‫داﺋﺮة‬
‫اﻟﻘﻠﻢ‬
Sermo in circulis
est liberior.
Issue N° 33 – October-December 2013
Journal of the Department of English
Sultan Moulay Slimane University, Faculty of Letters, Beni Mellal, Morocco.
Editor: Khalid Chaouch.
INSIDE THIS ISSUE
Editorial: On the Flimsy Englishness of the Department of English ...
Pedagogical Page: Eugene O’Neill on The Hairy Ape …
The Poet’s Corner: ‘Writing from a Complex Ethnic Perspective’
by Iranian-American poet Persis M. Karim …
‘The Bards’ by Sidney KEYES …
‘Poetry’ by Marianne MOORE …
‘Gazing from above the mountain’ by Rim SMAILI, S5 (2013-2014)
Pen Circle Prize (2013/2014) …
Activities: “MACL Access Students Celebrate International Youth
Day 2013 in Ain Asserdoun!” …
My Pungent Quotations: Thus Spoke Philip LARKIN …
Proverbs of the Moment: Responsibility and Shifting the Blame …
20 Clues …
Crosswords N° 33 ...
My Enigmatic Pen Circles …
Courses Framework of the Fall Semesters (1, 3, and 5) …
02
04
06
08
09
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11
12
14
16
17
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20
⇒ Pen Circle
Sultan Moulay Slimane University
Faculty of Letters and Humanities, Department of English
BP. 524, Beni Mellal, Morocco.
Fax: 212 (0) 5 23 48 17 69
Email: [email protected]
Pen Circle is also available at www.flshbm.ma
Publications
Editorial Board
Mly. Lmustapha MAMAOUI, Mohamed RAKII, Redouan SAÏDI.
Pen Circle n° 33
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EDITORIAL
On the flimsy Englishness of the Department of English
Once upon a time, there was in Moroccan Universities something called the
‘Department of English’ or the ‘English Department.’ Which way you call it, it
gives a certain sense of English presence, both as a language and as a world of
cultures. Then, because of academic reforms and pedagogical considerations, the
‘Department’ was called to split into ‘filières’ (entities) related, in a way or
another, to English studies. It seems the re-baptizing itself brought within it
some weakening of this English ‘identity,’ as a harbinger of an era that would
thin down what could be considered as the gist of this Department: its
‘Englishness.’ Far from yielding to a dizzy spell of nostalgia – though the
temptation is so great –, the present word is an invitation to reflect, for a
moment, on the present state of the Department of English in Morocco. The aim
is mainly to think about the different means to maintain its ‘identity’ as a
Department of English language, literature(s) and culture(s). This apparently
herculean mission is of course the duty of the Ministry of Higher Education, of
teachers, and of students as well.
At the advent of the Pedagogical Reform, the Department of English
witnessed the burgeoning of different ‘filières’ of English studies, suggesting
new framework (‘canevas’) that would supplant the former set of courses which
had been considered part and parcel of any program of studying this important
language. The concern of the Ministry was to design programs that would give
graduates more opportunities to integrate the job market. Granted, such a vision
was ambitious and justified since the aim of any student is to have the best
education that would allow him/her to get a job and face the world. But the
problem resided in the narrow sense of ‘job market.’ Because of this narrow
vision, the teachers were invited to reconsider their vision of the syllabus, to
suggest new ‘filières’ on this basis, or to give their comments on ‘filières’
already charted by the Ministry ‘experts.’ The redundant warning at that time
was against any attempt to ‘put old wine in new bottles.’ The result was a
balkanization of these filières because of the different reactions of each
Department, in each University, to the Reform. More focus was put on
‘Communication’, ‘Entrepreneurship’ and ‘Translation.’ In a word, ‘Functional
English’ was the target. However, the means to attain such a goal was to teach
these things in FRENCH language in a Department of ENGLISH. Even the
placement test (‘test de positionnement’), devised to assess the linguistic level of
students, has been done in only one language (French) for all the students of the
University! Now with the news of a new reform in the air, it is necessary to draw
the attention of the Ministry officials to the fact that any future reform should
have a broader vision of the opportunities that can be offered by the Department
of English, in particular, and the Faculties of Letters, in general, while sticking to
its essential ‘English’ components as universally known.
Pen Circle n° 33
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It goes without saying that the role of teachers in maintaining and, at the
same time, enhancing the quality of the subjects taught at the Department of
English is a vital one. Before any reform is proposed and implemented, they
have not the right to be absent from any relevant debate. ‘The absent party is
always to blame!’ If the teachers fail in their duty to model and design the future
syllabi of this Department, the Ministry ‘experts’ will do the ‘job’ in their own
way. Then, it will be the teachers’ obligation to implement the ‘new’ programs
that they hadn’t designed. Nonetheless, it is a blessing that University teachers
have always the right and opportunity to re-model any syllabus to the benefit of
students and in line with how an English material should be taught. There comes
a time when a teacher might think that certain subjects of English literature are
no longer academically valid because they are considered by him/her so ‘old
stuff’ to be taught to students. His/her own personal research concerns might
even induce him/her to veer away from giving students the essentials of English
literature, linguistics and culture, thus depriving them of the many good things
that were crucial elements in his/her own education. It will be difficult to
imagine, in this wide world, a Department of ‘English’ that does not offer
courses on classical and modern drama, the long-standing British literature with
its different movements, American and British fiction, the multicultural
American literature, the fundamentals of general linguistics, the essence of
English syntax, phonology, phonetics, and pragmatics. Helping students to
master English language presupposes, among many others things, dedicating
more courses (with sufficient allocated time) to the skills of communicating,
writing and analyzing in English. Cultural, translational, and media studies are
also important components inasmuch as they provide students with the (past and
present) cultural background of the Anglo-American world, in particular, and the
English-speaking world at large. Other things are also important but they will
come next.
Students also have a share in maintaining the Englishness of the
Department of English. Once they land a BA (I am abstaining from using the
French term ‘Licence’ in this English context), they will not be perceived only as
BA degree holders but rather as holders of a BA degree in English. Their
communicative and writing skills will be assessed from this perspective. To be
selected for entry exams, job interviews, or Master units, they will be required to
have splendid credentials in English. These can only be achieved by systematic
efforts in reading, communicating and writing in English. What is ‘offered’ at
the University is to be considered as only part of the required basics. It is up to
the students to complete the tableau. Experience has shown that students can
always do better when they feel like it. At the beginning of their academic career
at this Department, some of them may feel a little bit undecided, but once they
grasp the immensity of their responsibility, they give the best of themselves. If
ever some of them disregard the role of extensive reading and writing in English
in providing them with the necessary skills to succeed, they will certainly have a
considerable share in the awful consequences.
Khalid CHAOUCH.
Pen Circle n° 33
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Pedagogical Page
Eugene O’Neill on The Hairy Ape …
Eugene O’Neill’s play, The Hairy Ape, is scheduled in the ‘Drama
Course’ for this Fall Semester. The following excerpts from
interviews are intended to illuminate students on the author’s view on
his own work. The aim is, however, to have students do their own
analysis and build their own critical responses to this play and its
issues, regardless of the author’s view or any other critical analysis.
From the 1st Interview:
“Take the fo’c’sle scenes in the Hairy Ape, for instance.
People think I am giving an exact picture of the reality. They
don’t understand that the whole play is expressionistic.
“Yank is really yourself, and myself. He is every human
being. But, apparently, very few people seem to get this. They
have written, picking out one thin or another in the play and
saying ‘how true’ it is. But no one has said: ‘I am Yank! Yak
is my on self!’
“Yet that was what I meant him to be. Is struggle to
‘belong,’ to find the thread that will make him a part of the
fabric of life – we are all struggling to do just that. One idea I
had in writing the play was to show that the missing thread,
literally ‘the tie that binds,’ is understanding of one another.
“In the scene where the bell rings for the stokers to go on
duty, you remember that they all stand up, come to attention,
then go out in a lockstep file. Some people think even that is
an actual custom aboard ship! But it is only symbolic of the
regimentation of men who are the slaves of machinery. In a
larger sense, it applies to all of us, because we of convention,
or of discipline, or of a rigid formula of some sort.”
…/…
Pen Circle n° 33
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From the 2nd Interview:
“Many of the characters in my play were suggested to me
by people in real life, especially the sea characters. In special
pleading I do not believe. Gorki’s A Night’s Lodging, the
great proletarian revolutionary play, is really more wonderful
propaganda for the submerged than any other play ever
written, simply because it contains not propaganda, but simply
shows humanity as it is – truth in terms of human life. As
soon as an author slips propaganda into a play everyone feels
it and the play simply becomes an argument.
“The Hairy Ape was propaganda in the sense that it was a
symbol of man, who has lost his old harmony with nature, the
harmony which he used to have as an animal and has not yet
acquired in a spiritual way. Thus, not being able to find it on
earth nor in heaven, he is in the middle, trying to make peace,
taking the ‘woist punches from bot’ of ’em.’ [‘the worst
punches from both of them.’] This idea was expressed in Yank’s
speech. The public saw just the stoker, not the symbol, and the
symbol makes the play either important or just another play.
Yank can’t go forward, and so he tries to go back. This is
what his shaking hands with the gorilla meant. But he can’t go
back to ‘belonging’ either. The gorilla kills him. The subject
here is the same ancient one that always was and always will
be the one subject for drama, and that is man and his struggle
with his own fate…”
Richard Levin, Tragedy. Plays, Theory and Criticism. New
York: Harcourt, Brace & World Inc., 1960, pp. 129-30.
Pen Circle n° 33
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The Poet’s Corner
This corner is devoted both to prominent figures in poetry and to ambitious students who dare
to embark on the process of creative writing. Students’ attempts should be sent by email or
presented in legible handwriting, and submitted to a member of Pen Circle Editorial Board.
Writing from a Complex Ethnic Perspective
by Iranian-American poet Persis M. Karim
Born in the United States, Persis Karim is a poet and editor of the anthology Let Me Tell
You Where I’ve Been: New Writing by Women of the Iranian Diaspora (2006). She is
coeditor and coauthor of A World Between: Poems, Short Stories, and Essays by
Iranian-Americans (1999), and she currently is associate professor of English and
comparative literature at San Jose State University in San Jose, California.
The article is excerpted and published here with the kind permission of the author.
... For me, literature and writing provided the most important window
into my Iranian heritage. As a child, my father shared with me his
passion for poetry. He read aloud in Persian and English the works of
the great Persian poets Hafez, Rumi, and Khayyam, as well as British
and European poets like Baudelaire, Shelley, and Shakespeare. His
love of literature and reading was infectious, and it became the most
important way for me to satisfy my growing curiosity about Iran and
Iranian culture. At the time, Iran was in turmoil, and the U.S. media
consistently represented it and its people in harsh and negative ways.
Even popular culture was unkind to the Middle East (...)
As a writer, I began to see the value — even the advantage — of
expressing the complex and nuanced features of my not-entirely
American background. I wanted to harness and develop a perspective
and voice as a writer that was part of the particular time in which I
grew up. I also wanted to write about all the many ways that my
heritage and difference helped me and thrust me into a process of selfdefinition that could only be possible in the United States, a place
where defining oneself is not a static proclamation but rather a dynamic
process continually influenced by the larger political and cultural
dialogues that are part of the surrounding frame of one’s American life.
It has taken some time for American readers to appreciate the
complexities, hardships, and beauty of the Iranian immigrant
experience — and the body of literature that describes that experience.
A young but flourishing literature of the Iranian Diaspora has finally
taken hold (...)
On my own journey as a writer, I have attempted to find and
connect the threads of my complex heritage. I have drawn on the
Pen Circle n° 33
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richness of my parents’ journey to the United States, one of the
countless unintended, coincidental results of the Second World War. It
was a war that altered the directions of governments in every
geographic and political corner of the globe, but it also rippled on and
on to affect the lives of millions of individuals, ultimately leading my
parents from their homes to the same dance hall in Chicago at a time
that presented a great sense of hope and opportunity to them both. As a
writer, I draw heavily on the idea that children of immigrants must
narrate something of their own story, as children born on this continent
but also as people who come from another continent. My own
opportunities to express myself have been greatly influenced by the
belief I have about what it is to be an American writer. I am cognizant
that one cannot live in the United States and ignore the problematic or
beneficial ways that this nation influences so much of the world with
its cultural and political power. And yet I am also aware that we must
continuously draw on the notion that we are an adolescent country,
deeply involved with our own sense of becoming. In such a context, to
write from one’s heritage is only a beginning. I would like to believe
that my father’s and my mother’s stories took hold in me and gave me
the impetus to narrate something of the challenging trajectory of their
lives, but that my role as a writer is to move past their stories, past
whatever ethnic heritage I inherited to make something new. I consider
what I am doing — as a writer, poet, and editor — to be the ultimate
expression of my hybrid American identity. I write about what I am
becoming through the accidents of history and the accidents of my
parents’ lives, but my writing also contemplates and engages the sense
of dynamism and possibility that is essential to our American character.
That character is the glue that holds this country to some sense of social
unity, but it also creates the fissures that allow new perspectives and
voices to enter and creep from the margins to the center. While my
work is not always consciously driven by the presence of these fissures,
they are an absolute necessity that underpins what is best about
claiming my American and my hyphenated American identity.
Karim, Persis M., “Writing from a Complex Ethnic Perspective,” eJournal
USA. Multicultural Literature in the United States Today. U.S. Department
of State. 14.2 (February 2009): 46-48.
Pen Circle n° 33
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The Bards
Now it is time to remember the winter festivals
Of the old world, and see their raftered halls
Hung with hard holly; tongues' confusion; slow
Beat of the heated blood in those great palaces
Decked with the pale and sickled mistletoe;
And voices dying when the blind bard rises
Robed in his servitude, and the high harp
Of sorrow sounding, stills those upturned faces.
O it is such long learning, loneliness
And dark despite to master
The bard's blind craft; in bitterness
Of heart to strike the strings and muster
The shards of pain to harmony, not sharp
With anger to insult the merry guest.
O it is glory for the old man singing
Dead valour and his own days coldly cursed.
How ten men fell by one heroic sword
And of fierce foray by the unwatched ford,
Sing, blinded face; quick hands in darkness groping
Pluck the sad harp; sad heart forever hoping
Valhalla may be songless, enter
The moment of your glory, out of clamour
Moulding your vision to such harmony
That drunken heroes cannot choose but honour
Your stubborn blinded pride, your inward winter.
Sidney Keyes (1922-1943)
Sidney Keyes left England as a soldier in March 1943 and died in April 1943 –
before he was twenty one – after only a fortnight’s active service. His second
collection (The Crucial Solstice) appeared posthumously and won the
Hawthornden Prize in 1944. At the time of this award, he was considered by
general critical consent the most promising of the younger war-poets.
Kennethh Allott (ed.), English Poetry 1918-1960. Harmondsworth,
Middlesex: Penguin Books Ltd., 1982, pp. 319-320.
Pen Circle n° 33
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Poetry
I, too, dislike it: there are things that are important beyond all
this fiddle.
Reading it, however, with a perfect contempt for it, one
discovers in
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a
high-sounding interpretation can be put upon them but because
they are
useful. When they become so derivative as to become
unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to
eat, elephants pushing, a wild horse taking a roll, a tireless wolf
under
a tree, the immovable critic twitching his skin like a horse
that feels a flea, the baseball fan, the statistician-nor is it valid
to discriminate against 'business documents and
school-books'; all these phenomena are important. One must
make a distinction
however: when dragged into prominence by half poets, the
result is not poetry,
nor till the poets among us can be
'literalists of
the imagination' – above
insolence and triviality and can present
Pen Circle n° 33
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for inspection, 'imaginary gardens with real toads in them', shall
we have
it. In the meantime, if you demand on the one hand,
the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.
Marianne MOORE (1887- 1972)
Dubbed the “poet’s poet” for the technical complexity of her work, Marianne
Moore was also a teacher, an assistant at the New York Public Library, and the
editor of the influential literary Magazine The Dial.
Source:
Andrew Carroll et al. (eds.) 101 Great American Poems. The American Poetry
and Literacy Project. Mineola, N.Y.: Dover Publications, 1998, pp. 65-66.
Gazing from above the mountain
Gazing from above the mountain, I see
Everything lives the way it should do
Green small spaces, I can see
Shiny, golden, glory Sun, pull toward me
Black and white birds are flying close to me
Multicolored land but only the ruby, I like to see
Rose and lily and poppy draw inward me
Rainy and thirsty grounding, all I can feel more than I can see
Beautiful and amazing blue sky approach me
Pureness clouds are crossed by the Rainbow, so I can see
Tomorrow comes, no thee but only me
Gazing from above the mountain, just to see
Rim SMAILI
Semester 5 (2013-2014)
Pen Circle n° 33
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Pen Circle Prize
for Mellali Writers in English
(2013/2014)
Pen Circle opens the annual competition in creative writing
for all students of the Department of English. This aims at
encouraging students to express themselves in English.
The students who would like to participate in this
competition are required to write an original piece of writing
not exceeding two pages: a short story, a poem, an essay, or
any form of creative writing. Participants are kindly
requested to submit their attempts to a member of the
Editorial Board, or to the Department secretary or to send
them to the Journal’s email address ([email protected])
before January 31, 2014. As it is the case each year, the
members of the jury (Professors Redouan Saïdi, Mohamed
Rakii, Moulay Lmustapha Mamaoui and Khalid Chaouch)
take into consideration the levels (Semesters) of the
candidates so as to give equal chances to all.
Four awards will be given to the winners, each assigned
to a Semester (Semesters 1, 3, and 5, in addition to a winner
chosen among Master Studies’ students.) The winners will
receive the awards and will have their works published in the
next issue of Pen Circle (N° 34).
Good luck to all!
Pen Circle n° 33
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MACL Access Students
Celebrate International Youth Day 2013 in Ain Asserdoun!
Coordinator: Dr. Redouan Saidi
Main professor: Amal Bakkali
Assistants: Agouram Charaf, Chakir Dikra, Ait Lahcen
Yassine, Elomari Charkaouy, Bouksaim Abderrahim, Charifi
Achour, Benhima Mohamed and Elmamouni Zakaria.
12 August every year sees the commemoration of
International Youth Day. An Intergenerational group of Access
students celebrate the International Youth Day 2013 under the
theme:
‘Moroccan Youth Migration: Current Situation and Future Prospects.’
International Youth Day Walk
From the Shakespeare Language Center, Access students were
taken to the local natural park of Beni-Mellal, Ain Asserdoun,
which is a spiritual haven for all the locals especially in the
sweltering heat of August. During that excursion, other Access
students from different Access Program generations joined too.
The MACL celebration of the International Youth Day started
with a global dialogue session with the students and around
Access participants connected from five generations, in
addition to the teachers. The main activities of the event
involved:
International Youth Day
Spreading the International Youth Day Message
International Youth Day Message Channels
Child illegal migration Brainstorming
Moroccan Cuisine in honor of the International Youths
Music and Songs promoting International Youth Day
Future action in the same direction
…/…
Pen Circle n° 33
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Putting the Access students into perspective: International
Youth Day
Prof. Amal Bakkali explained to the students how on 17
December 1999 the United Nations General Assembly
endorsed in its resolution 54/120 the recommendation made by
the World Conference of Ministers Responsible for Youth
(Lisbon, 8-12 August 1998) that 12 August be declared
International Youth Day. Prof. Bakkali proceeded to provide
Access students with an overview of the International Youth
Day (IYD). She explained how IYD was established by the
United Nations in 2000 as a means of raising awareness of
issues affecting young people around the world, and how IYD
forms part of the UN's wider World Programme of Action for
Youth (WPAY), an initiative that aims to promote the
wellbeing and livelihood of young people. Then Prof. Bakkali
then suggested that students hammer home their message about
the International Youth Day by using the following media:
Social media, events, celebrations, and recommendations to
national and local government officials.
Final note
All the participating students and Prof. Amal were very
positive about the International Youth Day event. For Prof.
Amal, “The trip was really successful and lasted almost the
whole day. The meeting of different generations of access was
fruitful. Students have made new friends and decided to keep in
touch. At the same time, they have agreed to meet each other
soon.” In a personal communication with the MACL Access
pedagogical director, Dr. Redouan Saidi, Prof. Amal expressed
more positive feedbacks, adding: “I hope to take all the Access
generations for the International Youth Day August 2014.” she
enthusiastically put it!
Pen Circle n° 33
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Pungent Quotations
In this column, we present a selection of quotations by prominent figures of art,
literature, politics, history, philosophy, science, etc.
Thus Spoke … Philip Larkin
Philip Larkin [is] the best of the post-Second World War generation of
poets and the most exciting new poetic voice – with the possible
exception of Dylan Thomas – since Auden. His favourite poet is Thomas
Hardy (but a long way behind) come Barnes, Wilfred Owen, Christiana
Rossetti, Betjeman and Auden... It was F. W. Bateson who first linked
the names of Auden and Larkin, defining their relationship by
comparing it with that between Dryden and Pope.
“I write poems to preserve things... both for myself and others,
though I feel that my prime responsibility is to the experience
itself, which I am trying to keep from oblivion for its own sake.
Why I should do this I have no idea, but I think the impulse to
preserve lies at the bottom of all art. Generally my poems are
related, therefore, to my own personal life, but by no means
always...”
Quoted in English Poetry 1918-60.
“I write terribly little – about three poems a year”
English Poetry 1918-60.
“So life was never better than in nineteen sixty three.
(Though just too late for me)
Between the end of the Chatterley ban
And the Beatles’ first LP”
Annus Mirabilis.
“Clearly money has something to do with life
- In fact, they’ve a lot in common, if you enquire:
You can’t put off being young until you retire.”
Money.
... / ...
Pen Circle n° 33
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“Perhaps being old is having lighted rooms
Inside your head, and people in them, acting.
People you know, yet can’t quite name.”
The Old Fools.
[Of Modern novels]
“Far too many relied on the classic formula of a beginning, a
muddle, and end.”
New Fiction, no. 15 (January 1978).
“Why should I let the toad work
Squat on my life?
Can’t I use my wit as a pitchfork
And drive the brute off?”
Toads.
“But o, photography: as no art is,
Faithful and disappointing! That records
Dull days as dull, and hold it smiles as frauds
And will not censor blemishes
Like washing-lines, and Hall’s Distemper boards...”
Lies on a Young Lady’s Photograph Album.
References:
Allott (ed.), Kenneth. English Poetry 1918-1960. Harmondsworth,
Middlesex: Penguin Books Ltd., 1982, pp. 332-33; 335; 338.
Cohen, J. M. and M. J. Cohen. The Penguin Dictionary of Modern
Quotations. Harmondsworth, Middlesex: Penguin Books, 1980.
The New Golden Treasury of English Verse. Chosen by Edward Leeson
(ed.), London: Pan Books and Macmillan, 1980.
Selected by Khalid Chaouch.
Pen Circle n° 33
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English Proverbs of the Moment
RESPONSIBILITY and
SHIFTING THE BLAME
™ Everyman is the son of his own works.
™ As you sow, so you reap.
™ As you bake so you shall eat.
™ He that takes the devil into his boat,
must carry him over the sand.
™ He that has his hand in the lion’s
mouth must take it out as well as he
can.
™ A pot that belongs to many is ill
stirred and worse boiled.
™ A bad workman always blames his
tools.
™ The absent party is always to blame.
™ Many a one blames his wife for his
own unthrift.
™ Everyone puts his faults on the times.
™ The dog bites the stone, not him that
throws it.
Pen Circle n° 33
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20 Clues, n° 33
Looking for Clues among MODESTY and CONCEIT Terms!
The 20 clues below are hidden in the terms at the end of each line. To find
them, cross off some of the letters in each term (from left to right.)
Example: - Social rank … CATASTROPHE (The clue is ‘CASTE’. It is
obtained by crossing off the letters ‘TA’ and ‘ROPH’ in
‘CATASTROPHE’)
1. A means of transportation …………………. RESTRAINED
2. To sing a tune with your lips closed ….………… HUMBLE
3. One hundredth of an American dollar …………... DECENT
4. A Moroccan imperial city ………………….… MEEKNESS
5. To drink slowly, taking very small mouthfuls...…… SIMPLE
6. A long poem addressed to a person or thing ……. MODEST
7. Company ……..………..……………………………… COY
8. Limited type of food allowed to a patient……… DISCREET
9. The soft grey powder that remains after fire……. BASHFUL
10. A shape with a round base and a pointed top…. CONCEIT
11. A small simple building……………………… HAUGHTY
12. To ‘give’ something in exchange for money
SELF-LOVE
13. A large cup with straight sides …………………… SMUG
14. Part of a curved line or a circle …………… NARCISSISM
15. A vehicle used for carrying goods ….…………… VANITY
16. To cry noisily in short sudden bursts ……………… SNOB
17. A tart made with fruit baked inside a pastry ……… PRIDE
18. Beat it! ………...……………………………… EGOTISM
19. A vehicle that travels across water ….……… BOASTFUL
20. A very industrious insect …………………… ARROGANT
20 Clues to n° 32: 1. tie 2. ant 3. on 4. hen 5. key 6. money 7. Rhine
8. rat 9. ox 10. ear 11. tip 12. bus 13. dad 14. rosary 15. will 16. star 17.
maze 18. bare 19. the 20. ban.
Clues to ‘CROSSWORDS’ N° 32
A
1
2
3
4
5
6
7
8
9
10
11
12
M
E
T
H
O
D
O
L
O
G
Y
B C
E
X
T
S
W
K
O
N
U
T
S
A
M
E
N
D
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Pen Circle n° 33
- 18 -
CROSSWORDS (N° 33)
1- “ ~ culpa!” – A colour – A personal pronoun. 2- Luckily. 3- ‘I have
~ to,’ ‘I have to,’ ‘I must.’ – Double consonants. 4- Connected with the
people and the culture of Scotland, Wales, Ireland, and Brittany – Said
of a liquid when it flows slowly and in small quantities (Verb). 5Avenue – To sit down with one’s weight on one’s knees and the legs
bent underneath. 6- A store of weapons – Writing that is not classified
as fiction (abbr.) 7- An English verb of necessity – An adverb used to
emphasize an adjective. 8- Handed – Myself – Past form of the verb in
columns ‘B’ and ‘I’. 9- Period of time for which someone is elected for
an important government job – Informal word for ‘Technical College.’
A
B C D E F G H I
J K L M
1
2
3
4
5
6
7
8
9
A- A large cup with straight sides – To produce musical sounds with
one’s voice. B- Tenth month of the year – A very ‘regular’ irregular
verb that we use in each meal. C- Preposition of time used when a
particular event has happened or is finished – Poetic word for
‘evening.’ D- Person who directs or controls a team. E- Author. F- The
written abbreviation of ‘height’– The possessive form for non-humans.
G- Find it in ‘IUD’ – An adverb used to emphasize something that is
unexpected or surprising in what you are saying. H- A powerful
explosive – North-East. I- Same irregular verb as in column ‘B’ – A
unit for weighing gold. J- Exclusively, merely, solely. K- Pronoun –
Old English – Air Conditioning (abbr.) L- Illinois – The highest point
that is reached by the sun or the moon in the sky. M- Me.
Pen Circle n° 33
- 19 -
My Enigmatic Pen Circles, N° 33
1
2
3
4
5
6
7
8
9
10
Find the appropriate words to fill the vertical square
diagrams (1–10) so that you can find out the letters
needed to fill the horizontal line made up of 10 circles.
The resulting words are the abbreviated name of an
American poet whose name is often written in lowercase.
1- To make something
separate into pieces
2- A yellowish-white liquid
that rises to the top of
milk
3- Covered with, or made
of, rocks
4- To press something so
hard that it breaks or is
damaged
5- A sweet-smelling spice
that is suitable for
grilled meat
6- An inhabitant of the
capital of Da Vinci’s
country
7- To produce light
8- One of the three meals
9- Enchanting or charming
10- Covered with bushes
Clues to My Enigmatic Pen Circles, N° 32
1
2
3
4
5
6
7
8
9
10
11
12
13
14
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Pen Circle n° 33
- 20 -
Sultan Moulay Slimane University
Faculty of Letters and Humananities
Department of English
Filière of English Studies
Beni Mellal - Morocco
M1:
LANGUAGES &
METHODOLOGY
- Langue 1 (Arabic) &
Semester
TEC 1 (56h)
M2: BASIC
LANGUAGE
SKILLS
- Comprehension
and
Spoken
English (48h)
- Methodology
in - Writing
University Studies
Paragraphs and
(24h)
Précis
(32h)
(+TP for both)
1
M3: LANGUAGE
AND
BACKGROUND
- Grammar 1 (48h)
M4:
OUVERTURE
- Introduction aux
Sciences
(in
- Mythologies of the Humaines
Arabic
or
Western
World
French)
(48)
(32h)(+TP for both)
- World Literature
(32h)
M9:
M10:
M11:
M12:
MEDIA /
LANGUAGE
ADVANCED
ADVANCED
CULTURAL
& NTIC
LANGUAGE
LANGUAGE
STUDIES
SKILLS (80h)
PRACTICE
Semester - Langue
2 - Public
speaking - Grammar 3 (32h)
(French)
(32h) + TD
+TD
- Cultural
Diversity
3
(48h)
(48h)
- Composition
2: - Initiation
to
Expository,
Translation:
Arabic/English/
- NTIC (32h) Argumentative
- Moroccan
Culture
and Society (32h)
Writing (48h) +TD
Arabic (48h) +TD
M17:
Semester TRANSLATION &
5
METHODOLOGY
(80h)
M18:
M19:
LITERARY
LINGUISTICS
STUDIES (80h)
(80h)
M20:
LITERARY &
CULTURAL
STUDIES 1 (80 h)
Literary
- Translation and
- General Linguistics - Travel
Narrative
and
Interpreting (32h) - Novel & Poetry
(32 h)
(40)
Cultural
(48 h)
- Advanced
- Sociolinguistics
Studies
Research
and
Applied - Language & Culture
Option
(40)
Methodology(48h) - Drama (32h)
Linguistics (48h)
M17:
M18:
M19:
M20:
TRANSLATION &
LITERARY
LINGUISTICS I LINGUISTICS
METHODOLOGY
STUDIES
(80h)
STREAM 1 (80)
5
(80h)
(80h)
- Translation
and
- General Linguistics - Syntax
&
- Novel
&
Interpreting (32)
(32 h)
Morphology
Poetry(48 h)
Linguistics
(40)
- Sociolinguistics
Option - Advanced Research - Drama (32h)
and
Applied - Phonetics
&
Methodolgy (48)
Linguistics (48h)
Phonology (40)
Semester