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Choir! Choir! Choir! & Patti Smith sing "PEOPLE HAVE THE POWER" in NYC with Stewart Copeland

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Learning through a Poem about Civics systems 

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Learning through a Poem about Civics systems 

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1. summarise the events that take place in this poem
2. Make a list of all factors that may have contributed to the boy's demise. Who or what was to blame?
3. What could have prevented this situation? (law, regulation, community help, education etc)
4. Reenactment, someone is boy/ one is the saw, once is the setting sun, mountains in the back, sister, doctor...
Tip: give the context of the time (1916)
Homework: To what extent could the government have reasonably prevented boy's death? Explore the possibilities and reach a reasoned conclusion. Use the hamburger model for planning Essay.

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Out, Out-
by Robert Frost

The buzz saw snarled and rattled in the yard
And made dust and dropped stove-length sticks of wood,
Sweet-scented stuff when the breeze drew across it.
And from there those that lifted eyes could count
Five mountain ranges one behind the other
Under the sunset far into Vermont.
And the saw snarled and rattled, snarled and rattled,
As it ran light, or had to bear a load.
And nothing happened: day was all but done.
Call it a day, I wish they might have said
To please the boy by giving him the half hour
That a boy counts so much when saved from work.
His sister stood beside him in her apron
To tell them 'Supper.' At the word, the saw,
As if to prove saws knew what supper meant,
Leaped out at the boy's hand, or seemed to leap-
He must have given the hand. However it was,
Neither refused the meeting. But the hand!
The boy's first outcry was a rueful laugh,
As he swung toward them holding up the hand
Half in appeal, but half as if to keep
The life from spilling. Then the boy saw all-
Since he was old enough to know, big boy
Doing a man's work, though a child at heart-
He saw all spoiled. 'Don't let him cut my hand off-
The doctor, when he comes. Don't let him, sister!'
So. But the hand was gone already.
The doctor put him in the dark of ether.
He lay and puffed his lips out with his breath.
And then-the watcher at his pulse took fright.
No one believed. They listened at his heart.
Little-less-nothing!-and that ended it.
No more to build on there. And they, since they
Were not the one dead, turned to their affairs.

Summary of Out, Out-

Popularity of the Poem, "Out, Out": This poem is written by Robert Frost, a great American poet. Out, Out is a narrative poem with themes of sympathy and pain. It was first published in 1916. The poem is about a young boy who loses his hand in an accident. The poem highlights what people feel about the young boy's passing and also death. The poet used references from Shakespeare's Macbeth to compare the unpreparedness and shock of death.

"Out, Out " As a Representative of Death: The poem narrates the tragic death of a boy, who accidentally severed his hand while working on the farm. The young boy later dies in a shock. At the outset, the speaker presents a graphic description of a dangerous saw, which was the main cause of death. The speaker also provides the description of eye-catching sights and soothing sounds of the farm, which were interrupted by the unpleasant noise of the saw. The day was about to end, but the laborers were still working on the farm. When the young boy's sister called him for supper, out of excitement, he is distracted. The accident severs his hand. Out of fear, he begged his sister not to allow the doctor to amputate his wounded hand. The doctor anesthetized him for treatment, but he dies. Surprisingly, everyone moves on with their lives as if the tragedy was an ordinary event. The cold response of the people about the young boy reveals the hardships of working people.

Major Themes in "Out, Out": Death, child labor and fragility of life are the major themes of this poem. Robert Frost has highlighted the issue of child labor in this short poem. Although the boy performs man's tasks, he is still an innocent child at heart. The ending of the poem is callous, shocking, and cruel. People behave indifferently to the death of that boy. There are no signs of mourning or sadness on their faces. They return to their work as if nothing has happened.

Analysis of Literary Devices Used in "Out, Out "

Literary devices are tools used by writers to convey their emotions, ideas, and themes to make texts more appealing to the reader. Robert Frost has also used some literary devices in this poem to narrate the tragic death of a young boy. The analysis of some of the literary devices used in this poem has been stated below.

Assonance is the repetition of vowel sounds in the same line. For example, the sound of /o/ in "And made dust and dropped stove-length sticks of wood" and the sound of /i/ in "He lay and puffed his lips out with his breath."

Consonance: Consonance is the repetition of consonant sounds in the same line. For example, the sound of /t/ in "The doctor, when he comes. Don't let him, sister" and the sound of /v/ in "He must have given the hand. However it was."

Alliteration: Alliteration is the repetition of consonant sounds in the same line in quick succession such as the sound of /s/ in "Sweet-scented stuff when the breeze drew across it."

Personification: Personification is to give human qualities to inanimate objects. For example, the saw, which is compared to a buzzing sound is personified, "The buzz saw snarled and rattled in the yard; And made dust and dropped stove-length sticks of wood."

Imagery: Imagery is used to make readers perceive things involving their five senses. For example, "The buzz saw snarled and rattled in the yard"; "And made dust and dropped stove-length sticks of wood" and "The doctor put him in the dark of ether."

Symbolism: Symbolism is the use of symbols to signify ideas and qualities, by giving them symbolic meanings that are different from their literal meanings. Here sunset symbolizes the end of the young boy's life.

Onomatopoeia: It refers to the words related to the natural sounds of animals or objects. The poet has used the words buzz, snarled, and rattled are examples of onomatopoeia.

Enjambment: It is defined as a thought or clause that does not come to an end at a line break; instead, it moves over the next line. For example,

"The buzz saw snarled and rattled in the yard
And made dust and dropped stove-length sticks of wood,
Sweet-scented stuff when the breeze drew across it."

Analysis of Poetic Devices Used in "Out, Out "

Poetic and literary devices are the same, but a few are used only in poetry. Here is the analysis of some of the poetic devices used in this poem.

A stanza is a poetic form of lines and verses. The poem is a long narrative poem of thirty-four lines with no stanza break.

Free verse is a type of poetry that does not contain patterns of rhyme or meter. This is a free-verse poem without a strict rhyme or meter.

Repetition: There is a repetition of the verse, "The buzz saw snarled and rattled" has created a musical quality in the poem

Refrain: The lines that are repeated at some distance in the poem are called refrain. The verse, "The buzz saw snarled and rattled" is repeated with the same words, it has become a refrain as it has been repeated in the first and seventh lines of the poem.

Quotes to be Used

The lines stated below can be used to describe the enchanting beauty of nature. These lines can also be used to tell children to make them aware of the lovely sights people enjoy in the farms.

"And from there those that lifted eyes could count
Five mountain ranges one behind the other
Under the sunset far into Vermont."

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Out, Out Analysis - Literary devices and Poetic devices

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by Robert Frost The buzz saw snarled and rattled in the yard And made dust and dropped stove-length sticks of wood, Sweet-scented stuff when the breeze drew across it. And from there those that lifted eyes could count Five mountain ranges one behind the other Under the sunset far into Vermont.

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Learning civics systems through analysing "Hurricane" by Bob Dylan

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Learning civics systems through analysing "Hurricane" by Bob Dylan

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Here comes the story of the Hurricane
The man the authorities came to blame
For somethin' that he never done
Put in a prison cell, but one time he could-a been
The champion of the world

From "Hurricane" by Bob Dylan & Jacques Levy

Dylan's first and possiblty greatest performance of "Hurricane" on
September 10, 1975 at WTTW studios in Chicago, for the taping of a TV tribute "The World of John Hammond" produced by Ken Ehrlich.

"Hurricane," the fiery, visceral epic of rage and injustice emerged at the start of 1976. It was the first single from his new album, Desire, his first new album since the dimensional-cubist heartbreak songs of his classic Blood On The Tracks. That album was so poignantly powerful, and presented a newly unleashed Dylan at the height of his creative powers, that nobody knew what he could possibly do next. Except perhaps disappear.

Not only did he not disappear, he did the opposite. With the playwright-lyricist Jacques Levy, who enjoyed narrative epic songs in Dylan's elaborate rhyming patterns, Dylan wrote a new song cycle of amazingly detailed, charged songs. Songs of spiritual, global journeys, of mythic, mysterious love, and more. Even a beautiful epic of heart and history about his wife, "Sara," connecting with his first epic love song for her, his muse, "Sad-Eyed Lady of the Lowlands," from Blonde on Blonde. (Although the latter, at over eleven minutes long, is twice the length of "Sara.")

But opening this new collection of wonders was a song of outrage, which burst into our lives and culture with a force made more urgent by Dylan's use of stage-instructions to set the scene. It all opens with the loud cracks of gunshots, which sets the song in perpetual motion.

Pistol shots ring out in the barroom night
Enter Patty Valentine from the upper hall
She sees the bartender in a pool of blood
Cries out, "My God, they killed them all!"

The song is about Rubin "Hurricane" Carter, a champion boxer in prison convicted of a 1966 triple murder in New Jersey. He proclaimed his innocence, and his conviction seemed to be racially motivated, based on false evidence and worse. He received a second trial, and was found guilty again in 1976. This was overturned in 1988, when he was released.

That Hurricane was a real man was both the power and the curse of the song. As Dylan and Levy brought it to a mythic place, as they did with the song "Joey" also on Desire. Another epic, it's about Joey Gallo, the vicious crime boss. Countless people attacked Dylan for glorifying Gallo in the song, which he does.

Yet "Joey" and "Hurricane" are both remarkable, passionate, brilliantly crafted songs. They are written in the tradition of great old folk songs about outlaws, which Woody Guthrie also embraced in "Pretty Boy Floyd" and other songs. For Dylan, this link to actuality seems to have inspired the genuine passion instilled in each, in the same way his early protest songs were attached to the changing times of that moment. But at this time, the mid-seventies, this was a hurdle many listeners did not want to leap.

It's no secret Dylan loves old movies, and has used lines from old films in his lyrics since the start. "Hurricane" is a true story, yet told cinematically. Jacques Levy said it was like a game he and Bob would play, both attempting to present a linear, coherent narrative, while also embracing the electricity of the music and mandate of rhymes. Dylan's tendency was to go off in many directions, while Levy kept them to the story arc.

"I think he liked the idea that I could tell a story," Levy said in an interview with Prism Films, "that there was a story in that song. Bob is not that good at telling stories. He doesn't go from A to B to C to D to E. He's got a lot of good stuff in his songs, but they don't usually add up to a story."

Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese - Production Stills -

"Bob wasn't sure that he could write a song [about Hurricane]," said Levy. "I think the first step was putting the song in a total storytelling mode. I don't remember whose idea it was to do that. But really, the beginning of the song is like stage directions, like what you would read in a script: 'Pistol shots ring out in a barroom night.... Here comes the story of the Hurricane.' Boom! Titles.

"You know, Bob loves movies, and he can write these movies that take place in eight to ten minutes, yet seem as full or fuller than regular movies."

And that is exactly what they did, after meeting with Hurricane at Rahway Prison.

The song was recorded several times in the summer of 1975, with a faster version being the one that was released. Produced by Don DeVito, it featured wandering gypsy violinist Scarlet Rivera, Steve Soles on guitar, Rob Rothstein on bass, Howie Wyeth on drums, Luther Rix playing percussion, and harmonies by Ronee Blakley.

Though the record was not released until January of 1976, Dylan performed an intensely focused incendiary rendition on September 10, 1975 at WTTW studios in Chicago, for the taping of a TV tribute to John Hammond, the man who signed Dylan, called "The World of John Hammond," produced by Ken Ehrlich, who went on to produce the Grammy Awards each year.

With Rob Stoner on bass, Howie Wyeth on drums, and Scarlet in white providing a great visual counterpoint of grace to Dylan's intensity, he delivered the song for the first time ever with stunning focus and force, evoking his early protest-song days. Those who had already concluded that Dylan had lost that electric urgency forever came to realize, as people have for decades, that easy answers about Bob Dylan do not exist. His talent, and his body of work, is simply overwhelming. As he said, "People have a hard time with anything that overwhelms them."

Bob Dylan, "Hurricane," studio version from Desire

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Behind the Song: "Hurricane" by Bob Dylan - American Songwriter

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With rare film of Dylan's most passionate performance of the song, before it was released Here comes the story of the HurricaneThe man the authorities came to blameFor somethin' that he never donePut in a prison cell, but one time he could-a beenThe champion of the world From "Hurricane" by Bob Dylan & Jacques Levy [...]

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Year 9 - Australian History - Waltzing Matilda

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Year 9 - Australian History - Waltzing Matilda

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Waltzing Matilda is an episode of the series National Treasures produced in 2004.

Waltzing Matilda
Most Australians know that Banjo Paterson wrote the lyrics to Waltzing Matilda but who wrote the music? And what does it have to do with a rather oddly titled song called Go to the Devil and Shake Yourself? Warren Brown tracks down the original handwritten score at the National Library of Australia, where curator Robyn Holmes reveals the story behind the chance collaboration that created our national song.

National Treasures
Take a road-trip of discovery with the irrepressible Warren Brown - political cartoonist, columnist and history "tragic" - as he reveals a fascinating mix of national treasures drawn from public and private collections across Australia. On its own, each treasure is a priceless snapshot of an historic moment. Together, they illustrate the vitality and uniqueness of the Australian experience.

National Treasures is a Film Australia National Interest Program. Produced with the assistance of the Australian Broadcasting Corporation.

Background Information

Waltzing Matilda is Australia's most widely known traditional song.
Banjo Paterson wrote the words during a visit to a Queensland property, Dagworth, in 1895.

The words may refer to an incident the previous year, when striking shearers burned down the Dagworth shearing shed. The owner of Dagworth station and three police chased a man named Samuel Hoffmeister, who shot and killed himself at the Combo waterhole rather than be captured.

The origin of the music is less certain. Christina Macpherson first played it on the piano at Dagworth. She later claimed to have remembered hearing a song Thou Bonnie Wood of Craiglea a few months earlier at a race meeting. However, there is little actual similarity between the music on the score that she produced and 'Craiglea'. That tune was itself possibly based on a tune called Go to the Devil and Shake Yourself, and also sometimes called The Penniless Traveller or When Sick is it Tea You Want?.

The first published version of the music, produced in 1903, used a different tune - the one we identify with the song today. This is the Marie Cowan version. This version is, however, similar to a much older song called The Gay Fusilier, which Paterson may have heard during his time in South Africa, and brought back.

Another version dates from 1907, in Cloncurry.

The words are more certain, but also exist in several versions. We have Paterson's original words, but in 1903 Marie Cowan changed the words slightly to identify the song with a commercial brand of tea, 'Billy Tea'.

During the 1970s there was a popular vote to decide what would be Australia's national anthem to replace God Save The Queen. Advance Australia Fair won. For a short while Waltzing Matilda was Australia's national song, usually associated with sporting events, but now has no official status.

1. Using the video clip, explore how many students have heard of the song, Waltzing Matilda, and who can recall when they last heard/sung it. Investigate the meanings of Waltzing Matilda, by reading the words, singing the song, listening to a range of versions and the background to the author by briefly placing the writing of the song in historical context.

2. Examine the role of icons/symbols, for example, national anthems, flags, visual representations, in the creation of a national identity. What forms do they take? How are they created? Who/what creates them? Can icons/symbols become out-dated? What is currently the most famous Australian icon/symbol/celebration?

3. Consider the other contenders for Australia's national anthem, including God Save the Queen and Advance Australia Fair. Discuss the words, meanings, values, melody.

4. Ask students to investigate one icon/symbol/ celebration/commemoration - its origin, creator, apparent values/beliefs underpinning it, when it is used, and the extent of its current popularity. Some students might investigate another country's national anthem.

5. Ask students to reflect on the degree of importance of national identity symbols to them in the context of a very diverse multicultural society.

For more National Treasures information and video clips go to the Investigating National Treasures website

Two versions of the Lyrics for Waltzing Matilda

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indigenous; sustainability; change and continuity; culture; identity

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Waltzing Matilda is an episode of the series National Treasures produced in 2004. Waltzing Matilda Most Australians know that Banjo Paterson wrote the lyrics to Waltzing Matilda but who wrote the music? And what does it have to do with a rather oddly titled song called Go to the Devil and Shake Yourself?

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Year 7 - Ancient China - 8 dynasties poster activity

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Year 7 - Ancient China - 8 dynasties poster activity

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Year 7 - Ancient China - Timeline/Dynasties

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Year 7 - Ancient China - Timeline/Dynasties

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Ancient China Yr 7 Timeline_Dynasties_v3

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Year 7 - Ancient china - Beliefs/Religion

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Year 7 - Ancient china - Beliefs/Religion

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Ancient China Yr 7 Religions and Belliefs

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Detailed Teaching and Learning Activities

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Detailed Teaching and Learning Activities

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Lesson Plan - Detailed teaching and learning activities - final

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Geography Yr 8 _ Climbing ban on Uluru _ Student Worksheet

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Geography Yr 8 _ Climbing ban on Uluru _ Student Worksheet

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Unit plan Year 8 Humanities, Landscapes and landforms

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Unit plan Year 8 Humanities, Landscapes and landforms

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Year 8, Humanities, Landscapes and landforms Unit plan