canterbury tales travel brochure project

• Arts & Humanities

Canterbury Travel Brochure

The Canterbury Tales Prologue

Travel Brochure

Name__________________

Class: Date:

 to create a travel brochure

 to convince other “traveler” to join one of the characters going to Canterbury Cathedral

 to demonstrate a knowledge of the character

 to demonstrate a knowledge of the purpose of the trip

 to demonstrate a knowledge of the contest

Requirements

 create an interesting and entertaining and accurate description of one of the characters

(Written in first person point of view)

 include a physical description (based on clues in the text), specific occupation (explain this occupation), class of character (feudal ,etc.), personality traits of the character

 include the purpose of the trip to Canterbury

 create a color picture of the character

 attempt to persuade others to join you

 write in ink, magic marker, felt tip pen, or other medium that is easy to read-not in pencil

 use required paper-make a first draft before you make the “real” thing

 on time (late rules are in effect)

 interesting information about the character

 entertaining quality

 written physical description of character -based on the text

 demonstration of an understanding of the occupation

 demonstration of an understanding of the type of occupation (feudal, etc.)

 demonstration of the personality of the character

 color picture of the character

 writing not in pencil

 persuasive nature of writing

 other information or pictures that will make the brochure interesting and entertaining

 attention to detail

 correct grammar

 demonstration of an understanding of the purpose of the trip

 demonstration of an understanding of the contest

Travel Brochure- Rubric Name:

Content- 50 Points

____Analytical information about the character including personality traits

____Physical description of the character and other pictures used

____Explanation of the occupation

____Type of occupation (feudal, etc.)

____Knowledge of the purpose of the trip

____Knowledge of contest

____Persuasive nature of writing

____Grammar

____Attention to detail

____Accuracy of information

Appearance- 20 Points

____Color picture

____Writing not in pencil

____Neatness

____Picture, maps, etc.

____Legibility

Presentation- 30 Points

____Explanation of character

____Vocal variations- being entertaining

____Explaining the unique parts of your brochure

____Entertaining quality

(DO NOT read the brochure to the class. Part of entertaining comes from what you gained from this assignment and text. You the knowledge you gained to explain your brochure.)

Additional Comments:

Grade_______

Related documents

Add this document to collection(s)

You can add this document to your study collection(s)

Add this document to saved

You can add this document to your saved list

Suggest us how to improve StudyLib

(For complaints, use another form )

Input it if you want to receive answer

Canterbury Tales Final Project - Travel Brochure

Add to Favorites

Introduction

The Public URL for this WebQuest: http://zunal.com/webquest.php?w=71921 WebQuest Hits: 9,144 Save WebQuest as PDF

Ready to go?

Select "Logout" below if you are ready to end your current session.

Modern day Canterbury Tales refreshes Chaucer to tell the lost stories of refugees

Professor in English, University of Kent

Disclosure statement

David Herd is a co-organiser of Refugees Tales.

View all partners

In Geoffrey Chaucer’s The Canterbury Tales, his unfinished account of a 13th-century pilgrimage, the host, in his cheerful and accommodating manner, suggests that as they walk the pilgrims should tell tales. Not their own tales, which might be the modern way, but the tales of other people. It becomes clear too that the tales themselves are largely the result of other journeys.

In so structuring the work, Chaucer inscribes into the language (which he was helping to create) a deep connection between poetry and human movement. And so a disparate group of fellow travellers bind themselves through the telling of other people’s stories.

It is for these reasons that The Canterbury Tales is the perfect model for Refugee Tales , an extraordinary project in which I am currently involved. Conceived a year ago by the Gatwick Detainees Welfare Group , the aim is to tell some of the stories of refugees and detainees during a walk from Dover to Crawley (home to Gatwick Airport), two key points of entry into the UK. Following the route of the old Pilgrim’s Way across the North Downs (not the route Chaucer’s pilgrims actually took but one their contemporaries would have recognised), our nine day, 80-mile walk started on June 13 in Dover’s Market Square.

Setting out to celebrate the contributions migrants make to the UK, while symbolically recognising the journeys they have made, the key demand of the project is an end to indefinite immigration detention. As I write, we have reached the village of Chilham, having stopped in Shepherdswell and Canterbury en route – and, as we go, more walkers join us every step of the way. The reason they are joining us, as they tell us with a sense of relief, is that they want to participate in this spectacle of welcome.

The key similarity between our project and Chaucer’s poem is that at every stopping point writers help to tell other people’s tales: The Migrant’s Tale, The Unaccompanied Minor’s Tale, The Lawyer’s Tale, The Detainee’s Tale, among others. In each case, a novelist or poet has collaborated with the person whose tale is being told to help communicate the experience of coming to or living in the UK. The tales are clear in their articulation of the journeys undertaken, of the deeply damaging effects of indefinite immigration detention and also of the bare life that follows detention that is the experience of tens of thousands of people currently living in the UK.

Telling others’ stories

There are multiple echoes of Chaucer’s project in The Refugee Tales. One such echo is the simple fact that the tales are being told by other people. This approach is not without its difficulties, as the organisers of the project are acutely aware. But one crucial consideration for all concerned is that while the people whose tales are being presented badly want them to be told, they often do not want to be seen or to be heard telling them. This is principally because having been detained they fear the prospect of being re-detained, a dismayingly common occurrence .

The fear and secrecy that surrounds immigration detention is well understood by those who work with detainees. What we didn’t fully anticipate was the effect of the collaboration itself. A number of the writers involved in the project have reported on the effect that the process has had on their thinking about writing. Each of the tales takes its own form, from Patience Agbabi’s heroic crown of sonnets, to Ali Smith’s narrative, to Dragan Todorovic’s dialogue with Chaucer – but in each case the language is clearly marked by the demand of presenting another person’s story, by the ethical and aesthetic considerations of helping to shape another person’s account.

As things stand, the realities of immigration detention and the post-detention regime are not often talked about. This is perhaps starting to change, thanks to a growing pressure from detainees and activists. But as I have discussed elsewhere , arbitrary and confusing as the immigration and asylum process appears to the person at the receiving end of its tortuous delays and decision-making, one thing that holds the apparatus together is the systematic exclusion of the utterance of the person detained.

This is most apparent in the detention bail hearing, the occasion when the detainee seeks release. On those occasions, the detainee is not permitted to attend, but is mediated by a video link from the detention centre which, as well as being frequently faulty, fundamentally impedes any effect of actual human presence. Additionally, the proceedings of the hearing are not written down . This part of the story, like just about all aspects of the detainee’s story, is kept from the record. Just as when Chaucer wrote his sequence, so the purpose of The Refugee Tales has been to re-open the language to the facts of human movement, to put the stories of people seeking asylum in the UK on the record.

The sequence of The Refugee Tales (16 in total, with two performed each night of the walk) is constructed so as to trace the trajectory from arrival to final decision. “The Migrant’s Tale” tells the story of a person who left Syria on his second attempt, smuggled in a lorry from Turkey to the UK, hidden behind packing cases while suffering the pain of kidney stones. When he arrived:

I was put in a detention centre, at Gatwick. It was as bad as in Syria. I was very ill … it took them a hundred days to let me go.

Then there’s “The Unaccompanied Minor’s Tale”, which starts “under a jeep in a car park in Khartoum” with the young girl trying to stifle “the laughter which is as ripe as fruit in her mouth”. The tale traces a journey through the desert and then across the Mediterranean where the unaccompanied children see dolphins and “the water-drenched flesh of refugees”.

“The Appellant’s Tale” tells the story of a man who arrived in the UK in 1984, recruited in his home country to work for the BBC World Service. After 28 years of entirely legal work he was picked up on the basis of a tip-off by the UK Border Agency and plunged in to the Kafka-esque world of the British detention system. As he tells it, describing the sheer impossibility of making himself heard from within detention: “the way it looks, you are a nobody. It means you have no story”.

“The Arriver’s Tale” is the story of a man who has been in the UK for eight years, having left his country of origin when he objected to FGM. Since arriving in the UK he has been detained, has been unable to work and has been relocated each time he started to establish a community. This, he explains patiently, is the definition of limbo.

As writers on The Refugee Tales have observed, what one finds on going back to The Canterbury Tales is a political geography we can recognise, as in “The Man of Law’s Tale”, for instance, with its account of a deeply troubled journey from Rome to Syria, and then from Syria to the north of England where a young refugee, Constance, finds herself falsely accused.

More fundamentally, by appropriating Chaucer for a project aimed at communicating the accounts of people who have experienced immigration detention, Refugee Tales looks to help re-open language to the realities of human movement, and to share and circulate stories that have been scandalously silenced.

• Immigration
• English literature

Project Offier - Diversity & Inclusion

Senior Lecturer - Earth System Science

Sydney Horizon Educators (Identified)

Deputy Social Media Producer

Associate Professor, Occupational Therapy

Canterbury Tales Project

• New Canterbury Tales Project website active. 30 March 2006
• Nun's Priest's Tale published 3 May 2006: order now; see sample pages, at www.sd-editions.com . 9 May 2006
• Mass manuscript digitization website set up. 19 July 2006

The Canterbury Tales Project aims to investigate the textual tradition of Geoffrey Chaucer’s Canterbury Tales to achieve a better understanding of the history of its composition and publication before 1500. Here is how we work:

• We have established a system of transcription for all the manuscripts and early printed books of the Canterbury Tales into computer-readable form.
• We transcribe the manuscripts using this system.
• We compare all the manuscripts, creating a record of their agreements and disagreements with a computer collation program ( Collate ).
• We use computer-based methods, some drawn from evolutionary biology, to help reconstruct the history of the text from this record of agreements and disagreements.
• We publish all the materials, the results of our analysis, and the tools which we use in electronic form.

We have pioneered new methods for transcription, collation, analysis and publication, now used by several other projects. We have published seven CD-ROMs to date, with more coming soon. We have begun internet publication with the Caxtons online, and you can see web samples of our Hengwrt , Miller's Tale and Nun's Priest's Tale CD-ROMs online. Altogether, we have published transcripts and images of over 5000 pages from manuscripts and early editions of the Tales , amounting to around 20% of all surviving fifteenth-century witnesses.

We have been leaders in manuscript digitization, and in publication of digital manuscript facsimiles. This has shown us the potential of digital manuscript facsimiles to transform scholarship. Accordingly, we are active in promoting mass manuscript digitization: see the website we have established, in partnership with others.

We are now at the Institute for Textual Scholarship and Electronic Editing at the University of Birmingham.

The Canterbury Tales Project • ITSEE, Elmfield House, University of Birmingham, Selly Oak Campus, Edgbaston B29 6LG • email [email protected] • ph. +44 (0)121 4158441, fax +44 (0) 121 415 8376 • www.canterburytalesproject.org  

• About the Project
• Travel to New Canterbury
• What Is Going On

© 2024 New Canterbury Tales

New Canterbury Tales

Immersive Storytelling as a Design Method for joint future creation

Explore our Project

The New Canterbury Tales project is a research project that focuses on stories about the ordinary lives of people in an imagined future city, set in 2070. It uses immersive storytelling as a tool to develop visions for future development. Feel free to learn more about the project by exploring all of our pages, or dive directly into this metaphoric future city and its citizens.

About the project

Travel to new canterbury, what is going on, meet the citizens.

© 2024 New Canterbury Tales. Special thanks to our partner Click-NL, who made this project possible. Check out their work. Also, look at what inspired this project, here !

Welcome to the time machine...

Set destination... 2070...

Just sit back and relax... welcome to New Canterbury 2070

CANTERBURY TALES PROJECT

The Canterbury Tales Project aims to transcribe, collate, and edit the 88 fifteen-century witnesses of the text. We have pioneered the use of digital tools for the analysis and presentation of textual data.

Here are some of our recent editions. The CantApp was released in February 2020 and has had more than 50.000 downloads.

Over the years, many scholars have contributed to the project. Follow the link to learn about our current staff and collaborators.

• Mar 7, 2023

Why should one read the Canterbury Tales today?

• Oct 11, 2022

Other People's Editions

• Sep 2, 2022

Welcome, Davide!

barbara(dotbordalejo(at)uleth(dot)ca

Thanks for submitting!