the weather, and he threw thunderbolts when he was unhappy. He was married to Hera but had many other lovers. His symbols include the oak and the thunderbolt.

Hera (Roman name: Juno)

Hera was goddess of marriage and the queen of Olympus. She was Zeus's wife and sister; many myths tell of how she sought revenge when Zeus betrayed her with his lovers. Her symbols include the peacock and the cow.

Poseidon (Roman name: Neptune)

Poseidon was god of the sea. He was the most powerful god except for his brother, Zeus. He lived in a beautiful palace under the sea and caused earthquakes when he was in a temper. His symbols include the horse and the trident (a three-pronged pitchfork).

Hades (Roman name: Pluto)

Hades was king of the dead. He lived in the underworld, the heavily guarded land where he ruled over the dead. He was the brother of Zeus and the husband of Persephone, Demeter's daughter, whom he kidnapped.

Aphrodite (Roman name: Venus)

Aphrodite was the goddess of love and beauty, and the protector of sailors. She may have been the daughter of Zeus and the Titan Dione, or she may have risen from the sea on a shell. Her symbols include the myrtle tree and the dove.

Apollo

Apollo was the god of music and healing. He was also an archer, and hunted with a silver bow. Apollo was the son of Zeus and the Titan Leto, and the twin of Artemis. His symbols include the laurel tree, the crow, and the dolphin.

Ares (Roman name: Mars)

Ares was the god of war. He was both cruel and a coward. Ares was the son of Zeus and Hera, but neither of his parents liked him. His symbols include the vulture and the dog, and he often carried a bloody spear.

Artemis (Roman name: Diana)

Artemis was the goddess of the hunt and the protector of women in childbirth. She hunted with silver arrows and loved all wild animals. Artemis was the daughter of Zeus and Leto, and the twin of Apollo. Her symbols include the cypress tree and the deer.

Athena (Roman name: Minerva)

Athena was the goddess of wisdom. She was also skilled in the art of war, and helped heroes such as Odysseus and Hercules. Athena sprang full-grown from the forehead of Zeus, and became his favorite child. Her symbols include the owl and the olive tree.

Hephaestus (Roman name: Vulcan)

Hephaestus was the god of fire and the forge (a furnace in which metal is heated). Although he made armor and weapons for the gods, he loved peace. He was the son of Zeus and Hera and married Aphrodite. His symbols include the anvil and the forge.

Hestia (Roman name: Vesta)

Hestia was the goddess of the hearth (a fireplace at the center of the home). She was the most gentle of the gods, and does not play a role in many myths. Hestia was the sister of Zeus and the oldest of the Olympians. Fire is among her symbols.

Hermes (Roman name: Mercury)

Hermes was the messenger god, a trickster, and a friend to thieves. He was said to have invented boxing and gymnastics. He was the son of Zeus and the constellation Maia. The speediest of all, he wore winged sandals and a winged hat and carried a magic wand.

Demeter (Roman name: Ceres)

Demeter was the goddess of the harvest. The word “cereal” comes from her Roman name. She was the sister of Zeus. Her daughter, Persephone, was forced to live with Hades each winter; at this time Demeter let no crops grow. Her symbols include wheat.

Dionysus (Roman name: Bacchus)

Dionysus was the god of wine, which he invented. In ancient Greece Dionysus was honored with springtime festivals that centered on theater. Dionysus was the son of Zeus and Semele, a mortal. His symbols include ivy, the snake, and grapes.

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narrative paragraph

Narration: A story that is written to explain what, when, and who. It reveals what a reader should learn. Narration paragraphs are usually written in chronological order.

It should make a clear point: it should bring to life a moral, lesson, or idea.

While it is true a narrative is a story, there is more in the telling of the story. The narrative, or story, needs to make the reader feel involved, teach a lesson, help get an idea across, or feel emotionally about it. The narrative needs to explain who is in the story, tell what is happening, and when it happened. The topic sentence needs to be clear so the reader knows they are going to learn something from the story. The story itself is written in time, or chronological order, as the events occured.~ Mary M.

Common Transitional expressions used in a narrative paragraph are after, finally, soon, as (soon as), later, then, before, meanwhile, upon, during, next, when, first, now, and while.

A good way to plan for a well developed paragraph is to write out a topic sentence, then write events in chronological order and then write a conclusion. This is a good way to make sure you stay on topic and that all the events are in the correct order.

Here is an example of a Narrative Paragraph:

Peddling On My Own

Learning how to ride a bike for the first time was a nerve racking independent moment. I was about five years old when my sister informed me that I was too old to still be riding a bike with training wheels. That was the time I decided not to depend on them anymore. Even though I had some doubt, my sister and I went outside and started to take the little wheels off my bike. After my bike went through the transformation, I was now ready for the big moment. With butterflies in my stomach, I slowly got on the bike, and with my shaky hands, I gripped the handles tightly. Meanwhile my sister was holding on to me to help keep my balance. I was so afraid the she would let go, yet I was determined to ride this bike on my own. Next with a little push from her, I started to peddle. The faster my bike went the faster my heart raced. Finally I looked back nervously and noticed that my sister let go of my bike a long time ago. I was so excited that I accomplished freedom on my bike that I forgot to peddle. The next step I remember, I was lying on the ground, yet I did not care because of the adrenaline rush. I will never forget the exhilarating moment and growing up stage of riding a bike without training wheels.

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Definition of Descriptive Writing

Take some time to think about the differences between a short and a long conversation that you've had with someone about a specific event. Chances are that the short conversation lacked details and got straight to the point. The long conversation most likely had so much detail that you could almost picture yourself being there now.

Or, think about getting directions from friends. If you were invited to a party, would you prefer the directions that just said, 'By the school,' or would you prefer detailed directions that provide specific streets? Description is an important part of daily life and has an even bigger role in writing.

Descriptive writing is a literary device in which the author uses details to paint a picture with their words. This process will provide readers with descriptions of people, places, objects, and events through the use of suitable details. The author will also use descriptive writing to create sensory details as a means of enhancing the reading experience. If done effectively, the reader will be able draw a connection through the use of sensory details that include seeing, hearing, smelling, touching, and tasting. These techniques will assist you in becoming not only a better writer, but will also make your writing more engaging for readers.

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A process paragraph is a series of steps that explain how something happens or how to make something. It can explain anything from the way to enrich vocabulary to overcoming insomnia to the procedure of operating a machine. It may also give tips for improving pronunciation or for answering a telephone call. Because such explanations must be clear, the process paragraph must be written in chronological order, and it must include a topic sentence that clearly states the paragraph’s purpose. It must also include transition words and phrases such as “first,” “next,” “finally,” that connect each of the steps.

To write a good process paragraph, you should pay attention to three important things. First, make sure that the steps in the process are complete. Following a procedure whose steps are incomplete will fail to produce the expected result. Second, present the steps in the right sequence. For example, if you are describing the process of cleaning an electric mixer, it is important to point out that you must first unplug the appliance before you remove the blades. A person could lose a finger if this part of the process were missing. Improperly written instructions have caused serious injuries and even death. (Scarry S. & Scary J., 2011: 415). Finally, use correct transitional words to indicate the sequence of the process you are writing. the followings are transitions commonly used in process analysis.

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Signifier and Signified

Description

Saussure's 'theory of the sign' defined a sign as being made up of the matched pair of signifier and signified.

Signifier

The signifier is the pointing finger, the word, the sound-image.

A word is simply a jumble of letters. The pointing finger is not the star. It is in the interpretation of the signifier that meaning is created.

Signified

The signified is the concept, the meaning, the thing indicated by the signifier. It need not be a 'real object' but is some referent to which the signifier refers.

The thing signified is created in the perceiver and is internal to them. Whilst we share concepts, we do so via signifiers.

Whilst the signifier is more stable, the signified varies between people and contexts.

The signified does stabilize with habit, as the signifier cues thoughts and images.

Discussion

The signifier and signified, whilst superficially simple, form a core element of semiotics.

Saussure's ideas are contrary to Plato's notion of ideas being eternally stable. Plato saw ideas as the root concept that was implemented in individual instances. A signifier without signified has no meaning, and the signified changes with person and context. For Saussure, even the root concept is malleable.

The relationship between the signifier and the signified is arbitrary (Saussure called this 'unmotivated'). A real object need not actually exist 'out there'. Whilst the letters 'c-a-t' spell cat, they do not embody 'catness'. The French 'chat' is not identical to the English 'cat' in the signified that it creates (to the French, 'chat' has differences of meaning). In French, 'mouton' means both 'mutton' and a living 'sheep', whilst the English does not differentiate.

Saussure inverts the usual reflectionist view that the signifier reflects the signified: the signifier creates the signified in terms of the meaning it triggers for us. The meaning of a sign needs both the signifier and the signified as created by an interpreter. A signifier without a signified is noise. A signified without a signifier is impossible.

Language is a series of 'negative' values in that each sign marks a divergence of meaning betweens signs. Words have meaning in the difference and relationships with other words.

The language forms a 'conceptual grid', as defined by structural anthropologist Edmund Leach, which we impose on the world in order to make sense.

Lacan defined the unconscious as being structured like language and dealing with a shifting set of signifiers. When we think in words and images, these still signify: they are not the final signified, which appears as a more abstract sensation. In that we can never know the Real, the external signified can neither be truly known.

Jaques Derrida criticized the neat simplicity of signs. The signifier-signified is stable only if one term is final and incapable of referring beyond itself, which is not true. Meaning is deferred as you slide between signs.

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Description

Langue and parole are more than just 'language and speech' (although this is a useful quick way of remembering them).

Langue

La langue is the whole system of language that precedes and makes speech possible. A sign is a basic unit of langue.

Learning a language, we master the system of grammar, spelling, syntax and punctuation. These are all elements of langue.

Langue is a system in that it has a large number of elements whereby meaning is created in the arrangements of its elements and the consequent relationships between these arranged elements.

Parole

Parole is the concrete use of the language, the actual utterances. It is an external manifestation of langue. It is the usage of the system, but not the system.

Discussion

By defining Langue and Parole, Saussure differentiates between the language and how it is used, and therefore enabling these two very different things to be studied as separate entities.

As a structuralist, Saussure was interested more in la langue than parole. It was the system by which meaning could be created that was of interest rather than individual instances of its use.

Marxist Mikhail Bakhtin (1929) criticized the splitting of langue and parole as separating individuals and society where it matters most, at the point of production. He developed a 'dialogic' theory of utterances where language is understood in terms of how it orients the speaker/writer to the listener/reader. Words are subject to negotiation, contest and struggle. Language is strongly affected by social context.

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Prescriptive means bound by rules and regulations . For example teachers have a prescriptive attitude towards the knowledge theyimpart to their students. That is to say they abide by the rules of grammar, mathematics etc.

Descriptive is the adjective of the to describe , so it means to relate the features and properties of something .

Descriptive describe.
Prescriptive make or suggest a choice based on some descriptive, but mostly predictive analyses.

A descriptive grammar is built up by analyzing how speakers use a language, and deducing the rules they are following. A prescriptive grammar is a set of explicit rules for using language that are taught, or enforced, so that people will use the language in a particular way. Typically the rules are handed down from generation to generation. Both kinds of grammars have their places in the world.
Linguists create descriptive grammars in order to understand language more deeply. They understand that a single language can have multiple dialects, and that each dialect will have its own grammatical rules--internally consistent, but perhaps different from other dialects of the  same language. The rules they deduce are sometimes more nuanced than the ones taught by prescriptivists.
Prescriptivists include schoolteachers, copyeditors, and others charged with correcting people's use of the language. (Also some people who just have strong opinions on the topic.) Prescriptivists start with the assumption that there is one "correct" way to use the language, and many incorrect ways. The "correct" version is actually the language's prestige dialect, especially its written version--for example, Standard American English. To oversimplify a bit, the "prestige dialect" of a language is generally the one used by educated people in the big cities.

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advanced composition

Advanced Composition focuses on preparation for academic writing at the college level.

Students will come to appreciate the importance of understanding context; social location; definition; literary devices in the category of argument; the tools of logos, pathos, and ethos in writing; and the student’s relationship to the text (what the student brings to his or her close reading of the original text). These are powerful tools for your older teens to explore in a low stress, guided environment

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An overview of the main genres of literature, including fiction, poetry and drama. Examines literary language and different approaches to literary criticism designed to increase student confidence when responding to literature.

• James joyce's the sisters
• sherwood anderson's death in the woods
• thomas hardy's A change man
• John milton's When I consider How my light is spent

Learning Outcomes

Correctly define commonly used literary terms and concepts and use those terms and concepts to discuss and analyze works of literature.

Identify structural elements of works of poetry, fiction, and drama, and analyze how those elements help create specific meanings and effects.

Compare works of literature in terms of theme, structure, and use of literary devices.

Discuss and analyze works of poetry, fiction, and drama based on close reading of the texts.

Write effective literary analyses defending arguable theses based on close reading of texts and incorporating relevant literary terms and concepts.

Identify issues and questions raised by literary texts that might be addressed by literary analysis.

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Many people think that a linguist is someone who speaks many languages and works as a language teacher or as an interpreter at the United Nations. In fact, these people are more accurately called "Polyglots". While many linguists are polyglots, the focus of linguistics is about the structure, use and psychology of language in general.

Linguistics is concerned with the nature of language and communication. It deals both with the study of particular languages, and the search for general properties common to all languages or large groups of languages. It includes the following subareas :

• phonetics (the study of the production, acoustics and hearing of speech sounds)
• phonology (the patterning of sounds)
• morphology (the structure of words)
• syntax (the structure of sentences)
• semantics (meaning)
• pragmatics (language in context)

It also includes explorations into the nature of language variation (i. e., dialects), language change over time, how language is processed and stored in the brain, and how it is acquired by young children. All of these topics are examined in the coursework offered by the University of Arizona's Department of Linguistic

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translation

Translation typically has been used to transfer written or spoken SL texts to equivalent written or spoken TL texts. In general, the purpose of translation is to reproduce various kinds of texts including religious, literary, scientific, and philosophical texts in another language and thus making them available to wider readers.

The difference between an SL and a TL and the variation in their cultures make the process of translating a real challenge. Among the problematic factors involved in translation such as form, meaning, style, proverbs, idioms, etc., the present paper is going to concentrate mainly on the procedures of translating CSCs in general and on the strategies of rendering allusions in particular.

methods of translation:

• Word-for-word translation: in which the SL word order is preserved and the words translated singly by their most common meanings, out of context.
• Literal translation: in which the SL grammatical constructions are converted to their nearest TL equivalents, but the lexical words are again translated singly, out of context.
• Faithful translation: it attempts to produce the precise contextual meaning of the original within the constraints of the TL grammatical structures.
• Semantic translation: which differs from 'faithful translation' only in as far as it must take more account of the aesthetic value of the SL text.
• Adaptation: which is the freest form of translation, and is used mainly for plays (comedies) and poetry; the themes, characters, plots are usually preserved, the SL culture is converted to the TL culture and the text is rewritten.
• Free translation: it produces the TL text without the style, form, or content of the original.
• Idiomatic translation: it reproduces the 'message' of the original but tends to distort nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original.
• Communicative translation: it attempts to render the exact contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readership 

puts forward the following four major techniques for translating :

1. Functional Equivalence: It means using a referent in the TL culture whose function is similar to that of the source language (SL) referent. As Harvey (2000:2) writes, authors are divided over the merits of this technique: Weston (1991:23) describes it as "the ideal method of translation," while Sarcevic (1985:131) asserts that it is "misleading and should be avoided."
2. Formal Equivalence or 'linguistic equivalence': It means a 'word-for-word' translation.
3. Transcription or 'borrowing' (i.e. reproducing or, where necessary, transliterating the original term): It stands at the far end of SL-oriented strategies. If the term is formally transparent or is explained in the context, it may be used alone. In other cases, particularly where no knowledge of the SL by the reader is presumed, transcription is accompanied by an explanation or a translator's note.
4. Descriptive or self-explanatory translation: It uses generic terms (not CBTs) to convey the meaning. It is appropriate in a wide variety of contexts where formal equivalence is considered insufficiently clear. In a text aimed at a specialized reader, it can be helpful to add the original SL term to avoid ambiguity.

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