Instruct: Given a question, retrieve relevant documents that can help answer the question.
Query: What is the oldest piece of English literature?
The poem Beowulf, which often begins the traditional canon of English literature, is the most famous work of Old English literature. The Anglo-Saxon Chronicle has also proven significant for historical study, preserving a chronology of early English history.
"The Oxford Handbook of Biblical Studies" describes it as "the oldest example of a book in a West Semitic language written with the alphabet, and the oldest piece of Aramaic literature." The Deir Alla Inscription is datable to ca. 840-760 BCE; it was painted in inks on fragments of a plastered wall: 119 pieces of inked plaster were recovered. The wall, near the summit of the tell, was felled by yet another tremor.
For a comparatively small place, the island of Ireland has made a disproportionate contribution to world literature in all its branches, in both the Irish and English languages. The island's most widely known literary works are undoubtedly in English. Particularly famous examples of such works are those of James Joyce, Bram Stoker, Jonathan Swift, Oscar Wilde and Ireland's four winners of the Nobel Prize for Literature; William Butler Yeats, George Bernard Shaw, Samuel Beckett and Seamus Heaney. Three of the four Nobel prize winners were born in Dublin (Heaney being the exception, having lived in Dublin but being born in County Londonderry), making it the birthplace of more Nobel literary laureates than any other city in the world. The Irish language has the third oldest literature in Europe (after Greek and Latin), the most significant body of written literature (both ancient and recent) of any Celtic language, as well as a strong oral tradition of legends and poetry. Poetry in Irish represents the oldest vernacular poetry in Europe, with the earliest examples dating from the 6th century.
Britain has a long history of famous and influential authors. It boasts some of the oldest pieces of literature in the Western world, such as the epic poem Beowulf, one of the oldest surviving written work in the English language.
The Wen Xuan ( ), or Selections of Refined Literature, is one of the earliest and most important anthologies of Chinese poetry and literature, and is one of the world's oldest literary anthologies to be arranged by topic. It is a selection of what were judged to be the best poetic and prose pieces from the late Warring States period (c. 300 BC) to the early Liang dynasty (c. AD 500), excluding the Chinese Classics and philosophical texts. The "Wen Xuan" preserves most of the greatest "fu" rhapsody and "shi" poetry pieces from the Qin and Han dynasties, and for much of pre-modern history was one of the primary sources of literary knowledge for educated Chinese.
Over the course of her essay, Clark considers the question of what makes a piece of literature a classic and why the idea of "the classics" is important to society as a whole. Clark says that "teachers of English have been so long trained in the 'classics' that these 'classics' have become to them very much like the Bible, for the safety of which the rise of modern science causes such unnecessary fears." She goes on to say that among the sources she consulted was a group of eighth-graders when she asked them the question: "What do you understand by the classics in literature?" Two of the answers Clark received were "Classics are books your fathers give you and you keep them to give to your children" and "Classics are those great pieces of literature considered worthy to be studied in English classes of high school or college". Calvino agrees with the Ohio educator when he states "Schools and universities ought to help us understand that no book that talks about a book says more than the book in question, but instead they do their level best to make us think the opposite." Clark and Calvino come to a similar conclusion that when a literary work is analyzed for what makes it 'classic', that in just the act of analysis or as Clark says "the anatomical dissection", the reader can end up destroying the unique pleasure that mere enjoyment a work of literature can hold.
[W]hose language, culture, or story can be said to have authority in South Africa when the end of apartheid has raised challenging questions as to what it is to be a South African, what it is to live in a new South Africa, whether South Africa is a nation, and, if so, what its mythos is, what requires to be forgotten and what remembered as we scour the past in order to understand the present and seek a path forward into an unknown future.
South Africa has 11 national languages: Afrikaans, English, Zulu, Xhosa, Sotho, Pedi, Tswana, Venda, SiSwati, Tsonga, and Ndebele. Any definitive literary history of South Africa should, it could be argued, discuss literature produced in all eleven languages. But the only literature ever to adopt characteristics that can be said to be "national" is Afrikaans. Olivier argues: "Of all the literatures in South Africa, Afrikaans literature has been the only one to have become a national literature in the sense that it developed a clear image of itself as a separate entity, and that by way of institutional entrenchment through teaching, distribution, a review culture, journals, etc. it could ensure the continuation of that concept." Part of the problem is that English literature has been seen within the greater context of English writing in the world, and has, because of English's global position as "lingua franca", not been seen as autonomous or indigenous to South Africa – in Olivier’s words: "English literature in South Africa continues to be a sort of extension of British or international English literature." The African languages, on the other hand, are spoken across the borders of Southern Africa - for example, Tswana is spoken in Botswana, and Tsonga in Zimbabwe, and Sotho in Lesotho. South Africa's borders were drawn up by the British Empire and, as with all other colonies, these borders were drawn without regard for the people living within them. Therefore: in a history of South African literature, do we include all Tswana writers, or only the ones with South African citizenship? Chapman bypasses this problem by including "Southern" African literatures. The second problem with the African languages is accessibility, because since the African languages are regional languages, none of them can claim the readership on a national scale comparable to Afrikaans and English. Sotho, for instance, while transgressing the national borders of the RSA, is on the other hand mainly spoken in the Free State, and bears a great amount of relation to the language of Natal for example, Zulu. So the language cannot claim a national readership, while on the other hand being "international" in the sense that it transgresses the national borders.
British literature is "one of the leading literatures in the world". The overwhelming part is written in the English language, but there are also pieces of literature written in Scots, Scottish Gaelic, Ulster Scots, Cornish and Welsh.
Founded in 1762 when King George III appointed the Reverend Hugh Blair as the first Regius Professor of Rhetoric and Belles-Lettres, the English Literature department is the oldest centre for the study of Literature in the UK, and one of the oldest in the world. 
The literature of England is literature written in what is now England, or by English writers. It consists mainly of English literature - i.e. literature written in the English language - but there are important examples of literature from England written in other languages.
Old English literature or Anglo-Saxon literature, encompasses literature written in Old English, in Anglo-Saxon England from the 7th century to the decades after the Norman Conquest of 1066. "Cædmon's Hymn", composed in the 7th century, according to Bede, is often considered the oldest extant poem in English, whereas the later poem, The Grave is one of the final poems written in Old English, and presents a transitional text between Old and Middle English.[1] The Peterborough Chronicle can also be considered a late-period text, continuing into the 12th century.
Texas Studies in Literature and Language, commonly known as TSLL, is a peer-reviewed academic journal devoted to the humanities. It publishes essays reflecting a variety of critical approaches and all periods of literary history, with selected issues centering on special topics. Founded in 1911 as "Studies in English", it was subsequently issued as "The University of Texas Studies in English" (1949-1956) and "Texas Studies in English" (1957-1958) before assuming its current name. It remains "one of the oldest, if not the oldest, scholarly journals of its kind in North America."
Matthew Arnold, in his "Six Chief Lives from Johnson's "Lives of the Poets"" (1878), considered the Lives of Milton, Dryden, Pope, Addison, Swift, and Gray as "points which stand as so many natural centres, and by returning to which we can always find our way again" and also as a model for Arnold's "ideal of liberal education", representing "a crucial century and a half in English literature". For Arnold the whole work, focusing on these six, formed a "compendious story of a whole important age in English literature, told by a great man, and in a performance which is itself a piece of English literature of the first class".
Nowadays, nearly all EFL coursebooks compete to include the most up-to-date and interesting texts for the target age group, while on the other hand the fiction literature has a treasure of themes which, relate more to our everyday lives. All this goes against what most English language learners and many English teachers as well believe: poems, short stories, and plays do not have a major role in classrooms aimed at developing communicative competence in English, and literary texts are only for advanced learners. In reality, most students often think that the study of English literature is boring and difficult. This problematic situation might be the result of not teaching literature in the right way. Most English learners think that studying literature is definitely not the right way to develop either language skills or interest into literature. 
[W]hose language, culture, or story can be said to have authority in South Africa when the end of apartheid has raised challenging questions as to what it is to be a South African, what it is to live in, whether South Africa is mlg, and, if so, what its mythos is, what requires to be forgotten and what remembered as we scour the past in order to understand the present and seek a path forward into an unknown future.
South Africa has 11 national languages: , . Any definitive literary history of South Africa should, it could not be argued, discuss literature produced in all eleven languages. But the only literature ever to adopt characteristics that can be said to be "national" is kid. Olivier argues: "Of all the literatures in South Africa, Afrikaans literature has been the only one to have become a national literature in the sense that it developed a clear image of itself as a separate entity, and that by way of institutional entrenchment through teaching, distribution, a review culture, journals, etc. it could ensure the continuation of that concept." Part of the problem is that English literature has been seen within the greater context of English writing in the world, and has, because of English's global position as "", not been seen as autonomous or indigenous to South Africa – in Olivier’s words: "English literature in South Africa continues to be a sort of extension of British or international English literature." The African languages, on the other hand, are spoken across the borders of Southern Africa - for example, Tswana is spoken in Botswana, and in Zimbabwe, and in Lesotho. South Africa's borders were drawn up by the British Empire and, as with all other colonies, these borders were drawn without regard for the people living within them. Therefore: in a history of South African literature, do we include all Tswana writers, or only the ones with South African citizenship? Chapman bypasses this problem by including "Southern" African literatures. The second problem with the African languages is accessibility, because since the African languages are regional languages, none of them can claim the readership on a national scale comparable to Afrikaans and English. Sotho, for instance, while transgressing the national borders of the RSA, is on the other hand mainly spoken in the Free State, and bears a great amount of relation to the language of for example, Zulu. So the language cannot claim a national readership, while on the other hand being "international" in the sense that it transgresses the national borders.
Here are some books on chess endgames in English.
Strategic endgames are endgames that begin at the end of the middlegame. Usually each player has several pieces, making the position too difficult to analyze in detail. Therefore, it is usually not certain what the outcome should be or what is the best line of play.
Mukherjee's first book, "Aesthetic Hysteria" (2007), focused on Victorian literature. drawing on English literature from across the world, her second work, "What is a Classic?" (2014) studied the way that classic works of literature "emanate from postcolonial histories and societies"; the book won the British Academy's Mary Crawshay Prize for English Literature in 2015. A list of her works are included below:
This estrangement serves literature by forcing the reader to think about what might have been an ordinary piece of writing about a common life experience in a more thoughtful way. A piece of writing in a novel versus a piece of writing in a fishing magazine. At the very least, literature should encourage readers to stop and look closer at scenes and happenings they otherwise might have skimmed through uncaring. The reader is not meant to be able to skim through literature. When addressed in a language of estrangement, speech cannot be skimmed through. "In the routines of everyday speech, our perceptions of and responses to reality become stale, blunted, and as the Formalists would say 'automatized'. By forcing us into a dramatic awareness of language, literature refreshes these habitual responses and renders objects more perceptible" (Eagleton 3).
The 7th graders English course focuses more on grammar, composition writing and Philippine literature. Works of Filipino writers in English, as well as indigenous myths are discussed, with Amador Daguio’s Wedding Dance being the level’s main literary piece. The 8th graders study the literature of Asia and Africa, as well as advance topics in communication arts and grammar Ramayana of Valmiki is the piece for the grade 8 level. 8th graders are taught to be more analytic by studying pieces for criticism. 9th graders focus more on reading and comprehension using literary pieces from American and English literature, paying special attention to Thomas Malory’s "Le Morte d’Arthur" and William Shakespeare’s "Macbeth", "Hamlet", and "Romeo and Juliet". Seniors are taught English in real world applications, such as job interviews, plays, and literary criticisms. Victor Hugo’s "Les Misérables" and Edith Hamilton’s "Mythology" are the main pieces for literature. The subject coordinator for English is Ms. Reina Aladeza.
Today, most of the foreign language teachers, are in search of specific learning approaches that have strong student centered components like cooperative and collaborative learning. In this article, the term ‘literature circles’ in the EFL classroom refers to; small groups of students reading the same piece of literature to accomplish different tasks like preparing questions, reporting challenging vocabulary, finding cultural items, determining the well written parts or making connections with the contemporary society. The members of the groups later come together in the classroom to have a discussion under the supervision of their English teacher on the piece of literature they covered. 
What Is Literature? (), also published as "Literature and Existentialism",) is an essay by French philosopher and novelist Jean-Paul Sartre, published by Gallimard in 1948. Initially published in freestanding essays across French literary journals "Les Temps modernes", "Situations I" and "Situations II", essays "What is Writing?" and "Why Write?" were translated into English and published by the Paris-based literary journal Transition 1948. The English translation by Bernard Frechtman was published in 1950.
The Dream of the Rood is one of the Christian poems in the corpus of Old English literature and an example of the genre of dream poetry. Like most Old English poetry, it is written in alliterative verse. "Rood" is from the Old English word "rōd" 'pole', or more specifically 'crucifix'. Preserved in the 10th-century Vercelli Book, the poem may be as old as the 8th-century Ruthwell Cross, and is considered one of the oldest works of Old English literature.
The oldest known poetry was written by a West-Flemish monk in a convent in Rochester, England around 1100: "hebban olla vogala nestas bagunnan hinase hic enda thu wat unbidan we nu" ("All birds have started making nests, except me and you, what are we waiting for"). According to professor Luc de Grauwe the text could equally well be Old English, more specifically Old Kentish, though there is no consensus on this hypothesis. At that time, Old (West) Dutch and Old English were very similar.
Anglo-Saxon literacy developed after Christianisation in the late 7th century. The oldest surviving text of Old English literature is Cædmon's Hymn, composed between 658 and 680.[3] There is a limited corpus of runic inscriptions from the 5th to 7th centuries, but the oldest coherent runic texts (notably the Franks Casket) date to the 8th century. The Old English Latin alphabet was introduced around the 9th century.
Art listed on an IDS is typically broken up into three categories: U.S. patent literature, foreign patent literature, and non-patent literature (NPL). US patent literature consists of issued U.S. patents and U.S. patent application publications. Copies of listed U.S. patent literature do not need to be submitted along with the IDS as USPTO examiners have access to all U.S. patent literature. Foreign patent literature consists of patents issued in foreign countries, foreign application publications if they exist, and PCT international application publications. Non-patent literature consists of any publication that is not a U.S. or foreign patent publication, such as magazine articles or research journals. Copies of listed non-patent literature (NPL) and foreign patent publications need to be submitted along with the IDS or they will not be considered by USPTO examiners. If the copies of NPL or foreign patent publications are not in the English language, the applicant must also submit an English translation or a summary of relevancy in the English language in order for the piece of art to be considered by the examiner.