4.4 Unravelling sentences In the following passage, mark as many subjects, verbs and objects as you can. James was to drive them. The first day we travelled thirty-two m 4.2.5 Adverbs Adverbs modify verbs, adjectives and other adverbs, for example running quickly, very clever, quite well. Adverbs of manner describe how the action of the verb is being done, for example boldly, graciously, well. Adverbs of time show when the action of the verb is taking place, for example today, then. Adverbs of place show where the action of the verb is taking place, for example here 4.2.4 Verbs Verbs are the most important words of all, as is suggested by the fact that the verb in both English and Latin is named after the Latin word uerbum, word! Without a verb, a sentence cannot be a proper sentence, or a clause a proper clause. A one-word sentence consists of a verb only, for example, Run! The ending of a Latin verb shows who the doer of the action of the verb is (which is why there is usually no need of a pronoun to show this). Below are the pres Introduction The aim of this unit is to enable you to get started in Latin. It has been developed in response to requests from students who had had no contact with Latin before and who felt they would like to spend a little time preparing for the kind of learning that takes place on a classical language course. The unit will give you a taster of what is involved in the very early stages of learning Latin and will offer you the opportunity to put in some early practice. This unit is an adapted extra References 2.3.5 History The census of 1911, the year of MacLean's birth, recorded 200,000 speakers of Scottish Gaelic. Fifty years later, the number had dropped to 81,000. If MacLean's vision is frequently pessimistic, this must surely derive at least in part from the dwindling of the culture and language to which he had committed himself as poet. Please now read ‘A Highland Woman’. Click to view the poem ‘Highland Woman’ Learning outcomes By the end of this unit, you should be able to: understand the power of Maclean's poetry in its original Gaelic; give examples of how such poetry engages with historical and cultural change. Acknowledgements This unit was written by Dr Linda Walsh and Professor Tony Lentin Except for third party materials and otherwise stated (see terms and conditions), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Grateful acknowledgement is made to the following source 1 'The Enlightenment' What a change there was between 1785 and 1824! There has probably never been such an abrupt revolution in habits, ideas and beliefs in the two thousand years since we have known the history of the world. (Stendhal, Racine and Shakespeare, 1825; 1962 edn, p. 144) This unit looks at a period of 50 years or so during which European culture underwent one of the most profound and far-reaching ch 2 Forming the form By and large, readers tend to agree whether a poem ‘works’ or not, even if it's not clear how or why it works. The best poems retain a certain mystery, but subsequent analysis invariably reveals various techniques the writer has employed to key into this commonality. The form a poem takes, whether it be free or traditional, reflects those techniques, and is itself vital in the unlocking of ‘the logic of the imagination’. The form a poet chooses for any one poem is partly Learning outcomes By the end of your study of this unit, you should have: an understanding of the common techniques underlying free verse and traditional forms of poetry; begun to identify aspects of your own experience and imagination that you can use when writing poems; learnt the basic terminology and practical elements of poetry. Acknowledgements The content acknowledged below is Proprietary (see terms and conditions)
This content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Grateful acknowledgement is made to the following sources for permission to reproduce material in this unit: 2 Conclusion We have now looked specifically at two considerable monuments created at about the same time to commemorate the First World War. You have been using your eyes, and looking closely to respond to visual clues. We hope you found that, in doing so, you developed your understanding of them as memorials and also as ‘made objects’; and that in the process of asking questions about them you have reached some kind of explanation as to why they are as they are. 1.3 The Royal Artillery Memorial Now I want to take another text. It is similar to the paintings in the Sandham Memorial Chapel in that it asks for a visual response first and foremost. We can, therefore, ask the same kinds of question – how the text came into being, the context in which it was produced, what form it takes, and how it communicates meaning. The text is the Royal Artillery Memorial. The architect was Lionel Pearson, the architect responsible for Sandham Memorial Chapel; the sculptor was Charles Sargean 1.1 Introduction War memorials are artefacts which commemorate loss – of individuals, armies or battalions – in war and have particular symbolic meaning and form. We could define texts as ‘things that people have made or produce 4 Form of memorial I now want you to think about the form of ‘your’ war memorial. I don't think you will have had any difficulty in knowing what to look for when I asked you whether you had a memorial near to you, and where it was. You may have had to think about the question, and search for the memorial, but you knew what you were looking for. 3.1 Introduction Let us take up the question of the location of the war memorial. I am going to give you a list of places in which I would expect you to find your war memorial:
Activity 10
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Leonard, T. (1984) Intimate voices 1965–1983, Galloping Dog Press.
MacLean, S. (trans. Crichton Smith, I.) (1970) Poems to Eimhir, Northern House.
MacLean, S. (1981) Spring tide and Neap tide: selected poems 1932–72, Canongate.
MacLean, S. (1985) Ris a'Bhruthaich: the criticism and prose writings, Aca
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