1.

a)
William Golding belongs to postmodernism.
The term postmodernism implies a movement away from and perhaps a reaction against
modernism. If modernism sees man rejecting tradition and authority in favor of a
reliance on reason and on scientific discovery, postmodernism stretches and breaks away
from the idea that man can achieve understanding through a reliance on reason and
science. Postmodernist fiction is generally marked by one or more of the following
characteristics: playfulness with language, experimentation in the form of the novel, less
reliance on traditional narrative form, less reliance on traditional character development,
experimentation with point of view, experimentation with the way time is conveyed in
the novel, mixture of "high art" and popular culture, interest in metafiction, that is, fiction
about the nature of fiction.
Golding employs a relatively straightforward writing style in Lord of the Flies, one that
avoids highly poetic language, lengthy description, and philosophical interludes. Much of
the novel is allegorical, meaning that the characters and objects in the novel are infused
with symbolic significance that conveys the novel’s central themes and ideas. In
portraying the various ways in which the boys on the island adapt to their new
surroundings and react to their new freedom, Golding explores the broad spectrum of
ways in which humans respond to stress, change, and tension.
Readers and critics have interpreted Lord of the Flies in widely varying ways over the
years since its publication. During the 1950s and 1960s, many readings of the novel
claimed that Lord of the Flies dramatizes the history of civilization. Some believed that
the novel explores fundamental religious issues, such as original sin and the nature of
good and evil. Others approached Lord of the Flies through the theories of the
psychoanalyst Sigmund Freud, who taught that the human mind was the site of a constant
battle among different impulses—the id (instinctual needs and desires), the ego (the
conscious, rational mind), and the superego (the sense of conscience and morality). Still
others maintained that Golding wrote the novel as a criticism of the political and social
institutions of the West..
Golding employs a third-person omniscient narrator in Lord of the Flies, meaning that the
narrator speaks in a voice separate from that of any of the characters and sometimes
narrates what the characters are thinking and feeling as well as what they’re doing. The
narrator only gives us insights into the thoughts of characters sparingly, however. Most
often the narrator describes what the characters are doing and how they’re interacting as
seen from the outside. The narrator’s point of view is sometimes that of an objective
observer of all of the boys, as in the scenes where they’re all meeting and interacting, but
sometimes the narrator will follow the point of view of one boy by himself.
In utilizing a third person point of view, Golding also lets the reader see action that none
of the boys themselves witness, creating dramatic irony, which is when a reader knows
more than a character does.

1.b)
 I believe this novel should be considered part of the literary cannon because it
delivers an important message through very intricate and clever writings. William
Golding uniquely wrote Lord of the Flies and is bursting with intellectual energy.
William Golding’s use of aesthetic elements in the novel are very great as his style of
writing and language are very complex in their way of description and are highly artistic.
Lord of the Flies provides a message that is relevant to all people in every area of the
world because for a society to run smoothly, civilisation and order is necessary which is
what William Golding portrays in his writings. Also, the necessity for this moral will not
die because it is a basic structural element for operating in a community. The authenticity
of this novel is very real because this is what made the novel so popular, its quirky way
of telling stories and using metaphors. This novel should definitely be considered part of
the canon because it is written with such a level of intellect and has such an impact on the
audience.
Golding’s experience in World War II had a profound effect on his view of humanity
and the evils of which it was capable. After the war, Golding resumed teaching and
started to write novels. His first and greatest success came with Lord of the Flies (1954),
which ultimately became a bestseller in both Britain and the United States after more than
twenty publishers rejected it. The novel’s sales enabled Golding to retire from teaching
and devote himself fully to writing. Golding wrote several more novels, notably Pincher
Martin (1956), and a play, The Brass Butterfly (1958). Although he never matched the
popular and critical success he enjoyed with Lord of the Flies, he remained a respected
and distinguished author for the rest of his life and was awarded the Nobel Prize for
Literature in 1983. Golding died in 1993, one of the most acclaimed writers of the second
half of the twentieth century.
Lord of the Flies mixes lyric descriptions of nature with vivid action scenes and
extended passages of dialogue to create a style that grows increasingly foreboding over
the course of the novel, mirroring the boys’ descent into violence and chaos. The book
opens with a description of the island in the aftermath of the plane crash that maroons the
boys. Golding uses metaphor and generic words like “boy,” “bird,” and “jungle” to create
a sense of dislocation in the reader.
At the same time, Golding holds his characters, and his reader, at arm’s length, presenting
events in a fairly detached, straightforward style, enhancing the characters’ role as
symbols as well as individuals, and preventing the reader from identifying with any one
character too closely.
Though the novel is fictional, its exploration of the idea of human evil is at least partly
based on Golding’s experience with the real-life violence and brutality of World War II.
Free from the rules and structures of civilization and society, the boys on the island
in Lord of the Flies descend into savagery. As the boys splinter into factions, some
behave peacefully and work together to maintain order and achieve common goals, while
others rebel and seek only anarchy and violence. In his portrayal of the small world of the
island, Golding paints a broader portrait of the fundamental human struggle between the
civilizing instinct—the impulse to obey rules, behave morally, and act lawfully—and the
savage instinct—the impulse to seek brute power over others, act selfishly, scorn moral
rules, and indulge in violence.
Golding employs a relatively straightforward writing style in Lord of the Flies, one
that avoids highly poetic language, lengthy description, and philosophical interludes.
Much of the novel is allegorical, meaning that the characters and objects in the novel are
infused with symbolic significance that conveys the novel’s central themes and ideas. In
portraying the various ways in which the boys on the island adapt to their new
surroundings and react to their new freedom, Golding explores the broad spectrum of
ways in which humans respond to stress, change, and tension.

II.a) ways of expressing future

1. the present progressive (also known as the present continuous)
This form usually refers to a situation that began before the moment of speaking,
continues at or around, and after, the present moment, and into the future, and is of
limited duration:
I am writing these notes on the future. (At this moment).
Lindsay is driving to work this week. (She normally goes by bus).
2. BE + going to
BE + going to refers to a future situation for which there is present evidence. 
 “Look at those black clouds; it is going to rain soon.”
3. the present simple
The present simple is frequently used for situations that often or regularly happen.  It can
therefore be used for a future situation that is part of a regular series of happenings:
The train for Berlin leaves at midnight tonight.
It is also used for something that is seen as part of a fixed timetable:
The sun rises at 07.34 tomorrow.
4. BE + to  + infinitive
This form is not common in informal conversation. It refers to something that is
to happen in the future as a plan or decree, normally by some authority other than the
subject of the sentence, and  is common in television and radio news reports.
Emma is to see Luke tomorrow.
5. the modal will + bare infinitive
The modal auxiliary verb will has a number of possible meanings. Four of the more
common are:
a. certainty – John left an hour ago, so he will be home by now. (The speaker is certain
that John is home)
b. habitual characteristic: Andrea will sit at her desk for hours without saying a
word. (This is what she often does.)
c. volition (willingness): I’ll carry your bag for you. (The speaker is offering to carry the
bag.)
Fred will carry your bag for you. (The speaker is offering Fred’s services.)
d. instant decision: What will I do tomorrow? I know! I’ll go to the zoo.

II.b)
Suggested answers:
1. We had to cut our holiday short/ to cut short our holiday because of the severe weather
conditions.
2. Everything went/ran (according) to plan during our trip to London.
3. I would sooner have made a reservation before going to the restaurant.
4. More measures to protect the environment ought to be taken by governments.
5. Mike said that if he had time, he would finish that letter.

II.c)
Suggested answers:
may, 2. up, 3. on/during, 4.in, 5. such, 6. its, 7. as, 8.the/those/on, 9. did, 10. it.

III.a)

Form: 11 th grade
Lesson: William Golding – Lord of the Flies- a short passage
Aims: - to prepare the reading
to introduce the novel to students
to identify direct speech and transform the sentences into indirect speech
Objectives: -SWBAT use their knowledge of the English language to read a literary text
SWBAT use the English language to express their thoughts and feelings
SWBAT use the new vocabulary in new contexts
Lesson type: reading lesson
Skills: reading, listening, speaking, writing
Stage: pre- reading
Activity: The teacher tells students that they are going to read an excerpt from a classic
novel. The teacher reads the beginning of the novel to introduce it to students and asks
students to take turns and read the passage in front of the class (role-play). Teacher asks
them to identify the direct speech in the passage. The students work in pairs and write
four sentences each and then they come to the whiteboard to write their sentences.
Techniques: Brainstorming
Listening
Discussion
Writing
Interractions: IW,PW
T-Ss S-T

III. b)
1.Match the sentence halves:
Although he was a good linguist a) I have to attend a meeting
Whilst I like to be with you b) he took 5 years to learn Mandarin
Whatever he says c) we stayed until the end.
Despite feeling awful d) Nevertheless, we carried on.
We were exhausted. e) I am going away

Answer key: 1-b; 2-a; 3-e; 4-c; 5-d.

2. Rewrite the following using the given linking words

The marks are high. The students level is low.
Although…………………………………………………………………………………
It was dark. He managed to find the keys.
Despite…………………………………………………………………………………..
He got up early. He arrived late to school.
………………………………. . However, …………………………………………….
Tim is in good shape. He doesn’t get much exercise.
……………………………………… . Nevertheless,………………………………….
Samira was sad. She kept smiling and having fun.
…………………………………….in spite of………………………………………….
Answer key:
1…. the marks are high, the students level is low
2….being dark, he managed to find the keys
3. He got up early. However, he arrived late to school.
4. Tim doesn’t get much exercise. Nevertheless he is in a good shape.
5. Samira kept smiling and having fun in spite of being sad.

3. Complete the exercise using the correct word to apologize: pardon, really sorry, didn’t
mean, apologize, don’t worry
1. I hope you’ll…….me for being late.
2. I’m …..for saying those things to you.
3. I……any of those words.
4. I….. that I am late but my alarm clock didn’t go off.
5. Oh, …….about it.

Answer key: 1.pardon, 2.really sorry, 3.didn’t mean, 4.apologize, 5.don’t worry