Creative Nonfiction February 2014 Page 1 of 7 Grade: 11/12
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic«
DOI 10.1515/jlt-2013-0006 JLT 2013; 7(1–2): 135–153 Ted Nannicelli The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic« Abstract: Are screenplays – or at least some screenplays – works of literature? Until relatively recently, very few theorists had addressed this question. Thanks to recent work by scholars such as Ian W. Macdonald, Steven Maras, and Steven Price, theorizing the nature of the screenplay is back on the agenda after years of neglect (albeit with a few important exceptions) by film studies and literary studies (Macdonald 2004; Maras 2009; Price 2010). What has emerged from this work, however, is a general acceptance that the screenplay is ontologically peculiar and, as a result, a divergence of opinion about whether or not it is the kind of thing that can be literature. Specifically, recent discussion about the nature of the screenplay has tended to emphasize its putative lack of ontological autonomy from the film, its supposed inherent incompleteness, or both (Carroll 2008, 68–69; Maras 2009, 48; Price 2010, 38–42). Moreover, these sorts of claims about the screenplay’s ontology – its essential nature – are often hitched to broader arguments. According to one such argument, a screenplay’s supposed ontological tie to the production of a film is said to vitiate the possibility of it being a work of literature in its own right (Carroll 2008, 68–69; Maras 2009, 48). According to another, the screenplay’s tenuous literary status is putatively explained by the idea that it is perpetually unfinished, akin to a Barthesian »writerly text« (Price 2010, 41). -
AS and a Level English Literature
AS and A Level English Literature Literary terms: A guide for students Literary terms: A guide for students Literary terms: A guide for students Contents Introduction .............................................................................................. 2 Frequently misused words ........................................................................... 3 General terms: .......................................................................................... 4 Poetry ...................................................................................................... 8 Genres ................................................................................................... 8 Analytic vocabulary ............................................................................... 10 Drama .................................................................................................... 11 Genres ................................................................................................. 11 Analytic Terms ...................................................................................... 12 Prose ...................................................................................................... 13 Genres ................................................................................................. 13 Analytic Terms ...................................................................................... 14 1 Literary terms: A guide for students Introduction The terminology below may be used support your reading and response -
The Fourth Genre: Creative Nonfiction Joseph Harris Professor of English
The Fourth Genre: Creative Nonfiction Joseph Harris Professor of English Students often read varied and interesting texts in school: stories, poems, plays, speeches, histories, memoirs, accounts of explorations and discoveries, lives of famous people. But what they write tends to be much more limited—usually just paragraphs or brief essays summarizing or analyzing what they’ve read. As a result students often come to see school writing as dull and formulaic, unconnected to what they actually care about. (Or at least this is what many of the freshmen in my college writing classes tell me.) Even those occasional moments when students are asked to compose a story or poem can sometimes seem only to underline the distinction between the fun of creative writing and the routine of most school work. In this seminar we will try to break down the opposition between creative and school writing by looking at what is sometimes called the “fourth genre” of literature. Creative nonfiction is writing about facts—about real people, things, and events. But it is also writing that aims to be as engaging as fiction. The voice of the writer is key. We read a piece of creative nonfiction not only for what it tells us about its subject but also for what we can learn about its author. We’ll approach our study of creative nonfiction in two ways. First, we’ll read and discuss some of the best nonfiction writers at work today—authors like Joyce Carol Oates, Roxanne Gay, Oliver Sacks, Atul Gawande, Ta Nehisi Coates, and Naomi Wolf. -
Literary Elements Name Period Date
Literary Elements Name Period Date Literary elements are what make up the backbone of almost every single story created. A literary element is a broad topic which describes the attributes of a story. These elements are used to create a story in an interesting fashion. Literary elements are divided into many smaller categories. These categories are the better known terms. These include conflict, foreshadowing, climax, irony, theme, motif, etc. Literary elements are often used by famous story writers such as Edgar Allen Poe, Roald Dahl, and many others. Three of the most important elements, that make stories interesting, are foreshadowing, climaxes, and motifs. The first literary element is foreshadowing. Foreshadowing is what helps come up with ideas of what will occur later on. Foreshadowing is widely used in many films such as The Avengers. This occurs when the character Loki states, “No, you have already brought the monster…” This leads to the conclusion that there is someone on board who Loki plans on using. Foreshadowing also appears in the famous story “The Cask of Amontillado.” It is apparent when the character Montressor states, “… and I to your long life.” This makes me think that Fortuanato was not going to be alive for much longer. Foreshadowing also appears in the short story “The Stolen Party.” In which a character tells the main girl, “… because I am her cousin, and I know all her friends, and I don’t know you.” This forms the idea that maybe that girl is right after all. Without foreshadowing, stories would be left bland and boring. -
Creative Nonfiction
WRITING CREATIVE NON-FICTION THEODORE A. REES CHENEY CREATIVE NONFICTION Creative nonfiction tells a story using facts, but uses many of the techniques of fiction for its compelling qualities and emotional vibrancy. Creative nonfiction doesn’t just report facts, it delivers facts in ways that move the reader toward a deeper understanding of a topic. Creative nonfiction requires the skills of the storyteller and the research ability of the conscientious reporter. Writers of creative nonfiction must become instant authorities on the subject of their articles or books. They must not only understand the facts and report them using quotes by authorities, they must also see beyond them to discover their underlying meaning, and they must dramatize that meaning in an interesting, evocative, informative way—just as a good teacher does. When you write nonfiction, you are, in effect, teaching the reader. Research into how we learn shows that we learn best when we are simultaneously entertained—when there is pleasure in the learning. Other research shows that our most lasting memories are those wrapped in emotional overtones. Creative nonfiction writers inform their readers by making the reading experience vivid, emotionally compelling, and enjoyable while sticking to the facts. TELLING THE “WHOLE TRUTH” Emotions inform our understanding all the time. So, to tell the whole truth about most situations that involve people (and most situations do), in the words of Tom Wolfe, we need to “excite the reader both intellectually and emotionally.” The best nonfiction writers do not tell us how we should think about something, how we should feel about it, nor what emotions should be aroused. -
Epsitemology, Literary Genre and Knowledge Organisation Systems
Epistemology, literary genre and knowledge organisation systems PAULINE RAFFERTY Aberystwyth University Llanbadarn Fawr, Ceredigion, Wales [email protected] Abstract This theoretical paper considers genre as the epistemological foundation for fiction retrieval systems, in particular the relationship between the individual work and generic systems. It explores the characteristics of literary genres, and how they are determined, and examines ontological and historical aspects of genre. It considers the relationship between historically contingent generic transformations and literary genre as categorising principle. Finally, it offers some suggestions for future design of fiction KOS. Keywords: Fiction, Genres, Knowledge organisation systems, Tagging. 20 Años del Capítulo Español de ISKO. Actas del X Congreso ISKO Capítulo Español (Ferrol, 2011) Universidade da Coruña (España), 2012. ISBN: 978-84-9749-535-6 Pp. 553-565 EPISTEMOLOGY, LITERARY GENRE AND KNOWLEDGE ORGANISATION SYSTEMS 555 1. Preface Traditionally, where knowledge organisation systems (KOS) have dealt with fictional works, the approach has generally been through genre (see Beghtol, 1989, 1990, for an overview of fiction classification schemes). The notion of genre as categorisation principle comes to library science, relatively unexamined, from literary theory. It underpins many of the assumptions that fiction KOS has about fictional texts, even when the focus of the fiction retrieval system is predominantly based on user-warrant (e.g. The Book House, Pejtersen, 199, 59). Raymond Williams wrote “the recognition of the relation of a collective mode and an individual object …is a recognition of related practices. That is to say, the irreducibly individual projects that particular works are, may come in experience and in analysis to show resemblances which allow us to group them into collective modes” (Williams, 2001, 179). -
New Orlearis Review
New Orlearis Review LOYOLA UNIVERSITY VOLUME 11 NUMBER 21$7.00 New Orleans Review Summer 1984 Editors John Biguenet, Art and Literature Bruce Henricksen, Theory and Criticism John Mosier, Film, General Editor Managing Editor Sarah Elizabeth Spain Design Vilma Pesciallo Contributing Editor Raymond McGowan Founding Editor Miller Williams Advisory Editors Richard Berg Doris Betts Joseph Fichter, S.J. Dawson Gaillard Alexis Gonzales, F.S.C. John Irwin Murray Krieger Wesley Morris Walker Percy Herman Rapaport Robert Scholes Marcus Smith Miller Williams The New Orleans Review is published by Loyola University, New Orleans, Louisiana 70118, United States. Copyright © 1984 by Loyola University. Critical essays relating to film or literature of up to ten thou sand words should be prepared to conform with the new MLA guidelines and sent to the appropriate editor, together with a stamped, self-addressed envelope. The address is New Or leans Review, Box 195, Loyola University, New Orleans, Lou isiana 70118. Fiction, poetry, photography or related artwork should be sent to the Art and Literature Editor. A stamped, self-addressed envelope should be enclosed. Reasonable care is taken in the handling of material, but no responsibility is assumed for the loss of unsolicited material. Accepted manuscripts are the property of the NOR. The New Orleans Review is published in February, May, Au gust and November. Annual Subscription Rate: Institutions $30.00, Individuals $25.00, Foreign Subscribers $35.00. Con tents listed in the PMLA Bibliography and the Index of American Periodical Verse. US ISSN 0028-6400. r CONTENTS POETRY AND FICTION Babies Are Cruel People fan Newman 31 The Reception Richard Easton 23 I J I I The Baker F. -
History As Rhetoric, Fable, and Literary Genre
International Journal of Literature and Arts 2014; 2(1): 16-23 Published online February 20, 2014 (http://www.sciencepublishinggroup.com/j/ijla) doi: 10.11648/j.ijla.20140201.14 History as rhetoric, fable, and literary genre Alejandro Cheirif Wolosky Museum of natural history, Luxemburg, Luxembourg Email address: [email protected] To cite this article: Alejandro Cheirif Wolosky. History as Rhetoric, Fable, and Literary Genre. International Journal of Literature and arts . Vol. 2, No. 1, 2014, pp. 16-23. doi: 10.11648/j.ijla.20140201.14 Abstract: This article provides an insight into the notion of history as a literary genre. It argues that in the sixteenth and seventeenth centuries the concept of “history” was mostly employed in its plural form: “the stories” and not “history” were the predominant form of the concept of history. These “stories” were related to the ancient Ciceronian rhetorical and moral tradition of history as Magistra Vitae (history as life's teacher) and were considered part of the so-called belles-lettres or “literature”. Keywords: History, Literature, Rhetoric, Fable designated the “subjective” aspect of history with the word 1. Introduction Historie -- the account or narration of what has happened -- In the fifth edition of the Dictionary of the French and with the word Geschichte its objective aspect: the Academy ( Dictionnaire de l'Académie Française ), events of the past themselves. Towards the end of the published in 1798, in the entry for the word histoire, written eighteenth-century, the word Geschichte , derived from the in the singular and feminine form, we find the following verb geschehen (to occur), merged both meanings into one definition: “Narrative of actions and events worth of single word (Geschichte). -
Foundations of ELA Honors 9
PLANNED COURSE OF STUDY Course Title Foundations of High School English Language Arts - Honors Grade Level Ninth Grade Credits 2 Content Area / English Language Arts Dept. Length of Course One Year Author(s) Course Description: Foundations of ELA 9 Honors is designed to take students on a reflective and evaluative exploration of both classic and contemporary texts. Students will have the opportunity to explore the texts independently, as well as in cooperative groups, while demonstrating initiative and comprehension through manipulation of the text. Through the study of core texts—Ray Bradbury’s Fahrenheit 451, Homer’s The Odyssey, Gene Luen Yang’s American Born Chinese, and William Shakespeare’s Romeo and Juliet-- students will delve into the structure of language with a focus on specific themes, such as the journey as a metaphor, fate vs. free will, trust, coping with change, the struggles of overcoming obstacles, and perseverance in the face of adversity and stereotypes. While actively seeking and recognizing thematic strands within the texts, students will be encouraged to form personal and creative connections to their lives and to the world around them. Students will also engage in a study of selected poems and short works to closely analyze literary devices in connection to the author’s purpose. In addition, Foundations of ELA 9 Honors requires students to analyze literature and rhetoric with intellectual curiosity, persistence, and a readiness to engage in independent risk- taking. ELA 9 Honors students will be expected to process course material with an increased pace and demonstrate critical thinking skills with limited guidance. Course Rationale: Many of the works read in our ninth-grade curriculum are the most celebrated canonical pieces of their time. -
An Analysis of Narrative and Voice in Creative Nonfiction
An Analysis of Narrative and Voice in Creative Nonfiction Michael Pickett1 ARTICLE INFO ABSTRACT Available Online August 2013 This manuscript surveys and analyzes the relationships between 25 Key words: published essays identified in the book In Fact: The Best of Creative Narratological Framework; Nonfiction using Jahn’s (2003) narratological framework in an attempt Narratological Relationships; to identify the narratological relationships between fiction and creative Creative Nonfiction. nonfiction and to analyze creative nonfiction through a narratological framework created for fiction. All of the surveyed stories contained many indicators that contribute to a deepened engagement for the readers, however at the individual writer level; the lowest common denominator is each writer’s ability to forge ahead and continue to create a narrative that develops meaning for the readers beyond the mere reporting of events. Areas identified for further research includes experimental research in the areas of cross-cultural cognitive models that could provide insights concerning the existence of an unreliable narrator within narrative discourse. In addition research could be pursued in the areas of structural discourse of the narrative, much like Jahn’s model, yet somewhat more cognitive juxtaposing the more psychological aspects of narrative discourse to the structural components. 1.0 INTRODUCTION The beginning is the most important part of the work. Plato As with any major undertaking whether it is an anthology, essay, or research project, the beginning is the most difficult part. Therefore, after many hours of research and reading, I had always wondered, what makes creative nonfiction successful? Could it be the story itself, regardless of who the author was? No, that really cannot be the answer because there are many good writers who are not as well recognized as they might have been, even with famous or infamous stories. -
Creative Writing, A.A. - Screenwriting Concentration Fall 2020 Student's Name: Advisor's Name
Creative Writing, A.A. - Screenwriting Concentration Fall 2020 Student's Name: Advisor's Name: ENGL049 - Accelerated Reading and RDNG 116 - College Reading and Study Skills Student may need to Writing Skills for ENGL100 OR take the following ENGL098 - Accelerated Writing Skills for MATH 090 - Pre-Algebra courses: ENGL100 MATH 095 - Beginning Algebra Grade Earned Semester Course Requirement Course Title Credits Min. Grade T - Transfer Completed FIRST YEAR FALL ENGL 100 Academic Writing I 1 3 C ENGL 135 OR Short Narrative Film Writing OR ENGL 261 Visiting Writer Series 1 Liberal Arts Elective 3 SUNY GEN ED Mathematics Elective 3 SUNY GEN ED Social Sciences Elective 3 Unrestricted Elective 2 3 Total Credits 16 SPRING ENGL 101 Academic Writing II 3 3 ENGL 102 Approaches to Literature 3 3 ENGL 200 Screenwriting 3 ENGL 233 Film Analysis 3 SUNY GEN ED Science Elective 4 3 Total Credits 15 SECOND YEAR FALL ENGL 201 OR Public Speaking OR 3 ENGL 204 Interpersonal Communication ENGL 216 Advanced Screenwriting 3 ENGL 256 Playwriting or ENGL Elective 3 ENGL 274 Marketing the Screenplay 1 SUNY GEN ED Foreign Language Sequence Elective 5 3 Unrestricted Elective 6 3 Total Credits 16 SPRING ENGL 237 OR Journalism OR ENGL 258 Creative Nonfiction 3 ENGL 255 Writing Television Drama & Comedy 3 5 SUNY GEN ED Foreign Language Sequence Elective 3 SUNY GEN ED Restricted Elective 7 3 Unrestricted Elective 6 3 Total Credits 15 Minimum Credits Required for Graduation: 62 1 A C or better grade is required in ENGL 100. A student exempted from ENGL 100 must substitute a three credit liberal arts elective. -
Sweet Is Crème Brûlée
4.3 Letter from the Editor As I write this, we're still in April—National Poetry Month. In the Tampa area, there will have been at least 17 readings this month, including a number sponsored by community groups and held at local coffee shops and bars—a surfeit of poetry. Social media is exploding with links to great poems. A friend hosted a party for which we were encouraged to show up in pajamas and read a favorite poem or two. (For the record, my sleepwear was an old t-shirt of Ira's and a pair of comfy shorts, but the apartment was so deeply air-conditioned that I envied those who had worn their fuzzy slippers.) What a time to be a poet, or a reader of poetry! And yet...there are moments when even I am a little overloaded with poetry. When it comes to feel like an obligation. It's mid-month, and I've only made it to three poetry events so far. Yes, sometimes during the events I'm doing my own necessary work. But sometimes I'm watching Dr. Who on Netflix and eating Cadbury chocolate eggs, letting my brain flatten out like the surface of a swimming pool when everybody's finally gotten out and grabbed their towels. I'm distressed by my own behavior. After all, I belong to the church of poetry. Poetry is the closest I get to religion. It's what connects me to the mystery, to people, to the world. I'm finally coming to understand it, though.