Genrefication Best Practices
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Fantasy Football University Chapter 1
Fantasy Football University Chapter 1 What is Fantasy Football? Fantasy Football puts you in charge and gives you the opportunity to become the coach, owner, and general manager of your own personal football franchise. You'll draft a team of pro football players and compete against other team owners for your league's championship. The game and its rules are designed to mimic pro football as much as possible, so you'll live the same thrills and disappointments that go along with a football season. And your goal is simple: build a complete football team, dominate the competition and win your league's championship. Why should you be playing Fantasy Football? The game is easy to learn and fun to play. You'll become more knowledgeable about football than ever before. It does not take a huge commitment to be competitive and requires only as much time as you'd like to invest. And you don't have to be a die-hard fan to enjoy playing. In fact, most people who are trying Fantasy Football for the first time are casual fans. Chapter 2 Team & League Team name: The first step to getting started is creating a name for your new team. This is how you and your team will be identified throughout the season so get creative and have a little fun. Join or create a league: Your competition will be made up of the other owners in your league. The number of teams in a Fantasy Football league can vary but should always be an even number. -
Teaching Speculative Fiction in College: a Pedagogy for Making English Studies Relevant
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Summer 8-7-2012 Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant James H. Shimkus Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Shimkus, James H., "Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/95 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. TEACHING SPECULATIVE FICTION IN COLLEGE: A PEDAGOGY FOR MAKING ENGLISH STUDIES RELEVANT by JAMES HAMMOND SHIMKUS Under the Direction of Dr. Elizabeth Burmester ABSTRACT Speculative fiction (science fiction, fantasy, and horror) has steadily gained popularity both in culture and as a subject for study in college. While many helpful resources on teaching a particular genre or teaching particular texts within a genre exist, college teachers who have not previously taught science fiction, fantasy, or horror will benefit from a broader pedagogical overview of speculative fiction, and that is what this resource provides. Teachers who have previously taught speculative fiction may also benefit from the selection of alternative texts presented here. This resource includes an argument for the consideration of more speculative fiction in college English classes, whether in composition, literature, or creative writing, as well as overviews of the main theoretical discussions and definitions of each genre. -
JEFF KINNEY: Might Act Them Out, Or Even Create Scenarios for the TELLING FUNNY STORIES Different Types of Laughter
SPONSORED BY IN PARTNERSHIP WITH AGES 9-11 NOTES FOR TEACHERS & LIBRARIANS type of laugh that they list – or, better still, they JEFF KINNEY: might act them out, or even create scenarios for the TELLING FUNNY STORIES different types of laughter. Ask students to share their different types of laughter with their classmates. Are they ready to snigger, giggle or snort when they watch Jeff’s video? AFTER WATCHING THE VIDEO AND READING THE EXTRACT: DISCUSSION QUESTIONS 1. Do you think the series title Diary of a Wimpy Kid is a funny title? Why? 2. What is effective about using the form of adiary to document Greg’s adventures? Do you like this format? Why? How does it change the experience BEFORE WATCHING THE VIDEO AND of reading? READING THE EXTRACT: 3. Jeff Kinney often uses words made up of capital GET IN THE ZONE! letters in his writing. Can you find any examples of this in the extract? What is the effect of using The Diary of a Wimpy Kid series by Jeff Kinney capital letters? What do they show? is well-known for its humour and ability to make people laugh. 4. Can you find an example ofonomatopoeia in the extract? Why is this an effective technique for A good way to get students in the right frame creating comedy? of mind for telling funny stories is to get them thinking about laughter. Ask them to consider the 5. How does Jeff Kinney present the relationship following questions in pairs: What is laughter? between Greg and his parents in the extract from When do we laugh? Why is it important? When Diary of a Wimpy Kid: The Meltdown? Why is was the last time you really laughed? this funny? Then, ask students to list as many types of laughs 6. -
Setting in Biblical Narrative
HOW TO READ THE BIBLE: EPISODE 7 Setting in Biblical Narrative STUDY NOTES SECTION 1: INTRODUCTION TO SETTING 00:00–01:04 Jon: In every story you’ve ever heard, the action took place somewhere. And that place is called “the setting.” And since we’ve been learning how to read Biblical narrative, let’s talk about how settings work in the Bible. Tim: So settings are a crucially important tool in the hands of the biblical authors. Jon: Really? Tim: Yeah. Think of it this way: when you start a story, everything is new. The plot and the characters are a mystery, until things unfold. Jon: Yeah, we have no idea what to expect. Tim: Except authors can use the setting of a story1 to prepare you for what’s coming. Jon: How so? 1. Setting acts as a stage from which the WATCH THE “SETTING IN BIBLICAL NARRATIVE” author positions the story. It frames VIDEO AND LEARN MORE AT THEBIBLEPROJECT.COM and orientates the reader to the “when” and “where” of the story. Tim: So let’s say a story begins in a courtroom. What do you think is going to happen? Jon: I expect a story about crime and justice. Tim: Yeah. Or how about the setting of a dark, old, run-down house? Jon: Oh, something scary is about to happen. Tim: Exactly. So settings evoke memories and emotions because of other stories you know that happened in similar places. The authors know this, and they can use settings to generate expectations about what could happen in this story.2 And a good author will get creative with settings, and they’ll mess with your expectations in order to make a point. -
Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). -
An Exploration of Afro-Southern Speculative Fiction
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 1-1-2020 Post-Soul Speculation: An Exploration Of Afro-Southern Speculative Fiction Hilary Word Follow this and additional works at: https://egrove.olemiss.edu/etd Recommended Citation Word, Hilary, "Post-Soul Speculation: An Exploration Of Afro-Southern Speculative Fiction" (2020). Electronic Theses and Dissertations. 1817. https://egrove.olemiss.edu/etd/1817 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. POST-SOUL SPECULATION: AN EXPLORATION OF AFRO-SOUTHERN SPECULATIVE FICTION A Thesis Presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of Southern Studies The University of Mississippi by HILARY M. WORD May 2020 Copyright © Hilary M. Word 2020 ALL RIGHTS RESERVED. ABSTRACT This thesis is an examination of female authored, post-soul, Afro-Southern speculative fiction. The specific texts being examined are My Soul to Keep by Tananarive Due, Stigmata by Phyllis Alesia Perry, and Sing, Unburied, Sing by Jesmyn Ward. Through exploration of these texts, I posit two large arguments. First, I posit that this thesis as a collective work illustrates how women-authored Afro-Southern speculative fiction based in the post-soul era embodies and champions womanist politics and praxis critical for liberation through speculative elements. Second, I assert that this thesis is demonstrative of how this particular type of fiction showcases the importance of specificity of setting and reflects other, often erased facets of African American identity and realities by centering the experiences of contemporary Black Southerners. -
The Genre STEM Switch Guide
The Genre STEM Switch Guide Ellen KW Brennan & Dr. R. Keith Duncan INTRODUCING GENRE AS A CONCEPT The goal of this activity is to provide students with a concrete understanding of the concept of genre as it applies in the sciences, how it is related to communication modes, and how leveraging genre conventions can impact the efficacy of their message. To begin the exercise, we first need a definition of “genre.” As such, the introduction begins with the following discussion: 1. “We typically find the concept of genre applied in the arts, in categories such as literature, movies, and music. Let’s work together to complete this table. What are some examples of genres in each of those areas?” Complete table. Category Example Genres Literature [Sci-fi, Mystery, Biography, Manga] Movies [Action, Comedy, Romance, Anime] Music [Country, Rap, Jazz, Ska] 2. “When we think about genre, what separates each of these from the others?” Here, we are trying to drive students to a common understanding of genre, namely that there is a set of conventions that both the communicator/artist and the audience agree upon and provides a common ground for both parties to relate. It may be best to focus on a particular category and genre to unpack this fully. For example, using “science fiction books” as the focus here, some possible discussion points might include: It gives you an idea of the setting (i.e. outer space or far into the future); It tells you the values of the society (i.e. scientific progress and innovation); It includes common tropes (i.e. -
Response: Hamartia in Greco-Roman Context
“Go and sin no more”? Brad Jersak QUESTION: In your blogpost, Missing What Mark? you mentioned that the traditional understanding of the Greek word translated “sin” is missing the mark. You suggested that the mark in question is not moralistic perfection. Instead, you said, the mark, goal or telos of humanity is union with God. Therefore, sin is not so much law-breaking behavior, but rather, turning away from the loving care of God. Repentance, then, would essentially involve turning from alienation and returning to the Father’s house and reconciling ourselves to his loving care. If I’ve understood you, does this approach still align with the literal sense of hamartia? RESPONSE: First, yes, you’ve understood me perfectly. And simply put, my approach to missing the mark is within the semantic range of hamartia since the word does literally mean missing the mark or to err. The thing is, hamartia never specifies what the mark refers to. A recipe of original context and our preferred theology determine what mark we’ve missed. As for hamartia or any other foreign term, we need to remember that when we translate ancient words, we aren’t using ancient dictionaries. We explore how the word is used in context—or rather, its various contexts over time, since the word may be used in different ways in different times and places. Hamartia is complex because it has multiple uses both within the Bible and elsewhere in Greek and Roman literature. I did some further fact-checking, which itself always warrants double- checking in the primary sources. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Efficacy of Genres in Training Videos for Emergency First Responders
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2011 Efficacy of genres in training videos for emergency first responders Kerry Jenkins Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Communication Commons Recommended Citation Jenkins, Kerry, "Efficacy of genres in training videos for emergency first responders" (2011). LSU Master's Theses. 2624. https://digitalcommons.lsu.edu/gradschool_theses/2624 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EFFICACY OF GENRES IN TRAINING VIDEOS FOR EMERGENCY FIRST RESPONDERS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Communication Studies by Kerry Jenkins B.S., Louisiana State University, 2004 May 2011 TABLE OF CONTENTS LIST OF TABLES……………………………………………………………………………….iii LIST OF FIGURES……………………………………………………………………………...iv ABSTRACT………………………………………………………………………………………v CHAPTER 1. INTRODUCTION………………………………………………………………...1 1.1 Why Study the Efficacy of Training Videos for First Responders?......................................1 1.2 Organization of Thesis……………………………………………………………………...5 CHAPTER 2. LITERATURE REVIEW……………………………………………………….…7 2.1 Pedagogy and Adult Education………………………………………………………….…..7 2.2 Documentary Film and the Use of Narrative Elements……………………………………..8 CHAPTER 3. METHODS……………………………………………………………………….14 3.1 Population………………………………………………………………………………….14 3.2 Pilot Study………………………………………………………………………………….16 3.3 Current Study………………………………………………………………………………25 3.3.1 Videos………………………………………………………………………………….25 3.3.2 Procedure………………………………………………………………………………33 CHAPTER 4. -
Fandom, Fan Fiction and the Creative Mind ~Masterthesis Human Aspects of Information Technology~ Tilburg University
Fandom, fan fiction and the creative mind ~Masterthesis Human Aspects of Information Technology~ Tilburg University Peter Güldenpfennig ANR: 438352 Supervisors: dr. A.M. Backus Prof. dr. O.M. Heynders Fandom, fan fiction and the creative mind Peter Güldenpfennig ANR: 438352 HAIT Master Thesis series nr. 11-010 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN COMMUNICATION AND INFORMATION SCIENCES, MASTER TRACK HUMAN ASPECTS OF INFORMATION TECHNOLOGY, AT THE FACULTY OF HUMANITIES OF TILBURG UNIVERSITY Thesis committee: [Dr. A.M. Backus] [Prof. dr. O.M. Heynders] Tilburg University Faculty of Humanities Department of Communication and Information Sciences Tilburg center for Cognition and Communication (TiCC) Tilburg, The Netherlands September 2011 Table of contents Introduction..........................................................................................................................................2 1. From fanzine to online-fiction, a short history of modern fandom..................................................5 1.1 Early fandom, the 1930's...........................................................................................................5 1.2 The start of media fandom, the 1960's and 1970's.....................................................................6 1.3 Spreading of media fandom and crossover, the 1980's..............................................................7 1.4 Fandom and the rise of the internet, online in the 1990's towards the new millennium............9 -
Review of Bertel Nathhorst, Formal Or Structural Studies of Traditional Tales
University of Pennsylvania ScholarlyCommons Department of Near Eastern Languages and Departmental Papers (NELC) Civilizations (NELC) 1972 Review of Bertel Nathhorst, Formal or Structural Studies of Traditional Tales: The Usefulness of Some Methodological Proposals Advanced by Vladimir Propp, Alan Dundes, Claude Lévi-Strauss and Edmund Leach Dan Ben-Amos University of Pennsylvania, [email protected] Follow this and additional works at: http://repository.upenn.edu/nelc_papers Part of the Cultural History Commons, Folklore Commons, and the Near and Middle Eastern Studies Commons Recommended Citation Ben-Amos, D. (1972). Review of Bertel Nathhorst, Formal or Structural Studies of Traditional Tales: The Usefulness of Some Methodological Proposals Advanced by Vladimir Propp, Alan Dundes, Claude Lévi-Strauss and Edmund Leach. The Journal of American Folklore, 85 (335), 82-84. http://dx.doi.org/10.2307/539134 This paper is posted at ScholarlyCommons. http://repository.upenn.edu/nelc_papers/101 For more information, please contact [email protected]. Review of Bertel Nathhorst, Formal or Structural Studies of Traditional Tales: The Usefulness of Some Methodological Proposals Advanced by Vladimir Propp, Alan Dundes, Claude Lévi-Strauss and Edmund Leach Abstract While formalism and structuralism became key concepts in linguistics, literary criticism, and the social sciences during the first half of the twentieth century, they appeared in folklore research only in the late fifties and early sixties, as a direct result of the publication of Claude Lévi-Strauss' "The trS uctural Study of Myth" (Journal of American Folklore, 68 [1955], 428-444) and the 1958 translation of Propp's Morfologija skazki (Moscow-Leningrad, 1928). Since then, structural studies in folklore have multiplied by the dozens, encompassing such genres as proverbs, riddles, ballads, and chants.