Close Reading: Analyzing Mood and Tone Pre-AP and AP English
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Tragedy, Euripides, Melodrama: Hamartia, Medea, Liminality
Vol. 5 (2013) | pp. 143-171 http://dx.doi.org/10.5209/rev_AMAL.2013.v5.42932 TRAGEDY, EURIPIDES, MELODRAMA: HAMARTIA, MEDEA, LIMINALITY BRIAN G. CARAHER QUEEN’S UNIVERSITY BELFAST, NORTHERN IRELAND [email protected] Article received on 29.01.2013 Accepted on 06.07.2013 ABSTRACT This article examines socio-historical dimensions and cultural and dramaturgic implications of the Greek playwright Euripides’ treatment of the myth of Medea. Euripides gives voice to victims of adventurism, aggression and betrayal in the name of ‘reason’ and the ‘state’ or ‘polity.’ Medea constitutes one of the most powerful mythic forces to which he gave such voice by melodramatizing the disturbing liminality of Greek tragedy’s perceived social and cultural order. The social polity is confronted by an apocalyptic shock to its order and its available modes of emotional, rational and social interpretation. Euripidean melodramas of horror dramatize the violation of rational categories and precipitate an abject liminality of the tragic vision of rational order. The dramaturgy of Euripides’ Medea is contrasted with the norms of Greek tragedy and examined in comparison with other adaptations — both ancient and contemporary — of the myth of Medea, in order to unfold the play’s transgression of a tragic vision of the social polity. KEYWORDS Dramaturgy, Euripides, liminality, Medea, melodrama, preternatural powers, social polity, tragedy. TRAGEDIA, EURÍPIDES, MELODRAMA: HAMARTÍA, MEDEA, LIMINALIDAD RESUMEN Este artículo estudia las dimensiones sociohistóricas y las implicaciones culturales y teatrales del tratamiento que Eurípides da al mito de Medea. Eurípides da voz a las víctimas del aventurerismo, de las agresiones y de las traiciones cometidas en nombre de la ‘razón’ y del ‘estado’ o el ‘gobierno’. -
The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 8-2012 The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno Joseph Weiss DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Weiss, Joseph, "The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno" (2012). College of Liberal Arts & Social Sciences Theses and Dissertations. 125. https://via.library.depaul.edu/etd/125 This Dissertation is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W. Adorno A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy October, 2011 By Joseph Weiss Department of Philosophy College of Liberal Arts and Sciences DePaul University Chicago, Illinois 2 ABSTRACT Joseph Weiss Title: The Idea of Mimesis: Semblance, Play and Critique in the Works of Walter Benjamin and Theodor W. Adorno Critical Theory demands that its forms of critique express resistance to the socially necessary illusions of a given historical period. Yet theorists have seldom discussed just how much it is the case that, for Walter Benjamin and Theodor W. -
Exploring Mood Metadata: Relationships with Genre, Artist and Usage Metadata
EXPLORING MOOD METADATA: RELATIONSHIPS WITH GENRE, ARTIST AND USAGE METADATA Xiao Hu J. Stephen Downie International Music Information Retrieval Systems Evaluation Laboratory The Graduate School of Library and Information Science University of Illinois at Urbana-Champaign {xiaohu, jdownie}@uiuc.edu ABSTRACT evidenced by the ongoing discussions to establish a “Audio Mood Classification” (AMC) task at the Music There is a growing interest in developing and then Information Retrieval Evaluation eXchange (MIREX) 1 evaluating Music Information Retrieval (MIR) systems [3], this lack of common understanding is inhibiting that can provide automated access to the mood progress in developing and evaluating mood-related dimension of music. Mood as a music access feature, access mechanisms. In fact, it was the MIREX however, is not well understood in that the terms used to discussions that inspired this study. Thus, this paper is describe it are not standardized and their application can intended to contribute our general understanding of be highly idiosyncratic. To better understand how we music mood issues by formally exploring the might develop methods for comprehensively developing relationships between: 1) mood and genre; 2) mood and and formally evaluating useful automated mood access artist; and, 3) mood and recommended usage (see techniques, we explore the relationships that mood has below). It is also intended to contribute more with genre, artist and usage metadata. Statistical analyses specifically to the MIREX community by providing of term interactions across three metadata collections recommendations on how to proceed in constructing a AllMusicGuide.com epinions.com Last.fm ( , and ) possible method for conducting an “AMC” task. reveal important consistencies within the genre-mood Our primary dataset is derived from metadata found and artist-mood relationships. -
PARATEXTUALITY and the LOST URTEXT Anthony Enns the Term
ANTHONY ENNS PARATEXTUALITY AND THE LOST URTEXT Anthony Enns The term “paratext” refers to the elements of a literary work that ac- company the text but are not considered part of the text itself, such as title pages, introductions, annotations, appendices, etc. Gérard Genette famously described the paratext as the “threshold…between the inside and the outside” of a text, and this threshold represents “a privileged place of a pragmatics and a strategy, of an influence on the public, an influence that…is at the service of a better reception for the text and a more pertinent reading of it” (2). In other words, the contextual information and critical commentary provided in the paratext ultimately serves the author’s own interests by ensuring that the text is interpreted correctly: “The way to get a proper reading is…to put the (definitely assumed) reader in possession of information the author considers necessary for this proper reading…[such as information] about the way the author wishes to be read” (209). Genette also noted that paratextual elements have expanded over time in order to satisfy “the educated public’s growing curiosity about the ‘making’ of the text and about the unearthing of versions the author had abandoned” (339). Paratexts were thus increasingly seen as necessary “supplements” or “acces- sories” to a literary work, and a text without a paratext is now viewed as “a power disabled…like an elephant without a mahout” (410). If a text without a paratext is “an elephant without a mahout,” then a “paratext without its text is a mahout without an elephant,” which Gen- ette dismissed as “a silly show” (410). -
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. -
The Basic Concept of Narratology and Narrative
Language Circle: Journal of Language and Literature 14(2) April 2020 P-ISSN 1858-0157 Available online at http://journal.unnes.ac.id/nju/index.php/LC E-ISSN 2460-853X The Basic Concept of Narratology and Narrative Devi Sari Panggabean Universitas Sumatera Utara, Indonesia Email: [email protected] Rahmadsyah Rangkuti Universitas Sumatera Utara, Indonesia Abstract The field of narratology is concerned with the study and analysis of narrative texts. It puts under investigation literary pieces of language and yields an understanding of the components has in its very texture. The aim of this article is to provide insights about the field of ‘narratology’ and its associated subject of study ‘narrative’. It also tries to sketch the main issues concerning these two concepts. For this, the present review is presented in two major sections, each with related discussions about narratology and narrative. The first major part, narratology, will be presented in three sections: the first section, deals with the definitions and origins of narratology. The defi- nitions are inspected and the researchers show how they go from general (encompassing all which is narrated) to more specific (encompassing literary narratives told by a narrator) ones. The second section, focuses on the two phases of narratology which are classical and post-classical ones in which narratology changed its orientations and scope.RETRACTED The last section is devoted to some of the elements and components of which narratology is made up, such as narration, focalization, narrative situation, action, story analysis, tellability, tense, time, and narrative modes which will be elaborated on in more details. -
155 Words to Describe an Author's Tone
155 Words to Describe an Author's Tone What is tone? Tone refers to an author’s use of words and writing style to convey his or her attitude towards a topic. Tone is often defined as what the author feels about the subject. What the reader feels is known as the mood. Tip: Don’t confuse tone with voice. Voice can be explained as the author’s personality expressed in writing. Tone = Attitude. Voice = Personality. Tone (attitude) and voice (personality) create a writing style. You may not be able to alter your personality but you can adjust your attitude. This gives you ways to create writing that affects your audience’s mood. The mechanics Tone is conveyed through diction (choice and use of words and phrases), viewpoint, syntax (grammar; how you put words and phrases together), and level of formality. It is the way you express yourself in speech or writing. How do you find the correct tone? You can usually find a tone by asking these three questions: 1. Why am I writing this? 2. Who is my intended audience? 3. What do I want the reader to learn, understand, or think about? In formal writing, your tone should be clear, concise, confident, and courteous. The writing level should be sophisticated, but not pretentious. In creative writing, your tone is more subjective, but you should always aim to communicate clearly. Genre sometimes determines the tone. Tone Meaning Absurd illogical; ridiculous; silly; implausible; foolish Accusatory suggesting someone has done something wrong, complaining Acerbic sharp; forthright; biting; hurtful; abrasive; -
Predicting Listener's Mood Based on Music Genre: an Adapted
Journal of Technology Management and Business (ISSN: 2289-7224) Vol 04, No 01, 2017 PREDICTING LISTENER’S MOOD BASED ON MUSIC GENRE: AN ADAPTED REPRODUCED MODEL OF RUSSELL AND THAYER Worlu Chijioke School of Computing, University Utara Malaysia (UUM) [email protected] Abstract Individual “mood” has presently received growing consideration as a useful technique for organizing and accessing music. Stress which changes person attitude is a major physical and psychological problem of individuals today. Many types of research have been carried out based on this study of mood, particularly in the U.S.A, Canada, Europe, and some part of Asia. However, while these studies are relevant, and help to solve the problem of mood change, still, researchers were not able to look into this important aspect in one of the 25 rapid growth markets in the world-Malaysia. The used music genre as an influence mechanism to predict mood individual and again identifies the classified music genre that predicts personal mood. The study adapts a model of Russell and Thayer to categorize selected attitudes in the study. The study uses quantitative survey method, and questionnaire form was designed and used as an instrument for data collection. Data were collected from 245 respondents from University Utara Malaysia (UUM) students and were analyzed using SPSS version 20. Results were presented in words, bar chart and table form. The study has found that the uses’ of music to predict individual mood is positively related to the aim and problem of the investigation. Result in part A of the study indicates that music can be used to influence particular mood. -
Life of John H.W. Hawkins
THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES I LIFE JOHN H. W. HAWKINS COMPILED BY HIS SON, REV. WILLIAM GEOEGE HAWKINS, A.M. "The noble self the conqueror, earnest, generous friend of the inebriate, the con- devsted advocate of the sistent, temperance reform in all its stages of development, and the kind, to aid sympathising brother, ready by voice and act every form of suffering humanity." SIXTH THOUSAND. BOSTON: PUBLISHED BY. BRIGGS AND RICHAEDS, 456 WAsnujdTn.N (-'TKI:I:T, Con. ESSEX. NEW YORK I SHELDON, HLAKKMAN & C 0. 1862. Entered according to Act of Congress, in the year 1859, by WILLIAM GEORGE HAWKINS, In the Clerk's Office of the District Court for the District of Massachusetts. LITHOTYPED BT COWLES AND COMPANY, 17 WASHINGTON ST., BOSTON. Printed by Geo. C. Rand and Ayery. MY GRANDMOTHER, WHOSE PRAYERS, UNINTERMITTED FOR MORE THAN FORTY" YEARS, HAVE, UNDER GOD, SAVED A SON, AND GIVEN TO HER NATIVE COUNTRY A PHILANTHROPIST, WHOSE MULTIPLIED DEEDS OF LOVE ARE EVERYWHERE TO BE SEEN, AND WHICH ARE HERE BUT IMPERFECTLY RECORDED, is $0lunu IS AFFECTIONATELY DEDICATED 550333 PREFACE. THE compiler of this volume has endeavored to " obey the command taught him in his youth, Honor thy father," etc., etc. He has, therefore, turned aside for a brief period from his professional duties, to gather up some memorials of him whose life is here but imperfectly delineated. It has indeed been a la- bor of love how and ; faithfully judiciously performed must be left for others to say. The writer has sought to avoid multiplying his own words, preferring that the subject of this memoir and his friends should tell their own story. -
Uncovering and Recovering the Popular Romance Novel A
Uncovering and Recovering the Popular Romance Novel A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Jayashree Kamble IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Timothy Brennan December 2008 © Jayashree Sambhaji Kamble, December 2008 Acknowledgements I thank the members of my dissertation committee, particularly my adviser, Dr. Tim Brennan. Your faith and guidance have been invaluable gifts, your work an inspiration. My thanks also go to other members of the faculty and staff in the English Department at the University of Minnesota, who have helped me negotiate the path to this moment. My graduate career has been supported by fellowships and grants from the University of Minnesota’s Graduate School, the University of Minnesota’s Department of English, the University of Minnesota’s Graduate and Professional Student Assembly, and the Romance Writers of America, and I convey my thanks to all of them. Most of all, I would like to express my gratitude to my long-suffering family and friends, who have been patient, generous, understanding, and supportive. Sunil, Teresa, Kristin, Madhurima, Kris, Katie, Kirsten, Anne, and the many others who have encouraged me— I consider myself very lucky to have your affection. Shukriya. Merci. Dhanyavad. i Dedication This dissertation is dedicated to my parents, Shashikala Kamble and Sambhaji Kamble. ii Abstract Popular romance novels are a twentieth- and twenty-first century literary form defined by a material association with pulp publishing, a conceptual one with courtship narrative, and a brand association with particular author-publisher combinations. -
“Get the Tone Right”: Reading with the Realism of Object-Oriented Ontology
Open Philosophy 2018; 1: 380–391 Gabriel Patrick Wei-Hao Chin* “Get the Tone Right”: Reading with the Realism of Object-Oriented Ontology https://doi.org/10.1515/opphil-2018-0027 Received August 15, 2018; accepted October 18, 2018 Abstract: This paper investigates the consequences of taking seriously the metaphysics of Object-Oriented Ontology (OOO), as defined by Graham Harman, in the field of literature. Acutely focusing on just one possible mobilisation and application of the theory, the essay deploys OOO to read two major writers of the late 20th century, Don DeLillo and Murakami Haruki, in novel configurations made possible by applying an Object-Oriented method to the genre of Magic Realism. Using this method, the essay unearths an unarticulated avenue for studying the genre and these authors against established national, cultural, and canonical boundaries in literature, putting into conversation various literary traditions based on formal characteristics found in the texts through OOO’s metaphysics, and suggesting wholly untested paths for literary study in the wake of Object-Oriented philosophies. Keywords: Murakami Haruki, Don DeLillo, Object-Oriented Ontology, Magic Realism This paper explores just one possible avenue for Object-Oriented thought in the study of literature. Literature is a discipline which remains for the most part committed to literary historicism, and even in those quarters more amenable to ‘theory’, still finds its patron saints in the different forms of critique offered by a combination of poststructuralist and Frankfurt school thought. Within this climate, the bold metaphysics offered by Object-Oriented Ontology (OOO) serves as a breath of fresh air, not only offering the possibility of studying literature in a paradigm no longer wedded to the dogma of criticism, but also renewing enthusiasm for studying the literary work as a thing-in-itself, a wholly inverted interpretation of Derrida’s famous maxim that there be nothing outside the text. -
Reason and Mimesis
Chapter 1 Reason and Mimesis To represent the mimesis it supplanted, the concept has no other way than to adopt something mimetic in its own conduct, without abandoning itself. —Theodor Adorno (Negative Dialectics 15) abermas’s theory of communicative action proceeds in a self-consciously Hpostmetaphysical way, which is to say, it insists that we cannot but think and act politically withoutWKHFRQßGHQFHRIDQH[WUDZRUOGO\VRXUFH of validation for those activities, and that we must always be on guard that our most cherished convictions, and even the seemingly most pro- saic—our view of reality, for instance—may be inadequate and in need of sometimes mind-altering correction. We do not judge the adequacy of our convictions on a scale that measures a right correspondence between our XWWHUDQFHVDQGß[HGUHIHUHQWVLQWKHZRUOGQRUFDQZHUHO\RQDVXSSRVHG correspondence between our moral convictions and an eternal moral order. We may judge our convictions adequate or inadequate only with reference to the normative horizon of the world in which we live and act, and this GHPDQGVDKLVWRULFDOVHOIXQGHUVWDQGLQJDFULWLFDOUHàHFWLRQFRPELQHGZLWK a hermeneutics.1 The fundamental principles of truth, morality, and any method that determines adequacy must become cognizant that cognition itself cannot reproduce an objective image of the world, but always already takes its form and direction from the politically contested activity of histori- cally situated meaning-making.2 Old-fashioned “consciousness-raising” must 9 © 2011 State University of New York Press, Albany 10 Mimesis