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Synopsis and Overview
Sometimes referred to a ‘memory play’ it is bookended by soliloquies by Simon Hanabe, one of the two characters in the play. He has lost his job as the gravedigger and cemetery attendant at the graveyard of Shukuma, a squatter camp on the outskirts of Port Elizabeth. The play, a series of exchanges with Roelf Visagie, the second character in the play who has much the bigger role and is inclined to lengthy monologues, is the story of how and why Simon’s employment was terminated. He is black African; Roelf is white Afrikaner.
The play is dedicated to Pumla Lolwana and her three children, Lindani, Andile and Sesanda who died on the railway tracks between Philippi and Nyanga on Friday 8th December 2000. The play was first produced at the Fugard Theatre in Capetown in 2010......Read more in our printable pdf
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As an idea, Language and Power is so closely allied to Language and Gender, that it would make sense to teach this unit second as a grounding in ‘Power’ will provide a solid grounding in ‘Gender’. Equally, language-mediated via any form of technology, too, is frequently a site where power (and gender) relations are important and so dealing with Language and Technology last of all can work well.
Allusions in Tess of the D’Urbervilles. Picture the scene: last July I see my 2018/19 timetable in my pigeonhole. It has all my new classes, including AS Level Literature. I’m nervous – we split classes, 1 teacher teaches Othello and love poetry, the other Tess of the D’Urbervilles and unseen prose. Othello and poetry? That’s my jam. I’d feel happy there. Hardy and his endless ramblings about pastoral Wessex? Not so much… So, obviously, I end up teaching Tess.
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Whether you were born before, on, or after September 11th 2001; whether you were in New York, Kabul or neither; and whether you are an atheist, agnostic or religious believer you cannot fail but be familiar with the images of the destruction of the World Trade Centre on that day.
Lear persists in dividing Britain between his three daughters. Two of the three accede enthusiastically to his demand for flattery as a condition of this. The third, Cordelia, refuses, marries the King of France and leaves him, prompting sharp criticism of Lear from Kent, a loyal courtier.
