What is the study of women in literature?
Question by Juliana: What is the study of women in literature?
Is it different from “women’s literature”?
Best answer:
Answer by Horatio
“women in literature” can refer to:
- women authors who write literature; or,
- women who are characters in literature.
“women’s literature” can refer to
- literature written for a female audience (something like romance tales)
Give your answer to this question below!
Attract Authentic Women
Attract Authentic Women
Be the Rockstar of your life and attract intimacy with women.
Attract Authentic Women
Tattoos for Women
At last, step-by-step information specific to women looking for their first tattoo, or thinking about getting another tattoo – revised Sept 08. Also covers tattoo removal methods and temporary tattoo options. Fantastic bonuses with this e-book!
Tattoos for Women
Dr Martens Women's 20 eye Boots
 | US $100.00 (0 Bid) End Date: Saturday May-19-2012 5:44:57 PDT Buy It Now for only: US $130.00 Bid now | Buy it now | Add to watch list |
 | US $5.49 End Date: Saturday May-19-2012 5:44:58 PDT Buy It Now for only: US $5.49 Buy it now | Add to watch list |
Why Do We Publish?
Why Do We Publish?
WHY DO WE DO THIS? Copyright 2004, Michael LaRocca
A major “character” in Mark Salzman’s first autobiography is his
father. Sometimes his father paints. But his father despises
painting. He likes it when his painting is done. He likes having
painted. But the act of painting itself is, in his opinion, a
huge pain in the backside.
Nobody reading this approaches writing like that, do they? I
know I don’t. Of all my experiences as an author, whacking those
words down onto the paper is the best of the best. Always has
been, always will be. Even though I cut most of them. I like
making.
I’ve quoted Hemingway before. Long periods of thinking, small
periods of writing. These days, my thinking takes longer and my
periods of writing are getting less frequent, but both still
happen, and I still like making something from nothing.
If it weren’t for me, you would never read the words you’re
reading right now. Nobody else would ever write them. And they
contain my thoughts. Through time and space, better than
telepathy, you hear what I’m saying.
So, there’s one reason to write, isn’t it? The biggie, if you
question me. I write what I do because I can’t NOT write it. I may be
clarifying my thoughts in my own head. But, most certainly, I’m
just so went by those thoughts that I must place them on paper.
They’re in me and they have to get out, kinda like those
critters in the ALIEN movies.
Is this the only reason to write? Because I want to zap my
thoughts into your heads? I don’t know. But let me change the
question. Is this a reason to publish? Why not write your books
and stick them in a filing cabinet like Sean Connery did in the
film FINDING FORRESTER? Write it, express it, file it away. Why
publish it?
(It’s okay if you haven’t seen this obscure small gem. I will
clarify all.)
In fact, there are writers who do exactly that. Some dread
rejection or criticism. We hear about them whenever we pop into
a writing workshop. But, I don’t reckon there are very many of
them. I have distress picturing someone who can spend months
(years?) doing something as essentially egotistical as writing a
novel, but who is fundamentally lacking in any sort of
self-confidence. Naw, they’re thinking posterity but lack the
stones to admit it.
At times I’ve got an inferiority complex I wouldn’t dream of
whacking onto your shoulders, but it was absent when I wrote my
books. During the act of writing itself, you reckon, “My words
are better than your words.” You do. You feel that you must
record your thoughts because they’re that much better than most.
That’s what writing is. So, I would say that by definition the
author isn’t ALWAYS plagued by self-doubt.
In FINDING FORRESTER, the Sean Connery character won the
Pulitzer with his first book, saw that every reviewer
misunderstood him, and chose they could all get stuffed. This
is a movie, a work of fiction, but I know the attitude. I
once wrote a right tale, where the main character was Michael
LaRocca, only to have a critic slam the main character as
“unbelievable.” Apparently I don’t act like real people.
I could never shove all my writing in a filing cabinet, unpub-
lished, and tell the establishment to get stuffed. But yep,
there are stupid people in the world, and some of them review
books.
So, we’ve identified two groups who won’t be seeking
publication. Hopelessly insecure and hopelessly arrogant. But,
like Aristotle, I prefer moderation. You still may be wondering
why I seek publi- cation. So do I. Let my exploration of this
question continue.
I’ve hit best-seller status for two different e-publishers with
three different books. Minor thrills at the time, but there’s no
way I could call them enough of a reward for what I place into
writing.
You’re an author. You know what I’m talking about. We all but
kill ourselves to make our books. So, let’s be blunt here.
Unless you’re going to throw Rowling/King/Clancy/Grisham money
at me — and you’re NOT — money isn’t sufficient reason to
publish.
Publishing isn’t just a case of sending it to a publisher,
signing a contract, and being done.
Next up is editing, which is a blast. Not at the time, perhaps.
Any editor worth a damn will beat you over the head with every
terrible word choice you ever made. And you made hundreds! But at the
end of that gauntlet, you know you are da bomb.
Seeing my cover art is nearly always awesome. Yes, I did say
“nearly.” One terrible experience among seven. It happens. But, if
you’ve worked with a publisher, you know what I mean. You log
onto the Internet one morning, not fully conscious, amazed that
you poured that first cup of coffee without burning off your
naughty bits. You pop open an email and see cover art that
nearly makes your head explode. You get this huge rush, thinking,
“Someone understands my writing!” What you don’t realize, naive
small author, is that some artists don’t even read the books
they do the art for. But still. The art rocks your world. Feel
that. I always delight in clicking those email attachments and seeing
MY book covers.
But, then comes marketing. Largest pain in the… Well, let’s
just say it makes me want to not publish sometimes. So, why
publish?
I’ve entered the EPPIES three times, and been a finalist three
times. The second time one of my books was an EPPIE finalist, I
made some wisecrack in an author’s egroup about how “finalist”
is a synonym for “loser” and was raked over the coals.
Oops!
(Maybe I annoyed entrants who weren’t finalists. I’d always
wondered if they existed…)
So, let’s say I’m not publishing for money or awards. They sing
a siren song to new authors which this jaded ancient bastard quit
hearing long ago. I got all that out of my system in the
previous millenium. So, why do I still publish? What are my
rewards? Let me mention a few.
A psychologist turned English teacher formed a women’s reading
group at the university where we once worked together in China.
Her concept was women readers, women writers. But the first book
the group ever discussed was my very own RISING FROM THE ASHES,
which is about Mom. My only foray into “women’s literature.” I
couldn’t attend the reading group, since I’m a guy, but my wife
was there. What I learned about my book is priceless, as is
knowing what those young students discussed because of my
writing. Issues of such depth that I’d be proud to inspire any
student, in any country, in any language, to tackle them.
I used to work on North Carolina hog farms. I loved the
company of some damn fine people at every one of them. Hog
farming is hard work. This isn’t the backyard family farm,
folks, this is 13 people with 98 boars, 3500 sows, and all the
babies they can make. One of my toughest coworkers was a lesbian
who could break Xena in half, and my one foray into writing
horror gave her nightmares.
I don’t consider myself a poet, and I believe most of the
reading world agrees with me. But, I have published 6 poems.
There is one that a hog farm coworker insists will be read at
his funeral. Don’t question me why he was plotting his funeral during
our lunch break because I have no thought. But, well, I guess I’m
invited, in a manner of speaking.
Master Pizza, 30th Street, Tampa, Florida. A bunch of drunken
Italian relatives reading one of my less-than-serious poems
ALOUD between pitchers of beer. It was like a Joe Dolce moment.
I was working as a security guard in a particularly unpleasant
place. This was 20 years ago, I reckon. A fellow guard read one
of my small tales. It is, by far, the most allegorical thing
I’ve ever written. I can’t tell you how many times I’ve thought
about throwing it out. But then, I remember Bob’s words. “This
is me. This is my life.” Me too, ancient pal, and I don’t care if
you and I are the only two readers to have any thought what I’m
talking about. {Scapegoat Bob!}
I’ve written some pretty heady volumes, but I’ve also written
quite a few small works. I’ve heard from numerous students here
in China that, “This is the first book in English I’ve ever
finished reading.” When I write, I certainly never set out to
help anyone learn English. (Some of my editors may claim I never
learned the language.) And, students will LIE to teachers. But
I’ve chose that at least one was telling the truth.
When I left the US, I embarked on several journeys. Learning to
live in China. Learning to like again. Taking another shot at
the writer dream. And, eventually, teaching. After all that, I
tried my hand at writing humor for the first time. Every time I
hear my wife laugh at something I’ve written, I file it away as
a reason to keep writing.
I’ve written one play in my life. I was young, and quite hooked
on the album (pre-CD days) JESUS CHRIST SUPERSTAR. So, you
guessed it, I tackled JC. I wrote something that nobody can read
without having a powerful reaction. Readers like it or they despise
it. I’m proud of that. And hey, it’s only one act long. I have a
small attention span.
I loaned Clint “Two Dawgs” Hill my very first book. My cousin.
He took it to Durham (North Carolina) and loaned it to a bunch
of hippie buddies. He questioned for another, because the first one
fell apart from overuse. That’s why we publish. People all but
fighting for the chance to read my words. And heck, the book
wasn’t even excellent yet. It’s 20 years older now.
I mention all this for the jaded ancient bastards who have a few
novels and bit of minor success under their belts. Nobody else
is reading this anymore, are they?
So, maybe this is why we don’t just stop when the book is
written, stick it in a drawer, and uncork the champagne.
Although I do hope you uncorked the champagne. This planet
contains far too many people who “want to be authors” but who
haven’t written a book. Never have, never will. Meanwhile, you
and I are sitting here knowing we had no choice. We had to write.
Why publish? Heck, why not?
Find More Women In Literature Articles
Who here knows that ‘Women’s Studies’ is an academic curriculum, and not just referring to all things female?
women’s studies pl.n. (used with a sing. or pl. verb)
An academic curriculum focusing on the roles and contributions of women in fields such as literature, history, and the social sciences.
I reckon they ought to have a ‘Men’s Studies’ section also.
The questions questioned at this section crack me up. What on earth does Paris Hilton have to do with Women’s Studies? 
Women’s Fictional Responses to the First World War: A Comparative Study of Selected Texts by French and German Writers
In literature how can male/female writers write effectively about the opposite gender?
I wonder about this when I read books and stuff. It just seems to me that whenever I read a book written by a female author and the lead is male he seems more feminine, and vice versa when it goes the other way the woman seems shallow (Hemmingway’s A Farewell to Arms example). Anyone have any opinions?
Female Perspective on Marriage
Quite a different perspective on marriage and the role of women have female writers. It is worthy of mention that there were just few female writers who had managed to gain public recognition and popularity in the epoch and, what is more, there views were substantially influenced by stereotypes generated by male-dominated society.
One of the most well loved and successful female writer in Britain was Ann Radcliffe who basically gained her popularity due to gothic novels written in a particular and original style depicting female characters from a different perspective than male writers traditionally did. Naturally, her attitude and representation of marriage also differed dramatically.
In fact, it should be said that Radcliffe’s works are characterized by the development of a new female characters who are already conscious of their social role, their rights and opportunities and who strive for their personal happiness regardless all the obstacles they face. Like remains one of the major themes of her works and marriage is viewed by the author as the natural consequences of like of a man and woman. Her characters, often seek for like and as they find it, their life changes dramatically for better. This is why it is possible to estimate that Ann Radcliffe as a female writer realizes the importance of marriage as an essential part of life of any woman and as a condition of happiness.
On the other hand, her female characters are not irresponsible, unreliable, deceitful creatures as many male writers viewed on women. In this respect, it is possible to refer to Milton’s Eve whose disobedience to rules led to punishment of her husband and all the mankind. At the same time, Radcliffes women are not really dependent on men anymore. Instead, Radcliffe’s heroines in “The Mystery of Udolpho” and “The Italian” do not match traditional stereotypes and are really different female characters. For instance, unlike male perspective on females as wives, Radcliffe underlines that her heroine may be not less significant than men and they can possess the same qualities. For instance, in “The Mystery of Udolpho”, the heroine’s dying father warns her of the danger of extensively exercising her sensibility, the quality traditionally attributed to women: “above all my dear Emily… do not indulge in the pride of fine feeling, the romantic error of amiable minds… we become the victims of our feelings, unless we can in some degree command them “(Radcliffe 241). In actuality, this is a typically male view which the writer’s female characters challenge and they do not dread to be free and strive for their like and happiness overcoming social prejudices and mysterious obstacles. Moreover, Radcliffe emphasizes the importance of the freedom of choice, independent judgments, and personal position of females, independent from the influence of men.
Consequently, men and women can be equal in marriage and their should not be any subordination but, marriage, according to Radcliffe, should rather be viewed as a unity of two individuals that like each other. But, regardless its importance, the marriage is not really the realization of female freedom and independence. In actuality, the author rather insists on the necessity of making a conscious choice in marriage but still Radcliffe’s social protests against inequality between males and females does not reach the marriage itself which is probably idealized by the author. In fact, her rebellious heroines “disappear into marriage and idyllic tranquility at the end reassuring readers and setting to rest the anxieties” (Wolf 305) aroused by her novels.
Should home economics classes be mandatory for teenage girls in order to graduate from High School?
Home economics is much more valuable to women throughout life than British Literature or advanced mathematics. It is sad how many women these days do not know how to cook.
Isn’t it more important for women to be cute, sweet, and docile rather than having book knowledge?
I believe schools need to train girls how to be instead of worrying about teaching them calculus or ancient english literature. The latter is stuff that no woman should need in life.
The 18th Century Novel Characteristic Features
The picturesque style of novel started in the 16th century as a counterbalance to the chivalric romance. Some of the properties of this form are that it features protagonists from the lower classes, but draws on characters from various social classes. The primary character is usually duplicitous, both a dupe and a charlatan. Featuring panoramic scenes, it usually had different types of discourse, from philosophical reflection to parodying other traditional forms like the romance or poetry.
American author, Henry Hugh Brackenridge, was the writer of the first novel portraying frontier life in the United States after the Revolutionary War, Modern Chivalry. Set in western Pennsylvania, the novel was lauded for its humor. In England, perhaps the 18th century novel that most directly parallels Don Quixote is Charlotte Lennox’s The Female Quixote . The main character of Arabella reads romance novels like Don Quixote does and tries to fashion her life after them. Yet, Arabella is not as fulfilled as Don Quixote is with his role models because her characters are more inert than Quixote’s. He can fashion himself after glorious knights. She struggles to define herself by female characters whose primary goal in life is to preserve their virtue.
The Female Quixote is an vital work because it illustrates an awareness of the epic’s dependence upon gender. Women, even if they went mad and aped chivalric tales, had to remain inactive. The journeys that Don Quixote and all the knights and epic heroes followed were masculine journeys. Women, on the other hand, had to remain inactive so that they could be the goal or spirit behind the journey. Ultimately, the picaresque’s weakness was its conflicting point of view.
The last form of the novel is the gothic, which adhered to several conventions: hidden corruption and human anxiety, haunted minds masked by apparently normal outward lives, crazy monks, dilapidated abbeys and superstition. Gothic conventions became an outlet for exhibiting fears of the conflicting declarations of authority and freedom in American society — “self-made, self-improved, self-confident men abusing power or undermining the social order.” The gothic novel also had an underlying theme of homosexuality. British writer Sophia Lee wrote The Recess, which tells the tale of two daughters Mary Queen of Scots had in a secret marriage. These girls eventually end up in horrible marriages, with one going mad and the other ending up in jail in the Caribbean. American novelist, Charles Brockden Brown’s Edgar Huntly was a perfect example of the gothic novel. It was widely thought to be an allegory of post-revolutionary American identity crisis.
In France, literature not only described female dissent along with key novels by men as part of a crisis in legitimacy that led to the French Revolution, but it conveyed the “art of like”. There was an emancipation of like and an unprecedented freedom of sexuality in 18th century France. Eros, artifice and nature played major roles in French novels. Women were immensely influential in 18th century France, as teachers and patrons. But, most significantly, they were recognized as novelists whose works were both highly regarded and enormously well loved. Women writers’ 16th and 17th century writings were virtually ignored. But, in the 18th century, female writers were recognized in all their glory. This “rediscovery” of women’s previously ignored work was thought to be groundbreaking.
Quranic Imagery in English and the Senses
INTRODUCTION
Literary devices, such as similes, metaphors, symbols, etc. are found in abundance in the Quran and they are also apparent in the translated versions of the Quran in English although it is realized by all translators, scholars and authors that no one has yet been able to convey or translate the exact meaning of the Quran.
A judgement sample of verses was taken from a few different surah. Two index categorization books were used for this selection: Tafsil Ayat AlQuran AlHakim by Jol Labom (Labom,1963) and AlMustadrak by Edward Montet (Montet,1963). Both these books were translated by Mohamed Fouad Abdul Baqui and have a systematic listing of Quranic verses according to topics (eg. Heaven, Hell, Justice, etc.). Under Heaven, there are altogether 258 verses mentioned in 58 surah. Under Hell, there are altogether 144 verses mentioned in 35 surah.
The verses to be dealt with in this paper are:
XXXVIII Surah Sad, verses 49-52,55-57 from Abdullah Yusuf Ali’s English language translation of the meaning of the Quran. This paper first provides a brief explanation and discussion of each verse to familiarize the reader with the basic meaning of the verse. The technique and the exemplary Quranic images (text) will then be presented in this paper:
Technique: The Senses
Source:The Inward Ear by Alan Duff and Alan Maley (Duff and Maley,1989)
Text:Verses 49-51,55-57 of Surah Sad
Source:The Holy Quran by Abdullah Yusuf Ali (Abdullah,1983)
THE DISCUSSION OF SELECTED QURANIC IMAGES
In Verses 49-52 of Surah Sad, the righteous will be rewarded indeed and as Verse 49 suggests:
49. This is a message
(Of admonition): and verily,
For the Righteous,
Is a gorgeous place
Of (final) Return,
50. Gardens of Eternity,
Whose doors will (ever)
Be open to them;
51. There will they
Recline (at ease)
Therein can they
Call (at pleasure)
For fruit in abundance
And (tasty) drink;
And beside them will be
Chaste women restraining
Their glances, (companions)
Of equal age.
In Verse 50, we are told that Heaven’s doors will forever be open to the believers. Heaven will be an everlasting destination for them. This image conveys a feeling of security and enables one to be able to visualize this privilege.
Verse 51 allows one to picture and nearly taste Heaven’s pleasures. Heaven’s tranquility is heightened with descriptions of fruits, cool drinks, etc., all to satisfy and at the disposal of the believers.
In Verse 52, we learn that these gentle surprises will be loved by and shared with fellow believers and mates, pure-minded and of equal ages. This puts across to the readers feelings of being surrounded and accompanied by people whom they want to be with; there will be no feeling of estrangement and loneliness. Abdullah Yusuf Ali in describing this verse, he says: “as we conceive happiness in this life, it is not complete if it is only solitary” (1229).
The senses that are affected are visual, tactile and gustatory.
Conversely, as we are told in Verses 55-57 of Surah Sad, for the transgressors, Hell awaits them:
55. Yea, such! But-
For the incorrect-doers
Will be an evil place
Of (final) Return!-
56. Hell!- they will burn
Therein, – an evil bed
(Indeed, to lie on)!-
57. Yea, such! – Then
Shall they taste it,-
A boiling fluid, and a fluid
Dark, murky, intensely cold!-
In Verse 55, we are told that Hell will be a certain and everlasting destination for wrongdoers. It conveys to the readers a feeling of a trapped dead-end. This visualization contrasts with what has just been described about Heaven in Verse 49: “….a gorgeous place/Of (final) Return” . Evil is contrasted with beauty for in the Islamic concept of beauty there is implicit excellent and no room for evil; similarly, where there is evil, there can never be right beauty.
Verse 56 declares that the wrongdoers will burn in their evil bed in Hell. One can imagine feeling the heat and pain of fire tormenting one “in bed”.
In Verse 57, the boiling, dark, murky, intensely cold fluid heightens the terror of Hell. As Abdullah Yusuf Ali clarifies it, there is discord between extreme opposites- boiling and intensely cold (1229). One can smell, taste and feel the intense cold and heat of this fluid. This makes one further imagine the extreme sufferings of Hell.
The senses that are affected are the visual, tactile, gustatory and olfactory.
THE INTRODUCTORY LESSON ON IMAGERY
There is a need for an introductory lesson on imagery since there are certain aspects of imagery that the students need to know and know before they can fully participate in class discussions or attempt any of the written assignments. A teacher can devise his/her own introductory lesson on imagery according to the level of language competence of his/her group of students. The next or subsequent lesson will be on Quranic imagery.
Thus, for this case study, it must be kept in mind that the group of participants is of the intermediate English proficiency level. Careful selection of a suitable technique and level of difficulty of the text must be done. Consequently, activities that help to enhance the four language skills are also thought of.
A suggested written assignment after an introductory lesson on imagery is: Make sentences using the three literary devices and clarify how and why the simile, metaphor and symbol are used. State the senses that are affected by each image.
The written assignment will be used as basis for gauging whether or not the students have understood the lesson.
LESSON PLAN ON IMAGERY
Technique:The Senses
Text:Verses 49-51,55-57 of Surah Sad
Level: Intermediate (undergraduate)
Duration:One Hour
Objectives:Develop in students the ability to:
1) Identify and/or locate the images in each verse
2) Recognize and distinguish between the 2 types of imagery :
i) Descriptive imagery
ii) Figurative imagery and the literary devices used
3) State which senses are affected
4) Make their own images
5) Use the four skills:
i) Listening:Done in listening to the teacher reading the verses.
ii) Speaking:Done in contributing responses to the teacher’s questions.
iii) Reading 
one in reading verses and trying to locate and identify the images.
iv) Writing:Done in written assignment.
The teacher can start the lesson by recapitulating the (previous) introductory lesson on imagery. Allow 15 minutes for this.
In the technique, The Senses, the students can focus on the different senses that are affected through imagery. This time the students will have a chance to use Quranic imagery and be able to state which senses are affected.
The level of suitability for this technique would be intermediate English language class level (undergraduate) students at an Islamic institution and/or where the majority of the student population is Muslim.
The original text used for this technique was replaced with Quranic images of Heaven and Hell from Abdullah Yusuf Ali’s English language translation of the meaning of the Quran : Verses 49-51, 55-57 of Surah Sad.
After a brief explanation of the previous lesson, the teacher leads the students into Quranic imagery. He/she distributes copies of the verses to the students and informs the students that the verses that they are about to study are verses from Abdullah Yusuf Ali’s English language translation of the meaning of the Quran, starting with Verses 49-51 of Surah Sad. He/she tells the students that these verses are about Heaven.Then, the teacher reads the verses twice :
49. This is a Message
(Of admonition): and verily,
For the Righteous,
Is a gorgeous place
Of (final) Return,
50. Gardens of Eternity,
Whose doors will (ever)
Be open to them;
51. Therein will they
Recline (at ease)
Call (at pleasure)
For fruit in abundance,
And (tasty) drink;
As the teacher reads these verses, he/she goes through and clarifies the hard words.
In Verse 49, line 2 – admonition – warning
In Verse 50, line 1 – Eternity – unchanging and endless time
In Verse 51, line 2 – recline – be in a horizontal position
Verse 51 – abundance – plenty, a quantity that is more than enough
The teacher goes back to the verses and questions students to try to locate and identify the images in the verses. He/she goes through the task with them, helping and guiding.
Verse 50, line 1 : Gardens of Eternity
What type of imagery? Figurative imagery using a literary device: symbol.
“Gardens of Eternity” are the gorgeous gardens which will be in unchanging existence forever for the righteous to delight in in Heaven. The term also symbolizes the supreme or sublime Beauty of Heaven in a spiritual sense.
Senses : visual.
The image gives one a gorgeous (mental) picture of gardens that are always in bloom while symbolizing that timeless heavenly world one can only truly know after life.
Verse 50, lines 2 and 3 : Whose doors will (ever)
Be open for them
What type of imagery? Figurative imagery using a literary device: metaphor.
These doors to the gorgeous gardens are forever open to the righteous. Normally, when one thinks of doors, they can either be open or closed. But these doors in Heaven will forever be open. The image metaphorically compares the entrance or passage into Heaven, which we cannot truly visualize, to “doors” in which case Heaven is compared to a gracious house or one’s eternal home. The image of open doors depicts Heaven as an abode that feels familiar, hospitable, welcoming.
Senses : visual.
The image suggests a mental picture.
Verse 50, lines 5 and 6 : For fruit in abundance,
And (delicious) drink.
What type of imagery? Figurative imagery using a literary device: symbol.
These gardens have plenty of fruits and tasty drinks that the righteous can delight in. These pleasures are symbolic of the types of satisfaction that these gardens can give. The “abundance” symbolizes the unceasing quantity that is available and thus, the feeling of satisfaction continuously lingers on.
Senses : visual, gustatory.
The image suggests a mental picture and we are made to feel as if the fruits and drinks can be tasted.
Then the teacher distributes copies of verses of images of Hell this time and informs the students that these verses are about Hell and that these verses are specifically from Abdullah Yusuf Ali’s English language translation of the meaning of the Quran – - Verses 55-57 of Surah Sad.
The teacher reads these verses twice:
55. Yea, such! But –
For the incorrect-doers
Will be an evil place
Of (final) Return ! –
56. Hell! – they will burn
Therein, – an evil bed
(Indeed, to lie on)! –
57. Yea, such! – Then
Shall they taste it, –
A boiling fluid, and a fluid
Dark, murky, intensely cold
As the teacher reads, he/she goes through and clarifies hard words:
In Verse 57, line 4 – murky– gloomy, unappetizing
In Verse 57, line 4 – intensely- – very high degree
Now the students will be better able to deal with the verses on Hell with less help from the instructor, having previously dealt with the verses on Heaven. The teacher goes back to the verses and questions them to locate and identify the images in the verses.
Verse 56, line 2 : an evil bed
What type of imagery? Figurative imagery using a literary device: metaphor.
A bed usually signifies a place on which to rest but this “bed” is a place to be tortured, punished and burned; it is comparable to a torture chamber.
Senses : visual, tactile.
The image suggests a horrifying picture provoking the reader to nearly feel the pain of being burned.
Verse 57, line 4 & 5 : A boiling fluid, and a fluid
Dark, murky, intensely cold.
What type of imagery? Descriptive imagery.
A vivid description is given about a torturous drink in Hell.
Senses : visual, tactile, gustatory.
One can picture tasting this drink and feeling its high degree of heat and coldness alternately burning and freezing one into extreme discomfort.
Then the teacher writes on the board selected words from the verses of Heaven and Hell for the written assignment:
Make sentences with these words, making your own images and stating which of your senses are affected.
1) A gorgeous place
2) Fruit in abundance
3) Tasty drink
4) An evil place
5) An evil bed
6) A boiling fluid
Example: A Gorgeous Place
A gorgeous place is like a painting where flowers always bloom and swans glide about continuously on a pond of clear, blue water.
Senses : visual.
If the students are able to complete the written assignment within the remainder of the class time, these assignments will be collected at the end of the period. If not, these assignments can be collected at the beginning of the next lesson. The written assignments will be used as the basis for gauging whether or not the students have understood the lesson.
A CASE STUDY
Two lessons were taught to a group of students at the undergraduate level in an Islamic institution. This class is an English language –Intermediate level class. The students were taught for one hour of the introductory lesson on imagery and one hour of the above lesson plot using the technique-The Senses with Quranic images. Observatory comments were taken and reproduced in this paper. The breakdown of the marking scheme for the two written assignments after each lesson was taught, is dealt with.
EVALUATION OF ASSIGNMENTS
The Introductory Lesson on Imagery
Assignment:Write a simile, metaphor and symbol, stating the senses that are affected.
For simile : Total – 5 marks.
4 marks for right answers
(-) 1 mark for spelling error
(+) 1 mark for creativity
(-) 1 mark for grammatical error
For metaphor : Total – 5 marks
4 marks for right answers
(-) 1 mark for spelling error
(+) 1 mark for creativity
(-) 1 mark for grammatical error
For symbol : Total – 5 marks
2 marks for each part of the symbol
(-) 1 mark for spelling error
(+) 1 mark for creativity
(-) 1 mark for grammatical error
Maximum Possible Score:15 marks
No. of Participants Scores
5 15
7 14
7 13
2 12
1 9
Comments
Generally, the scores show that the lesson was well-understood. The students lost points mainly for grammatical flaws. The student who scored 9 marks had serious grammatical flaws in all three parts of the question which aggravated the problem of writing his/her own metaphor or symbol effectively.
The Lesson on Imagery using Quranic images and the technique-The Senses.
Assignment: Make your own images from the words selected from the verses.
Total – 30 marks (5 marks each)
3 marks for doing the assignment adequately.
Creativity +1
Spelling error -1
Grammatical error -1
Effective vocabulary +1
Maximum Possible Score: 30 marks
No. of Participants Scores
1 30
1 29
5 28
2 27
8 26
1 25
1 24
1 23
1 20
Comments
The majority of the participating students scored 26 marks. Those who scored above 26 marks did so because of more effective vocabulary and less grammatical flaws. Those who scored below 26 marks did so because of not attempting all of the six-part question. This technique was found to be suitable for this level–intermediate– because the students were willing and able to speak up. But, it was hard for this group of students to guess the meaning of words like admonition when new vocabulary was pointed out. Otherwise, this group of participants was very cooperative.
CONCLUSION
The focus of this technique (The Senses) is of course, the teaching of imagery. At the same time, but, the teacher can point out new vocabulary and right grammatical mistakes in the English language. For this intermediate group of participants, the classroom activity was task-based, locating and identifying the images in the verses. They are also required to state which senses are affected by each Quranic image.
This technique, The Senses, text of Quranic imagery and the suitable activities carried out in the classroom, each plays its own role in a teacher’s successful teaching session. They are an integrative part of the whole teaching session.
Basically, the following are the main objectives of a teacher teaching imagery:
Objectives: Develop in students the ability to:
1) Distinguish the 2 types of imagery :
i) Descriptive imagery
ii) Figurative imagery
2) Distinguish the 3 literary devices usually used in figurative imagery:
i) Simile ii) Metaphor iii) Symbol
3) Recognize and use the literary terms for the five senses that can be affected through imagery:
i) see–visual ii) hear–auditory
iii) touch–tactile iv) smell–olfactory
v) taste–gustatory
4) Write their own similes, metaphors and symbols, stating the senses that are affected.
5) Use the four skills:
i) Listening
ii) Speaking
iii) Reading
iv) Writing
With the use of Quranic images, it is possible to generate a discussion on an aspect of Islam. This is an added advantage, especially at Islamic institutions. Both descriptive and figurative imagery, in particular, metaphors, similes, symbols, can be taught through Quranic images.
REFERENCES
Abdullah Yusuf Ali. The Holy Quran. Brentwood, Maryland:Amana Corp., 1983.
Adeyanju, Thomas K. “Teaching Literature and Human Values in ESL: Objective and Selection”. English Language Teaching Journal. 32.2 (1978): 113 – 8.
Al Ghazali, Muhammad and Hasanah, Umar Ubayd. Kayfa Nata’amalu Ma’al Quran : Mudarasah Bayna Alshaykh. Virginia: International Institute of Islamic Thought, 1991.
Al-Sha’rawi, Syaykh Muhammad Mitwalli. The Miracles of the Quran. Baker Street, London: Dar Al-Taqwa Ltd., 1980.
Asad, Muhammad. The Message of the Quran. Gibraltar: Dar al-Andalus Limited, 1980.
Duff, Alan and Alan Maley. The Inward Ear. Cambridge, England: Cambridge University Press, 1989.
Frye, Northrop, Sheridan Warner Baker and Geroge B. Perkins. The Harper Handbook to Literature. New York: Harper & Row, 1985.
Khalifa, Mohammad. The Sublime Qur’an and Orientalism. Essex, England: Longman Group Ltd., 1983.
Labom, Jol. Tafsil Ayat AlQuran AlHakim. Lebanon: Dar Alkitab Alarabi, 1963.
Mawdudi, Abul A’la. Toward Understanding Islam. Leicester: Islamic Foundations, 1980.
Montet, Edward. AlMustadrak. Lebanon: Dar Alkitab Alarabi, 1963.
Perrine, Laurence. Literature – Structure, Sound and Sense – 4th Edition. New York: Hartcourt Brace Jovanovich, 1983.
Pickthall, M. Marmaduke. The Meaning of the Glorious Koran. New York: Mentor Books, 1963.
Stevick, Earl W. Images and Options in the Language Classroom. Cambridge, England: Cambridge University Press, 1986.
Von Denffer, Ahmad. Ulum Al-Quran, An Introduction to the Sciences of the Quran. Leicester: The Islamic Foundation, 1985.
Wilkins, D.A. [David Arthur] Second Language Learning and Teaching. London: Edward Arnold, 1974.
Wright, Andrew. Pictures for Language Learning. Cambridge, England: Cambridge University Press, 1989.
Ladies Errant: Wayward Women and Social Order in Early Modern Italy
Product Description
The issue of a woman’s place–and the possibility that she might stray from it–was one of early modern Italy’s most persistent social concerns. Deanna Shemek presents the problem of wayward feminine behavior as it was perceived to threaten male identity and social order in the artistic and intellectual climate of the Italian Renaissance. LADIES ERRANT will interest scholars in Italian studies, women’s studies, and European culture. 8 photos…. More >>
Ladies Errant: Wayward Women and Social Order in Early Modern Italy
What Causes A Woman’s Hair To Fall Out, Thin, Or Shed?
I often hear from people who want to know why their hair is falling out at an alarming rate. This correspondence comes from both men and women, but I find that women are often more concerned about and emotionally invested in their hair. That’s not to say that men aren’t concerned about hair loss. They certainly are. But there is a lot more literature and information about why men lose their hair. So, there are less resources available to women, (although it’s becoming increasingly common for women to experience noticeable hair loss also.) Still, in the following article, I will go over some of the reasons that both men and women experience hair fall. And, I’ve explored many of these possibilities myself. (You can read more about my frustrating tale here.)
Seasonal Causes: There are a couple of times per year when some people will notice accelerated hair fall. In general, this is the spring and fall, but every one is different. But, most of the time, people tend to have these seasonal sheds at around the same time every year. So, chances are, you already know when you will typically see this type of hair fall. And, seasonal shedding usually does not last for very long. Often, by the time you have noticed it, the loss has already begun to resolve itself.
Medical Causes And Medications: There are some medications that cause shedding or loss. Usually, you will see an indication on this with the literature that came with the medication. Your doctor might also mention this possible side effect to you. Also, sometimes starting or stopping a new medication can cause some shedding.
And, there are many medical conditions that can negatively affect your hair. Often, these conditions are autoimmune, metabolic, or hormonal in nature. Just some examples of these types of issues are menopause, hypothyroidism, lupus, diabetes, or alopecia areata. You will sometimes see information about vitamin deficiencies or anemia causing your hair to fall out, but in my observation, this is pretty rare, although it’s a relatively simple fix.
Additionally, any time you have an illness or stress to the body, you can find yourself with a condition called telogen effluvium. With this condition, you can have very dramatic and sudden shedding that is nearly impossible to miss or ignore. Basically, you will see a lot of hair in your drain, on your clothing, and on your floor. This condition occurs for a variety of reasons. Examples of causes of TE are surgery, stress, illness, giving birth, or sudden hormonal or health changes.
Conditions Or Irritants Of The Scalp Or Hair Follicles: Sometimes, you will see dermatological conditions like psoriasis, seborrheic dermatitis, eczema, allergic reactions, bacterial infections, or yeast overgrowth. All of these things can cause inflammation which will often result in hair loss. Sometimes, you will see other things that are connected to the loss like pain or discoloration of the scalp. You can also sometimes see some flaking of the scalp (and also occasionally on the eyebrows as well.)
Hormonal Issues And / Or A Sensitivity To Androgens: It is said that the most common reason for hair loss is AGA or androgenic alopecia. This is often associated with either aging or genetics. But, I can’t tell you how many people tell me that they have no family history of AGA and yet they have been diagnosed with or suspect it. Any time hormones or changing or lessening, you can see hair loss. This is especially right of those who are “hormonally vulnerable” or who have a tendency to notice skin or hair changes at different times during their hormonal cycles. (This has always been the case with me.)
This is why you will often see hair loss starting at middle age or as menopause approaches. It is also why you can sometimes see it at puberty or at the onset of or at the end of pregnancy. It’s not uncommon for people to see hair loss when hormones are lessening due to illness like in cases of hypothyroidism. But, without a doubt, the most common hormonal issues associated with hair loss is the sensitivity to androgens.
People will often tell me that they have had blood work which shows that their androgens are low and yet they still have androgenic hair loss. It’s vital to know that it’s not always high androgens that are in play with AGA. The sensitivity to even a low amount of androgens can be just as devastating to your hair. That’s why successful treatment will often focus on the sensitivity and the balance issues rather than trying to artificially rid or fortify your body of hormones, which, at least in my opinion isn’t realistic and often isn’t the best thing for your overall health.
Real Deal Female Weight Loss
Local Trainer finds literature agrees with less common yet more effective female workout format employed with client.
Most of the information regarding female weight training today appears universal. Much of the literature promotes light weight-high rep lifting formats with long bouts of cardio training for toning and tightening the female figure. But, a recent article on female fitness discussed what’s typically a superior workout format for women. In his article Female Training Secrets, Craig Ballantyne discusses the benefits of low volume, slightly heavier weight- full body exercises combined with interval training to lean out and tone women’s physiques. Craig’s findings match my experience with regard to a similar format a female client of my own followed. She engaged in a workout plot based on overall body strength training combined with HIIT (High Intensity Interval training), which is discussed below for cardio. Here’s the workout plot.
Resistance Exercise Protocol:
Start with multi-joint exercises, paired in mini cycling circuits. (Example: squat rows, pushups on the ball, lunge with bicep curl. Repeat 2 times, 8 reps per exercise and rest when needed). Then build from a workout of 3 circuits up to 5 and end with 5 minutes of various core abdominal exercises. Once you can complete 10 reps for both sets of each exercise, increase resistance to maintain the intensity of stimulus instead of increasing duration or reps as is often prescribed. Try 2 days per week with 2 days between each workout for excellent recovery and fantastic results. Finally, I combined her weight program with HIIT (High Intensity Interval Training) to complete the cardiovascular aspect of her workout plot.
HIIT Training:
HIIT Training is basically a type of cardio that employs small high intensity aerobic intervals alternating with moderate to low intensity aerobic intervals based on your max heart rate. In general, high intensity can be estimated to be approximately 80-85%, moderate 50-60% and low 40-50% of max heart rate. Attain your max heart rate by subtracting your age from 220 then calculate percentages from that number. Using this information, my client followed a honestly standard HIIT format of 30second high intensity intervals combined with 1.5minute moderate intensity intervals. She performed HIIT sessions 2-3 times per week for 25-minute sessions on separate days from her weight lifting program. The HIIT training she followed again coincides with Craig’s sentiments regarding cardio for female weight loss: “As with resistance training, I’ve found the best results are achieved by high intensity cardio intervals rather than lower intensity, longer duration exercise. This form of high intensity cardio will burn calories and stout more efficiently than long cardio sessions”. Now though this resistance and cardio format can be very effective, your well-being is much more vital. Read on to ensure to follow the appropriate guidelines before beginning any exercise plot.
Conditioning and Benefits:
As with any exercise program, be sure to clarify your program to your physician and
obtain medical clearance from your physician before beginning your exercise program.
Additionally, the above program requires a excellent base of physical conditioning prior to commencement. If this program is of interest to you, hire a Certified Health and Fitness Professional to assess your level of conditioning and outline a program that fits your personal abilities. This is a challenging program and you should not partake in it without proper professional guidance. Under such guidance this type of program should yield similar benefits to those it bore for my client including: improving her cardio, dropping 12 inches off her hips, toning her tummy and giving her back her waist in just under 3 months.
Best of Health,
Byron Collyer
Women’s Weight Loss Specialist
Sowing the Body: Psychoanalysis and Ancient Representations of Women
Sowing the Body: Psychoanalysis and Ancient Representations of Women
Ovarian Physiology Series Section 1
OVARIAN PHYSIOLOGY
Ovaries are the generative organs of mammals for the production of oocytes.The oocytes have protective coverings consisting of a few layers of cells which initially surround the female egg called oocyte.
Ovaries perform a dual function.
EXOCRINE
Under exocrine functions they release oocyte
ENDOCRINE
Under endocrine function they release ovarian hormones.
OOGENESIS
It is the name given to the process of egg formation within the ovaries of the mammals. The process is initiated during mammalian foetal life. Its beginning and end differs within different species. (WANI, 1984, wani, 1996, wani, 2009]. The oogenesis starts around 7th month of embryonic life of a female offspring in the mammals
PRIMODIAL FOLLICLE POOL
Millions of primordial follicles appear in the cortex of the developing foetal ovary. This number of primordial follicles is species specific and progressively diminishes up to menopause in women and with age in other mammals. A foetal lamb or kid [GOAT] has millions but only 85 thousand such follicles are estimated to be present at pubertal oestrus, indicating a loss from foetal to birth and then birth to puberty. A female cow calf has around a 100 thousand such follicle at first oestrus i.e. puberty. These follicles are now reported to be formed from the ovarian surface too and not only the germinal epithelium of the ovary. [WANI AND WANI, 2009]
PRIMODIAL FOLLICLES IN WOMEN
The women has 200 thousand at puberty from a birth pool of 500 thousand numbers as they are not seasonal but have poly cyclic receiptivity,which other wise a misnomer or exception in other species. We did confirm the occurrence of gestational heats in small ruminants too [SINHA ET AL 1980 AND WANI ET AL 1980].The number of these follicles progressively decreases with age, more rapidly with approaching puberty or adolescence.
PUBERTY
The first menarche is indicative of the puberty in women.Simmilarly the first oestrus is the beginning of puberty in other mammals. This may be one of the causes of low fertility in women who choose to marry at an older age.
PRIMODIAL FOLLICLE
The primordial follicle consists of an oocyte surrounded by a flat stoma cells or somatic cells called granulose cells. This primitive oocyte is called oocyte I. (Guerin, 2009). The granulose cells are covered by a basal membrane known as membrane of Slavjan Ski. The diameter of oocyte I is around 30 µ.
The primordial follicle changes to primary follicle. The primordial follicle consists of a single flat layer of germinal cells. When these flat cells change to a cuboidal shape the follicle is named as secondary follicle.
SECONDARY FOLLICLE.
It still contains oocyte I inside. It has a double layer of germinal cells, cuboidal in shape. The size of oocyte I within it measure around 40 µ.
GRANULOSA CELL GROWTH.
The number of granulose cell increase and are around 5000 in number. The oocyte grows too and its diameter measure over 60 µ. The follicle is still categorized as secondary follicle and its size may increase with oocyte reaching a diameter of 180 µ inside it. Thus primary to secondary follicle transit involves 6 fold growths in the diameter of the oocyte.
GRANULOSA CELL MULTIPLICATION
During last stages of secondary follicles isolated islands or space differentiate within multiplying granulose cell layers which differentiate epithelial cells from stoma fibroblasts.
OVARIAN HAEMODYNAMICS
The blood capillary ramification or what is named ovarian hemodynamic development and described as angiogenic changes in ovarian development of sheep [Wani, 2009, Khatun & Wani, 2007, Khatoon et al. 2006, Goswani et al. 2008].
PRE-ANTRAL FOLLICLE
The epithelial cells surrounded by encapsulating angiogenic masses give rise to what is known as theca interna or inner layer of the follicle. This secondary follicle in which theca interna is visible is called Pre-antral follicle. The formation of cavity is peculiar recognition of the pre-antral follicle.
THE TERTIARY OR ANTRAL FOLLICLE
The follicle grows and granulosa cells now differentiate into theca externa and theca interna with a central antrum. The follicle is named as tertiary follicle. The rapid growth and differentiation of follicular (granulosa) cells continues and cells become innumerable around 50 million. The tertiary follicle grows in diameter and reaches a size of about 20 mm or 2 cms.
PRE-OVULATORY FOLLICLE
The size of the preovulatory follicle is around 20 mm or 2 cms. Any tertiary follicle assuming or attaining this growth is denoted as pre-ovulatory follicle. The differentiation of granulosa cell as theca interna now culminates into another type of cells called theca externa. The oocyte within a particular mass of granulosa cell now invaginates into follicular cavity.
CUMULUS OOPHORUS
The electron microscopy of these theca cells denoted as cumulus oophurus (theca interna derived cell) has shown that it consists of;
Clusters of epitheloid cells
These cells are morphologically similar to leydig cell which produce male hormones of androgenic nature.
ANGIOGANIC CHANGES
The theca externa layer consists of collagen fibres penetrated by numerous blood capillaries. These angiogenic ovarian changes are vivid and transparent. The usual fibroblasts of early follicles change to myo- fibroblasts at this stage
PRE-OVULATORY FOLLICLE
Preovulatory follicle in women contains oocyte still at the diakinesis stage .With the cytoplasmic growth of the oocyte corresponding follicle also grows, at this stage oocyte, measure 120 µm in diameter.
OOCYTE CHANGES.
Oocyte too undergoes some changes at preovulatory stage. The cytoplasm and nucleus continues to grow. Cortical granules migrate to the periphery. It is these granules which blast like radioactive nuclear materials and form a firm protective cover around the “fertilized ovum” known as cortical reactions.
Zona reaction
This reaction is showed when the first sperm strikes the zona pellicuda of the oocyte and is known as Zona reaction. The other inner membrane of the oocyte is called vitteline membrane and its block is called vitelline block.
PREVENTION OF POLYSPERMY
The zona reaction and vitelline block prevents polyspermy at fertilization.The cortical granules are radio-opaque substances which expand like a nuclear mushroom and shadow the wall of the oocyte at fertilization. The cortical granules from cytoplasm of the preovulaty follicle. Shift and merge with plasma membranes.
OOCYTE ACTIVATION
While these changes occur the nuclear material of oocyte I at blocked level too resume activity but soon its activity is arrested and Block II comes into force. This block effectuates at 2nd metaphase division (Metaphase II). Thus there is now established evidences that oocyte of its own resumes nuclear activity which progresses from Prophase I to Metaphase II well within the ovarian life.
PARTHENOGENESIS
Is it possible to explore the circumstances, modulators and precursors of this change? More investigation on this topic is needed. This would possibly clarify the growth. and maturation of follicle of its own as it happens in parthenogenesis or even after Menopause it would be possible to incite such changes.
BIRTH OF CHIRST-THE HOLLY SPIRIT.
Once the mechanism triggering this change from Prophase to Metaphase is signalled out, we may clarify the process of the birth of Messiah “Haroon” or “Isaac” from unmarried and aged parents as referred to in Holly Quran for the first time in literature in 579 AD.
This self initiating change within the oocyte to overcome its nuclear development block can be hypothesis for a broad new concept on foliculogenesis, which would fulfil the wishes of infertile and aged couple and give them a new hope for their loved procreation even after death. A more recent research review is presented in following chapters.
LIFE AFTER DEATH IS POSSIBLE
The post death revival of life in slaughtered sheep has been achieved. (Wani, 1995, Wani, 2001, 2004, 2006, 2008, 2009, 1996 Figures 1-3) The figures of this chapter show our own results of oocyte maturation and fertilization after death (WANI 1995, WANI, 1996, WANI ET AL 1997, 2000).
The oocyte was recovered, grown and matured invitro within 12-20 hrs of slaughtering the animals. Fertilizing the recovered and matured in-vitro oocytes with semen obtained from the slaughtered Ram epididymus. This innovative research opens a new area of post death revival of life and also clarifies the truths recorded for the first time in the book of GOD “THE Holy Quran “
OVULATION PROCESS
During ovulation, propelled by the activity of myo fibroblasts in the theca cells, the oocyte I are virtually changed to oocyte II with the above mentioned changes. The released “ovum” in women is thus oocyte II surrounded by cumulus cells. The stage at which oocyte are released in different mammalian species are reported (Wani 1996). And shown in the Figure –1
Primordial Germ Cell Pool
Primordial follicle remain in dormancy since its formation during foetal life up to puberty i.e. around 15 years in women, few months 12-15 months in sheep and goats,2-3 years in cattle and buffalos. The puberty age and the status of follicles has been reported and reviewed by [WANI, 1991.wani1984.]
Out of the primordial follicular pool or commonly referred to germ cell pool by many authors including we in our books and thesis (Wani, 1984, 1984 b, 1996, 2006, 2008, 2009). Only a few grow, still fewer mature and only one or few ovulates at each cycle.This is species specific and breed specific within the species Table 1
PUBERTY
The number of the primodial follicles in humans is known to decrease from 5 million at birth to 2 million at puberty All these numbers are postulations or calculations on statistical assumption. Only “God’ known the right number But, reviewing the available literature upto 18th of December, 2009.Al literary and investigative figures indicate 5 million at birth and around 2 million at puberty. The significant loss of the germ cell pool occurs ,first between foetal ovarian development , the second cut on the follicles occurs between birth to puberty and progressive cuts and reduction ensues at each oestrus or menstrual cycle with its decrease or near cessation during ancient age, Women have been seen to have decreased rates at or near menopause.
IS THIS FOLLICULAR LOSS A LOSS IN FERTILITY
Whether this loss of primordial follicle pool between birth and puberty is similar in fertile and infertile women or there is complete cessation of follicle development after menopause. A chapter on menopause can be reviewed in this book too.
There are possibly two explanations which could be unveiled in future. In simple terms the answer to the proposed question could be yes. Yes means fertile women have less loss of primordial follicles in their physiological change from childhood to adulthood. This would mean more number of follicles available for ovulation or perhaps a ratio exists within developmental process to have a fixed number of pools to recruit and classify future ovulating follicles. The negative answer will take us to wonder world of Endocrindogy where morphological evidences alone could not prove the point, but yes one would analyse the degree of success in helped fertility cases. How and when this would be known is perhaps beyond my vision. At least in my life I do not foresee a revolution of this kind as very few follicular biologists are active on earth. We have tried to review this situation in our forthcoming chapters in this book under nuclear receptors. The purpose of this book is to incite interest among scientists to work on these areas where small work has been initiated.
Perhaps prioritizing of foetal-maternal interactions by WHO / UNDEP/ USAD/ ICAR can be suggested as has already been advocated by An American science and technology forum. As such other world research organisation may help to provide funds and scholarships to the young and budding scientists. Alternatively, a research donation by an infertile couple (who know the desperation of millions suffering from infertility) may help to unveil the hidden potential.
FERTILITY AND FOLLICULAR DEVELOPMENT
As on today the mechanism of folliculogenesis is so inefficient that out of a pool of 7 million prospective eggs (Primordial follicles) hardly 4000 follicles reach preovulatory stage. A new knowledge pool is available on folliculogenesis.
Initial follicular Recruitment
The foetal primordial follicle develpment arrested at birth regains the capacity to grow at puberty.This dormancy or the arrest is ascribed to the Local growth promoting factors They are found to be responsible for this wakeup call. Research review shows inhibitory process is responsible for the primordial follicular sleep. This deep sleep can be or is known to broken by stimulatory factors. These inhibitory and stimulatory factors have been researched.
THE PARACRINE SIGNALLING PATHWAYS
Here at this stage the oocyte genome is activated. This activation has been reported as transcription of gene. This is what needs further elucidation. What is that nature of this transcribed gene? During this phase of the foliculogenesis a significant development has been searched out. This is what is called paracrine signalling pathway. These paracrine signalling pathways reported are responsible for communicating signals from follicle or granulosa cells to the inside trapped oocyte. The growth of the oocyte is concomitant and proportionately comparable. This signalling mechanism have increased embryo culture success rate by use of cumulus cells in the co-culture {WANI, 2001, 1996 and others -1,2,3,4,5,————————-}
CO -CULTURE PROCEDURES
The co-culture with cumulus cells has become a routine procedure these days. Two receptivity theories have been postulated to clarify co-cultures higher success rate. These receptivity waves dertermine the destiny of the primary follicle as follows:
Receptivity: is attainted by the follicular wall of few layers thick in the primary follicle. It is found that FSH receptor develop in these follicular cell which make primary follicles responsive to FSH. Thus, we could say that two, receptivity waves formulate the destiny of the primary police.
First is Exocrine (EXR):
Receptivity in which a communication mechanism with “oocyte” is established A communication system between primary follicle cells and oocyte inside.
Second is Endocrine (ENR):
Receptivity which establishes receptors within primary follicular cells for FSH (Follicle-Stimulating Hormone) now it is established that all follicles do not respond to FSH; it is only primary follicle who respond to it. We may not wonder if Endocrinologist in future renames FSH as PFSH.
Primary Follicle Stimulating Hormone (PFSH):
During this phase of primary follicle transition, oocyte covering accumulates cortical granules on a glycoprotein polymer. This capsule encircling oocyte comes to be recognized as future Zona-pellucida. This is virtually first separation (physically or morphological) of oocyte from the follicular wall. Is it that this morphological change preludes the future changes and pathways?
Paracrine Signalling Pathway (PSP):
Does the above described morphological change initiate the PSP? Future research may show, whether paracrine signalling pathways initiate endocrine response or vies-versa. Similarly the nature of endocrine response towards cortical granule movement and subsequent formation of Zona-pellucida is the singular function of exocrine or endocrine signals or a combination of both. Thus future research in this era should involve a biologist, embryologist, biochemist, biotech and an endocrinologist if all hidden secrets of this tiny mass of 01. mm diameter is to be revealed.
RESPONSE TO FSH
The primary follicles are still single layered cells, the nature of these calls have changed from flat to cubiodal form. Here it is vital to note that the ancient concept of endocrine response to FSH by multilayer follicle is somewhat reformed. The changes for hormonal response to FSH initiate even when primary follicles are single layered but their form has to change from flat to cubiodal shaped cells. The exact mechanism of this control is to be further investigated.
MOHY HYPOTHSIS
If someone comes out with a follicular switch enhancing response of the follicles to FSH, we may succeed in recovering the otherwise 3 million pools at birth and 2 million losses at puberty. A new biotechnology of follicles is in offering for future folliculogenetists.All the donor agencies the DST, ICMR, ICAR, WHO, FAO need to come with liberal support for these thoughts and new research agenda.
SECONDARY FOLLICLE
The two layered granulosa cell cover around an oocyte makes a secondary follicle. A secondary follicle is a multilayered follicle. The exocrine signalling pathway is a two-way-process communicating signals from oocyte to granulosa cells and vies-versa.
Here within secondary follicle, oocyte secrets signal initiate changes in the follicular wall. The differentiation of follicle outer coat called Lamina Propia or Basal Lamina is the result of these signals. (REF 67888)
They further undergo cytological changes and differentiate into THECA EXTERNA and THECA INTERNA CELLS.
Both these layers and theca’s are interconnected by blood capillaries. During its development a primary follicle is recognized as one with thick zona-pellucida, nine layer granulosa cells, theca interna, theca externa and a capillary net. Figures 1-5 wani and wani,1996,2003
TERTIARY FOLLICLE
It is synonymic as Graffian follicle. Graffian follicle is on the name of the scientist Von de Graff who first saw a follicle in a rabbit ovary and expressed as if a ghost has eluded him. For more details refer (Wani, 1996)
ANTRAL FOLLICLES
As already described it is marked by;
(a). Antral Cavity or Antrum
(b). Granulosa cells already differentiated into
I. Zona-pellucida
ii. Corona Radiata
iii. Peri-antral cavity
Iv. Cumulus Oophorus mass
These cells have different responses to FSH. Theca cells have Luteinizing Hormone Receptors (LH). Production of androgens by theca cells is in response to LH stimulation. Notable androgens are androstendione. They are aromatized by granulosa cells to produced estrogens i.e. estuarial.
PREOVULATORY FOLLICLE
Most of the developing follicle in the recruitment pool dies down by a process called Artesia. The Artesia process limits the number of competing follicles to ovulate. A detailed account of atretic process has been described (Wani, 1984). Both granulosa cells and encapsulated oocyte undergoes cells death (Apoptosis). Many relate it to FSH thrust, but the right mechanism is not known. Many workers in the past have made attempts to utilize the atresia to limit the over stimulationat superovulation in sheep and goat(Cahill, 1981 & Wani 1984, Wani ,Gelderman,Hahn 1990). Many hormones,enzyme inhibitors and stimulators play their roles in this process, which may be described elsewhere in this book under endocrine control of folliculogenesis. The hormone of reproduction have been published (Wani 1996, 2009, 2009 a).
SUMMARY
For practical demonstration in the lab, teachers the photographic images 1-6 of the following descriptive terms ,to recognize while experimenting in the laboratory.
A) Simple Recognitions
i. Primordial Follicle
Single layered flat granulosa cells
ii. Primary Follicle
Presence of mitotic cells cubiodal granulosa cells
iii. Secondary Follicle
Presence of theca cells multilayered granulosa cells
iv. Early Tertiary[ pre- antral] Follicle
Formation of antrum
v. Late Tertiary [Antral] Follicles
Full formed antrum
vi. Preovulatory Follicles
Enlarged with differentiation of Zona-pellucida cumulus oophurus and other structure detailed above. All other follicle die down during Artesia only the follicle which escapes the atresia is called as dominant follicle destined to ovulate or preovulatory follicle
Annual Austin African American Book Festival turns this year’s focus to black male writers
Annual Austin African American Book Festival turns this year’s focus to black male writers
Annual Austin African American Book Festival turns this year’s focus to black male writers
Read more on Austin American-Statesman
Children’s Literature: parents often die early in which novels given?
Children’s literature tends to banish parents (often even killing them off). Analyze the
implications of parental absence
-Small Women
-The Secret Garden
-Alice in Wonderland
-The Lion the Witch and the Warddrobe
-Golden Compass
Which two books could i compare with that has parents being killed off early, i hvnt read any , so im going to do so wen i get some feedback from u guys!
Questions about the Anglo- Saxon?
What is the time-frame of the Anglo- Saxon world?
What was the only type of writing that was written down?
Who was Bede?
Define and describe epic poetry?
What was the element of Beowulf?
What was the role of women in literature during this time?
What types of things are vital in the Anglo- Saxon society?
How does Anglo- Saxon poetry reflect Anglo- Saxon society
1,000 attend Pride Fest in Iowa City
1,000 attend Pride Fest in Iowa City
Around 1,000 people attended a parade and celebration of the gay community today in Iowa City, said Kirsten Plowman, Chair of the Iowa City Pride Committee.
Read more on The Gazette
Under Fire: Stowe, Jewett, Freeman, Cather And Welty
1. Woman’s Fiction: Criticism
I find it rather hard to engage the topic of domesticity without addressing theories of hegemony and resistance. Much of what has been said and written is directly related to power representations and consequently resistance to it. The figure of the domestic woman has been, by many, considered haunting for over two centuries, presumably because its positionings often destabilize male-made concepts of ideology and opposition.
Harriet Beecher Stowe cleverly commented once that the middle-class home is an alternative economic system and so it questions the whole structure of a society whose values are increasingly determined by an escalating industrial-commercial economy (Levy, 1992).
For these reasons, many works of fiction of the highest quality have been undervalued or underread through time, especially when women’s traditional work is at their center. This is what we find when we look at vital careers, such as those of Sarah Orne Jewett, Mary Wilkins Freeman, Willa Cather and Eudora Welty. One quickly realizes that at that specific point when gender roles are openly discussed their work is neglected the most.
It is the case of Shadows on the Rock, possibly Cather’s least valued novel. Not surprisingly Freeman’s A Tardy Thanksgiving has seldom, if ever, been reprinted. Welty’s The Burning hasgarnered no importance by critics whatsoever, whom seem to have completely and purposefully ignored the presence of housekeeping in the tale.
Since women’s housework has been consistently regarded as
either trivial or invisible, at least since the American Civil War, the literary traditions involving home plots have been similarly marginalized.
Historian Glenna Matthews has made a wonderful contribution to the understanding of this process of marginalization of American women’s domestic fiction post-1870′s on her work entitled Just a Housewife: The Rise and Fall of Domesticity in America. In it Matthews chronicles “the mainstream political efficacy and influence of the woman-centered domestic sphere in the antebellum United States” (In: Romero, 1997).
What seems to have happened in the years after the American Civil War was a collision between antagonistic male and female cultures. The home plot was generated in this period of oppressively separate spheres.
Not surprisingly, Women’s Fiction, as a genre, received all kinds of reception, from outstanding praise to rave criticism.
Myra Jehlen’s claim, published in the feminist journal Signs, sustained that “by no means nineteenth-century women writers could compete artistically with Melville and the like because no woman can assume herself because she has yet to make herself, and this the sentimentalists, acceding to their society’s definition did not do.” (In: Romero, 1997)
Jane Tompkins, in 1985, in her groundbreaking book Sensational Designs, prophesized that the traditional “demonization” of domesticity was bound to lose its force. She argued that “the well loved domestic novel of the nineteenth century represents a monumental effort to reorganize culture from the woman’s point of view” and that domestic fiction “in certain cases…offers a critique of American society far more devastating than any delivered by better-known critics such as Hawthorne and Melville.” (In: Romero, 1997)
2. The Nineteenth Century
I stack the dishes and I wring the dish-cloth, like mum says; I clean the sink with Rinso, not too much; I shake the mat before the door, I water the geranium — is this being excellent? mum says, “excellent girl”: I do this not for mum or anyone: I do it for myself;
H.D.
from “Sagesse”
In the language of nineteenth-century American housekeepers, to have “faculty” meant to be a housekeeper of exemplary competence. In the words of Harriet Beecher Stowe, faculty is “high art”, and she has been known to describe it wittily in “ponderous biblical cadences”, such as we see in the following excerpt from the Minister’s Wooing:
“To her who has faculty nothing shall be impossible. She shall scrub floors, wash, wring, bake, brew, and yet her hands shall be small and white; she shall have no perceptible income, yet always be handsomely dressed; she shall not have a servant in her house, — with a dairy to manage, hired men to feed, a boarder or two to care for, unheard-of pickling and preserving to do, — and yet you commonly see her every afternoon sitting at her parlor-window behind the lilacs, cool and simple, hemming muslin cap-strings, or reading the last new book. She who hath faculty is never in a rush, never behind-hand. She can always step over to distressed Mrs. Smith, whose jelly won’t come, — and stop to show Mrs. Jones how she makes her pickles so green, — and be ready to watch with poor ancient Mrs. Simpkins, who is down with the rheumatism.” (Stowe & Conger, 1999)
Stowe’s description both valorizes faculty and gently mocks the ideal of domestic competence. The very thought of one woman who can effortlessly manage, without any servants, the chores of cooking, cleaning, sewing, “pickling and preserving,” and other self-perpetuating tasks seems rather unreal, for even though she inflicts harsh labor on her hands they are always white, even though she mercilessly exercises herself to exhaustion her countenance is always of coolness and freshness. Most fascinatingly, this woman, despite her endless labor, keeps up to date with literary productions – mind the sentence “reading the last new book”.
According to Stowe, one sign of an accomplished housekeeper is that she is never caught in the act (Stowe & Conger, 1999).
The ideal of such a capacious female life, centered in housekeeping, was
an insistent presence in nineteenth-century American culture. Thus all
of Stowe’s New England novels contain portraits of women who have achieved
“faculty”.
One example is The Pearl of Orr’s Island, in which the memorable seamstress, Aunt Roxy Toothacre, is an example of achieved faculty. She is “brisk, capable, with superior powers of foreknowledge” (Stowe, 2008). She is the first to diagnose the tuberculosis of the novel’s young heroine.
Aunt Roxy’s profile fits the description of having a way of life which is described as “housework as ritual enactment”, as clarified by theologian Kathryn Allen Rabuzzi (Stowe, 2008). According to her, the time this woman spends at her household tasks is “typically characterized by amorphousness or circularity or both, and a content frequently imperceptible within the structures of dominant male culture” (Stowe, 2008). What these women do is essential yet invisible; notwithstanding, this neverending ritual assures the continuation of belief and knowledge from one generation to the next.
Judith Fetterley (In: Campbell, 2009) writes of fiction as written and consumed by nineteenth-century American women claiming that “much of the pleasure that the contemporary reader takes in this literature stems from its ratification of women as significant subjects”.
These significant subjects materialized in literature in the figure of the heroine are often at odds with the rituals of the household in which they find themselves. Contradictorily, these heroines are domestic outsiders by definition. Sentimental novels typically culminate with their female protagonists’ marriages but fascinatingly leave undepicted their subsequent incorporation into the realm of housekeeping.
According to Baym, these climactic marriages are “symbols of successful accomplishment of the required task and resolution of the basic problems raised in the tale, which is in most primitive terms the tale of the formation and assertion of a female ego” (In: Campbell, 2009).
Until recently, a woman writing fiction about housekeeping was likely to find her choice of subject matter considered as politico-economic strategy, as referred to by Annis Pratt, in the New Feminist Criticism (1971). Or she might find that the domestic aspects approached in her work are liable to be labeled as relatively trivial, as Joyce Carol Oates, in 1969, described Eudora Welty’s fiction, i.e., as a “bizarre combination of a seemingly boundless admiration for feminine nonsense — family life, food, relatives, conversations, eccentric ancient people (In: Romines, 1992).
REFERENCES
Campbell, Donna M. “Domestic or Sentimental Fiction, 1830-1860.” Literary Movements. Available at: <http://www.wsu.edu/~campbelld/amlit/domestic.htm>. Accessed on: 17 Aug 2009.
Levy, Helen Fiddyment. Fiction of the Home Place: Jewett, Cather, Glasgow, Porter, Welty, and Naylor. Jackson, MS: University Press of Mississippi, 1992.
Pratt, Annis. “The New Feminist Criticism.” College English 32 (1971): 872-8. Available at: <http://www.eduref.org/plweb-cgi/fastweb?getdoc+ericdb2+ericdb+443781+76+wAAA+(decency)>. Accessed on: 16 Aug 2009.
Romero, Lora. Home Fronts: Domesticity and Its Critics in the Antebellum United States. Durham, NC: Duke University Press, 1997.
Romines, Ann. The Home Plot: Women, Writing & Domestic Ritual. Amherst: University of Massachusetts Press, 1992.
Stowe, Harriet Beecher. The Pearl of Orr’s Island. Charleston, SC: Bibliobazaar, 2008.
Stowe, Harriet Beecher and Conger, Danielle. The Minister’s Wooing. London: Penguin Classics Series,1999.
Which novel should I read for a College in School Literature course?
I am given options for a novel to read for the final project. My options are:
The Life of Pi
Giovanni’s Room
Green Grass, Running Water
As I Lay Dying
The Woman Warrior
Heart of Darkness
Also, for which book you choose, could you give me a small heads up on what it is about? I also like edgier literature. My favorite book of all time is “Naked Lunch.”
Please let me know! Thanks!
Male Versus Female Perspective on Marriage
Historically, male and female views on different aspects of social life varied dramatically. This difference was naturally reflected in literature that serves as the main tool of self-expression and opportunity to express the position of an author either male or female. In this respect, male and female perspective on marriage remained one of the most arguable points where the positions of male and female writers differed dramatically. At the same time, it does not necessarily mean that they were really different since both male female authors were significantly affected by the existing social stereotypes and gender roles and attitudes defined by these stereotypes.
Nevertheless, researching the development of British literature and analyzing the works of most well loved and known writers of the epoch from 1660 to 1800, it is possible to state that male and female attitude to marriage may be easily traced through the relationship between men and women depicted by the authors of this period of time. In fact, despite the fact that this period was characterized as the epoch of Enlightenment, the impact of traditional stereotypes still remained quite strong. This is why in works of many male authors it is possible to trace the superior attitude toward women and quite negligent attitude to marriage in particular. Often women were viewed as distress-makers and marriage was viewed as a kind of additional social burden men had to face.
In stark contrast, female authors, being relatively few compared to male writers, attempted to present their own unique view on women at large and their social position. Naturally, their perspective on marriage was an vital indicator of their feminist advancements. But, the analysis of works of female authors reveal the fact that, regardless the progressive view on women and growing feminism, they still viewed marriage as an vital and desirable part of their life which was often romanticized.
In such a way, on analyzing the male and female perspective on marriage in British literature, it is necessary to properly evaluate the extent to which male positions were conservative and the role of marriage in the works of male writers compared to the positions of female writers in the context of the growing feminine consciousness, which though still remained overshadowed by male stereotypes concerning the role of women and female ideal.
Arts in Kenya
The art items in Kenya include sisal baskets, elephant hair bracelets, Maasai bead jewelry, musical instruments, silver and gold jewelry, soapstone sculptures, wooden carvings, tribal masks, Maasai figurines, paintings, prints and sculptures. These art items are available in the arts and craft markets and shops throughout the main tourist centers of Kenya.
Cloth and Fabric in Kenya also form fascinating art items. The cloth and fabric available in Kenya are batik cloth, kangas (women’s wraparound skirts) with gorgeous patterns and even Kenyan proverbs printed on them and kikois (type of sarong for men) that come in many different colors and textiles. These are excellent art items to take home from your Kenyan trip.
African jewelry has been quite well loved for centuries in the world market. Kenya offers rare pieces of African jewelry containing cowry shells. Kenya is also known for its soapstone carvings found in Western Kenya. It is the Gusii and Abigusii ethnic groups which hand carve these Kissi stones into exquisite pieces of Kenyan art.
[removed]//
<![CDATA[
google_ad_client = "pub-4678407490774171"; /* 336x280, made 3/31/09 */ google_ad_slot = "4854636402"; google_ad_width = 336; google_ad_height = 280;
// ]]>[removed]
[removed] [removed]
[removed]// <![CDATA[
google_protectAndRun("ads_core.google_render_ad", google_handleError, google_render_ad);
// ]]>[removed]
Music
Benga is a truly Kenyan music style. Benga is high-energy dance music that originated after the 1940s when Luo musicians started playing traditional tunes with modern electrical instruments.
Most other well loved music styles have received influences from abroad. Taarab is the traditional Swahili music played at the Kenyan coast, and is heavily influenced by Arabic and Indian music styles. Lingala – modern upbeat party music – came from Congo, where the deteriorating political situation made many artists flee to East Africa. American hip hop and gangsta rap has infiltrated Kenya like a virus. Pictures of 50 Cent and Snoop Dogg are everywhere in Nairobi.
Dance
The hypnotic swaying and leaping in Masai and Samburu dancing, are the best known forms of Kenyan dancing. In their energetic dancing, warriors show their strength by leaping high in the air.
The Masai and other tribes perform regularly for tourists who visit their villages. In tourist venues along the coast, Mijikenda dance groups often give performances.
[removed]//
<![CDATA[
google_ad_client = "pub-2284573143835437";
/* 300x250, made 9/12/08 */
google_ad_slot = "7874741716";
google_ad_width = 300;
google_ad_height = 250;
// ]]>[removed]
[removed][removed]
[removed]// <![CDATA[
google_protectAndRun("ads_core.google_render_ad", google_handleError, google_render_ad);
// ]]>
[removed]
Sigana
Sigana is a traditional performance art which contains elements of all the major Kenya art forms: storytelling, song, music, dance, rituals etc. Active participation is a key feature of sigana. The line between performers and audience is less clear than in many other Kenya art forms.
You won’t see these often along the tourist trails, but the Mzizi Arts Centre in Nairobi organizes monthly Sigana performances.
Theatre and performance
There are several theatre groups in Kenya, most of them based in Nairobi. Names to remember are the Mbalamwezi Theatre Group and the Phoenix and Miujiza Players. They often perform at the foreign cultural centres in Nairobi, Mombasa and Kisumu.
In Nairobi, there’s the Kenya National Theatre. It’s known for the controversy it made with the production “I Will Marry When I Want” by Ngugi wa Thiong’o and Ngugi wa Mirii, which brought them into confrontation with the government.
Kenyans reportedly also like of satire and stand up comedy. One well loved group is Redykuylass (‘Rediculous’) which featured in a weekly TV program with a mix of political and social satire.
Literature
In Kenya, oral narratives are the oldest form of literature. Oral tales are still vital in many communities. Written literature, in Swahili and English, emerged in the beginning of the twentieth century. But, only after Kenya’s independence (1963) a body of national literature came into being.
An vital author (novelist, playwright and essayist) is Ngugi wa Thiong’o. As a child on missionary school, he was a devout Christian, but later he rejected Christianity and became a fierce critic of colonialism. He changed his name from James Ngugi to Ngugi wa Thiong’o in 1976 and embraced his native Kikuyu culture, as well as Marxism.
While having written the first novel in English by an East African author – “Weep not, child” (1964) – he published his first book in Kikuyu in 1980: “Caitaani Muthara-Ini” (Devil on the Cross). He now argued that literature written by Africans in a colonial language is not really African literature. In 1992 Ngugi became professor of literature at New York University.
Cinema
There is a small film industry in Kenya, which is struggling to stay alive, like elsewhere in Africa. But, a new generation of Kenyan film makers is emerging, inspired by the success of the Nigerian video industry. One such film director is Kibaara Kaugi, who in 2004 produced the acclaimed “Enough is enough” – a narrative of the well-known Mau Mau uprising – on a minimal budget.
Also, foreign film makers have used Kenya as a backdrop for their works. The most well-known example is of course Sydney Pollack’s “Out of Africa” (1985) with Merryl Streep and Robert Redford, which is about the life of Danish author Karen Blixen, who emigrated in the 1910s to Kenya to become a coffee farmer. A recent international movie is “The White Masai” (2005), after the real tale of the Swiss woman Corinne Hofmann who married a Samburu warrior and joined tribal life. There is no pleased ending here. These and other movies are reviewed on my movies about Kenya page.
Some Nairobi cinema houses are 20th Century Cinema (Mama Ngina Street), Fox Drive-In Cinema (Thika Road) and Nairobi Cinema (Uchumi House, Aga Khan Walk).
Crafts
In Kenya you will find much gorgeous and fine craft work. It’s sometimes incredible to see people in rags sitting outside their ‘home’ (if you could call it that), and produce wooden carved tables and chairs of a beauty you won’t see anywhere in North America or Europe.
Most crafts are produced for tourists. It’s best to set aside any purist misgivings you might have over their authenticity, and just delight in them for their own beauty (which they often have). Compare this to American or European culture, which is also eternally developing. The Beatles are just as ‘truly European’ as Beethoven is!
Wood carvings of people and animals can be bought everywhere. Classic are the very long sculptures of women carrying baskets on their heads.
Soap stone objects are another well loved for of Kenya art. Soap stone is mined in western Kenya by the Gusii and Abigusii tribes. They then produce gorgeous sculptures, chess sets etc. from it. Each piece is carved individually by the craftsmen and then wet sanded, polished and dyed all by hand. Soap stone products can be bought everywhere in Kenya.
Jewelry (often in the form of beads) are another Kenyan speciality and they can be bought in all colours of the rainbow. Jewelry is vital in African culture. Much Kenyan jewelry contains cowry shells. They are not only gorgeous but also symbolic.
Masai spears and shields are also well loved souvenirs. But first check with your air company and your customs whether you can take them home. Another solution is having them sent home by mail. Some tourist shops offer this option.
<!– @page { margin: 0.79in } TD P { margin-bottom: 0in } P { margin-bottom: 0.08in } –>
14 inch brown-black stripped wooden zebra face mask. Perfectly designed to reveal facial features. Perfect for gifts, decorations or as collectors item.
18 by 24 inch on wallpaper. Gorgeous mixed medium art displays a man requesting permission to help a woman.
2 ebony 9 inch candle holders. Gorgeous spiral-snake design with firm base. Intricate art work with an brilliant end. Perfect for gifts, decorations or as collectors item. (1 pair)
Red/black-colored 4 inch round box with lid. Carved from soapstone. The etching reveals a traditional African dancer. The lid has a pick-up that gives an elephant impression. Perfect for storing jewelry.
5 inch gorgeous multi-colored soapstone bowl with careful etchings that outline the silhouette tree and the endangered black African rhino. The colors are a mix of pink-purple-black. Perfect match with related colored vase and goblet. The handle is carved into a swan’s head. The accuracy involved in the making of this product can be showed by the perfection in the swan’s bill and eyes. Perfect for gifts and decorations.
Meticulously carved 8 inch Ujama (pronounced uh-ja-maa) family village figurine. Carved from Ebony wood. Gorgeous and careful design reveals members of a family all connected together, symbolic of relationships. Ujama comes from the base word jama meaning “family relation”. Ujama was a sort of division of labor and proceeds went towards the extended family and people living in the village. Perfect for gifts, decorations or as collectors item. Very symbolic piece of art.
Marble look alike 2 inch candleholder. Made from Asian* soapstone. The holder has a firm extended base for drip collection and mesh like design. (4 pieces)
Marble look alike 6 inch Asian* soapstone elephant carving. The elephant sculpture is carefully carved to reveal details like ivory tusks, trunk and ears.
A Bright and Fiery Troop: Australian Women Writers of the Nineteenth Century
Product Description
From the first novel published in mainland Australia in 1838, women have been writing it for themselves. Among them are poets, prolific novelists such as Rosa Praed, botanists like Louisa Atkinson. From household names to obscurity, this book rediscovers the rich treasures of Australia’s literary tradition. It is the first critical analysis of the major Australian women writers of the 19th century…. More >>
A Bright and Fiery Troop: Australian Women Writers of the Nineteenth Century
What do you think of those who don’t pay attention to the abortion issue?
The reason I question is because I recently passed by some people who were handing out anti-abortion pro-life literature. One of the women offered me some but I said, “No thanks. I don’t pay attention to that issue.” She then questioned me, “Do you want to be like the Germans in Nazi Germany who knew about the concentration camps but just ignored it?” I just kept walking. I reckon the lady made a terrible comparison. What do you reckon?
plz plz plz help… tried.. but rlly can’t put it in other words ..?
feminist criticism: It clarifies how images of women in literature reflect patriarchal social forces that impede full equality Feminist criticism is sort of “biased” towards women in that it puts loads of emphasis on their strengths a and problems.
plz someone help with this sentence .. tnx in advance
The 18th Century American Novel: Part One
There was enormous change throughout the 18th Century. In America, the American Revolution happened, freeing the citizens from the tyranny of Britain. In Europe, the French Revolution occurred, laying the format for democracy. The landscapes of both countries drastically altered on several levels, in many respects: philosophically, socially, politically, economically and artistically. The structure of literature became less restrained and characters developed qualities that reflected the changing ideologies of authors. Women’s roles changed, they became more active, which was reflected in the female characters that were described in most novels, by male and female authors.
Emerging from the Renaissance Period, English men and women felt a sense of assurance. Their military strength was reliable. The monarchy and the economy were resilient. All of these elements had a significant influence on how men perceived women and how women were described in literature.
In the 18th Century, Restoration, comprised of the Augustan period and the age of Johnson, was coming to an end. It was distinguished by several movements. First, there was a new, rational scientific approach to inquiry fostered by the Royal Society and its leading members, which included Sir Isaac Newton.
Second was an accentuation on logic and order, and particularly concordia discors — the invasion of order on something that was innately disorderly. One remnant of the Royal Society point of view is that the 18th Century was a time when men believed that they could make everything in creation, including God Himself, abide by the rules of logic and order. They believed they could use mathematics, science, and pragmatic observation to rationalize God’s creation and then replicate His proceedings in new works of beauty. Women started to appear with steady importance in two aspects of the literature: as more renowned authors, in a time when literature was dominated by men, and as primary characters, depicting a flawed society.
In America, the novel form was also blossoming. But, because of the tenuous social climate, it had a hard time surviving. Americans weren’t as in to romance as their European counterparts. Literary critic Cathy Davidson stated that “The early American novel, as a genre, tended to proclaim a socially egalitarian message. It spoke for orphans, beggar girls, factory girls, or other unfortunates, and it repeatedly advocated the general need for ‘female education’.”
Love and the Woman Question in Victorian Literature: The Art of Self-Postponement
Product Description
To like or to write?-this was the crucial question facing the major women novelists of the nineteenth-century and one that was constantly re-enacted in their fiction. Examining themes and styles, placing books and writers within their intellectual and cultural contexts, and considering the sources of female artists’ creativity, Blake discusses Christina Rosetti, George Eliot, Charlotte Bronte, Olive Schreiner, major male novelists such as George Gissing and Thomas H… More >>
Like and the Woman Question in Victorian Literature: The Art of Self-Postponement
Groundwork and Preparation for Using Quranic Imagery in English
BACKGROUND
It is vital for Muslim students to have many opportunities to read and study the Quran along with their regular academic coursework. If this is not possible in the language of the Quran, which is Arabic, then these opportunities should be made available through the translations of the meaning of the Quran in other languages.
The Quran contains an abundance of imagery. Imagery as a general term covers the use of language to represent objects, actions, feelings, thoughts, thoughts, states of mind and any sensory or extra –sensory experience. Many Quranic images are conveyed literally. These constitute descriptive imagery whereby they clarify or give a vivid picture of something. Then, there are images which are conveyed by figurative language, such as in metaphors, similes, symbols, etc. These images when projected, appeal to one’s senses. A Quranic image, like other images, may be visual (pertaining to the eye) olfactory (smell), tactile (touch), auditory (hearing), or gustatory (taste).
As mentioned above, there are images which are conveyed through the use of figurative language usually using these literary devices – similes, metaphors and symbols. These constitute figurative imagery. As readers of the Quran, whether in Arabic or in any other language, one needs to identify and be able to interpret figurative language so as to achieve understanding and be able to extract the deepest meaning of the message of the Quran.
IMAGERY
Imagery can be defined as the representation through language of sense experience. Anyone for instance, who wishes or is seeking to express his/her experience of a spring day must, therefore, provide a selection of the personal sense impressions he/she has. According to Laurence Perrine, a spring day can be represented by (Perrine, 1983: 560):
Seeing blue sky and white clouds, budding leaves and daffodils.
Hearing robins and bluebirds singing in the early morning.
Smelling damp earth and blossoming hyacinths.
Feeling a fresh wind against the cheek.
According to The Harper Book of Literature by Northrop, there are two types of imagery (Frye,Baker and Perkins, 1985:235):
1) Descriptive imagery occurs when images are conveyed literally. These images help to give the reader a vivid picture of something. The above descriptions of a spring day are examples of descriptive imagery.
2) Figurative imagery occurs when images are conveyed through figurative language, that is, language that indicates the resemblance between two dissimilar images. Three literary devices are usually used in figurative imagery:
a)Simile
Example: A pretty girl is like a melody.
Her skin is as smooth as silk.
A simile is made when two unlike things are compared with the use of “like” or “as”. “A pretty girl” in the above sentence, is like “a melody” perhaps because she is lively, has a lyrical personality, is in tune with life, etc.
“Her skin” is similar to “silk” perhaps because it feels cool, smooth, looks radiant, shiny, etc.
b)Metaphor
Example: My wife is a rose.
A metaphor is made when two unlike things are compared without the use of “like” or “as”. The metaphor shows in what way the two things are similar. In simpler terms, a metaphor can also be defined as something other than what it is.
“A rose” in the above sentence means the lady and she resembles “a rose” perhaps because her beauty, sweetness, bright, fresh appearance, etc.
c)Symbol
Example: She saw the light of dawn and knew that there was still hope.
A symbol is a sign or object accepted as recalling, typifying or representing a thing, quality or thought. In simpler terms, a symbol is made when something means more than what it is. In the above sentence, “the light of dawn” is what she really saw and the same “light of dawn” also signifies hope.
The word “literature” is a broad term. Literature can be said to be “showing” human experience. It uses images to convey the very quality of lived experience. The Quran is a book that appeals to the understanding through our imagination. It appeals also to our emotions , reasons and intellect. The writers of the English language translations of the meaning of the Quran strive to produce as close an approximation of the Quran as possible.
Literature reveals and exploits literary devices such as similes, metaphors, symbols, etc. These literary devices are the very essence of poetry. These literary devices are found in abundance in the Quran and they are also apparent in the translations of the meaning of the Quran in other languages although it is realized by all translators, scholars and authors that no one has yet been able to convey or translate the exact meaning of the Quran.
QURANIC IMAGERY
According to Islam, it is an vital duty for every man, woman and child to read and know the Quran according to his or her own capacity. Muslims regard the Quran as a living miracle, an open book challenging all humanity to see and prove for themselves. They see in the Quran an invitation from God to all human beings to use their intellect to reason out this truth, having been made and endowed with adequate intellectual faculties to do this.
The Quran contains messages that are directly stated and accessible to the reader’s thought processes as well as messages which are conveyed by means of images which can appeal to the reader’s senses and stimulate his/her imagination of certain sensory experiences. Humanity is invited to “reckon” and “experience” as they try to know the messages in the Quran. Muslim students, in particular, should be exposed to the study of imagery as early in their academic life as possible due to the abundance of images presented in the Quran. In this way, they will have a reasonable framework within which to grasp and know at the time or at a later date the varied images in the Quran with ease which can help to elucidate the messages in the Quran.
The basic justifications for extracting Quranic imagery from the English language translations of the meaning of the Quran are the following:
1)The English language translations of the meaning of the Quran can be used most productively when teaching its content while exploiting its language.
2)The English language translations of the meaning of the Quran can be a source of encouragement for students, especially at Islamic institutions, to learn imagery because the majority of the students are Muslims themselves and thus are aware of the sacredness of the Quran. Because of their religious background, the students are motivated to relate to or imagine what is mentioned in the Quran. As Muslims, it is indeed beneficial for them to have Quranic images in their minds for them to grow and develop spiritually.
3)Quran-based instruction would be a sure way of inculcating Islamic moral values and they can use these values as a yardstick for critiquing other texts.
4)The possibility of introducing the literary aspects of the Quran to Muslim as well as non-Muslim students who may be attending Islamic institutions.
5)This is an effective way of making students more familiar with the Quran which will enable them to use Quranic quotations, especially imagery, effectively. This ability will be a fantastic asset for anyone academically to prove and highlight his/her points in other coursework and socially, especially in Islamic gatherings where topics of discussions which are related to the Quran are brought forth. Quranic imagery can make an impressive addition to one’s rhetorical style.
6)It is suitable to teach Quranic imagery to undergraduate students, in particular, because their maturity will allow for simpler understanding and grasping of Quranic concepts and this would play an vital role in enabling them to relate Quranic concepts to practical situations in their lives.
7)Quranic imagery can be used in other relevant coursework as well. This is vital because they are expected to be able to express their viewpoints constructively in the near future in the real world and this may be their last chance to study Quranic imagery in an academic setting.
There is no general concensus on which translations of the meaning of the Quran are the “closest” or best. Each scholar may have his or her own reasons for preferring or rejecting a particular translated version of the Quran.
There are many types of figures of speech and each researcher can concentrate on any type of figure of speech because they can all be found in the original Quran as well as the English language translations of the meaning of the Quran.
SPIRITUAL RESPONSIBILITIES OF MUSLIM TEACHERS AND STUDENTS
While Muslims are encouraged to make the Quran as much a part of their lives as possible, they must also consider what state they should be in spiritually when teaching and studying the Quran. This matter will be discussed in the context of its relevance to teachers and students using the English language translations of the meaning of the Quran as a text.
According to Von Denffer (165-179),some of the vital spiritual responsibilities of Muslim teachers and students that should be observed when reading and studying the Quran include:
Being aware that one is always in the presence of Allah.
Knowing that the Quran addresses one directly.
Having the intention of seeking Allah’s pleasure.
Being aware that just as it was at the time of revelation, the Quran today is relevant and not an artifact of the past.
Reflecting deeply upon what one reads and striving to understand it.
Reading with a mind free from bias and preconceived thoughts; otherwise one will read one’s own notions into the verses.
Remembering that the real key to understanding what one reads is the practical application of its meaning in one’s life.
Muslims are generally quite clear about what is to be observed (as mentioned above) when teaching and studying the Quran. But do these same observances also apply when teaching and studying the English language translations of the meaning of the Quran? Is it expected for non-Muslim students and teachers at Islamic institutions to follow suit? Although it should not need much persuasion for Muslim students and teachers to observe Quranic-based rules and spiritual responsibilities when reading and studying the Quran, an issue may arise concerning the expectations of non- Muslim teachers and students when teaching and studying the Quran.
Three lecturers in the field of Islamic Studies from an Islamic institution contributed their viewpoints on the above topics. Their responses to questions which were posed to them were as follows:
A distinction is made between the English language translations of the meaning of the Quran and the original Quran as revealed in Arabic. Muslims know that before the original Quran can be touched, they need to be in a state of ritual purity (tahara) to be obtained through ablution (wudhu). Does this apply also before touching the English language translations of the meaning of the Quran?
The three lecturers concurred on this and said that when the Quranic language is present beside the English language translations of the meaning of the Quran, the same rule is to be adhered to. But if the book contains only the English language translations of the meaning of the Quran without the Quranic language beside it, then the Muslim does not need to be in a state of ritual purity (tahara) when touching, reading or studying it.
A point was brought up regarding women who are menstruating. Muslim women know that while they are menstruating, they are not allowed to touch the original Quran.
The three lecturers concur that the same rule applies for the English language translations of the meaning of the Quran if the Quranic language is present beside it. But if the book contains only the English language translations of the meaning of the Quran without the Quranic language beside it, then the Muslim woman is allowed to touch, read and study it while she is menstruating.
One lecturer brought up an fascinating point whereby in his opinion it is all right for the Muslim menstruating woman to touch, read and study even the original Quran if it is done for educational purposes and not for ibadah or worship alone. The lecturer gave an example to support his point: if a Muslim menstruating woman who happens to be a student is required to read the original Quran for her examination, she can do so instead of getting a low mark or even no marks thereby jeopardizing her educational record. The same goes for the touching, reading and studying of the English language translations of the meaning of the Quran.
The three lecturers were also questioned to comment on the fact that, for the purposes of this study, copies of relevant verses from Abdullah Yusuf Ali’s English language translations of the meaning of the Quran would be distributed to the students as their text. All agreed that this text should be used as any other text. The teachers whether Muslims or non-Muslims are expected to tell the students where the text originated from (as with any other text) and at this point, all students, whether Muslims or non-Muslims, will be aware that these verses are from Abdullah Yusuf Ali’s English language translation of the meaning of the Quran.
The lecturers felt that it should be added that the right niyya or intention is an vital issue to Muslims. Muslims know that the reading, studying and reflecting upon of the Quran must be done with the intention of seeking Allah’s pleasure. Intentions are something within the individual and it is certainly up to each individual alone to know what exactly is felt within him or herself and according to Islam, it is not for anyone to judge the intentions of others.
As for non-Muslim teachers and students, they are not expected to believe in Islam when using the English language translations of the meaning of the Quran as a text but perhaps after doing so, they would be motivated to want to read and know more about Islam.
The above comments made by the lecturers provide sensible guidelines for the use of English language translations of the meaning of the Quran.
CONCLUSION
Both descriptive and figurative imagery, in particular, similes, metaphors and symbols, can be taught through the use of the English language translations of the meaning of the Quran as literary texts. At the same time, new vocabulary and examples of right grammar usage can also be pointed out.
Work has thus begun. The texts originally used in the techniques are poems. Suitable techniques for teaching imagery can be modified and the texts (originally poems) are replaced with Quranic images selected from the English language translated versions of the Quran. With this substitution, it is possible to generate a conversation or discussion on an aspect of Islam. This is an added advantage, especially at Islamic institutions.
REFERENCES
Abdullah Yusuf Ali. The Holy Quran. Brentwood, Maryland:Amana Corp., 1983.
Adeyanju, Thomas K. “Teaching Literature and Human Values in ESL: Objective and Selection”. English Language Teaching Journal. 32.2 (1978): 113 – 8.
Al Ghazali, Muhammad and Hasanah, Umar Ubayd. Kayfa Nata’amalu Ma’al Quran : Mudarasah Bayna Alshaykh. Virginia: International Institute of Islamic Thought, 1991.
Allison, D. & Carey, J. “What do university language teachers say about language teaching research?”. TESL Canada Journal. 24(2007):61-81.
Al-Sha’rawi, Syaykh Muhammad Mitwalli. The Miracles of the Quran. Baker Street, London: Dar Al-Taqwa Ltd., 1980.
Asad, Muhammad. The Message of the Quran. Gibraltar: Dar al-Andalus Limited, 1980.
Borj, S. “Conditions for teacher research.” English Teaching Forum. 44(2006):22-27.
Bowen, T. & Marks, J. Inside Teaching. Oxford: Macmillan, 1994.
Carter, R. & Long, M. Teaching Literature. London: Longman, 1991.
Duff, Alan and Alan Maley. The Inward Ear. Cambridge, England: Cambridge University Press, 1989.
Frye, Northrop, Sheridan Warner Baker and Geroge B. Perkins. The Harper Handbook to Literature. New York: Harper & Row, 1985.
Khalifa, Mohammad. The Sublime Qur’an and Orientalism. Essex, England: Longman Group Ltd., 1983.
Kramsch, C. Context and Culture in Language Teaching. Oxford: Oxford University Press, 1993.
Labom, Jol. Tafsil Ayat AlQuran AlHakim. Lebanon: Dar Alkitab Alarabi, 1963.
Larsen, F.D. Techniques and Principles in Language Teaching. Oxford: Oxford University Press, 2000.
Lazar, G. Literature and Language Teaching. Cambridge: Cambridge University Press, 1993.
Mawdudi, Abul A’la. Toward Understanding Islam. Leicester: Islamic Foundations, 1980.
Montet, Edward. AlMustadrak. Lebanon: Dar Alkitab Alarabi, 1963.
O’Malley, J.M. & Valdez, P.L. Authentic Assessment for English Language Learners: Practical Approaches for Teachers. New York: Addison Wesley, 1996.
Oxford, R. Language Learning Strategies around the World: Cross-cultural Perspectives. Manoa: University of Hawaii Press, 1996.
Peregov, S.F. & Boyle, O.F. Reading, Writing, and Learning in ESL. New York: Addison Wesley Longman, 2001.
Perrine, Laurence. Literature – Structure, Sound and Sense – 4th Edition. New York: Hartcourt Brace Jovanovich, 1983.
Pickthall, M. Marmaduke. The Meaning of the Glorious Koran. New York: Mentor Books, 1963.
Richards, J.C. & Nunan, D. Second Language Teacher Education. Cambridge: Cambridge University Press, 1990.
Richards, J. & Rodgers, T.S. Approaches and Methods in Language Teaching: A Description and Analysis. (2nd ed.). New York: Cambridge University Press, 2001.
Stevick, Earl W. Images and Options in the Language Classroom. Cambridge, England: Cambridge University Press, 1986.
Von Denffer, Ahmad. Ulum Al-Quran, An Introduction to the Sciences of the Quran. Leicester: The Islamic Foundation, 1985.
Wilkins, D.A. [David Arthur] Second Language Learning and Teaching. London: Edward Arnold, 1974.
Woodward, T. Models and Metaphors in Language Teacher Training. Cambridge: Cambridge University Press, 1991.
Wright, Andrew. Pictures for Language Learning. Cambridge, England: Cambridge University Press, 1989.
