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 ONeill on The Hairy Ape The Poets 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 10 11 12 14 16 17 18 19 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: pencircle@gmail.com
Pen Circle is also available at www.flshbm.ma Publications

Editorial Board Mly. Lmustapha MAMAOUI, Mohamed RAKII, Redouan SADI.

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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 filires (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 filires 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 filires on this basis, or to give their comments on filires 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 filires 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.

Once upon a time, there was in Moroccan Universities something called the

EDITORIAL On the flimsy Englishness of the Department of English

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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 hadnt 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.

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Pedagogical Page
Eugene ONeill on The Hairy Ape
Eugene ONeills 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 authors 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 authors view or any other critical analysis.

From the 1st Interview: Take the focsle scenes in the Hairy Ape, for instance. People think I am giving an exact picture of the reality. They dont 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 From the 2nd Interview:

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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. Gorkis A Nights 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 Yanks speech. The public saw just the stoker, not the symbol, and the symbol makes the play either important or just another play. Yank cant go forward, and so he tries to go back. This is what his shaking hands with the gorilla meant. But he cant 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.

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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.

The Poets Corner

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 Ive 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 ones 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

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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 ones heritage is only a beginning. I would like to believe that my fathers and my mothers 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.

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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 fortnights 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.

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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

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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 poets 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)

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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 Journals email address (pencircle@gmail.com) before January 31, 2014. As it is the case each year, the members of the jury (Professors Redouan Sadi, 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!

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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
/

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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!

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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, theyve a lot in common, if you enquire: You cant put off being young until you retire.
Money.

... / ...

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Perhaps being old is having lighted rooms Inside your head, and people in them, acting. People you know, yet cant 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? Cant 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 Halls Distemper boards...
Lies on a Young Ladys 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.

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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 lions 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.

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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)

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 E X K O N U T S A M E N

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

B C
T S W A G A I N S T

D
P H I L A D E L P H I A

E
H O L D S A R R O W

F
O S A G A T E R

G
R T E R E V D

H
I S L A N D I M O

I
C G O O G L E H A

K
A L N I A N L E O N G Y M N W A A I S T H

F L

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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 ones weight on ones 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
1 2 3 4 5 6 7 8 9

B C D E F G H I

J K L M

A- A large cup with straight sides To produce musical sounds with ones 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.

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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 (110) 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 Vincis 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
P A C T S

2
B L A C K

3
F O R U M

4
C R Y P T

5
H I L L Y

6
L U C K Y

7
U S H E R

8
F L U T E

9
F A R C E

10
R O C K Y

11
O T H E R

12
D R I N K

13
R A L L Y

14
B E L C H

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Sultan Moulay Slimane University Faculty of Letters and Humananities Department of English

Filire 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) Prcis (32h) (+TP for both) 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

Semester TRANSLATION &

M17:

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)

METHODOLOGY (80h)

M18: M19: LITERARY LINGUISTICS STUDIES (80h) (80h)

M20: LITERARY & CULTURAL STUDIES 1 (80 h)

Semester