Kenneth Slessor was born at orange, N.S.W., in 1901, and educated in Sydney. He worked as a journalist on the staffs of several Sydney and Melbourne newspapers, becoming eventually editor of the paper Smith's Weekly. During the Second World War he accompanied the troops in Greece, North Africa and New Guinea as official war correspondent. In 1956 he became editor of the periodical Southerly. With the notable exception of `Beach Burial', Slessor wrote very little after 1944, the date of publication
were just another casualty in the war. As if their identities and sacrifice were insignificant and unnecessary because they died... The loss of identity and the human destruction of nature is highlighted in Kenneth Slessor’s poems Beach Burial and North Country. It is through these poems that Slessor uses a range of poetic techniques to bring images alive, permitting us to visualise scenes in our mind, which is why studying his poems would allow students to develop their understanding of poetic techniques
ladies and gentlemen and welcome to the State Library of Queensland’s poetry celebration. It is my absolute pleasure to speak to you today. The personal and cultural context of an era shapes the thoughts and thus the work of the poets of the time. Kenneth Slessor was a famous Australian poet and journalist. Born in 1901 in Orange, New South Wales, he was appointed war correspondent for a period of four years in World War 2. This meant that he was exposed to certain situations and events which, by their
are all poems by Kenneth Slessor that deal with this concept of journeys impacting the traveller substantially. Another text that deals with this, is the film ‘Red Dog’ by Kriv Stenders. Both composers through imagery and the exploration of
through poetry in numerous ways is that of war and the associated loss, grief, and suffering. Two noted Australian poets shown to have accomplished this are Kenneth Slessor with his work ‘Beach Burial’ and John Schumann’s ‘I Was Only Nineteen’. Both of these works examine the complexities of conflict, but with somewhat different attitudes. Slessor is one of Australia’s most famous modern poets, and is well remembered as the driving force behind modernist poetry techniques in Australia. He was employed
Australian Poet Kenneth Slessor's Use of Imagery Slessor's complex poems use many types of imagery, his imagery is one of his artistic techniques which defines him from other poets in Australia. One could say that his powerful words paint a picture for the reader but as they say, seeing is believing. Slessor uses many types of imagery however death, time and water are the main ones. He uses these in his poems Night Ride, Out of Time, Five Bells and Beach Burial. Slessor in Night Ride talks
the play are to be found in Rodney Bennett's 1980 film and Kenneth Branagh's 1996 blockbuster. The two films share many parallels between them in both interpretation and method, however they also have marked differences in their respective approaches to the text. Perhaps the most obvious difference between these two versions is that Branagh uses the full unabridged text whereas Bennett cuts the play down by an hour or so; Kenneth Branagh justifies his use of the full text on the BBC's
Analysis of The One Minute Manager by Kenneth Blanchard and Spencher Johnson The One Minute Manager by Kenneth Blanchard, Ph.D. and Spencer Johnson, M.D., seems like a practical simple plan on managing people and there for other areas of one’s life, however I must admit I am a little skeptical. The three philosophies do make sense especially once analogies are used to put them into more simple terms. Being in the work force for more than fourteen years I have witnessed many types of mangers
Comparing Mary Shelley’s Frankenstein and Kenneth Branagh's Frankenstein Most Americans have some idea of who Frankenstein is, as a result of the many Frankenstein movies. Contrary to popular belief Mary Shelley’s Frankenstein is a scientist, not a monster. The "monster" is not the inarticulate, rage-driven criminal depicted in the 1994 film version of the novel. Shelley’s original Frankenstein was misrepresented by this Kenneth branagh film, most likely to send a different message to the
Kenneth O'Reilly's Racial Matters In his book Racial Matters, Kenneth O’Reilly presented the facts as he sees them, with little interpretation. He delivered a sharp historical account of the unconstitutional methods the Federal Bureau of Investigation used to weaken and destroy what it labeled to be subversive groups in defense of its ideal of America. O’Reilly saw the role J. Edgar Hoover played to be essential to the manner in which the FBI illegally refused to protect Black lives and persecute
The Wind in the Willows: Kenneth Grahame and Neopaganism The beauty of the English countryside--cultivated or wild, pastoral or primeval, it was an endless source of inspiration for eighteenth-century Romantic poets. Such notables as Wordsworth, Keats, and Shelley envisioned ancient and exotic Hellenic gods in familiar, typically British settings. Douglas Bush says of Keats, "For him the common sights of Hampstead Heath could suggest how poets had first conceived of fauns and dryads, of Psyche
The Use of Flashback in Kenneth Branagh's Henry V In Kenneth Branagh's film adaptation of William Shakespeare's Henry V flashback is used at key moments to comment on the action and to explain points in Henry's past, and how that past effects his present judgment. Certain scenes and lines are borrowed from parts one and two of Shakespeare's Henry IV to do this. The result is an amalgam of scenes, lines, and characters which brings about a telling expose of Henry V, and the man he was before
Halloween KO Frankenstein Fade in: Amidst the crowd and noise of a swarm of children and their parents in a whirlwind, last-minute attempt to find Halloween costumes and makeup, Kenneth Branagh and Helena Bonham Carter-Branagh stand hand and hand—pinned against an “Austin Powers suit” and the ever-popular “Hershey Kiss” garb. Kenneth’s brows are furrowed and a small wrinkle on his forehead is tense with concern as to how he is going to find anything among the crowds. The door to the store opens
for Christian Unity Introduction The prayer for Christian unity began with Christ, himself (John 1:21), and continues today. This essay proposes to examine two pleas for Christian unity using the rhetorical theory of Kenneth Burke. According to Em Griffin, "Kenneth Burke was the foremost rhetorician of the twentieth century. Burke wrote about rhetoric; other rhetoricians write about Burke" (319). Burke's theory seems especially relevant to the study of pleas for unity because of his
Comparison of Ethan Hawke and Kenneth Branagh's Versions of Hamlet Modern day directors use a variety of methods to hold ones interest. Ethan Hawke and Kenneth Branagh’s created versions of Hamlet that shared some similarities, but ultimately had many differences in respects to an audience’s appeal. An appealing movie is one that has an alluring ambiance and an intellectual stimulus. With these two movie versions, a setting and a mood forced an audience to acquire specific emotions, but Ethan
John Kenneth Galbraith The Canadian-born, Berkeley-trained John Kenneth Galbraith has been considered by many as the "Last American Institutionalist". As a result, Galbraith has remained something of a renegade in modern economics - and his work has been nothing if not provocative. In the 1950s, he presented economics with two tracts that needled the mainstream: one developing a theory of price control (which arose out of his wartime experience in the Office of Price Administration) which
the world. Also who is casted and how they will be dressed is crucial to the success of the movie although sometimes overlooked during the production process. Some movies represent these elements of mise-en-scene in an excellent matter such as the Kenneth Branagh version of Hamlet, while others would seem to disappoint my expectations for a great re-visualization of our suicidal hero like Micheal Almereyda’s Hamlet staring Ethan Hawke. Admirably though every Hamlet film to date has its own unique style
When one is constantly being put down, one tends to put themselves down and feel weaker than what is true. When that person attempts something, one does not perform to their full potential, only the low standards set for them. In Silverwing, by Kenneth Oppel, Shade is a Silverwing bat, the runt of his colony. He is constantly being put down, so he tries to do something crazy which gets his colony in trouble and results in resentment by his peers. Later, when he gets blown to shore without his colony
Lovers' Quarrels in Love, 20 cents the First Quarter Mile Kenneth Fearing's poem "Love, 20 cents the First Quarter Mile," expresses the wide range of emotions experienced in an argument. The poem depicts the all too familiar situation of a lover's quarrel in which the persona, whom we can assume is male, struggles to resolve an argument during a taxi ride. During his attempts to resolve the quarrel, the persona experiences a variety of emotions ranging from apologetic to accusatory to sarcastic
depicted as evil because he is 'malformed' but this is not always the case. The simple one-to-one relationship of ugly equals evil was not prominent in the Mary Shelley's original book or in more true-to-text films such as The Bride or more recently Kenneth Brannagh's attempt to make the authoritative film interpretation, Mary Shelley's Frankenstein. In these versions, the monster was portrayed as more human in his endeavors to question his origins, find a father and be happy. However, his physical characteristics