Tuesday, September 23, 2008

Student Essays

ျပည္တြင္းျပည္ပကေက်ာင္းသားေက်ာင္းသူမ်ားေရးသားထားတဲ႕ Essays မ်ား နဲ႕ ေကာင္းႏုိးရာရာ Essays မ်ားကုိ အခါအားေလွ်ာ္စြာ တင္ဆက္ေပးသြားပါ႕မယ္။ အတုယူ ထူးခြ်န္ၾကပါေစ။
Man and a Candle
There is a marked similarity between the career of a man and that of a candle. The steps that mark man's progress in life are matched by those of a candle. "Ah," the reader may say, "you are wrong. What comparison can there be between a smooth, slim, tapering candle and man as a baby, a youth, and a full-fledged adult?" Nevertheless there is similarity. Although man's body is small at birth, his soul is ready for development. It is just so with a candle. A film I saw in chapel last summer showed a Mexican candle-maker at his work. From a circular rack hung rows of wicks. He went from one to another pouring wax upon each one. Some wax clung to the wick, forming a thick coat. The remainder flowed off the wick into a large tub on the ground. As each coat dried and became firm, a new one was applied. Finally the finished candle appeared: long, strong, and capable of giving much light. Man's development matches this process. First he is a baby, a mere wick or soul with a thin coating of body. Then coat after coat is applied until he becomes a child, a youth, and a man. He is ready to perform his mission in life. A sparks light him, and he becomes all fire, bringing light to his fellows. As the time of his service goes by, his tall stature is diminished, but his light glows brighter. The drippings of past experience run down into middle age and make his flame stronger and steadier. Finally, as the time of his service comes toward its end, the flame grows smaller and less bright. Then it flickers and goes out, leaving only a reminder of the body that once was. The soul has burned itself out and departed. Thus man and a candle, similar in creation, service, and life, are alike in the ending of their careers.
-JOSEPH RIESER
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A Dream of Riches
Some people say that dreams come true, but I do not believe it. I shall tell you why I do not. One March evening, after I had eaten a dinner of fried potatoes, chili con carne, lettuce salad and pineapple, I felt sick and went to bed early. I was not long in bed until I was asleep and dreaming. I dreamt that I was digging up the ground along the sandy bank of a river, when all at once I discovered a nickel half covered with sand lying at my feet. As I uncovered the one nickel, several others appeared. Suddenly, as I dug into the sand with my fingers, a stream of nickels gushed forth from the ground and flew in all directions. First I filled my pockets; then I ran to a near-by store and secured three bushel baskets which I also filled with nickels. At last, the gusher having subsided, and my baskets having been safely hidden away in some elderberry bushes a few yards away, I started home to tell my mother of my good fortune. My pockets jingled at every step. When Mother opened the door upon my arrival, I hugged her and cried, "We're rich! We're rich!" And then I awoke to hear Mother calling, "Harry, get out of that bed this instant and quit screaming like a maniac!" I started, and jumped out of bed still yelling mechanically, "We're rich!" This is one of my dreams which I am reasonably sure will never come true.
-HARRY EASTON
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How I Select and Read a Book
I am one of those people who believe that a good book is a good friend. When I go to the library to select a book, I get one of that I think will interest me. I like books with a few pictures to illustrate the story. This I find helps me greatly in choosing an interesting story, as I can usually tell by the pictures what a book is like. I then leaf through the book and read a little here and there; I always read some of the conversation to see what the characters are like. If the book suits me, of course I take it out. When I get home and have some time for reading, I pick a comfortable spot and a comfortable chair, where I think I cannot be easily disturbed. I take an apple and if I am lucky enough to find some candy in the house, I set it on the arm of the chair. I curl up and uncurl until I have a comfortable position. I then open the book and start to read. I say to myself, "Hum! that sounds funny," or, "That doesn't make sense." I then read the first paragraph over again and think, "This book is going to be dry." Nevertheless I give the book a fair trial and keep on reading. The book grows so interesting that I forget about the rest of the world. Finally I come to the part when the girl is tied to the burning stake and the hero's horse's hoofs are heard in the distance. I am very much excited now and can hardly wait to find out if the hero will reach the girl in time to save her. By the time the girl is rescued, I wake up to the fact that I have been stuffing more candy into my mouth than I can chew. Mother calls, "Say, can't you hear? I have called about six times." -MARJORIE FUELLER
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Nephew Harry
When I read the "funnies" to my nephew Harry, I am both annoyed and flattered. "Hey, Blanche," he begins, when he finds me on the front-porch swing these June evenings, "will they kill Spud? Will Klem kill the pretty girl? Does Roy really forget everything?" On and on goes his everlasting questions. I sometimes wish they would publish the whole adventure at once; then Harry would not be left in an agony of suspense. And I am the one who feels the brunt of his suspense. Every evening it's the same tale. Up stalks Harry, comic sheet held fast in his dirty hands, his brown eyes hopeful. "Blanche, please read me Tim," comes his meek request. I continue munching carrots. "I---I---I'll get you a glass of cold water," he offers, grinning shyly. Resigning myself to my fate, I grab the paper from him and begin to read about Tim, stopping frequently to explain at length situations he doesn't understand. When I have finished, I rudely hand it back to him and turn a cold, ignoring shoulder to his thoughtful face. I know, however, what is coming next. "Blanche, will he get away? Do you think the old man in the cave will torture him?" Hardening my heart against his appealing voice, I turned round to glare at him. Alas! His eyes are so wistful that I can't resist. And the result is another half hour spent in answering eager questions. Though I am always annoyed by these daily episodes, I confess that satisfying Harry is no mean reward.
-BLANCHE ORPELLI
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My Aunt
Breathlessly I waited for the nurse to admit me to my aunt's room. As soon as I had heard that July morning that my aunt was ill, I had rushed from home to the St. Francis Hospital, only four blocks away. She was a sour old lady, but I liked her for all her gruffness. Plain stubbornness the family called it, but I insisted on calling it sourness, that made her sniff and turn up her nose at the actions of others. Still she did so many good things for others that I love her. My thoughts were running in such a fashion when the nurse came and led me to Aunt Amelia's room. I opened the door and walked in. "Hello, Aunt Amelia. How nice your room looks." "Yes, I have had a regular fight. I just told the nurse that they weren't going to have any old medicine bottles around me, and have people look in and pity me." And she was right. Every nook and corner of the room was filled with flowers. There was a basket of roses under the window; yellow roses they were, just opening among the ferns that surrounded them. Fragrant blue phlox decorated the washstand to my left; on the dresser and pink geraniums. As the window blind flapped, the soft light shone through, lit up Aunt Amelia's curly gray hair and weary white face. As I looked down at her, a small frail woman of about sixty, I noticed her thin wrinkled hands picking nervously at the back covers as she talked. "It is too bad you couldn't have come to see me before this," she complained, fixing her piercing gray eyes on my face. "You don't know what might have happened to me. I might have died. Why don't you ask me how I feel? Sit down, child; you make me nervous." I pulled the white chair up to the bed and sat down. "How are you, Aunt Amelia?" "I'm not even so well as I was yesterday. I am sure pneumonia is setting in." And then she talked of Aunt Jane, Uncle Tom, and her sister, my great-aunt Martha, all of whom had died of pneumonia. "Well, child, I am getting tired. I wouldn't mind if you'd leave." And for the first time I saw Aunt Amelia's stern face relax into the only kind of smile she could give as I kissed her good-bye. Poor Aunt Amelia! Her heart was in the right place even if her tongue was sharp. Looking back as I slipped out the door, I saw that she had closed her eyes, and that her brow was furrowed again into a frown.
-BERNICE MARTIN
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တတိယႏွစ္ (E-Major)

Third Year English Specialization Course (Semester I)

Core Courses Eng 3101- English Literature -9 (The Novel – The Rise and Development of the Novel)
Eng 3102- English Literature – 10 Poetry (16th & 17th Centuries)
Eng 3103- English Language Studies -3 (Morphology)

Elective Courses
Eng 3104 - Communicative Skills
Eng 3108 - Phonology & Contrastive Analysis

Eng 3101 - English Literature -9 (The Novel – The Rise and Development of the Novel )

The rise and development of the novel
Introductory definitions
The history of the novel
Types of novel
The short story and the novella
Realism and modernism
Analysing Fiction
Narrative technique
Character
Plot
Structure
Setting
Theme
Symbol and image
Speech and dialogue
Studying the Novel
how to make notes
what to note
revision
Critical Approaches to Fiction
Textual approaches
Generic approaches
Contextual approaches
biographical approaches
psychological approaches
reader – oriented approaches
feminist approaches(E.g Pamela, Robinson Crusoe, Gulliver’s Travels)

Eng 3102 - English Literature – 10 Poetry (16th & 17th Centuries)
1. The Author’s Epitaph made by himself (Sir Walter Raleigh) 2. Blow, Blow, Thou Winter Wind (William Shakespeare) 3. Spring, the sweet spring (Thomas Nashe) 4. The good – morrow (John Donne) 5. The Bait (John Donne) 6. To the virgins, to make much of time (Robert Herrick) 7. Virtue (George Herbert) 8. To his coy mistress (Andrew Marvell) 9. Hymn to Diana (Ben Johnson) 10. Shall I compare thee to a summer’s day? (William Shakespeare) 11. On his blindness (John Milton)

Eng 3103 - English Language Studies -3
(Morphology)

1. Elective Courses
Eng 3104 - Communicative Skills Reading
Unit 1 – The Frenchman’s stockings
Unit 2 – The faces of courage
Unit 3 _ Friends at sea
Unit 4 _ Using the telephone
Unit 5 _ Treasure from the earth
Unit 6 _ Test I
Unit 7 _ Social work as a career
Unit 8 _ An easy combination
Unit 9 _ Floods as Sumatra hits Singapore
Unit 10 _ The man and the snakeStructure

1. The use of tense in “Wish” 2. Causative Have 3. Modal Auxiliary 4. Passive Voice - Method I, II, III 5. Finishing the incomplete sentences by using given words 6. Phrasal Verbs 7. Direct into Indirect Speech (vice versa) 8. Conjunctions ( as, because, so, although, in spite of, due to ----etc) 9. When / V-ing 10. such ----that 11. Vocabulary Word Form Similar meaning Cloze Procedure Speaking Open Dialogue Completion Dialogue Writing Summary Writing Paragraph Writing Letter Writing (application letter) Essay Eng 3108 - Phonology & Contrastive Analysis 1. Sound systems of language 2. The phoneme 3. Phonological Rules 4. The phonology of English 5. The phonology of other languages 6. Suprasegmental features
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Third Year English Specialization Course (Semester II)

Core Courses
Eng 3110 - English Literature -11 (The Novel – 19th & 20th Centuries)
Eng 3111 - English Literature – 12 Drama (16th & 17th Centuries)
Eng 3112 - English Language Studies -3 Syntactic Theory (Traditional Grammar & Taxonomic Grammar)

Elective Courses Eng 3113 - Communicative Skills
Eng 3118 - Translation Core Courses

Eng 3110 - English Literature -11 (The Novel – 19th & 20th Centuries)
Silas Marner ( George Eliot)
Oliver twist ( Charles Dickens)
The Pearl ( John Steinbeck)
A Passage to India (E.M. Forster)
The thirty – steps ( John Buchan)
The old man and the sea (Ernest Hemingway)Eng 3111 - English Literature – 12 Drama (16th & 17th Centuries)
The Merchant of Venice (William Shakespeare)
Julius Caesar (William Shakespeare)Eng 3112 - English Language Studies -3 Syntactic Theory (Traditional Grammar & Taxonomic Grammar) Elective Courses Eng 3113 - Communicative Skills 1. The amazing Harry Houdini 2. Test II 3. You can prevent a drowning 4. Violence on TV : Big 3 to be used 5. Standing from only? 6. The Hasty Act 7. Test III 8. Kindness to animals 9. Fortune Telling 10. A Book Review Structure 1. The use of tense in “Wish” 2. Causative Have
Modal Auxiliary
Passive Voice- Method I, II, III
Finishing the incomplete sentences by using given words
Phrasal Verbs
Direct into Indirect Speech (vice versa)
Conjunctions ( as, because, so, although, in spite of, due to ----etc)
When / V-ing
such ----thatVocabulary Word Form Similar meaning Cloze Procedure Speaking Open Dialogue Completion Dialogue Writing Summary Writing Paragraph Writing Letter Writing (application letter) Essay Eng 3118 - Translation
Translation
The Art of translation
Practical translation method
English sentences : Elements and Word OrderReferences 1. Translators’ references 1 &2
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Comming Soon!

ဒုတိယႏွစ္ (E-Major)

Second Year English Specialization Course (Semester I)
Core Courses
Eng 2101 -English Literature -5 Prose (18th & 19th Centuries)
Eng 2102 -English Literature -6 Poetry (18th & 19th Centuries)
Eng 2103 -English Language Studies -1 (Introduction to General Linguistics & Phonetics)

Eng 2104 -Communicative Skills Eng 2101 - English Literature -5 Prose (18th & 19th Centuries)
How to put off doing a job ( Andy Rooney)
The Garden Party (Katherine Mansfield)
Sagittarius Rising (Cecil Lewis)
Diary (Dorothy Wordsworth)
The Baker’s Wife (H.E. Bates)
Wrappings (Andy Rooney)
August (Andrei Codrescu)
Winter (Donald Hall)
Animal farm (George Orwell)

Eng 2102 - English Literature -6 Poetry (18th & 19th Centuries)
1. SNOW-FLAKES HENRY WORDSWORTH LONGFELLOW
2. NATURE HENRY WORDSWORTH LONGFELLOW
3. THE TIDE RISES, THE TIDE FALLS HENRY WORDSWORTH LONGFELLOW
4. THE LAST LEAF OLIVER WENDELL HOLMES
5. THE SICK ROSE WILLIAM BLAKE
6. THE FLY WILLIAM BLAKE
7. THE SHEPHERD WILLIAM BLAKE
8. WE ARE SEVEN WILLIAM WORDS WORTH
9. A SLUMBER DID MY SPIRIT SEAL WILLIAM WORDS WORTH
10. IT IS A BEAUTEOUS EVENING WILLIAM WORDS WORTH CALM AND FREE
11. THE LITTLE DANCERS LAURENCE BINYON
12. SAY NOT THE STRUGGLE NAUGHT AVAILETH ARTHUR HUGH CLOUGH
13. I REMEMBER, I REMEMBER THOMAS HOOD
14. THE SWEETS OF LIFE FROM ' DON JUAN' LORD BYRON
15. THE DAFFODILS WILLIAM WORDSWORTH
16. BREATHES THERE THE MAN SIR WALTER SCOTT
17. A RED, RED ROSE ROBERT BURNS
18. TO DAFFODILS ROBERT HERRICK
19. DEATH THE LEVELLER JAMES SHIRLEY
20. OZYMANDIAS P.B SHELLY
21. INVICTUS WILLIAM ERNEST HENLEY
22. THE SNARE JAMES STEPHENS
23. THE LIGHT OF OTHER DAYS THOMAS MOORE
24. THE BALLIFF'S DAUGHTER OF ISLINGTION (Unknown)
25. THE OLD STOIC EMILY BRONTE

Eng 2103 - English Language Studies -1 (Introduction to General Linguistics & Phonetics) General Linguistics

Language and Linguistics
Signs and Symbols
Language as a rule – governed structures
Speech as rule – governed language use
What is linguistics?
Animal Communication- Communication among animals in their natural environment - Teaching human language to chimpanzees
Language Acquisition- Principles of Language Acquisition - Adult Input in Language Acquisition - Stages of Language Acquisition
The relationship between language and thought
Modes of Linguistic Communication- Speaking - Writing - Signing

Eng 2104 - Communicative Skills Reading

Unit 1 - Daughter of the boss
Unit 2 - The African Bug
Unit 3 - The Stewardess
Unit 4 - A young surgeon
Unit 5 - The big native dances
Unit 6 - My early life
Unit 7 - Simba ! Simba!
Unit 8 - A hanging
Unit 9 - Tea for the warload
Unit 10- A pointer SharkStructure

Structures
after
as if
If – Patterns / Unless
V ing
Relative pronoun
Omitting the main verb phrase
Nouns in Apposition
Without + V ing
Active to Passive Voice (vice versa)
To + infinitive
in order to
either---or /neither ------nor
It is / was ----------
about to
must / have to
could / would / should
by means of
Present perfect Tense
so ----that
Direct into Indirect Speech (vice versa)
differ in ------ from
may / must
Present Continuous Tense
When + Present Perfect Tense
To + Possessive adj + Noun
The Past perfect tense Vocabulary Similar meaning Cloze Procedure Speaking Open Dialogue Writing Summary Writing Paragraph Writing Letter Writing Essay
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Second Year English Specialization Course (Semester II)

Courses
Eng 2105 - English Literature -7 Short Stories (19th & 20th Centuries)
Eng 2106 - English Literature – 8Drama (18th & 19th Centuries)
Eng 2107 - English Language Studies -1 (Introduction to General Linguistics & Phonetics)
2108 - Communicative Skills

Eng 2105 - English Literature -7 Short Stories (19th & 20th Centuries)
An Incident (Lu Hsun)
The Donkey Cart ( S.T. Hwang)
The Visit
A Special Occasion (Joyce Cary)
A Day’s Pleasure ( Nigel Heseltine)
A Clean, well – lighted Place (Ernest Hemingway)
A Visit of Charity (Eudora Welty)
The Jockey (Carson Mc Cullers)
The Quest "Saki" (H.H. Munro)
David Swan (Nathaniel Hawthorne)
The Stolen Letter (Edgar Allen Poe)

Eng 2106 - English Literature – 8 Drama (18th & 19th Centuries)
1. The Princess and the Swineherd (Nicholas Stuart Gray)

Eng 2107 - English Language Studies -1 (Introduction to General Linguistics & Phonetics)

Phonetics
What is Phonetics?- Phonetics – the sounds of language - Sounds and spellings - Same spelling , Different pronunciations - Same pronunciation , Different spellings - The whys and wherefores of sound / spelling discrepancies - Some advantages of fixed spellings - The independence of script and speech
Phonetics & its main three branches
Phonetic Alphabets
The Vocal Tract
Describing Sounds- Place of Articulation - Manner of Articulation - Voicing 6. Consonants and Vowels

Eng 2104 - Communicative Skills Reading
Unit 11 – George Moon
Unit 12 – Sharks of Bullets
Unit 13 - Two of a kind
Unit 14 – For Infamous Conduct
Unit 15 – So You Say
Unit 16 – The last voyage
Unit 17 – The poacher
Unit 18 – I hit him twice
Unit 19 – This is no life for you
Unit 20 – The artic forestStructure
after
as if
If – Patterns / Unless
V ing
Relative pronoun
Omitting the main verb phrase
Nouns in Apposition
Without + V ing
Active to Passive Voice (vice versa)
To + infinitive
in order to
either---or /neither ------nor
It is / was ----------
about to
must / have to
could / would / should
by means of
Present perfect Tense
so ----that
Direct into Indirect Speech (vice versa)
differ in ------ from
may / must
Present Continuous Tense
When + Present Perfect Tense
To + Noun Phrase
The Past perfect tense Vocabulary Similar meaning Cloze Procedure Speaking Open Dialogue Writing Summary Writing Paragraph Writing Letter Writing / Note Writing Essay
***************
Comming Soon!

ပထမႏွစ္ (E-Major)

First Year English Specialization Course (Semester I)

Core Courses
Eng 1101 - English Literature -1 (Contemporary Prose)
Eng 1102 - English Literature -2 (Contemporary Poetry)
Eng 1103 - Communicative Skills

Eng 1101 - English Literature -1 (Contemporary Prose)

1. Seeing Hands (Eric de Mauny)
2. The Problem of Youth (Fielden Hughes)
3. Education (W.O. Lester Smith)
4. Echo- Location (Maurice Burton)
5. How to grow Old (Bertrand Russell)
6. Bank Account (Gordon Barrie and Aubrey L. Diamond)
7. Oil
8. The Social function of Science (J.D. Bernal)
9. Science makes Sense (Ritchie Calder)
10. The Stuff of Dreams from the Listener (Christopher Evans)
11. Computers : Machines with electronic brains
12. The Problems of Space Travel
13. History and the Reader (G.M. Trevelyan)
14. The Four Deaf People (Dr. Htin Aung)
15. The Gold Divers of Phyapon (U Myo Min)
16. Tropical Countries (Ronald Ridout)

Eng 1102 - English Literature -2 (Contemporary Poetry)
1. Summer Sun (Robert Louis Stevenson) 2. Barter (Sara Teasdale) 3. Sixteen (Carolyn Cahalan) 4. Swift things are Beautiful (Elizabeth Coatsworth) 5. Romance (Robert Louis Stevenson) 6. There will come soft rains (Sara Teasdale) 7. Someone (Walter De La Mare) 8. The world is too much with us (William Wordsworth) 9. Envy (Edgar B. Daniel Kramer) 10. I meant to do my work today (Richard Le Gallenne) 11. Do you fear the wind? (Hamlin Garland) 12. The tropics in New York (Claude Mac Kay) 13. The Rabbit (Alan Brown John) 14. The Spider ( Robert P. Tristram Coffin) 15. Machines (Daniel Whitehead Hicky) 16. Stopping by woods on a snowy evening (Robert Frost) 17. The Road not taken (Robert Frost) 18. Hold Fast Your Dreams! (Louise Driscoll) 19. If (Rudyard Kipling) 20. The Secret Heart ( Robert P. Tristram Coffin) 21. The King’s Breakfast (A.A. Milne) 22. The night will never stay ( Eleanor Farjohn) 23. Morning Prayer (Ogden Nash) 24. If no one ever marries me (Lawrence Alma Tadema) 25. What are heavy (Christina Rossetti) 26. Flint (Christina Rossetti)

Eng 1103 - Communicative Skills
Reading
Unit 1 – The Millers
Unit 2 – Great Britain- Facts and figures
Unit 3 - The Black Tide
Unit 4 – The Fox and the Grapes
Unit 5 – The Robbers
Unit 6 – The Fierce Dog
Unit 7 – The bag of Money
Unit 8 – The Clever parrotStructures
Structures
No sooner ---- than
so ----that
Although / In spite of
too----- to
If -Patterns 3 Types
Direct to Indirect Speech (vice versa)
The Present Perfect Tense
The Present Continuous Tense
It is / was + N / Adv + who / that ------- Pattern
Either ---or (or) Neither ---- nor
must / may
will
ready to be
Both ----- and
Appositive Construction
Omitting the Relative Pronoun
Active to passive (vice versa)
as ----as
After
Vocabulary
Similar meaning
Cloze Procedure
Speaking
Dialogue Writing
Summary Writing
Letter Writing
Essay
===================
First Year English Specialization Course (Semester II)
Core Courses
Eng 1104 - English Literature -3 (Contemporary Short Stories)
Eng 1105 - English Literature -4 (Contemporary Drama)
Eng 1106 - Communicative Skills
Eng 1104 - English Literature -3 (Contemporary Short Stories)
A Day’s Wait (Ernest Hemingway)
(Jesse Stuart)
The Open Window (The Open Window)
A Dangerous Guy Indeed (Damon Runyon)
The Gift of The Magi (O.Henry)
After Twenty Years (O.Henry)
The Awful Fate of Melpomenus Jones (Stephen Leacock)
How to grow Old (Bertrand Russell)
The Secret Life of Walter Mitty (James Thurber)Eng 1105 - English Literature -4 (Contemporary Drama) 1. Michael (Miles Malleson) 2. First Prize (Ken Wilson) 3. How to write a play (Peter Terson) 4. The Silver Idol (James R. Waugh) Eng 1106 - Communicative Skills Reading 1. Unit 1- A very dear cat 2. Unit 2 – Agatha Christie 3. Unit 3 – Clothing 4. Unit 4 - How very Tragic! 5. Unit 5 - The Two Merchants 6. Unit 6 - The Mango Tree 7. Unit 7 - The Foolish Neighbours 8. Unit 8 - Stone Soup Structure 1. must / have to 2. By means of 3. If Patterns 4. The more / the less 5. Making Questions 6. Appositive Construction 7. Active to passive (vice versa) 8. differ in 9. either ----or / neither ----nor 10. It is / was + N/ Adv + who/ that + --------- Pattern 11. Direct Speech into Indirect Speech (vice versa) 12. To + Verb Infinitive 13. without +Ving 14. as if 15. as do, as does,---- 16. Question tag 17. by + V ing 18. Both ---and Vocabulary Similar meaning Cloze Procedure Speaking Open Dialogue Writing Summary Writing Paragraph Writing Note Writing / letter writing Essay Comming Soon!

တတိယႏွစ္ (All Specializations)

ေမွ်ာ္

ဒုတိယႏွစ္ (All Specializations)


Question Format
I. Reading Comprehension.
I. A. Refer to
I. B. True or False
I. C. Short Questions
II. Instead of Saying (Similar Meanings)
III. Letter Writing
IV. A. Word Forms
IV. B. Sentence Structures
V. Connectives and Prepositions
VI. Essay Writing

ပထမႏွစ္ (All Specializations)

Question Format
I. Reading Comprehension.
I. A. Refer to
I. B. True or False
I. C. Short Questions
II. Instead of Saying (Similar Meanings)
III. Letter Writing
IV. A. Word Forms
IV. B. Sentence Structures
V. Connectives and Prepositions
VI. Essay Writing

Monday, September 22, 2008

စာေမးပြဲ ေျဖႏုိင္ၾကရဲ႕လား?

စာေမးပြဲ ကုိလြယ္လြယ္ကူကူ သက္သက္သာသာ ေျဖဆုိႏုိ္င္ေစဖုိ႔ ဆုေတာင္း ေပး ပါတယ္။ ဘာမွလုပ္လုိ႔မရေတာ႕တဲ႕အဆုံးေတာ႕ ဒါက အေကာင္းဆုံး ေနာက္ဆုံးေဆးပါပဲ။

MA II Sem I မဟာ ဒုႏွစ္-ပ ၀က္အဂၤလိပ္စာ

Paper I : Literary Theories II
Structuralism Vs Post-structuralism
Structuralism was a fashionable movement in France in 50s and 60s, that studied the underlying structures inherent in cultural products such as texts, and utilizes analytical concepts from linguistics, psychology, anthropology and other fields to understand and interpret those structures. Although the structuralist movement fostered critical inquiry into these structures, it emphasized logical and scientific results. Many stucturalists sought to integrate their work into pre-existing bodies of knowledge. This was observed in the work of Ferdinand de Saussure in linguistics, Claude Levi-Strauss in Anthropology, and many early 20th-Century psychologists.
Structuralist approaches to literature challenge some of the most cherished beliefs of the ordinary reader. The literary work is the child of an author's creative life, and expresses the author's essential self. The text is the place where we entered into a spiritual or humanistic communication with an author's thoughts and feelings. Another fundamental assumption which readers often make is that a good book tells the truth about human life that novels and plays try to "tell things as they really are". However, structuralists tried to persuade us that the author is "dead" and that literary discourse has no truth function.
Roland Barthes put the structuralist view powerfully and he argued that writers only have the power to mix already existing writings, to reassemble or redeploy them, writers cannot use writing to express themselves but only to draw upon that immense dictionary of language and culture which is "always ready written". It would not be misleading to use the term "anti-humanist" to describe the spirit of structuralism. Indeed the word has been used by structuralists themselves to emphasis their position to all forms of literary criticism in which the human subject is the source and origin of literary meaning.
The general assumptions of post-structuralism derive from critique of structuralist premises. The work of the Swiss linguist Ferdinand de Saussure, compiled and published after his death in a single book "Course in General Linguistics"(1915), has been profoundly influential in shaping contemporary literary theory. His two key ideas provide new answers to the questions "What is the object of linguistic investigation?" and "What is the relationship between words and things?"
Saussure rejected the idea that language is a word-heap gradually accustomed over time and that its primary function is to refer to things in the world. In his view, words are not symbols which correspond to referents, but rather are "signs" which are made up of two parts: a mark, either written or spoken, called a "signifier"; and a concept called a "signified". The view may be represented thus:
SYMBOL = THING
Saussure's model is as follows:
SIGN = signifier
signified
Things have no place in the model. The elements of language acquire meaning not as the result of some connection between words and things, but only as parts of a system of relations. Consider the sign-system of traffic lights:
red-amber-green
signifier (red)
signified (stop)
The sign signifies only within the system "red=stop/ green=go/ amber=prepare for red or green". The relation between signifier and signified is arbitrary: there is no natural bond between red and stop no matter how natural it may feel.
Language is one among many sign systems (some believe it is the fundamental system). The science of such system is called "semiotics" or "semiology".
At some point in the late 1960s, structuralism gave birth to "post-structuralism". Some commentators believe that the later developments were already inherent in the earlier phase. One might say that post-structuralism is simply a fuller working-out of the implications of structuralism. But this formulation is not quite satisfactory, because it is evident that post-structuralism tries to deflate the scientific pretensions of structuralism. If structuralism was heroic in its desire to master the world of artificial signs, post-structuralism is comic and anti-heroic in its refusal to take such claims seriously. However, the post-structuralist mockery of structuralism is almost a self-mockery: post-structuralists are structuralists who suddenly see the error of their ways.


Hans Robert Jauss: Horizon of expectations

Jauss is an important German exponent of "reception theory". He has given a historical dimension to reader-oriented criticism. He tries to compromises between Russian Formalism which ignores history and social theories which ignore the text. He borrows the term "paradigm" from the philosophy of science. The term refers to the scientific framework of concepts and assumptions operating in a particular period. "Ordinary science" does its experimental work within the mental world of a particular paradigm; until a new paradigm displaces the old one and throws up new problems and establishes new assumptions.
"Horizon of expectations" is the term used by Jauss. He uses this term to describe the criteria readers use to judge literary text in any given period. By using the criteria, the reader can judge a poem as an epic, or a tragedy or a pastoral. We can also know what is poetic or literary use of language or non-literary use of languages. Ordinary writing and reading will work within such a horizon. For example, within the English Augustan period, Pope's poetry was judged according to the criteria which were based upon values of clarity, naturalness and stylistic decorum. However, it can be said that modern readings of Pope work within a changed horizon of expectations. During the second half of the eighteenth century commentators asked question whether Pope was a poet at all. They suggested that he lacked the imaginative power required of true poetry. His poems are now valued by their wit, complexity, moral insight and their renewal of literary tradition.
From the original horizon of expectations, we can know how the work was valued and interpreted when it appeared. However, the work does not establish its meaning finally. Therefore, according to Jauss, the work is not universal and its meaning is not fixed forever. It is open to all readers in any period. A literary work is not an object which stands by itself and which offers the same face to each reader in each period. However we should not ignore our own historical situation. For example, in "The Tiger" by William Blake, there may be historical movement which indicates the violence forces of the French revolution. So, reader's judgement in the period of revolution may not be the same as that of today.
Jauss borrows the philosophical term," hermeneutics", form Hans-Georg Gadamer. Gadamer argues that all interpretations of past literature arises from a dialogue between past and present. Our understanding of a work will depend on our own cultural environment. We also have to note the work's own dialogue with history. Our present perceptive always involves a relationship to the past which can only be grasped through the perceptive of the present. A hermeneutical notion of "understanding" views understanding as a "fusion" of past and present. In this case, we can go to the past through the present.
Jauss recognizes that the prevailing expectations of the writer's day may be in a position which is against the writer. Jauss examines that the work of Baudelarie "Les fleurs de mal" created uproar and attracted legal prosecution. It offended the norms of bourgeois morality and the canons of romantic poetry. However, a literary work can produce a new aesthetic horizon of expectations. Later, Jauss assesses psychological, linguistic and sociological interpretations of Baudelaire's poems.
In conclusion, according to Jauss' horzon of expectations, we can note that the criteria used by readers to judge literary texts may be different according to historical periods. Therefore, interpretations of readers may not be the same.




Roland Barthes : the Plural text
Roland Barthes (1915-1980) was a French literary critics, literary and social theorist, philosopher and semiotician. Barthes' work extended over many fields and he influenced the development of schools of theory including structuralism, semiotics, existentialism, Marxism and post-structuralism. His definition on literature is that it is a message of the signification of things and not their meaning. He opposed the idea that language is a natural, transparent medium through which reader grasps a solid and unified "truth" or "reality".
One of his earlier work in 1967 is "the Elements of Semiology" in which he described two orders: "first order" and "second order". The semiological investigator regates language as a second-order discourse which operates in Olympian fashion upon the first order object language. The structuralist discourse itself could become the object of explanation. The second-order language is called a metalanguage. Any metalanguage could be put in the position of a first-order language and be interrogated by another metalanguage.
In 1968, Birthes published "The Death of the Author" in which he announced a metaphorical event: the "death" of the author as an authentic source of meaning for a given text. Barthes argued that any literary text has multiple meanings, and that the author was not the prime source of the work's semantic content. "The Death of the Author", Barthes maintained, was "The Birth of the Reader", as the source of the proliferation of meanings of the text. "The Death of the Author" is sometimes considered to be a post-structuralist work, since it moves past the conventions of trying to qualify literature, but others see it as more of a transitional phase for Barthes in his continuing effort to find significance in culture outside of the bourgeois norms. Indeed the notion of the author being irrelevant was already a factor of structuralist thinking.
In "The Pleasure of the Text"(1975), Barthes explores the reckless abandon of the reader. He concludes that there are two sense of pleasure. Within pleasure there is "bliss" and its diluted form "pleasure". The general pleasure of the text exceeds a single transparent meaning. The text of bliss unsettles the reader's historical, cultural and psychological assumptions which bring a crisis to his relation with language. According to Barthes, the "bliss" is very close to boredom.
Barthes' "S/Z"(1970) is the most impressive post-structuralist performance. The attempt to uncover the structure is vain because each text possesses a "difference". A realistic novel offers a closed text with a limited meaning. Other texts encourage the reader to produce meanings. A realistic novel allows the reader only to be a consumer of a fixed meaning, while the avant-garde text turns the reader into a producer. The first type is called "readerly" and the second is "writerly". Barthes applies this in a massive analysis of a short story by Balzac called Sarrasine. The end result was a reading text that established five major codes; "Hermeneutic, Semic, Symbolic, Proairetic and Culture", which determine various kinds of significance, with numerous laxias throughout the text. From this project Birthes identify what it was he sought in literature: an openness for interpretation.

Feminism
Feminism is a discourse that involves various movements, theories, and philosophies which are concerned with the issue of gender difference, advocate equality for women, and campaign for women's rights and interests. According to some, the history of feminism can be divided into three waves. The first wave was in the nineteenth and early twentieth centuries, the second was in the 1960s and 1970s and the third extends from the 1990s to the present. Feminist theory emerged from these feminist movements.
Feminism criticism of the earlier period is more a reflex of "first-wave" preoccupations than a fully fledged theoretical discourse of its own. But two significant figures: Virginia Woolf-the founding mother of the contemporary debate; and Simone de Beauvior, with whose "The Second Sex"(1949), the first wave may be said to end.
Virginia Woolf's fame conventionally rests on her own creative writing as a woman and later feminist critics have analysed her novels extensively from very different perspectives. But she also produced two key texts which are major contributions to feminist theory; A Room of One's Own (1929) and Three Guineas (1938). Like other first-wave feminists, Woolf is mainly concerned with women's material disadvantages compared to men - her first text focusing on the history and social framework of women's literary production, and the second on the relations between male power and the professions.
Woolf's common gift to feminism is her tribute that gender identity is socially constructed and can be challenged and transformed, but on the subject of feminist criticism she also constantly examined the problems facing women writers. She believed that women had always faced social and economic obstacles to their literary ambitions.
One of the Woolf's most interesting essays about women writers is "Professions for Women", in which she regards her own career as hindered in two ways. First, as with many nineteenth-century writers, she was imprisoned by the ideology of womanhood; the ideal of "the Angel in the House". Second, the taboo about expressing female passion prevented her from 'telling the truth about (her) own experiences as a body'. Her attempts to write about the experiences of women, therefore, were aimed at discovering linguistic ways of describing the confined life of women, and she believed that when women finally achieved social and economic equality with men, there would be nothing to prevent them from freely developing their artistic talents. Contemporary feminist critics have deconstructed these male "looking glass" components of Woolf's work.
Simone de Beauvoir is a French feminist, lifelong partner of Jean-Paul Sartre, pro-abortion and women's-rights activist, founder of the newspaper Nouvelles feminisme and of the journal of feminist theory. Her major and hugely influential book The Second Sex (1949) is clearly preoccupied with the 'materialism' of the first wave. De Beauvoir's work carefully distinguishes between sex and gender, and sees an interaction between social and natural functions but without any notion of biological determinism. In common with other 'first-wave' feminists, she wants freedom from biological difference and the social enfranchisement of women's rational abilities, and she shares with them a suspect of 'femininity'.

Friday, September 19, 2008

English Poems (ျမန္မာ ျပန္ပါခ်င္ပါမည္)

The Mesh -Kwesi Brew
We have come to the cross-roads
And I must either leave or come with you.
I lingered over the choice
But in the darkness of my doubts
You lifted the lamp of love
And I saw in your face
The road that I should take.
ေႏွာင္ၾကဳိး
ငါတုိ႕ေတြ လမ္းဆုံလမ္းခြကုိ ေရာက္ခဲ႕ၾကျပီဆုိေတာ႕
ငါ နင္႕ကုိ ထားခ်င္လည္းထားခဲ႕ အတူသြားခ်င္လည္းသြားရေတာ႕မယ္
ငါဘာကုိေရြးမယ္ဆုိတာ တ၀ဲလည္လည္ျဖစ္ခဲ႕ရတယ္
ဒါေပမယ္႔ကြယ္- ငါ႕ရဲ႕သံသယအေမွာင္ထုထဲ
နင္က အၾကင္နာမီးအီမ္ေျမွာက္ျပခဲ႕ေလေတာ႕
နင္႕မ်က္ႏွာေပၚမွာ ငါျမင္လုိက္ရပါျပီ
ငါလုိက္ရမယ္႔လမ္းကုိေပါ႕။

Tuesday, September 9, 2008

ကုိယ္ပုိင္သံစဥ္ ျမန္မာကဗ်ာမ်ား

ထီးမေဆာင္းခဲ႕မိေလေသာေဆာင္းခုိငွက္
တကယ္ဆုိ
တစ္ကုိယ္ဆြတ္ အခ်စ္ကေလးနဲ႕
မုိးမိခဲ႔ရုံပါ။
ဒါေပမယ္႔ကြယ္
ခုခ်ိန္ထိ ငါ...
(အုိ.........)
ေဆာင္းမကြ်တ္ႏုိင္ေသးဘူးပဲ။

သံစဥ္ညွိျခင္း (ျမန္မာကဗ်ာ)

ေဖေဖ
သားခ်စ္သူက
ရည္းစားစာေလးတစ္ေစာင္ပါ။
သားက
စာအိတ္လွလွေလးတစ္လုံးပါ။
ေဖေဖရာ
ေပးလုိက္စမ္းပါ
ေမ႔ေမ႔ကုိ။

ခ်စ္သူ႕ရင္ခြင္ (ျမန္မာကဗ်ာ)

ခ်စ္သူ...
နင္ဒီအတုိင္းပဲ
သြားေတာ႔မွာလား...?
ငါဟာ..
နင္႔ေျခေထာက္ေလးေတြကုိ
စုံဦးခုိက္ေနတဲ႔
ဖိနပ္အသစ္ေလးတစ္ရံပါ။