9 Honors 1. Allegory – a Story, Poem, Or Picture That Can Be Interpreted To
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On Morals, Fictions, and Genres
On Morals, Fictions, and Genres by Shen-yi Liao A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Philosophy) in The University of Michigan 2011 Doctoral Committee: Professor Kendall L. Walton, Chair Professor Daniel Jacobson Associate Professor Sarah Buss Assistant Professor Sekhar Chandra Sripada c Shen-yi Liao 2011 All Rights Reserved ACKNOWLEDGEMENTS To start, I would like to thank the members of my committee, whose incisive feedback and patient guidance made this dissertation possible. Ken Walton sparked my interest in aesthetics and guided this project from the very beginning. The influence of his thoughtful criticisms can be seen on nearly every page. Sarah Buss has been a source of constant encouragement and her attention to detail greatly improved this work. Dan Jacobson consistently provided invaluable comments on this work and equally invaluable advice on navigating academia. Chandra Sripada served as an exemplary model for integrating empirical methods into philosophical inquiry. I also owe much gratitude to all others who have contributed to the finished dissertation and my growth as a philosopher. In particular, although their names do not appear on the cover page, Tamar Gendler, Shaun Nichols, and Andy Egan more than deserve the title of unofficial committee members. Each of them had a tremendous impact on the way I think about the topics covered in this dissertation, and more importantly, the way I think as a philosopher. In addition, Lina Jansson taught me much about scientific explanation and Nina Strohminger taught me much about experimental design and statistical analysis. Other members of the Michigan philosophical community deserve thanks. -
Blake Snyder's Beat Sheet
NYC Screenwriters Collective Blake Snyder’s Beat Sheet - Explained The Blake Snyder Beat Sheet breaks down three-act screenplay structure into 15 bite-size, manageable sections called beats, each with a specific goal for your overall story. Below is an explanation of each beat. The page numbers are not strict, they are approximations of where the beats should occur in a 110 page screenplay. THE BLAKE SNYDER BEAT SHEET (aka BS2) Opening Image (1) – A visual that represents the central struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins. Often mirrors the Closing Image. Set-up (1-10) – Expand on the opening image. Present the main character’s world as it is, and what is missing in their life. Stasis = Death, the “before” life of the protagonist is such that if it stays the same, he or she will figuratively die. In addition, the main character’s flaw, his problem that needs fixing over the course of the story, is revealed. (In many stories, it is not the main character’s flaw, but another central character’s flaw that is presented for him to resolve over the course of the story – for the character to ‘arc’) Theme Stated (5) (during the Set-up) – The message, the truth you want to reveal by the end of your screenplay. What your story is about in a larger sense. Usually, it is spoken to the main character or in their presence, but they don’t understand this truth…not until they go on the journey to find it. -
"Fictionalism: Morality and Metaphor"
- 1 - Fictionalism: Morality and metaphor Richard Joyce Penultimate draft of paper appearing in F. Kroon & B. Armour-Garb (eds.), Philosophical Fictionalism (Oxford University Press, forthcoming). 1. Introduction Language and reflection often pull against each other. Ordinary ways of talking appear to commit speakers to ontologies that may, upon reflection, be deemed problematic for a variety of empirical, metaphysical, and/or epistemological reasons. The use of moral discourse, for example, appears to commit speakers to the existence of obligation, evil, desert, praiseworthiness (and so on), while metaethical reflection raises a host of doubts about how such properties could exist in the world and how we could have access to them if they did. One extreme solution to the tension is to give up reflection—to become like those “honest gentlemen” of England, as Hume described them, who “being always employ’d in domestic affairs, or amusing themselves in common recreations, have carried their thoughts very little beyond those objects” (Treatise 1.4.7.14). Hume sounds a touch envious of the unreflective idyll, but the very fact that he is penning a treatise on human nature shows that this is not a solution available to him; and, likewise, the very fact that you are reading this chapter shows that it’s unlikely to be a solution for you. Another extreme solution to the tension is to give up language—not in toto, of course, but selectively: to stop using those elements of discourse that are deemed to have unacceptable commitments. How radical this eliminativism is will depend on the nature of the problem. -
The Low-Status Character in Shakespeare's Comedies Linda St
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1973 The Low-Status Character in Shakespeare's Comedies Linda St. Clair Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation St. Clair, Linda, "The Low-Status Character in Shakespeare's Comedies" (1973). Masters Theses & Specialist Projects. Paper 1028. http://digitalcommons.wku.edu/theses/1028 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ARCHIVES THE LOW-STATUS CHARACTER IN SHAKESPEAREf S CCiiEDIES A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bov/ling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Linda Abbott St. Clair May, 1973 THE LOW-STATUS CHARACTER IN SHAKESPEARE'S COMEDIES APPROVED >///!}<•/ -J?/ /f?3\ (Date) a D TfV OfThesis / A, ^ of the Grafduate School ACKNOWLEDGEMENTS With gratitude I express my appreciation to Dr. Addie Milliard who gave so generously of her time and knowledge to aid me in this study. My thanks also go to Dr. Nancy Davis and Dr. v.'ill Fridy, both of whom painstakingly read my first draft, offering invaluable suggestions for improvement. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii INTRODUCTION 1 THE EARLY COMEDIES 8 THE MIDDLE COMEDIES 35 THE LATER COMEDIES 8? CONCLUSION 106 BIBLIOGRAPHY Ill iv INTRODUCTION Just as the audience which viewed Shakespeare's plays was a diverse group made of all social classes, so are the characters which Shakespeare created. -
Moral Rhetoric in Twitter: a Case Study of the U.S
Moral Rhetoric in Twitter: A Case Study of the U.S. Federal Shutdown of 2013 Eyal Sagi ([email protected]) Kellogg School of Management, Northwestern University Evanston, IL 60208 USA Morteza Dehghani ([email protected]) Brain Creativity Institute, University of Southern California Los Angeles, CA 90089 USA Abstract rhetoric is prevalent in political debates (e.g., Marietta, 2009). In this paper we apply a computational text analysis technique used for measuring moral rhetoric in text to analyze the moral Our investigation contributes to the general study of loadings of tweets. We focus our analysis on tweets regarding moral cognition by providing an alternative method for the 2013 federal government shutdown; a topic that was at the measuring moral concerns in a more naturalistic setting forefront of U.S. politics in late 2013. Our results demonstrate compared to self-report survey method and artificial that the positions of the members of the two major political paradigms used in traditional judgment and decision-making parties are mirrored by the positions taken by the Twitter experiments. communities that are aligned with them. We also analyze retweeting behavior by examining the differences in the moral Following Sagi and Dehghani (2013), we define moral loadings of intra-community and inter-community retweets. rhetoric as “the language used for advocating or taking a We find that retweets in our corpus favor rhetoric that moral stance towards an issue by invoking or making salient enhances the cohesion of the community, and emphasize various moral concerns”. Our analysis of moral rhetoric is content over moral rhetoric. We argue that the method grounded in Moral Foundations Theory (Graham et al., proposed in this paper contributes to the general study of 2013; Haidt & Joseph, 2004), which distinguishes between moral cognition and social behavior. -
The Importance of Being Earnest Noah | Meliha Grbic’ | Mia Klopfenstein | Geneve Lau the Meeting of Cecily & Gwendolen
The Importance of Being Earnest Noah | Meliha Grbic’ | Mia Klopfenstein | Geneve Lau The Meeting of Cecily & Gwendolen Click ↯ https://www.youtube.com/wat ch?v=1Yvb25Ypvhw&t=137s Let’s Talk! stock conflict? satire? characters? dramatic irony? foreshadowing? Convention 1 : Foil Algernon and Jack ★ Older/younger sibling ★ Jack: more responsible, compassionate ○ “For Heaven’s sake, don’t try to be cynical. It’s perfectly easy to be cynical.” ○ “My dear Algy, I don’t know whether you will be able to understand my real motives. You are hardly serious enough.” ★ Algernon: frivolous, less responsible, aesthetically concerned ○ “If I am occasionally over-dressed, I make up for it by being immensely over-educated” (1292-1293) ○ Cucumber sandwich situation Convention 1 : Foil Gwendolen and Cecily ★ Urban/Country life ★ Similarities: both love Ernest, diary, ★ Gwendolen: sophisticated, polished ○ “Gwendolen: [Satirically.] I am glad to say that I have never seen a spade. It is obvious that our social spheres have been widely different.” (II. 297-229) ★ Cecily: simple, witty and charming ○ “Gwendolen: Five counties! I don’t think I should like that; I hate crowds. ○ Cecily: [Sweetly] I suppose that is why you live in town? [Gwendolen bites her lip, and beats her foot nervously with her parasol.] Convention 2 : Denouement ★ Bunburying conflict climaxes in the garden, Resolution occurs in the house ★ Cecily and Gwendolen swear to remain distant to Jack and Algernon ○ However, Gwendolen makes the first move: “Mr. Worthing, I have something very particular to ask you” (1891-1892). ○ Characterization of Gwendolen and Cecily lends itself to a fast resolution ★ Gwendolen and Cecily are immediately content with the bunburying explanations ○ “Gwendolen: ...Their explanations appear to be quite satisfactory.../ Cecily: I am more than content…” (1913-1915) ★ Jack reveals Algernon’s deception to Lady Bracknell → She doesn’t care ○ Condones the marriage of Algernon and Cecily. -
The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved. -
Genre and Subgenre
Genre and Subgenre Categories of Writing Genre = Category All writing falls into a category or genre. We will use 5 main genres and 15 subgenres. Fiction Drama Nonfiction Folklore Poetry Realistic Comedy Informational Fiction Writing Fairy Tale Tragedy Historical Persuasive Legend Fiction Writing Tall Tale Science Biography Fiction Myth Fantasy Autobiography Fable 5 Main Genres 1. Nonfiction: writing that is true 2. Fiction: imaginative or made up writing 3. Folklore: stories once passed down orally 4. Drama: a play or script 5. Poetry: writing concerned with the beauty of language Nonfiction Subgenres • Persuasive Writing: tries to influence the reader • Informational Writing: explains something • Autobiography: life story written by oneself • Biography: Writing about someone else’s life Latin Roots Auto = Self Bio = Life Graphy = Writing Fiction Subgenres • Historical Fiction: set in the past and based on real people and/or events • Science Fiction: has aliens, robots, futuristic technology and/or space ships • Realistic Fiction: has no elements of fantasy; could be true but isn’t • Fantasy: has monsters, magic, or characters with superpowers Folklore Subgenres Folklore/Folktales usually has an “unknown” author or will be “retold” or “adapted” by the author. • Fable: short story with personified animals and a moral Personified: given the traits of people Moral: lesson or message of a fable • Myth: has gods/goddesses and usually accounts for the creation of something Folklore Subgenres (continued) Tall Tale • Set in the Wild West, the American frontier • Main characters skills/size/strength is greatly exaggerated • Exaggeration is humorous Legend • Based on a real person or place • Facts are stretched beyond nonfiction • Exaggerated in a serious way Folklore Subgenres (continued) Fairytale: has magic and/or talking animals. -
The Child and the Fairy Tale: the Psychological Perspective of Children’S Literature
International Journal of Languages, Literature and Linguistics, Vol. 2, No. 4, December 2016 The Child and the Fairy Tale: The Psychological Perspective of Children’s Literature Koutsompou Violetta-Eirini (Irene) given that their experience is more limited, since children fail Abstract—Once upon a time…Magic slippers, dwarfs, glass to understand some concepts because of their complexity. For coffins, witches who live in the woods, evil stepmothers and this reason, the expressions should be simpler, both in princesses with swan wings, popular stories we’ve all heard and language and format. The stories have an immediacy, much of we have all grown with, repeated time and time again. So, the the digressions are avoided and the relationship governing the main aim of this article is on the theoretical implications of fairy acting persons with the action is quite evident. The tales as well as the meaning and importance of fairy tales on the emotional development of the child. Fairy tales have immense relationships that govern the acting persons, whether these are psychological meaning for children of all ages. They talk to the acting or situational subjects or values are also more children, they guide and assist children in coming to grips with distinct. Children prefer the literal discourse more than adults, issues from real, everyday life. Here, there have been given while they are more receptive and prone to imaginary general information concerning the role and importance of fairy situations. Having found that there are distinctive features in tales in both pedagogical and psychological dimensions. books for children, Peter Hunt [2] concludes that textual Index Terms—Children, development, everyday issues, fairy features are unreliable. -
“The Right Use of Reason”: Fairy Tales, Fantasy, and Moral Education in Peter Parley's Annual
Brigham Young University Masthead Logo BYU ScholarsArchive Undergraduate Honors Theses 2019-03-27 “THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL Taylor Topham Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/studentpub_uht BYU ScholarsArchive Citation Topham, Taylor, "“THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL" (2019). Undergraduate Honors Theses. 55. https://scholarsarchive.byu.edu/studentpub_uht/55 This Honors Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Honors Thesis “THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL by Taylor Topham Submitted to Brigham Young University in partial fulfillment of graduation requirements for University Honors English Department Brigham Young University April 2019 Advisor: Leslee Thorne-Murphy Honors Coordinator: John Talbot ABSTRACT “THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL Taylor Topham English Department Bachelor of Arts This thesis discusses the relationship between the start of the Golden Age of Children’s Literature and the educational policy and philosophy changes that took place in mid- to late-19th century England. Some scholars have argued that the reasons for the rise in fantasy literature that characterized the Golden Age of Children’s Literature are primarily economic, while others find philosophical and cultural precedents for the movement toward fantasy. -
Green Acres School Reading Suggestions for 5Th Or 6Th Graders Updated June 2019
Green Acres School Reading Suggestions for 5th or 6th Graders Updated June 2019 (The books recommended below are part of the Green Acres Library collection. Reading levels and interests vary greatly, so you may want to look also at Reading Suggestions for 4th Graders and Reading Suggestions for 7th/8th Graders.) This list includes: • Fiction • Poetry and Short Stories • Biography and Memoir • Other Nonfiction Graphic books are denoted with the symbol. Fiction Alice, Alex; transl. by Castle In the Stars: The Space Race of 1869 Anne Smith and Owen Smith. "In … this lavishly illustrated graphic novel, Alex Alice delivers a historical fantasy adventure set in a world where man journeyed into space in 1869, not 1969.” Graphic steampunk/Historical fantasy. (Publisher) Appelt, Kathi and Alison McGhee. Maybe a Fox “A fox kit born with a deep spiritual connection to a rural Vermont legend has a special bond with 11-year-old Jules.” Fantasy. (Kirkus Reviews) Avi. The Unexpected Life of Oliver Cromwell Pitts “A 12-year-old boy is left to fend for himself in 18th-century England following a terrible storm and the disappearance of his father… Impossible to put down.” Historical fiction. (Kirkus Reviews) Bauer, Joan. Soar "Sports, friendship, tragedy, and a love connection are all wrapped up in one heartwarming, page-turning story. …This coming-of-age tale features a boy who is courageous and witty; readers—baseball fans or otherwise—will cheer on Jeremiah and this team. The latest middle grade novel from this award-winning author is triumphant and moving." Fiction. (School Library Journal) Beckhorn, Susan. -
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).