Wednesday, 10 December 2014

Celebrating Christmas

A place for wonder

One more mad week of term to go, and such a lot to do!
          Assignments to hand in, marking to hand back;
                    reports to be filed, revision to plan;
                              parties to dress up for, decorations to sort out;
                                        presents to think of, meals to anticipate;
                                                  expense to worry about, shops to stampede…

And now … breathe!

Why do we do it? Perhaps because there is an impulse in most of us to celebrate the wonder of giving and generosity, of anticipation and arrival, of light in the darkness; an impulse to recapture the joy we knew as children.

Lost hope

Of course now we know that gifts don’t actually come from a jolly man in red and many of us may be struggling to buy for extended family members in whose homes we’d rather not be over Christmas. We may have become cynical.

The English poet and novelist Thomas Hardy grew up going to church and clearly took on board the biblical account of Jesus’ birth in a stable and the later medieval legends that grew up around it. In The Oxen, he portrays the belief that the animals, in whose stall the newborn was laid, knelt in homage to the Christ-child, recognising that he was the son of God, and continued to commemorate his birth in this way ever afterwards.

But as Hardy grew older he became disillusioned with the practices of organised Christianity and the way in which so many Christians behaved. His later works are gloomy about there being any divine providence at work in the world, regarding such a belief as a ‘fancy’ unsustainable in ‘these years’.

Yet...

Yet Christmas without hope is an empty celebration, at best merely a guzzle of materialism. Which is why Hardy’s poem still strikes a chord today – because he captures the longing within us all for a better way to live, a gentler, more loving way of relating; hopes which, according to Christians, are made possible by the arrival of that tiny baby in a stable far from home.

Thomas Hardy’s The Oxen

Christmas Eve, and twelve of the clock.
‘Now they are all on their knees,’
An elder said as we sat in a flock
By the embers in hearthside ease.

We pictured the meek mild creatures where
They dwelt in their strawy pen,
Nor did it occur to one of us there
To doubt they were kneeling then.

So fair a fancy few would weave
In these years! Yet, I feel,
If someone said on Christmas Eve,
‘Come; see the oxen kneel,

‘In the lonely barton by yonder coomb
Our childhood used to know,’
I should go with him in the gloom,
Hoping it might be so.

Merry Christmas everybody!

Wednesday, 26 November 2014

The art of studying short stories

Short stories are sometimes rather tricky to answer on in an exam.

With a novel or play you can:
  • Trace the development of characters
  • Work out how the plot is layered and structured
  • See how recurrent imagery develops themes the writer wants to convey.
Studying a collection of short stories is rather different, particularly if they do not contain recurring characters or settings.
  • As opposed to novels, short stories frequently start in the middle of events, rather than providing significant exposition of character and situation
  • Rather than showing the long term development of a protagonist, they capture a moment in a person’s life and/or a shift in awareness
  • Instead of the satisfaction of a ‘closed’ ending, short stories often leave the reader to suppose what might happen next and create their own resolution. 
A collection of short stories is inevitably a more multi-faceted way for an author to communicate their ideas. They can play with different perspectives, bring out contrasting nuances, experiment with different styles. Because of this, the student needs to engage in each individual episode, yet also be able to stand back and pick out key similarities and ideas which run throughout the collection.

A new text guide on James Joyce’s Dubliners

Launched today is a helpful, free student guide to help you get to grips with Dubliners, by James Joyce. Dubliners is a collection of fifteen short stories that depict the everyday lives of the inhabitants of early 1900s Dublin, Ireland.

Each story focuses on different characters, but the Dubliners text guide demonstrates how several themes recur throughout the book:
  • Religion
  • Politics
  • The backwardness of Ireland
  • The desire for escape
  • The passage from childhood to adulthood. 
The collection starts and ends with death - the passing of an aging priest and the loss of a young lover.

An alien culture

As the title suggests, all Joyce’s stories are linked by being set in one Irish city, which has its own distinctive culture. Because the Dublin slang and customs of the early 1900s may faze some readers, the Crossref-it.info Dubliners text guide provides clear and concise explanations of unfamiliar terms to help you navigate your way through the narratives.

Meanwhile, as a handy reference, you can also read each Dubliners story online.

Wednesday, 12 November 2014

Teaching Peter Shaffer’s Equus

Help when you need it most

We’re getting to that point in the term when energies are starting to run low and inspiration is drying up. That’s not just A Level Eng. Lit. students but their teachers too! Yet, before mocks kick off just before or after Christmas, exam texts need to be completed and revision undertaken.

Thank goodness help is at hand for anyone studying Peter Shaffer’s Equus. Launched this week are a series of Equus worksheets for teachers full of ideas for the classroom which get across to students the key aspects of the play. When you just can’t think what to do in your next lesson why not explore what’s on offer?

The free, downloadable pdf files cover subjects such as:
  • The way Shaffer has structured the drama
  • The impact of it’s opening and ending
  • How the play was originally staged
  • Analysing the effect of the influences on Alan, such as:
    • His parents
    • Religion and worship
  • The outworking of specific imagery through the play.
Not only are these resources brilliant for teachers, they’re also a great help for students who need to catch up missed work (after absence) or revise the play.

Clarity for the confused

There is already a helpful guide to Equus at Crossref-it.info, which offers scene synopses, commentary and in-depth analysis. As with all Crossref-it.info material, there is lots of help to explain the context of the text. For example:

  • On-site you’ll discover how the play shows the influence of Bertolt Brecht, as well as using symbolic and expressionist theatrical elements (see http://www.crossref-it.info/articles/519/Twentieth-century-experiments).
  • The many pagan and biblical allusions (which are challenging for twenty-first century students and teachers) are all made clear, so that you can zip through each scene.

Although Equus was written in the 1970s, it has a lot to say about today’s culture, which can lead to thoughtful debate. May you have enough energy left to make the most of the play!

Thursday, 30 October 2014

Helpful productions of A Level syllabus Shakespeare

Book now!

Hamlet

  • ACS Random.  Park Theatre, London, 2 – 14 December (020 7870 6876). http://www.acsrandom.co.uk/ACS_Random/Home.html 
  • Sonia Friedman Productions.  Directed by Lyndsey Turner.  Benedict Cumberbatch as (Hamlet). Barbican, London, 5 August – 31 October 2015 (0845 120 7550)

Henry IV, pt.1

  • Royal Shakespeare Company. Directed by Gregory Doran. Antony Sher (Falstaff)
    • Alhambra Theatre, Bradford, 28 October - 1 November (01274 432 000)
    • Theatre Royal, Bath, 4 November -  8 November (01225 448 844)
    • Marlowe Theatre, Canterbury, 11 November - 15 November (01227 787 787)
    • Barbican Centre, London, 29 November - 24 January 2015 (0845 120 7550). www.rsc.org.uk [P]
  • Donmar Warehouse.  Directed by Phyllida Lloyd.  Harriet Walter (Henry IV).  Donmar Warehouse, London, 3 October – 29 November (0844 871 7624). http://www.donmarwarehouse.com/ [P]
  • Pleasance, Inner London. 26 Nov – 4 Dec. (0207 609 1800). www.pleasance.co.uk [P]

King Lear

Macbeth

A Midsummer Night’s Dream

  • Questor’s Theatre, Ealing, London, 11 – 15 November (020 8567 5184). www.questors.org.uk [P]

Othello

  • Frantic Assembly.  Directed by Scott Graham.  http://www.franticassembly.co.uk/  [P]
    • The Curve, Leicester, 28 October - 1 November (0116 242 3595)
    • CAST, Doncaster, 4 - 8 November (01302 303 959)
    • REP, Birmingham, 12 - 15 November (0121 236 4455)
    • The Lowry (Quays), Salford, 18 - 29 November (0843 208 6000)
    • Lyric Hammersmith, London, 13 January 2015 - 7 February 2015 (020 8741 6850).  
  • Royal Shakespeare Theatre, Stratford-upon-Avon. Directed by Iqbal Khan. 4 June – 28 August 2015. (0870 609 1110) www.rsc.org.uk [P]

Richard III

  • Theatre Collection, Upstairs at the Lord Stanley, London. 10 October – 2 November. www.theatrecollection.net  [P]
  • Theatre Royal, Norwich. 11 – 13 December. (01603 630 000) www.theatreroyalnorwich.co.uk [P]
  • The Cotswold Arcadians. Directed by David Sherratt. Hatherop Castle School, Gloucestershire, 20 - 25 July 2015. Open-air production. www.arcadians.org [A]

The Tempest

  • The Apollo Theatre, Newport, Isle of Wight, 15 – 23 May 2015 (01983 527 267).
  • This Last Tempest.  (adaptation) Uninvited Guests & Fuel.
    • Festival Theatre, Malvern, 4 – 5 November (01684 892 277)
    • Quarterhouse, Folkestone, 7 – 8 November (01303 858 500)
    • Cambridge Junction, Cambridge, 26 November (01223 511 511)
    • Lakeside Theatre, Colchester, 27 November (01206 873 261)
    • Theatre Royal, Margate, 28 – 29 November (0845 130 1786). 

Twelfth Night

  • English Touring Theatre (ETT). Directed by Jonathan Munby. 
    • Grand Theatre, Blackpool, 28 August – 1 November
    • Watford Palace Theatre, 4 – 8 November
    • Cambridge Arts Theatre, 11 – 15 November
    • Hall for Cornwall, 18 – 22 November
    • Richmond Theatre, London, 18 – 22 November (0870 060 6651)
    • Theatre Royal, Brighton, 25 – 29 November (08700 606 650). www.ett.org.uk 
  • Watermill Young Company. Directed by Seamus Allen. Watermill Theatre, Newbury, 12 – 15 November (01635 46044). www.watermill.org.uk  [A]
  • Brighton Little Theatre,  

The Winter’s Tale

  • Lion and Unicorn Theatre, London, 9 December 2014 – 3 January 2015 (08444 771 000).  www.giantolive.com [P]

Wednesday, 1 October 2014

Here to help with Advanced English

Starting out

Welcome to all who are starting a new course in English at AS / A2 / Undergraduate Level! Many of you are sixth-formers, a month into your new course and probably already experiencing the significant change of academic rigour compared to your studies so far. It’s about this time that the first AS/A2 essays are being set and the rubber really hits the road!

To help you make the huge step up from GCSE, if you go to Successful study you will find lots of helpful guidance about getting to grips with different genres and advice about how to approach A Level standard essay writing.

You will also know by now what set texts you are studying and may find a range of them covered at Detailed text guides.

Here’s what one A level student wrote to a member of the Xref team this summer:
I remembered your email about Crossref-it and I just wanted to say a HUGE thank you for pointing me in that direction, it's been SUCH a huge help. I emailed my class and teacher saying how useful it had been, and that they might like to look at it, and they all emailed back saying it was a complete life saver. 
I used The White Devil and Blake's Songs of Innocence and Experience. The context sections were AMAZING because they really related to the texts in a way that you could use the information to illustrate a point in the exam. Also, everything was so concise and well-worded that I didn't have to spend ages trying to figure out what in particular they were referring to and how that tied in with themes etc.
Sharing the good news is just what we like, so please be as generous as this student was in letting your mates know that they don’t have to struggle alone.

Going further

Meanwhile, many undergrads are just about recovering from Freshers’ Week and now engaging with their first lectures and seminars. Crossref-it material isn’t designed to sustain you as you develop your critical faculties at degree level, but for first year undergrads it can be a life saver!

Suddenly you are expected to make sense of texts in just one week rather than a term of teaching, and to have a grasp of a much wider literary scene. That’s when the Crossref-it.info Aspects of Literature and Writers in context sections really give you a head start.

As another student told us:
Great for studying. So much information. Wish I had discovered it earlier! Will continue to use it all throughout university. :)
We’re sure he won’t be the only one!

Thursday, 18 September 2014

Take a look at this new A Level Eng. Lit. site!

Super-slick and shiny

Throughout the summer the team at Crossref-it.info has been updating the design of the site so that the user experience is even better.

  • It’s even easier to find what you need to succeed with the demands of A Level English.
  • Beautiful clean lines and simplified pages make it a joy to use.
  • More effective content organisation echoes the premise behind the Cross Reference Project: that users can see how closely one text relates to another and to the context in which it was created.
  • Knowing how many students access Crossref-it.info via mobile or tablet, we’ve implemented responsive design across the technologies - any transition from mobile to laptop is so smooth that is almost unnoticeable. Whatever the size of your screen, Cross ref-it will adjust its display to suit.
  • It’s still as fast as ever.

But don’t take our word for it – have a look yourself!

Feedback!

Please visit the new Crossref-it.info and let us know what you think. Tell us what you appreciate and why. And if there’s something we’ve got wrong, just let us know ASAP and we’ll endeavour to put it right.

An improvement further

Probably most helpful of all, Crossref-it.info is still free!

We want as many of you to succeed with your studies as possible. Although we carry some minimal marketing, in the interests of your academic progress, we don’t want to distract you with endless adverts – unlike other free sites which rely on advertising for finance. But you will understand that nothing can be run on thin air.

So here’s one further benefit of the new site, both for you and the Cross Reference Project:

  • The clean interface can be even further enhanced by your generosity. If you could make a donation to the running of the website, we will disable all the advertising whenever you sign in to your account for the next twelve months as a little token of our appreciation.

That way, there’s mutual success:

  • we can continue to innovate and produce outstandingly helpful resources which
  • help you stand out from the crowd academically.
Result!

Wednesday, 3 September 2014

Villainy and vengeance

Taking the law into our own hands


Most people have been shocked at the images on the news last week about the summary execution of James Foley, just as they were by the murder of Lee Rigby in 2013. Both deaths were prepared for and carried out by people with a grievance – people wanting to ‘get their own back’, not on the victims themselves but on those the victims represented.

Vengeance is a powerful motive for crime. It is particularly associated with people who set a lot of store by status and the impression of power. When this is dented or removed, such people are impelled to restore their own honour, or that of the family or group they represent. Typically the vengeful will brood over the perceived wrongs that have been endured, until the thirst for retribution pushes aside any moral considerations they may have had and turns them into villains. They no longer trust that the law will deal appropriately with the object of their obsession. Although they may, like Hamlet, be conflicted over the idea that retribution should be left to God, rarely does this actually stop them, until it is too late.

Time to reflect

Revenge is sometimes hasty but more often delayed following the initial offence. And it is the means by which such vengeance is enacted that provides the plot for many a literary work. The time lapse allows for twists and turns of fate, for an examination of motive and character, for feelings to turn murderous and potentially worthy characters to tip over into villainy. From Chaucer to the twentieth century suspense thrillers of page and screen, via the revenge dramas of the Jacobean dramatists and the careful plotting of Dickens and Poe, audiences have been absorbed by humankind’s capacity to plan evil.

A Level exploration

It is a fertile field to explore for an individual or genre study. That’s why Crossref-it.info have provided some help along the way by giving you a guided tour across a variety of texts and genres of how villains operate and vengeance is enacted. Only connect: Villainy and vengeance also provides the source material which so many writers drew on – the murderous outcomes of classical myths and gritty retribution in biblical narratives.

There will be many more stories on this theme than you’ll find on site, but Only connect gives you a standing start on your way to academic success.

Sunday, 17 August 2014

Equus: Shaffer’s challenge to materialism

New text guide

Launched this week at Crossref-it is a new A Level English student guide on Peter Shaffer’s 1973 play, Equus. Memorably revived in 2007, with Daniel Radcliffe in the leading role, Shaffer’s drama depicts the motivations and situations that led up to an horrific crime. It is the job of the play’s ‘shrink’, Martin Dysart, to pick through the evidence offered by those involved and work out why the protagonist blinded six horses. He is not helped by the truculence of his 17 year old patient, Alan Strang.

The impulse to worship

Dysart himself is fired by the power of ancient Greek myths and understands why Alan has looked for a ‘higher meaning’ that that offered by his restricted, drab lifestyle. Dysart comes both to admire and be critical of Alan’s creation of an alternative religion, in which classical beliefs are twisted with his mother’s depiction of biblical narratives.

Although Shaffer takes a critical view of orthodox religion (as practiced by Alan’s mother, Dora) and the way in which it harnesses individuals, he is even more critical of the world that faces Alan if all he can worship is ‘normality’ and a starkly material environment. He envies Alan’s passion, however incoherent its Christian and classical desires.

Clear explanations

It is these pagan and biblical allusions that may prove difficult for twenty-first century students, which is why the new Crossref-it guide is so handy. With quick access articles and informative tool-tips, the A Level focused guide provides commentary on each scene and has sections discussing imagery and themes, as well as language and critical perspectives.

If you caught up with recent releases about developments in drama in the twentieth century, you can also see how Equus draws on Brecht’s production theories, as well as using symbolic and expressionist theatrical elements (see 20th Century Experiments).

Thursday, 24 July 2014

The performance of modern drama texts

"Theatre Royal Brighton" by Ian Muttoo from Mississauga, Canada - Theatre Royal Panorama, Brighton, UK. Licensed under Creative Commons Attribution-Share Alike 2.0 via Wikimedia Commons - http://commons.wikimedia.org/wiki/File:Theatre_Royal_Brighton.jpg#mediaviewer/File:Theatre_Royal_Brighton.jpg
Modern plays for modern theatres

Through July Crossref-it.info has launched a range of articles about the form and expectations of theatre in the UK during various epochs.

Our Developments in Drama section already has information about performance from medieval times through to the acting style of the Victorian.

This week material about acting styles and theatre dynamics is being added. Check out the following:

Realism and naturalism

The ‘forth wall’ is explained, along with the ideas of Stanislavsky and the drama of Chekhov, Ibsen, Strindberg et al. This new information is particularly helpful for anyone is studying dramas including:
  • A Doll’s House
  • All My Sons
  • Journey’s End
  • Dancing at Lughnasa
  • The Crucible
  • A Streetcar named Desire

Expressionism and beyond

Alongside the ‘well made play’, the influence of Brechtian theatre is explored, and there are handy pointers about how to recognize symbolic, expressionistic and surreal elements in drama. This material is relevant if you are covering plays such as:
  • A Woman of No Importance
  • Absurd Person Singular
  • A Man for All Seasons
  • Top Girls
  • Equus
  • Death of a Salesman

Postmodern theatre

From the Second World War onwards, British Drama witnessed Absurdism, kitchen sink drama, protest theatre and the rise of female perspectives, with far greater fluidity in staging. You can get a handle on this to help you understand texts like:
  • Waiting for Godot
  • The Birthday Party
  • Death and the King’s Horseman
  • Translations
  • Arcadia
  • The History Boys
Of course, if you can get to see a performance of your drama text, that’s the best way of all to understand the experience the playwright was aiming for. But that’s not always possible – which is when it helps that Crossref-it.info’s free information is there for you.

Wednesday, 9 July 2014

How drama texts work



Plays for performance

Any drama text studied for English A level has got something missing.
It is only a written record of what was always designed to be a multi-sensory event. The experience of a play is a combination of script, movement, sound effects, lighting effects, music, setting, costume, theatre dynamics and the unique contributions of individual actors and directors.

So merely looking at the written words uttered by characters bypasses a huge amount of what the playwright intended to be understood.

Added advantage

Some students studying A Level Eng. Lit. or Lit./Lang. have an added advantage if they are also undertaking the A Level Theatre studies or Performing Arts – Acting syllabuses. They will have a grounding in what it means to transform a play-script into a live performance.

Now help is at hand for the rest of us who need to get a handle on Eng. Lit. drama texts.

Developments in drama

Launching through July is a range of articles about how British theatre operated in various literary eras.

The Crossref-it.info Developments in Drama pages already have information about the Shakespearean and Jacobean stage.

This week material about acting styles and theatre dynamics is being added on:

So if anyone is studying one of the following, they will find the new information particularly helpful:
  • The Rover
  • She Stoops to Conquer
  • The School for Scandal
  • The Way of the World
If you are studying a more modern text, look out for further additions to the series later this summer!

Wednesday, 25 June 2014

Teaching and revising the poetry of Wilfred Owen

New launch

This week sees the arrival of a wealth of teaching resources to help teachers deliver well thought through lessons on the poetry of Wilfred Owen. One of the most well regarded poets of the twentieth century, Owen vividly recreated what it was like to serve on a combat frontline, through a variety of distinctive poetic techniques.

To help time-poor teachers, worksheets cover areas such as:

  • How Owen employs the sonnet form
  • His re-creation of specific voices
  • Owen’s use of religious imagery
  • The aural qualities of selected poems
  • Guided explorations of Disabled and The Letter.

In addition, there are helpful revision and/or homework tasks for every poem covered in the Crossref-it.info text guide to Selected poems of Wilfred Owen. Each worksheet on a specific poem helps students investigate:

  • Context
  • Language and tone
  • Structure and versification
  • Imagery and symbolism
  • Themes.

Written by highly qualified UK teachers and educationalists, you can find these and other resources at: http://www.crossref-it.info/textguide/Poetry-of-Wilfred-Owen/36/2706

Helping students understand the ramifications and impact of Owen’s verse has never been so pertinent in this year commemorating the onset of the First World War one hundred years ago.

Friday, 13 June 2014

The impact of location in literature

New launch: Impact of location in literature


This week sees the next theme covered by Crossref-it.info’s Only Connect tool, where they trace a theme across various works of literature, including its classical and/or biblical origins. ‘The impact of location’ makes for a fruitful personal exploration (required for a number of A Level English syllabuses) of how place is perceived in literature.

The associations of place

Gloomy caves;
                    open greens;

                                        darkened woodlands;
                                                            arid fields;
                                                                                gleaming urban sprawl;
                                                                                                    humble cottages...


When we encounter any one of these locations, we have an expectation of what might be likely to happen there. But why?

For centuries associations have grown up around locations and the atmosphere associated with them. These allusions have been created by fairy-tales, ancient myths and biblical narratives, then sustained by centuries of literature:

  • Shakespeare deliberately places his characters in woodland or castle, wild coast or tavern knowing that we will expect certain sorts of behavior because of those locations
  • Blake sometimes subverts our expectations, turning a place of pleasure into a place of threat, just as Graham Greene was to do 150 years later in Brighton Rock.

It’s fascinating to see how location has an impact on events and characters, sometimes seeming to determine the plot itself:

  • In Tess of the d’Urbervilles Hardy draws on the ancient classical anxiety of dense woodland and biblical suspicion of sophisticated urban environments, yet by no means upholds the simplistic pastoral ideal that associates the countryside with happy innocence
  • Jean Rhys uses location in Wide Sargasso Sea to disorientate characters, destabilising their sense of identity and thus effecting their subsequent actions.

The impact of location in literature is huge. Why not explore it for yourself.

Wednesday, 28 May 2014

Revision help for AS / A2 English Lang. & Lit. students

It’s that time again...





















AS and A2 English exams are happening and time is very short! If you need some quick recaps, here are some website pages that will help:

English language

English Literature (per syllabus)

AQA 

If you are taking any of the syllabuses from AQA, there is lots of helpful info on the following exam texts:

OCR 

If you are taking any of the syllabuses from OCR, there is lots of helpful info on the following exam texts:

Edexcel 

If you are taking any of the syllabuses from Edexcel, there is lots of helpful info on the following exam texts:

CIE or the Cambridge Pre U 

If you are taking any of the syllabuses from CIE or the Cambridge Pre U, there is lots of helpful info on the following exam texts:

WJEC 

If you are taking any of the syllabuses from WJEC, there is lots of helpful info on the following exam texts:

Thursday, 1 May 2014

The voice of war: Owen uncovered

Perspectives on the ‘Great War’

It’s hard to escape the huge media coverage of the centenary of the onset of the First World War. Widely supported in 1914 as a fight for King and Country against the forces of oppressive imperial expansion, our perspective today is quite different.

We know now what the people of 1914 did not – that the so-called ‘Great War’ would entail huge physical destruction in Northern France and the killing, maiming and mental carnage of a generation of men. Far from being ‘The War to End all Wars’, its consequent peace agreement would result in further mass conflict just nineteen years after its end.

Our attitude is also different because of the profound poetic voice which came to light during and after the conflict – a voice which brought home the real horrors of warfare as well as the wounding of long established values.

Wilfred Owen speaks out

Wilfred Owen is now regarded as one of the premier English poets of the First World War and a significant poetic voice of the twentieth century. He witnessed first-hand the horrors of the Western front and translated it through the medium of poetry. He fused his growing anti-war sentiment with a combination of his English poetic heritage, a deep love of nature and his traditional Christian background. Born out of an increasing realisation of the disconnect between the view of the war at home and the harsh and gruesome realities of the battlefield, Owen's moving body of work has profoundly impacted generations of readers.

New Crossref-it.info text guide

Just in time for revision before this summer’s exams, now you can discover a new Crossref-it.info text-guide on selected poems by Wilfred Owen:

26 of his most significant poems are provided with a synopsis then examined in terms of:
  • Context
  • Language & tone 
  • Structure & versification
  • Imagery & symbolism
  • Themes – individual to the poem them connected to Owen’s wider thematic strands.

As well as this in depth commentary, there is background information on:

  • Owen’s social influences
  • The contemporary literary context
  • The religious & philosophical understanding of his times.

Crucially, there’s also help on how to:

  • Do well in exam and essay answers
  • Approach his work with critical awareness
  • Find other helpful resources.

Thursday, 3 April 2014

An alternative perspective on the afterlife

Only connect

Earlier this academic year Crossref-it.info launched Only Connect, for which the Crossref-it.info team have taken a series of themes and then looked at how each runs through and unites various texts, providing hundreds of helpful links to a variety of onsite sources.

At the end of last term Attitudes to death was released. It showcased how cultures alter through time in the way they approach the end of life, linking texts such as Chaucer’s The Pardoner’s Tale, Marlowe’s Dr Faustus, Hamlet and the works of the Metaphysical Poets.

Take another look

Up until the end of the nineteenth century, many prose texts simply endorsed the conventional Christian Western worldview, that God would decide who ended up in heaven or hell, both envisaged according to established biblical imagery. However, part of the shock that greeted the publication of Emily Brontë’s Gothic classic, Wuthering Heights, was because she envisaged a fate for her protagonists very different to the conventional depiction of life after death.

Why not take a look at the newly launched material at Only Connect – ‘Attitudes to death’? You’ll discover direct links to references regarding ghosts and haunting, judgement and release, the blurred boundaries between death and life, plus imagery about spiritual freedom which has little to do with conventional perceptions. In Brontë’s novel there is no clear demarcation between life and the hereafter.

EPQ students

We know some students are developing theses for an EPQ (Extended Project Qualification). If you are of a slightly Gothic bent, the material you can explore within ‘Attitudes to death’ may be just what you need to construct a winning argument.

Coming soon

Meanwhile, look out for the next Only Connect theme being launched in May, about how texts reflect the ‘Impact of location’.

Enjoy the Easter break and give yourself some time to refresh your mind and imaginations before the hard slog of exam prep kicks in.

Thursday, 20 March 2014

Teaching Wuthering Heights for A Level Eng. Lit

Teachers’ worksheets for Emily Brontë’s masterpiece

Following hot on the heels of last month’s release of teaching resources (for F. Scott Fitzgerald’s The Great Gatsby), this month Crossref-it.info has produced worksheets to help time-short A Level teachers address significant concepts in Emily Brontë’s Wuthering Heights.

> Emily Brontë’s Wuthering Heights downloadable worksheets for teachers


Covering work for a series of lessons and classroom tested, the latest set of downloadable worksheets include the following areas of study:

  • The impact of the opening of the novel
  • How characters and locations are doubled through the text
  • The significance of imagery and symbolism
  • The genre(s) covered by Wuthering Heights.

Each sheet can be printed off and used for homework tasks or to help students catch up missed work, and there is also a series of directed questions investigating each chapter of the text.

To help students speedily access helpful information, the downloads also suggest where they can find relevant material in the online guide to Wuthering Heights launched earlier this term. In that you will discover detailed commentaries on each chapter, sections on Narrative, Structure and Imagery amongst others, along with clear explanations of how the novel fits within the literary conventions of its day.

We’re starting to get to that point where everything moves up a gear in preparation for forthcoming examination. Crossref-it is here to help.

Wednesday, 26 February 2014

Teaching The Great Gatsby

Teachers’ worksheets to tackle Fitzgerald

This week hard pressed A Level Eng. Lit. teachers can breathe a sigh of relief that there are some more helpful resources to take the hassle out of lesson planning. Entirely free and written by UK A Level classroom practitioners, the latest set of downloadable The Great Gatsby worksheets from Crossref-it.info cover topics such as:

  • How society operated in the Jazz Age, as depicted in the novel
  • The use of colours and symbols in The Great Gatsby
  • The effect of the narrative framework
  • The impact of the opening and ending of the novel.

Each sheet can be printed off and used for homework tasks or to help students catch up missed work, and there is also a series of directed questions investigating each chapter of the text.

To help students speedily access helpful information, the downloads also suggest where they can find relevant material in the Great Gatsby text guide (launched last September) to Fitzgerald’s masterpiece. In it you’ll discover not just chapter-by-chapter synopses and commentaries, but sections about the social, political and philosophical background to the Jazz Age, as well as the characters and structure of the novel, and recent critical approaches to the text.

If you think you’ve got more teaching ideas about The Great Gatsby you’d like to contribute, please submit them to info@crossref-it.info and they may feature in a future blog!

Wednesday, 12 February 2014

New Wuthering Heights revision plan

How well do you know your text?

Three weeks ago Crossref-it.info launched a new student guide to help those studying Emily Brontë’s Wuthering Heights for A Level. Now there is a handy revision plan to help you make sure you are really up to speed when it comes to answering on the novel.

The plan covers all sorts of areas:

> Easy multiple choice questions so that you can be confident you’re familiar with the novel
The revision plan tells you how you’ve done and gives you the chance to try again if you get something wrong, pointing you in the right direction to find the correct answer.

Directed note-making on important aspects of each chapter
It’s like having your own personal teacher, shining a light onto the key points you need to think about.

> Useful essay questions on character, narrative and theme, with examples of how you might answer
From this point of the academic year onwards, you need to gather together all the strands of what you’ve learnt and weave them into coherent arguments. The plan shows you how (and for more advice about essay and exam writing, check out the ‘How to write a good exam answer’ section at Crossref-it.info). 

Access the Wuthering Heights study plan

If you haven’t already done so, you need first to install the Crossref-it.info English Literature app from the Chrome Webstore using the Google Chrome browser. Once you’ve signed in, for just 79p you can get guided revision help on Wuthering Heights

The better you do at each level of the revision app, the more bronze, silver and golden quills you can gains to add to your account.

Wednesday, 22 January 2014

New Wuthering Heights study guide!

Some characters never die…

You may never have read it, but you probably know something about it. Wuthering Heights, by Emily Brontë, does not have a complex or particularly original plot. This is not where the interest lies. Instead, Brontë’s powerful characterisation ensures that, without having studied or even read it, people who have heard of the novel are likely to mention Heathcliff and Catherine and their relationship, as opposed to than any particular event in the story.

The powerful account of a passionate love that goes beyond the grave has received all sorts of film / television and musical treatments, but few of these versions fully capture the texture and detail of the novel. Indeed, a bald summary of what various characters get up to (dictated by pressure of airspace etc) might seem incomprehensible, without the solid prose ‘realism’ and measured narration of the observant servant and confidante, Nelly Dean.

Through her, and the newcomer, Lockwood, we believe that Catherine Earnshaw might well walk the moors, twenty years after her early death, and Heathcliff ‘forget to breathe’ in his desire to be with her.

Enduring love

Although society was outraged when the story was first published in 1847, Wuthering Heights has never been relegated to the ‘second division’ of literature – a situation illustrated by that fact that Emily Brontë’s only novel currently features on three A Level Eng. Lit. syllabuses (Edexcel, AQA, WJEC). It still engages readers today, despite our very different culture.

In one sense, the novel stands aside from its times, but it also spoke to – and was a product of - 1840s England, as the shocked reaction demonstrates. To help you see the connections of the story to the context of its creation (AO4), a new Crossref-it.info guide to Brontë’s story has been launched this week.

Comprehensive help


  • Struggling to make sense of Joseph’s outbursts? In the detailed commentaries on each chapter you’ll find explanations of what he is referring to.
  • Need to get clear about Brontë’s narrative chronology? Sections on Narrative and Structure will help.
  • Tracing image clusters and how they play out in the novel’s two main locations? You’ll find everything you need in Imagery.
  • Want to get to grips with the novel’s Gothic resonances? Look no further than Literary context.


The new Crossref-it.info guide to Wuthering Heights is there to help.

Wednesday, 15 January 2014

What if…?

Life after life after life

The recently announced winner of the Costa novel of 2013 is Kata Atkinson’s Life after life. Rather like the films Groundhog Day (http://en.wikipedia.org/wiki/Groundhog_Day_(film)) and Sliding Doors (http://en.wikipedia.org/wiki/Sliding_Doors), Atkinson weaves a narrative about her central character, Ursula Todd, in which all manner of alternatives present themselves.

A variety of narratives

Traditionally, a novel tells an ‘enclosed’ tale about a particular group of characters who make choices and face the consequences. Protagonists generally behave consistently and the novelist structures the account so that it ends by fulfilling the reader’s expectations, whilst maintaining an aura of ‘reality,’ and provides a sense of closure. (Click for more detail on aspects of narrative).

In the last fifty years or so, authors have disrupted the idea of realism and that their stories portray the one ‘true’ account of ‘real’ events. In 1969 John Fowles’ The French Lieutenant’s Woman consciously provided alternative versions of how protagonists behaved and commented directly to the reader that the ‘reality’ inhabited by characters was purely the fictional artifice of the novelist.

Since then many more authors have experimented in this way or developed multiple, interweaving perspectives and disjointed chronologies. Atkinson simply stops and restarts her story, expecting the reader to skate from one ‘life of Ursula’ to a different ‘life’. She plays with the idea that we all have the power of choice – things don’t have to happen the way they do.

Atkinson meets Brontë

It can be interesting to try applying some of these modern multiplicities of interpretation to ‘traditional’ novels. For example, although she employs time shifts and a variety of narrative voices, Emily Brontë’s Wuthering Heights is a typically ‘enclosed’ tale where characters seem destined to act in the ways in which the novel depicts. But what if things turned out differently?

Let your imagination fly as you consider:

  • If Heathcliff had stayed to hear the whole of Catherine’s confession to Nelly, would he have left, and if he hadn’t, how would Edgar have fared as a suitor?
  • How might Hareton have turned out if Nelly had brought the youngster with her to grow up at the Grange as she desired? Would a son educated in his rights have avenged the degradation of his father?
  • How would Catherine’s story have unfolded if she had decided to leave Edgar for Heathcliff, after Edgar gave her his ultimatum? Would Heathcliff have looked after Edgar’s baby? Might Edgar have gone after his wife?
  • If Linton had not died when he did, how would Cathy have coped if she became disillusioned with her husband – and what actions might an amorous Hareton have taken?

You, the author

If you can email in some alternative scenarios (to info@crossref-it.info), we’d love to hear what you come up with and could share them on this blog.

Meanwhile, for more on the original version of Brontë’s classic, watch this space….

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