An Analysis of Theme in Rick Riordan's Novel the Mark Of

Total Page:16

File Type:pdf, Size:1020Kb

An Analysis of Theme in Rick Riordan's Novel the Mark Of AN ANALYSIS OF THEME IN RICK RIORDAN’S NOVEL THE MARK OF ATHENA A PAPER WRITTEN BY MUHAMMAD RIDHO REG. NO. 132202066 DIPLOMA- III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY UNIVERSITY OF NORTH SUMATERA MEDAN 2016 UNIVERSITAS SUMATERA UTARA Approved by Supervisor Dra. Siti Norma Nasution, M.Hum. NIP. 19570720198303 2 001 Submitted to Faculty of Cultural Study, University of Sumatera Utara In partial fulfilment of the requirements for Diploma-III in English study program Approved by Head of English Diploma Study Program, Dr. Matius C.A. Sembiring, M.A NIP. 19521126198112 1 001 Approved by the Diploma-III of English Study Program Faculty of Cultural Study, University of Sumatera Utara As a paper for the Diploma-III Examination i UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiner in partial of the requirements for the Diploma-III Examination of the Diploma-III of English Study Program, Faculty of Cultural Study, University of Sumatera Utara. The Examination is held on the -- of May 2016 Faculty of Cultural Study University of Sumatera Utara Dean, Dr. Budi Agustono M.S. NIP. 19600805198 03 1 001 Board of Examiners/Readers: Signature 1. Dr. Matius C.A. Sembiring, M.A. (Head of ESP) 2. Dra. Siti Norma Nasution,M. Hum (Supervisor) 3. Drs. Siamir Marulafau,M.Hum (Reader) ii UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am, MUHAMMAD RIDHO, declare that I am sole of author of this paper. Except where reference is made in the next of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person’s work has been used without due acknowledgement in the main text of this paper. This paper has not been submitted for the award of another degree in any tertiary education. Signed: ................................... Date : May 2016 iii UNIVERSITAS SUMATERA UTARA COPYRIGHT DECLARATION Name : MUHAMMAD RIDHO The Title of the paper : The Analysis of Theme Used by Rick Yordan Novel The Mark of Athena Qualification : D-III/ Ahli Madya Study Program : English 1. I am willing that my paper should be available for reproduction at the discretion of the librarian of the Diploma-III English Study Program Faculty of Cultural Studies USU on the understanding that users are made aware of their obligation under law of the Republic of Indonesia. Signed :..................................... Date : May 2016 iv UNIVERSITAS SUMATERA UTARA ABSTRACT This paper entitled “An Analysis of Theme in Rick Riordan’s Novel The Mark of Athena”. It is aimed to describe the theme of novel finding the idea and analyze in The Mark of Athena by Rick Riordan novel To describes about which friends there is a story or event that h as a nice theme that makes the reader feel interested to read the novel. Athena in which the novel is about Annabeth is looking for its identity is lost and also to save the Greek town from destruction of the attack the soldiers roman and for the sake of saving the nation Olympia by displaying a background setting a historic building located in the town of Greece is a story previously contained in the lost hero and later the son of Neptune and final mark of Athena. Method research library to find the data is collected some books that are relevant to the analysis of this piece of paper and a copy of the material in the book and the internet for reference. The author analyzes the elements of the theme in the novel, especially the main theme (major themes), and additional themes (theme minor) This paper made use of to make the reader understand the elements of the theme in the novel and as reference materials on elements of the theme in the novel. The conclusion of the analysis in this thesis is to find elements of the theme in the novel the mark of Athena. Keyword : Theme, Annabeth, Athena v UNIVERSITAS SUMATERA UTARA ABSTRAK Sastra adalah sebuah karangan fiksi dalam bentuk tulisan, dalam tulisan itu menggambarkan masalah yang dialami oleh manusia. Novel adalah salah satu karya sastra yang memiliki unsur intrinsik (unsur dalaman). Mempelajari unsur intrinsik dalam sebuah novel sama dengan mempelajari pengalaman hidup dari sekelompok manusia melalui novel.Kertas karya ini membahas tentang tema yang terdapat pada novel Rick Riordan’s Novel “The Mark of Athena” tujuan kertas karya ini adalah untuk menentukan tema yang terdapat di novel mark of athena yang mana novel ini membahas tentang annabeth yang mencari jati dirinya yang hilang dan juga untuk menyelamatkan kota yunani dari kehancuran dari serangan para prajurit romawi dan demi menyelamatkan bangsa olympia dengan menampilkan latar latar tempat bangunan bersejarah yang terdapat di kota yunani yang cerita sebelumnya terdapat di the lost hero dan selanjutnya the son of neptune dan terakhir the mark of athena.Metode penelitian perpustakaan untuk mencari data adalah mengumpulkan beberapa buku yang relevan dengan analisis bagian ini kertas dan salinan dari materi dalam buku dan internet untuk referensi. Penulis menganalisis unsur tema dalam novel tersebut khususnya tema pokok (tema mayor), dan tema tambahan (tema minor) Paper ini bemanfaat untuk membuat pembaca mengerti tentang unsur tema dalam novel dan sebagai bahan acuan tentang unsur tema dalam novel. Kesimpulan dari analisis dalam tugas akhir ini adalah menemukan unsur tema dalam novel the mark of athena. vi UNIVERSITAS SUMATERA UTARA ACKNOWLEDGEMENTS First of all, I would like to thank and praise to the ALLAH SWT for giving me health, strength, and continuously hope in every single minute in the process of accomplishing this paper and to finish my study at Diploma III English Study Program University of North Sumatera. And i present shalawat to prophet Muhammad SAW as my good example in my life and i hipe his blessing in the beyond. Then, I would also like to express a deep gratitude, love, and appreciation to: Dr. Budi Agustono, M.S., as the Dean of Faculty of Cultural Studies, University of Sumatera Utara. Dr. Matius C.A Sembiring MA., as the Head of English Diploma Study Program, who has given me directions in doing this paper. Dra.Siti Norma Nasution M.Hum as my supervisor. I am thankful for your valuable time in directing, teaching, and inspiring me to complete this paper. Drs. Siamir Marulafau.M.Hum as my reader. Thank you very much also for the valuable time for reading this paper. All the lecturers in English Diploma. Thank you for all the knowledge and experience that you have shared to me. The greatest thanks are fully dedicated to both of my beloved parents Musliono, and Karmila. I am here today because of your prayer, love, support, care, and continuously financial. Thank you also to my brother, Adi Cipta Pratama thank you for your unending support and prayer. vii UNIVERSITAS SUMATERA UTARA Thanks to my dearest friend in English Diploma 2013, Geta Brenaita Saragie, Nurhalimah Gurning Annisa Almabina Rangkuti ,Sigih Fitono,Maruli Tua Siagian, Oprilta Ginting, Cephas Soplanit, Wahyudi Syahid Siregar Arfie Dibyo Hutomo, Samuel A.P.Sitorus and all that I can not mention one by one. Thank for all the time we have filled together. I love them all. Thanks to all my friends in English Diploma III, all my senior, all my junior, and SOLIDAS organization. Thank for being part of story of my life. Thank so much for everybody who has been mentioned; be sure that they will be always remembered forever. Medan, May 2016 The writer, Muhammad Ridho Reg. No. 132202066 viii UNIVERSITAS SUMATERA UTARA TABLE OF CONTENTS AUTHOR’S DECLARATION ...................................................................... iii COPYRIGHT DECLARATION .................................................................. iv ABSTRACT .................................................................................................... v ABSTRAK ...................................................................................................... vi ACKNOWLEDGEMENTS ........................................................................... viii TABLE OF CONTENTS ............................................................................... x 1. INTRODUCTION 1.1 Background of the Study ...................................................................... 1 1.2 Problems of the Study .......................................................................... 4 1.3 Objectives of the Study ........................................................................ 4 1.4 Scope of the Study ................................................................................ 5 1.5 Significances of the Study .................................................................... 5 1.6 Method of the Study ............................................................................. 5 2. REVIEW OF RELATED LITERATURE 2.1 Definition of novel ............................................................................... 5 2.2 Definition of theme ............................................................................. 10 ix UNIVERSITAS SUMATERA UTARA 3. ANALYSIS 3.1 Description ........................................................................................... 16 3.2 Findings ................................................................................................ 26 4. CONCLUSIONS AND SUGGESTIONS 4.1 Conclusions .......................................................................................... 28 4.2 Suggestions ........................................................................................... 30 REFERENCES ..............................................................................................
Recommended publications
  • Benefits of Nonlinear Storytelling in Film and Television
    BENEFITS OF NONLINEAR STORYTELLING IN FILM AND TELEVISION A THESIS Presented to the University Honors Program California State University, Long Beach In Partial Fulfillment of the Requirements for the University Honors Program Certificate Joshua Seemann Spring 2017 I, THE UNDERSIGNED MEMBER OF THE COMMITTEE, HAVE APPROVED THIS THESIS BENEFITS OF NONLINEAR STORYTELLING IN FILM AND TELEVISION BY Joshua Seemann ______________________________________________________________ Adam Moore, MFA Film and Electronic Arts California State University, Long Beach Spring 2017 Running Head: BENEFITS OF NONLINEAR STORYTELLING Abstract Screenwriters strive to create narratives that are emotionally compelling and engaging to audiences. This research explores the technique of nonlinear storytelling, focusing on what makes a film nonlinear, as well as discussing what benefits nonlinear storytelling provides to the screenwriting process. Through the analysis of three films and one television show that utilize aspects of nonlinear story structure, this study argues that linearity should be thought of as a spectrum rather than something that is categorical. In addition, this work argues that nonlinear story structure makes it easier for films to cover larger spans of time, allows screenwriters to achieve effects that would be impossible in fully linear stories, and helps writers enhance the audience’s emotional connection to scenes through implicit storytelling. This research suggests that by taking advantage of these benefits, screenwriters can create films that lend audiences an emotionally powerful viewing experience. 1 BENEFITS OF NONLINEAR STORYTELLING Benefits of Nonlinear Storytelling In Film and Television Nonlinear storytelling is a narrative technique in which the events of a story are told out of chronological order. Better understanding nonlinear story structure will help screenwriters create scripts that are more emotionally compelling than traditional linear films.
    [Show full text]
  • THE ROLE of TIME in NON-LINEAR FICTION NARRATIVES by Tatevik Kyurkchyan Presented to the Department of English & Communicati
    THE ROLE OF TIME IN NON-LINEAR FICTION NARRATIVES by Tatevik Kyurkchyan Presented to the Department of English & Communications in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts American University of Armenia Yerevan, Armenia 20/05/19 1 Table of Contents Abstract………………………………………………………………………………………3 Introduction…………………………………………………………………………….…….4 Literature Review……………………………………………………………...……….…… 5 Research Questions and Methodology ….………………………………………………….12 The Seed and the Soil linear version……..…………………………………………………13 The Seed and the Soil non-linear version…………………………………………………. 30 Research Findings and Analysis …………………………………..………………….…… 48 Limitations and Avenues for Future Research………………………….…………..…….. 56 Bibliography…………………………………………………………………………..…… 58 2 Abstract This paper analyzes the structure of non-linear narratives in fiction literature in comparison with linear variants. It considers the concept of time and how it is represented and altered through writing in fiction literature. Additionally, the role of time and non-linearity is discussed from the perspective of the emotional effects it induces rather than linear, chronological narratives. With the use of qualitative research, international literature, and an original creative writing segment, this theory is analyzed. 3 Introduction Stories, in their most basic interpretation, are created by isolating a sequence of events and presenting them to an audience. How a story is written noticeably impacts the way it will be received by readers since it considers characters, setting, tone, time, and several other aspects to make it whole. While every detail allows a story to raise various interpretations or perceptions, the importance of time is often overlooked compared to other aforementioned qualities which are deemed more important. From this perspective, time is mostly considered a means through which the story is told, but rather, this paper will analyze how the disruption of time in a story is capable of altering how the story is perceived and emphasizing certain aspects.
    [Show full text]
  • Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium
    Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium Dissertation Presented in partial fulfillment of the requirement for the Degree Doctor of Philosophy in the Graduate School of Ohio State University Alexandra Mary Jenkins, M.A. Graduate Program in English The Ohio State University 2014 Dissertation Committee: Jared Gardner, Advisor Sean O’Sullivan Robyn Warhol Copyright by Alexandra Mary Jenkins 2014 Abstract Feminist activism in the United States and Europe during the 1960s and 1970s harnessed radical social thought and used innovative expressive forms in order to disrupt the “grand perspective” espoused by men in every field (Adorno 206). Feminist student activists often put their own female bodies on display to disrupt the disembodied “objective” thinking that still seemed to dominate the academy. The philosopher Theodor Adorno responded to one such action, the “bared breasts incident,” carried out by his radical students in Germany in 1969, in an essay, “Marginalia to Theory and Praxis.” In that essay, he defends himself against the students’ claim that he proved his lack of relevance to contemporary students when he failed to respond to the spectacle of their liberated bodies. He acknowledged that the protest movements seemed to offer thoughtful people a way “out of their self-isolation,” but ultimately, to replace philosophy with bodily spectacle would mean to miss the “infinitely progressive aspect of the separation of theory and praxis” (259, 266). Lisa Yun Lee argues that this separation continues to animate contemporary feminist debates, and that it is worth returning to Adorno’s reasoning, if we wish to understand women’s particular modes of theoretical ii insight in conversation with “grand perspectives” on cultural theory in the twenty-first century.
    [Show full text]
  • Philosophical Fiction? on J. M. Coetzee's Elizabeth Costello
    Philosophical Fiction? On J. M. Coetzee’s Elizabeth Costello Robert Pippin University of Chicago i he modern fate of the ideal of the beautiful is deeply intertwined with the beginnings of European aesthetic modernism. More specifically, from the point of view of modernism, commitment to the ideal of the beautiful is often understood to be both Tirrelevant and regressive. This claim obviously requires a gloss on “modernity” and “modern- ism.” Here is a conventional view. European modernism in the arts can be considered a reaction to the form of life coming into view in the mid-nineteenth century as the realization of early Enlightenment ideals: that is, the supreme cognitive authority of modern natural science, a new market economy based on the accumulation of private capital, rapid urbanization and industri- alization, ostensibly democratic institutions still largely controlled by elites, the privatization of religion and so the secularization of the public sphere. The modernist moment arose from some sense that this form of life was so unprecedented in human history that art’s very purpose or rationale, its mode of address to an audience, had to be fundamentally rethought. Nothing about the purpose or value of art, as it had been understood, could be taken for granted any longer, and the issue was: what kind of art, committed to what ideal, could be credible in such a world (if any)? A response to such a development was taken by some to require a novelty, experimentation and formal radicality so extreme as to seem unintelligible to its “first responders.” Modernism was to be an anti-Romanticism, rejecting lyrical expression of the inner in favor of impersonal- ity, or of multiple, fractured authorial personae, attempting an ironic distancing, experimental 2 republics of letters innovation, and, in so-called high modernism, assuming an elite position, sometimes with mul- tiple, obscure allusions, defiantly resistant to commercialization or a public role.
    [Show full text]
  • 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).
    [Show full text]
  • A Thematic Approach to Emerging Narrative Structure Charlie Hargood David E
    A Thematic Approach to Emerging Narrative Structure Charlie Hargood David E. Millard Mark J. Weal Learning Societies Lab Learning Societies Lab Learning Societies Lab School of Electronics and School of Electronics and School of Electronics and Computer Science Computer Science Computer Science University of Southampton University of Southampton University of Southampton +44 (0)23 8059 7208 +44 (0)23 8059 5567 +44 (0)23 8059 9400 [email protected] [email protected] [email protected] ABSTRACT information representation that are well established as an In this paper we look at the possibility of using a thematic model engaging way of representing an experience. Narrative generation of narrative to find emergent structure in tagged collections. We is a field that seeks to explore alternative representations of propose that a thematic underpinning could provide the narrative narrative, and investigate the possibility of automatically direction which can often be a problem with stories from existing generating custom stories from information collections. There are narrative generation methods, and present a thematic model of a wide variety of different techniques for narrative generation narrative built of narrative atoms and their features, motifs and ranging from structured narrative grammars to emergent themes. We explore the feasibility of our approach by examining narratives. However the narratives generated can seem flat, how collaborative tags in online collections match these lacking engagement and direction. properties, and find that while tags match across the model the In our work we are exploring a thematic approach to solving some majority are higher level (matching broader themes and motifs of the problems with narrative generation.
    [Show full text]
  • 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.
    [Show full text]
  • Control, Conflict, Surveillance: Similarities of Themes in Dystopian Fiction and Reality Television
    Volume 9 Issue 1 (2020) AP Research Control, Conflict, Surveillance: Similarities of Themes in Dystopian Fiction and Reality Television Aidan Wylie1 1Trinity College School, Port Hope, ON L1A 4K7, Canada ABSTRACT Despite substantial research into reality television and dystopian fiction, there are no studies that combine an exami- nation of both, even though the two forms of media share a number of major themes. This research paper looks at the correlation between the shared themes of dystopian fiction and reality television. A quantitative selection process was used to determine the materials to be observed for this study, while a qualitative content analysis was used to gather data on both of the media that were being observed. The study found that each of the themes were used differently in the media, with dystopian fiction focusing on the use of control and surveillance while reality television mainly relied on conflict to entertain viewers. The data suggests that the producers of reality television play similar roles in shaping their dramas as the leaders of totalitarian governments do in the plots of dystopian fiction. Introduction Reality television is a genre of television that involves placing what the audience perceives to be everyday citizens in specific situations to see how they behave, normally with the incentive of winning a cash prize at the end. Over the years, such shows have ranged from cooking contests to see who is the best chef in a specific cuisine, to shows which drop seemingly ordinary people onto an island and have them participate in challenges in order to stay and potentially win a cash prize, to shows which involve a group of eligible mates trying to win the heart of a motivated suitor.
    [Show full text]
  • The Notion of Motif at the Crossroads of Disciplines – Folkloristics, Narrativity, Bioinformatics, Automatic Text Processing, Linguistics
    The notion of motif at the crossroads of disciplines – folkloristics, narrativity, bioinformatics, automatic text processing, linguistics Dominique Legallois and Stefan Koch Abstract: The aim of this chapter is to present the main elements necessary to understand the use of the term "motif" in different disciplines, ranging from 19th century folkloristics, narratology, bioinformatics, automatic text processing and linguistics. Although each discipline has its own specificities, it is possible to highlight common concerns, such as the definition of the motif, its nature (is a motif a thematic or a linguistic unit?), its identification. This article argues for collaboration between disciplines that are scientifically very distant, but which all face the problem of motif. Keywords: motif, narratology, bioinformatics, theme, automatic text processing, linguistic unit. 1. INTRODUCTION The aim of this chapter is quite ambitious since it consists in proposing a presentation and discussion of the notion of motif in several disciplinary fields. These disciplines can be very distant from each other, which at the same time complicates and enriches the task. Why be interested in this notion of motif in the first place? It has seemsappeared that this notion is one of the few that transcends (in part) the different disicplines, whether they be disciplines of the humanities or natural sciences, which often have little in common. Moreover, in linguistics, specifically in the subdisciplines concerned with semantic or stylistic characterisation of texts, the notion motif has undoubtedly enjoyed certain success in recent years. This success can be measured by the various proposals and innovations brought forward by different linguists, either to further develop this concept or to develop tools that allow the automated extraction of motifs from texts.
    [Show full text]
  • A Description of Theme in Stephen King's Novel Carrie
    A DESCRIPTION OF THEME IN STEPHEN KING’S NOVEL CARRIE A PAPER BY NAME : TAMARA REBECCA REG.NO : 142202013 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OFCULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2017 UNIVERSITAS SUMATERA UTARA Approved by Supervisor, Drs. Parlindungan Purba, M.Hum. NIP. 19630216 198903 1 003 Submitted to Faculty of Cultural Studies, University of North Sumatera In partial fulfillment of the requirements for Diploma-III in English Study Program Approved by Head of Diploma III English Study Program, Dra.SwesanaMardiaLubis.M.Hum. NIP. 19571002 198601 2 003 Approved by the Diploma-III English Study Program Faculty of Culture Studies, University of Sumatera Utara as a Paper for the Diploma-III Examination UNIVERSITAS SUMATERA UTARA Accepted by the board of examiners in partial fulfillment of the requirement for The Diploma-III Examination of the Diploma-III of English Study Program, Faculty of Cultural Studies, University of Sumatera Utara. The Examination is held on : Faculty of Culture Studies, University of Sumatera Utara Dean, Dr. Budi Agustono, M.S. NIP. 19600805198703 1 0001 Board of Examiners : Signed 1. Dra. SwesanaMardiaLubis, M.Hum( Head of ESP) ____________ 2. Drs. ParlindunganPurba, M.Hum( Supervisor ) ____________ 3. Drs. SiamirMarulafau, M.Hum ____________ UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am Tamara Rebecca declare that I am thesole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person’s work has been used without due acknowledgement in the main text of this paper.
    [Show full text]
  • Hamlet: Rhetoric Ahd the Theme Op Appearance Ahd Reality
    HAMLET: RHETORIC AHD THE THEME OP APPEARANCE AHD REALITY by ELLA NORBIB RXDSR, 3*A. A THESIS IS ESfGLISH Sutoltted to the Graduate Faoulty of Texas Technological College in Partial Fulflllnent of the HequireeiaBta for the Degrea of MASTER OP ARTS Approved Aecepted August» 1963 AC r5 n ACKKOWI^DOESBSTS Ky sincere appreciation la extended to the membera of my gradixete committee. Dr. Joseph T, McCullen, Director, and Dr. Roger Brooks* Their acholarship has inspired ne and their willing guidance has always been genuinely helpful, Ky gratitude la also extended to Dr. W. 6. Gates, Dean of the Graduate School (retired), whose guidanoe and encouragement have meant so ouoh to me, and to his secretary and my personal friend, Mrs* Irwie Temple, who has always cheerfully assisted me with administrative details* 11 TABLE OP CONTMTS FOREWORD I. BACKGROUND Elizabethan Concept of Tragedy The Problem of Revenge and Dramatic Irony The Problem of Appearance and Reality Historical Background and Shakespeare's Uae of Rhetoric II* Analysis of Rhetoric In Hamlet III* CONCLUSION BIBLIOGRAPHY ill FORSWORD Elizabethan audleoees keenly aQtlelpated the thena of appearwace and reality in drama, and Shakespeare inganiottsly wove this theme into his tragediea and illixni« nated it through his extraordinary use of rhetoric. In a study of appearance and reality one cannot overlook Shakespear*s skillful blending of all the dramatic elasents to complete the total effect oreated by the enaot- ment of the drama* The dependence of one element upon another makes it necessary to begin this study with a refer, ence to the Elizabethan concept of tragedy and revenge, as wall as the problem of appearance and reality* The dramatic elements are bound together by the chief vehicle of the play—the language.
    [Show full text]
  • Literary Terms - Fiction
    Literary Terms - Fiction Plot - The sequence of events in a literary work. Usually involves a conflict.Character - The persons, animals or creatures who take part in the action of a literary work. Setting - The time(s) and place(s) in which a story takes place. Narrator - The person telling the story. The narrator may or may not be a character within the story. First Person Narrator - Uses "I", story is told from his/her point of view only. Third Person Limited Narrator - A voice outside the story narrates - sees only one perspective (view) of the story. Third Person Omniscient - An all knowing narrator. Knows what all characters think and feel. Theme - A central message or insight into life revealed through the literary work. May be directly stated or only implied. There is often no single correct statement of a work's theme. Exposition - The beginning of a work of fiction. Introduces setting, characters and plot. May provide background information. Genre - A category or type of literature. Literature is commonly divided into three major genres: poetry, prose and drama. Each major genre can be divided into smaller categories. Foreshadow - The use of clues that suggest events that have yet to occur. This technique helps to create suspense. Flashback - A section of a literary work that interrupts the sequence of events (plot) to tell about an event from an earlier time. Conflict - A struggle between two opposing forces. Kinds of Conflict - Internal Conflict A character struggles with a decision or choice. External Conflict A character struggles with a force outside him/herself.
    [Show full text]