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Plot? What Is Structure?
Novel Structure What is plot? What is structure? • Plot is a series of interconnected events in which every occurrence has a specific purpose. A plot is all about establishing connections, suggesting causes, and and how they relate to each other. • Structure (also known as narrative structure), is the overall design or layout of your story. Narrative Structure is about both these things: Story Plot • The content of a story • The form used to tell the story • Raw materials of dramatic action • How the story is told and in what as they might be described in order chronological order • About how, and at what stages, • About trying to determine the key the key conflicts are set up and conflicts, main characters, setting resolved and events • “How” and “when” • “Who,” “what,” and “where” Story Answers These Questions 1. Where is the story set? 2. What event starts the story? 3. Who are the main characters? 4. What conflict(s) do they face? What is at stake? 5. What happens to the characters as they face this conflict? 6. What is the outcome of this conflict? 7. What is the ultimate impact on the characters? Plot Answers These Questions 8. How and when is the major conflict in the story set up? 9. How and when are the main characters introduced? 10.How is the story moved along so that the characters must face the central conflict? 11.How and when is the major conflict set up to propel them to its conclusion? 12.How and when does the story resolve most of the major conflicts set up at the outset? Basic Linear Story: Beginning, Middle & End Ancient (335 B.C.)Greek philosopher and scientist, Aristotle said that every story has a beginning, a middle, and an end. -
University Microfilms, a XERQ\Company, Ann Arbor, Michigan
72- 15,293 SHARP, Nicholas Andrew, 1944- SHAKESPEARE'S BAROQUE COMEDY: THE WINTER'S TALE. The Ohio State University, Ph.D., 1971 Language and Literature, modern University Microfilms, A XERQ\Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED SHAKESPEARE'S BAROQUE CŒEDY: THE V/INTER'S TALE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Nicholas Andrew Sharp, B,A., M,A, ***** The Ohio State University 1971 Approved by Id^iser Department of English PLEASE NOTE: Some pages have indistinct print. Filmed as received. University Microfilms, A Xerox Education Company Acknowledgraent I am extremely grateful to my adviser, Professor Rolf Soellner, for his advice, suggestions, and constant encouragement. ii VITA January 24, 1944 . Born— Kansas City, Missouri 1966 ......... B.A., The University of Kansas, Lawrence, Kansas 1966-1970........... NDEA Fellow, The Ohio State University, Columbus, Ohio 1968-1969, 1971-1972 . Teaching Associate, Department of English, The Ohio State University, Columbus, Ohio 1968 .......... M.A., The Ohio State University, Columbus, Ohio iii TABLE OF CONTENTS Page ACKNOWLEDGMENT..................................... ii VITA ..................................... .•.......... iii INTRODUCTION: BAROQUE AS AN HISTORICAL CONCEPT .... 1 Chapter I. THE JACOBEAN SETTING AND THE BAROQUE AESTHETIC 16 II. THE THEME OF SKEPTICAL FIDEISM............... 45 III. THE STRUCTURE............................... -
Module-9 Background Prose Readings COMEDY and TRAGEDY
Module-9 Background Prose Readings COMEDY AND TRAGEDY What is comedy? The word ‘Comedy’ has been derived the French word comdie, which in turn is taken from the Greeco-Latin word Comedia. The word comedia is made of two words komos, which means revel and aeidein means to sing. According to Oxford Advanced Learner’s Dictionary, comedy means a branch of drama, which deals with everyday life and humourous events. It also means a play of light and amusing type of theatre. Comedy may be defined as a play with a happy ending. Function of Comedy Though, there are many functions of comedy, yet the most important and visible function of comedy is to provide entertainment to the readers. The reader is forced to laugh at the follies of various characters in the comedy. Thus, he feels jubilant and forgets the humdrum life. George Meredith, in his Idea of Comedy, is of the view that comedy appeals to the intelligence unadulterated and unassuming, and targets our heads. In other words, comedy is an artificial play and its main function is to focus attention on what ails the world. Comedy is critical, but in its scourge of folly and vice. There is no contempt or anger in a comedy. He is also of the view that the laughter of a comedy is impersonal, polite and very near to a smile. Comedy exposes and ridicules stupidity and immorality, but without the wrath of the reformer. Kinds of Comedy 1. Classical Comedy Classical comedy is a kind of comedy, wherein the author follows the classical rules of ancient Greek and Roman writers. -
De Draagbare Wikipedia Van Het Schrijven – Verhaal
DE DRAAGBARE WIKIPEDIA VAN HET SCHRIJVEN VERHAAL BRON: WIKIPEDIA SAMENGESTELD DOOR PETER KAPTEIN 1 Gebruik, verspreiding en verantwoording: Dit boek mag zonder kosten of restricties: Naar eigen inzicht en via alle mogelijke middelen gekopieerd en verspreid worden naar iedereen die daar belangstelling in heeft Gebruikt worden als materiaal voor workshops en lessen Uitgeprint worden op papier Dit boek (en het materiaal in dit boek) is gratis door mij (de samensteller) ter beschikking gesteld voor jou (de lezer en gebruiker) en niet bestemd voor verkoop door derden. Licentie: Creative Commons Naamsvermelding / Gelijk Delen. De meeste bronnen van de gebruikte tekst zijn artikelen van Wikipedia, met uitzondering van de inleiding, het hoofdstuk Redigeren en Keuze van vertelstem. Deze informatie kon niet op Wikipedia gevonden worden en is van eigen hand. Engels In een aantal gevallen is de Nederlandse tekst te kort of non-specifiek en heb ik gekozen voor de Engelse variant. Mag dat zomaar met Wikipedia artikelen? Ja. WikiPedia gebruikt de Creative Commons Naamsvermelding / Gelijk Delen. Dit houdt in dat het is toegestaan om: Het werk te delen Het werk te bewerken Onder de volgende voorwaarden: Naamsvermelding (in dit geval: Wikipedia) Gelijk Delen (verspreid onder dezelfde licentie als Wikipedia) Link naar de licentie: http://creativecommons.org/licenses/by-sa/3.0/deed.nl Versie: Mei 2014, Peter Kaptein 2 INHOUDSOPGAVE INLEIDING 12 KRITIEK EN VERHAALANALYSE 16 Literaire stromingen 17 Romantiek 19 Classicisme 21 Realisme 24 Naturalisme 25 -
Teknophagy and Tragicomedy: the Mythic Burlesques of Tereus and Thyestes
This is a repository copy of Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/126374/ Version: Accepted Version Article: Haley, M orcid.org/0000-0002-7697-3568 (2018) Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. Ramus, 47 (2). pp. 152-173. ISSN 0048-671X https://doi.org/10.1017/rmu.2018.12 © Ramus 2019. This article has been published in a revised form in Ramus: https://doi.org/10.1017/rmu.2018.12. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Ramus Submission 2017 Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes Teknophagy (τεκνοφαγία), or child-eating, is an apt subject for tragedy. -
Slaves, Sex, and Transgression in Greek Old Comedy
Slaves, Sex, and Transgression in Greek Old Comedy By Daniel Christopher Walin A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mark Griffith, Chair Professor Donald J. Mastronarde Professor Kathleen McCarthy Professor Emily Mackil Spring 2012 1 Abstract Slaves, Sex, and Transgression in Greek Old Comedy by Daniel Christopher Walin Doctor of Philosophy in Classics University of California, Berkeley Professor Mark Griffith, Chair This dissertation examines the often surprising role of the slave characters of Greek Old Comedy in sexual humor, building on work I began in my 2009 Classical Quarterly article ("An Aristophanic Slave: Peace 819–1126"). The slave characters of New and Roman comedy have long been the subject of productive scholarly interest; slave characters in Old Comedy, by contrast, have received relatively little attention (the sole extensive study being Stefanis 1980). Yet a closer look at the ancestors of the later, more familiar comic slaves offers new perspectives on Greek attitudes toward sex and social status, as well as what an Athenian audience expected from and enjoyed in Old Comedy. Moreover, my arguments about how to read several passages involving slave characters, if accepted, will have larger implications for our interpretation of individual plays. The first chapter sets the stage for the discussion of "sexually presumptive" slave characters by treating the idea of sexual relations between slaves and free women in Greek literature generally and Old Comedy in particular. I first examine the various (non-comic) treatments of this theme in Greek historiography, then its exploitation for comic effect in the fifth mimiamb of Herodas and in Machon's Chreiai. -
The Comic in the Theatre of Moliere and of Ionesco: a Comparative Study
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1965 The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study. Sidney Louis Pellissier Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pellissier, Sidney Louis, "The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study." (1965). LSU Historical Dissertations and Theses. 1088. https://digitalcommons.lsu.edu/gradschool_disstheses/1088 This Dissertation 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 66-744 PELLISSIER, Sidney Louis, 1938- s THE COMIC IN THE THEATRE OF MO LI ERE AND OF IONESCO: A COMPARATIVE STUDY. Louisiana State University, Ph.D., 1965 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE COMIC IN THE THEATRE OF MOLIHRE AND OF IONESCO A COMPARATIVE STUDY A Dissertation 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 Doctor of Philosophy in The Department of Foreign Languages btf' Sidney L . ,') Pellissier K.A., Louisiana State University, 19&3 August, 19^5 DEDICATION The present study is respectfully dedicated the memory of Dr. Calvin Evans. ii ACKNO'.-'LEDGEKiNT The writer wishes to thank his major professor, Dr. -
Sachgebiete Im Überblick 513
Sachgebiete im Überblick 513 Sachgebiete im Überblick Dramatik (bei Verweis-Stichwörtern steht in Klammern der Grund artikel) Allgemelnes: Aristotel. Dramatik(ep. Theater)· Comedia · Comedie · Commedia · Drama · Dramaturgie · Furcht Lyrik und Mitleid · Komödie · Libretto · Lustspiel · Pantragis mus · Schauspiel · Tetralogie · Tragik · Tragikomödie · Allgemein: Bilderlyrik · Gedankenlyrik · Gassenhauer· Tragödie · Trauerspiel · Trilogie · Verfremdung · Ver Gedicht · Genres objectifs · Hymne · Ideenballade · fremdungseffekt Kunstballade· Lied· Lyrik· Lyrisches Ich· Ode· Poem · Innere und äußere Strukturelemente: Akt · Anagnorisis Protestsong · Refrain · Rhapsodie · Rollenlyrik · Schlager · Aufzug · Botenbericht · Deus ex machina · Dreiakter · Formale Aspekte: Bildreihengedicht · Briefgedicht · Car Drei Einheiten · Dumb show · Einakter · Epitasis · Erre men figuratum (Figurengedicht) ·Cento· Chiffregedicht· gendes Moment · Exposition · Fallhöhe · Fünfakter · Göt• Echogedicht· Elegie · Figur(en)gedicht · Glosa · Klingge terapparat · Hamartia · Handlung · Hybris · Intrige · dicht . Lautgedicht . Sonett · Spaltverse · Vers rapportes . Kanevas · Katastasis · Katastrophe · Katharsis · Konflikt Wechselgesang · Krisis · Massenszenen · Nachspiel · Perioche · Peripetie Inhaltliche Aspekte: Bardendichtung · Barditus · Bildge · Plot · Protasis · Retardierendes Moment · Reyen · Spiel dicht · Butzenscheibenlyrik · Dinggedicht · Elegie · im Spiel · Ständeklausel · Szenarium · Szene · Teichosko Gemäldegedicht · Naturlyrik · Palinodie · Panegyrikus -
Piecing Together the Puzzle of Contemporary Spanish Fiction: a Translation and Critical Analysis of Fricciones by Pablo Martín Sánchez
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 Piecing Together the Puzzle of Contemporary Spanish Fiction: A Translation and Critical Analysis of Fricciones by Pablo Martín Sánchez Madeleine Renee Calhoun Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Reading and Language Commons, and the Spanish and Portuguese Language and Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Calhoun, Madeleine Renee, "Piecing Together the Puzzle of Contemporary Spanish Fiction: A Translation and Critical Analysis of Fricciones by Pablo Martín Sánchez" (2016). Senior Projects Spring 2016. 224. https://digitalcommons.bard.edu/senproj_s2016/224 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Piecing Together the Puzzle of Contemporary Spanish Fiction: A Translation and Critical Analysis of Fricciones by Pablo Martín Sánchez Senior Project Submitted to The Division of Languages and Literature of Bard College by Madeleine Calhoun AnnandaleonHudson, New York May 2016 Acknowledgements First and foremost, I would like to thank my advisor, Patricia LópezGay, for her unwavering support and encouragement throughout the past year. -
The Reflection of Ancient Greek and Roman Theaters in Today's Culture
International Journal of Arts Humanities and Social Sciences Studies Volume 5 Issue 7 ǁ July 2020 ISSN: 2582-1601 www.ijahss.com The Reflection Of Ancient Greek And Roman Theaters In 1 Today’s Culture Of Humor Tahsin Emre FIRAT Dr., Atatürk University, ORCID Numbers: 0000-0002-7384-2853 Abstract: Today’s humor culture substantially originates from theatrical genres which had displayed during the ancient period. Tragedy, comedy and satire examples which had come to the forefront in the Roman and Greek cultures during the ancient era give clues about the cultural structure of the era. These theatrical genres containing solemnity, satire, sarcasm and irony reflect tragic and humorous elements of the Ancient Roman and Greek culture. Fabula Crepidata / tragoedia, Fabula Praetexta (ta), Fabula Palliata /comoedia, Fabula Togata / tabernaria, Fabula Atellana, Mimus / planipes and Pantomimus are among the examples of the Ancient Roman and Greek theatrical culture. This study which will examine the aforementioned theatrical genres of the ancient period consists of a literature review. This study investigates the above-mentioned theatrical genres and their relation to today’s culture of humor, with a focus on the historical transformation of performance-based culture of humor. Keywords: Humor, satire, ancient theatre. I. Introduction Ancient Greek and Rome are the civilizations where the theatrical culture and thus humor were appreciated immensely. Dionysus carnivals and Aristophanes comedies emerged in these cultures. In this context, it is necessary to consider theatrical genres that were displayed during the Ancient Greek and Roman era in order to interpret the verbal humor culture and its relationship with drama. -
Comedy in Greek Theatre
International Journal of Research in Social Sciences Vol. 9 Issue 2, Feb 2019, ISSN: 2249-2496 Impact Factor: 7.081 Journal Homepage: http://www.ijmra.us, Email: [email protected] Double-Blind Peer Reviewed Refereed Open Access International Journal - Included in the International Serial Directories Indexed & Listed at: Ulrich's Periodicals Directory ©, U.S.A., Open J-Gate as well as in Cabell’s Directories of Publishing Opportunities, U.S.A COMEDY IN GREEK THEATRE Prof. Dr.Nilesh P. Sathvara (M.A., Ph.D.) ShriH.K.Arts College, Ahmedabad – Gujarat (India) Abstract Ancient Greek comedy was one of the final three principal dramatic forms in the theatre of classical Greece (the others being tragedy and the satyr play). Athenian comedy is conventionally divided into three periods, Old Comedy, Middle Comedy, and New Comedy. Old Comedy survives today largely in the form of the eleven surviving plays of Aristophanes, while Middle Comedy is largely lost, ie preserved only in relatively short fragments by authors such as Athenaeus of Naucratis New Comedy is known primarily from the substantial papyrus fragments of Menander. Ancient Greek comedy was a popular and influential form of theatre performed across ancient Greece from the 6th century BCE. The most famous playwrights of the genre were Aristophanes and Menander and their works, and those of their contemporaries, poked fun at politicians, philosophers, and fellow artists. In addition to maintaining their comic touch, the plays also give an indirect but invaluable insight into Greek Society in general and provide details on the workings of political institutions, legal systems, religious practices, education, and warfare in the Hellenic world, Uniquely, the plays also reveal to us something of the identity of the audience and show just what tickled the Greeks' sense of humour. -
Science Fiction Review 37
SCIENCE FICTION REVIEW $2.00 WINTER 1980 NUMBER 37 SCIENCE FICTION REVIEW (ISSN: 0036-8377) Formerly THE ALIEN CRITZ® P.O. BOX 11408 NOVEMBER 1980 — VOL.9, NO .4 PORTLAND, OR 97211 WHOLE NUMBER 37 PHONE: (503) 282-0381 RICHARD E. GEIS, editor & publisher PAULETTE MINARE', ASSOCIATE EDITOR PUBLISHED QUARTERLY FEB., MAY, AUG., NOV. SINGLE COPY — $2.00 COVER BY STEPHEN FABIAN SHORT FICTION REVIEWS "PET" ANALOG—PATRICIA MATHEWS.40 ASIMOV'S-ROBERT SABELLA.42 F8SF-RUSSELL ENGEBRETSON.43 ALIEN THOUGHTS DESTINIES-PATRICIA MATHEWS.44 GALAXY-JAFtS J.J, WILSON.44 REVIEWS- BY THE EDITOR.A OTT4I-MARGANA B. ROLAIN.45 PLAYBOY-H.H. EDWARD FORGIE.47 BATTLE BEYOND THE STARS. THE MAN WITH THE COSMIC ORIGINAL ANTHOLOGIES —DAVID A. , _ TTE HUNTER..... TRUESDALE...47 ESCAPE FROM ALCATRAZ. TRIGGERFINGER—an interview with JUST YOU AND Ft, KID. ROBERT ANTON WILSON SMALL PRESS NOTES THE ELECTRIC HORSEMAN. CONDUCTED BY NEAL WILGUS.. .6 BY THE EDITOR.49 THE CHILDREN. THE ORPHAN. ZOMBIE. AND THEN I SAW.... LETTERS.51 THE HILLS HAVE EYES. BY THE EDITOR.10 FROM BUZZ DIXON THE OCTOGON. TOM STAICAR THE BIG BRAWL. MARK J. MCGARRY INTERFACES. "WE'RE COMING THROUGH THE WINDOW" ORSON SCOTT CARD THE EDGE OF RUNNING WATER. ELTON T. ELLIOTT SF WRITER S WORKSHOP I. LETTER, INTRODUCTION AND STORY NEVILLE J. ANGOVE BY BARRY N. MALZBERG.12 AN HOUR WITH HARLAN ELLISON.... JOHN SHIRLEY AN HOUR WITH ISAAC ASIMOV. ROBERT BLOCH CITY.. GENE WOLFE TIC DEAD ZONE. THE VIVISECTOR CHARLES R. SAUNDERS BY DARRELL SCHWEITZER.15 FRANK FRAZETTA, BOOK FOUR.24 ALEXIS GILLILAND Tl-E LAST IMMORTAL.24 ROBERT A.W, LOWNDES DARK IS THE SUN.24 LARRY NIVEN TFC MAN IN THE DARKSUIT.24 INSIDE THE WHALE RONALD R.