Module 1: Elements of Dramatic Stories
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The Character of Huckleberry Finn
Forthcoming in Philosophy and Literature 2017 Gehrman The Character of Huckleberry Finn Kristina Gehrman University of Tennessee, Knoxville ABSTRACT: Mark Twain’s Huckleberry Finn is morally admirable because he follows his heart and does the right thing in a pinch. Or is he? The Character of Huckleberry Finn argues that the standard reading of Huck woefully misunderstands his literary and moral character. The real Huck is strikingly morally passive and thoroughly unreliable, and when the pinch comes, he fails Jim completely. His true character emerges when, with Iris Murdoch’s “justice and love”, we attend to Huck’s youth and his history of unmitigated abuse and neglect. Huck’s case reveals how (and how much) developmental and experiential history matter to moral character. I. Ever since Jonathan Bennett wrote about Huckleberry Finn’s conscience in 1974, Mark Twain’s young hero has played a small but noteworthy role in the moral philosophy and moral psychology literature. Following Bennett, philosophers read Huck as someone who consistently follows his heart and does the right thing in a pinch, firmly believing all the while that what he does is morally wrong.1 Specifically, according to this reading, Huck has racist beliefs that he never consciously questions; but in practice he consistently defies those beliefs to do the right thing in the context of his relationship with his Black companion, Jim. Because of this, Huck is morally admirable, but unusual. Perhaps he is an “inverse akratic,” as Nomy Arpaly and Timothy Schroeder have proposed; or perhaps, as Bennett argued, Huck’s oddness reveals the central and primary role of the sentiments (as opposed to principle) in moral action.2 But the standard philosophical reading of Huckleberry Finn seriously misunderstands his 1 Forthcoming in Philosophy and Literature 2017 Gehrman character (in both the moral/personal and the literary sense of the word), because it does not take into account the historically contingent, developmental nature of persons and their character traits. -
Philosophy, Theory, and Literature
STANFORD UNIVERSITY PRESS PHILOSOPHY, THEORY, AND LITERATURE 20% DISCOUNT NEW & FORTHCOMING ON ALL TITLES 2019 TABLE OF CONTENTS Redwood Press .............................2 Square One: First-Order Questions in the Humanities ................... 2-3 Currencies: New Thinking for Financial Times ...............3-4 Post*45 ..........................................5-7 Philosophy and Social Theory ..........................7-10 Meridian: Crossing Aesthetics ............10-12 Cultural Memory in the Present ......................... 12-14 Literature and Literary Studies .................... 14-18 This Atom Bomb in Me Ordinary Unhappiness Shakesplish The Long Public Life of a History in Financial Times Asian and Asian Lindsey A. Freeman The Therapeutic Fiction of How We Read Short Private Poem Amin Samman American Literature .................19 David Foster Wallace Shakespeare’s Language Reading and Remembering This Atom Bomb in Me traces what Critical theorists of economy tend Thomas Wyatt Digital Publishing Initiative ....19 it felt like to grow up suffused with Jon Baskin Paula Blank to understand the history of market American nuclear culture in and In recent years, the American fiction Shakespeare may have written in Peter Murphy society as a succession of distinct around the atomic city of Oak Ridge, writer David Foster Wallace has Elizabethan English, but when Thomas Wyatt didn’t publish “They stages. This vision of history rests on ORDERING Tennessee. As a secret city during been treated as a symbol, an icon, we read him, we can’t help but Flee from Me.” It was written in a a chronological conception of time Use code S19PHIL to receive a the Manhattan Project, Oak Ridge and even a film character. Ordinary understand his words, metaphors, notebook, maybe abroad, maybe whereby each present slips into the 20% discount on all books listed enriched the uranium that powered Unhappiness returns us to the reason and syntax in relation to our own. -
Create a Character: Acting & Language Arts with Caren Graham
Create A Character: Acting & Language Arts With Caren Graham ESSENTIAL QUESTIONS LEARNING TARGETS ● How do actors create a character? ● I can make creative choices with my voice and body ● How can characters I discover in other disciplines like to invent a variety of characters history, fairy tales, or literature come to life in ● I can create other forms of dramatic writing or drama? analyze a recording of myself performing MATERIALS NEEDED: Paper and Pencil DIGITAL SUPPORT RESOURCES: <link> INSTRUCTIONS 1. Choose a character from a favorite book. Examples: Harry Potter or Hermione Granger. 2. With pencil and paper write down 3 sentences to describe your chosen character. 3. Use descriptive words like tall, lanky, bent over. 4. Add personality traits like brave, scary, quick witted, confident. 5. Now use your imagination to create a character statue which is a frozen moment in time in a posed position. Start with your face. Try making a “brave” facial expression! a. Is there a moment in Harry Potter, when Harry or Hermione felt clever or brave? Write it down. b. Create that moment in a character statue and then come to life. c. Try to exaggerate (make bigger) a personality trait: for instance brave, and then switch to another feeling or trait like scared. 6. Now add a gesture (an expressive movement) to go with that character trait! a. Move your whole body with expression, posture and gesture. Try saying something in the manner your character might speak with the gesture. b. Acting like the character, did it feel better to be brave or scared? Why? 7. -
The Structure of Plays
n the previous chapters, you explored activities preparing you to inter- I pret and develop a role from a playwright’s script. You used imagina- tion, concentration, observation, sensory recall, and movement to become aware of your personal resources. You used vocal exercises to prepare your voice for creative vocal expression. Improvisation and characterization activities provided opportunities for you to explore simple character portrayal and plot development. All of these activities were preparatory techniques for acting. Now you are ready to bring a character from the written page to the stage. The Structure of Plays LESSON OBJECTIVES ◆ Understand the dramatic structure of a play. 1 ◆ Recognize several types of plays. ◆ Understand how a play is organized. Much of an actor’s time is spent working from materials written by playwrights. You have probably read plays in your language arts classes. Thus, you probably already know that a play is a story written in dia- s a class, play a short logue form to be acted out by actors before a live audience as if it were A game of charades. Use the titles of plays and musicals or real life. the names of famous actors. Other forms of literature, such as short stories and novels, are writ- ten in prose form and are not intended to be acted out. Poetry also dif- fers from plays in that poetry is arranged in lines and verses and is not written to be performed. ■■■■■■■■■■■■■■■■ These students are bringing literature to life in much the same way that Aristotle first described drama over 2,000 years ago. -
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). -
The Effects of Diegetic and Nondiegetic Music on Viewers’ Interpretations of a Film Scene
Loyola University Chicago Loyola eCommons Psychology: Faculty Publications and Other Works Faculty Publications 6-2017 The Effects of Diegetic and Nondiegetic Music on Viewers’ Interpretations of a Film Scene Elizabeth M. Wakefield Loyola University Chicago, [email protected] Siu-Lan Tan Kalamazoo College Matthew P. Spackman Brigham Young University Follow this and additional works at: https://ecommons.luc.edu/psychology_facpubs Part of the Musicology Commons, and the Psychology Commons Recommended Citation Wakefield, Elizabeth M.; an,T Siu-Lan; and Spackman, Matthew P.. The Effects of Diegetic and Nondiegetic Music on Viewers’ Interpretations of a Film Scene. Music Perception: An Interdisciplinary Journal, 34, 5: 605-623, 2017. Retrieved from Loyola eCommons, Psychology: Faculty Publications and Other Works, http://dx.doi.org/10.1525/mp.2017.34.5.605 This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in Psychology: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © The Regents of the University of California 2017 Effects of Diegetic and Nondiegetic Music 605 THE EFFECTS OF DIEGETIC AND NONDIEGETIC MUSIC ON VIEWERS’ INTERPRETATIONS OF A FILM SCENE SIU-LAN TAN supposed or proposed by the film’s fiction’’ (Souriau, Kalamazoo College as cited by Gorbman, 1987, p. 21). Film music is often described with respect to its relation to this fictional MATTHEW P. S PACKMAN universe. Diegetic music is ‘‘produced within the implied Brigham Young University world of the film’’ (Kassabian, 2001, p. -
Tragedy Tragedy: Drama That Shows the Downfall of a Noble Hero, A
Tragedy Tragedy: Drama that shows the downfall of a noble hero, a generally good person of high birth who makes a tragic mistake or error in judgment. It can also be a character flaw. (In Greek tragedy, it is usually hubris, or excessive pride, that causes the downfall of the character.) Prior to his death, the hero usually has some realization about human fate and destiny. A tragedy was supposed to arouse pity and fear in the audience—pity that a man of reasonably good character is suffering and fear that the same thing could happen to them. The end of tragedy was intended to produce katharsis, the purging or cleansing of the excess pity and fear aroused by the play. The goal of tragedy was to reduce negative emotions to a healthy, balanced proportion. Aristotle loved Sophocles’ play cycle of Oedipus the King and considered it the perfect tragedy. He wrote Poetics to give the “rules” of tragedy. There are six elements, with plot being the most important and spectacle being the least. 1. Plot: must have a beginning, middle and end. In Greek tragedy, there is only one plot, no subplots. Each event in the plot must play off the others. There can be no “coincidences.” A tragic plot must be serious. 2 A plot should be complex, and must show that the tragic hero recognizes the cause of his problems and is sorry for his actions before his death. According to Aristotle, there is a definite cause and effect chain throughout the play. 2. Character: character supports plot, and the motivations of the character are tied to the plot. -
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. -
Scriptwriting Theories & Practice
Storyboarding and Scriptwriting • AD210 • Spring 2011 • Gregory V. Eckler Storyboarding and Scriptwriting Scriptwriting Theories & Practice Theories on Scriptwriting Fundamentally, the screenplay is a unique literary form. It is like a musical score, in that it is intended to be interpreted on the basis of other artists’ performance, rather than serving as a “finished product” for the enjoyment of its audience. For this reason, a screenplay is written using technical jargon and tight, spare prose when describing stage directions. Unlike a novel or short story, a screenplay focuses on describing the literal, visual aspects of the story, rather than on the internal thoughts of its characters. In screenwriting, the aim is to evoke those thoughts and emotions through subtext, action, and symbolism. There are several main screenwriting theories which help writers approach the screenplay by systematizing the structure, goals and techniques of writing a script. The most common kinds of theories are structural. Screenwriter William Goldman is widely quoted as saying “Screenplays are structure”. Three act structure Most screenplays have a three act structure, following an organization that dates back to Aristotle’s Poetics. The three acts are setup (of the location and characters), confrontation (with an obstacle), and resolution (culminating in a climax and a dénouement). In a two-hour film, the first and third acts both typically last around 30 minutes, with the middle act lasting roughly an hour. In Writing Drama, French writer and director Yves Lavandier shows a slightly different approach. As most theorists, he maintains that every human action, whether fictitious or real, contains three logical parts: before the action, during the action, and after the action. -
Stream of Consciousness Technique: Psychological Perspectives and Use in Modern Novel المنظور النفسي واستخدا
Stream of Consciousness Technique: Psychological Perspectives and Use in Modern Novel Weam Majeed Alkhafaji Sajedeh Asna'ashari University of Kufa, College of Education Candle & Fog Publishing Company Email: [email protected] Email: [email protected] Abstract Stream of Consciousness technique has a great impact on writing literary texts in the modern age. This technique was broadly used in the late of nineteen century as a result of thedecay of plot, especially in novel writing. Novelists began to use stream of consciousness technique as a new phenomenon, because it goes deeper into the human mind and soul through involving it in writing. Modern novel has changed after Victorian age from the traditional novel that considers themes of religion, culture, social matters, etc. to be a group of irregular events and thoughts interrogate or reveal the inner feeling of readers. This study simplifies stream of consciousness technique through clarifying the three levels of conscious (Consciousness, Precociousness and Unconsciousness)as well as the subconsciousness, based on Sigmund Freud theory. It also sheds a light on the relationship between stream of consciousness, interior monologue, soliloquy and collective unconscious. Finally, This paper explains the beneficial aspects of the stream of consciousness technique in our daily life. It shows how this technique can releaseour feelings and emotions, as well as free our mind from the pressure of thoughts that are upsetting our mind . Key words: Stream of Consciousness, Modern novel, Consciousness, Precociousness and Unconsciousness and subconsciousness. تقنية انسياب اﻻفكار : المنظور النفسي واستخدامه في الرواية الحديثة وئام مجيد الخفاجي ساجدة اثنى عشري جامعة الكوفة – كلية التربية – قسم اللغة اﻻنكليزية دار نشر كاندل وفوك الخﻻصة ان لتقنية انسياب اﻻفكار تأثير كبير على كتابة النصوص اﻻدبية في العصر الحديث. -
Archetypes Stock Characters (PDF)
STOCK CHARACTERS Shakespeare, as an heir to the Commedia Del-Arte tradition, in which the play’s message is communicated largely through easily recognizable or even stereotypical characters, employs many of “stock” characters throughout his works. Once you look at their basic characteristics, it is easy to identify them across the Shakespearean canon. This identification of characters can make understanding an unfamiliar text a little easier – because the characters in a particular category behave in similar ways, and may even speak using similar rhetorical, image or verse structure. LOVERS ● Ingenue (female): Innocent, sweet, youthful, honorable ● Sobrette (female): Not-so-innocent, not-so-young, usually honorable, witty, likes banter and argument ● Rustic/ Rude (Male and Female): country born and bred, simple, agrarian, earthy. ● Noble (Male): born of nobility, high-born, generally honest COMPANIONS ● Councilors (Male or Female): faithful, honest, convey messages, have information, confidantes. ● Bawds (Female): worldly, saucy, dispense advice, maternal with an edge. ● Mentors (Male): fatherly, give advice, supply the hero with the means to pursue their desire. AUTHORITY FIGURES AND SOLDIERS ● In Control (male): authoritative, most times fair, peripheral to plot, initiate or resolve conflict. ● In Distress (male or female): strong, noble, comprised by circumstance or bad decisions/advice, decisive, often with a flaw of temperament. RELUCTANT HEROES ● Rakes & Cads (male): Walk the line between good and bad but usually turn out good,witty, bawdy, seductive, hot-tempered, loyal but independent. COMIC CHARACTERS ● The Wit: Language based humor, somewhat noble, melancholy. ● The Clown: Physical comic, jester, paid to be amusing, singer. ● The Fool: situational comic, dim-witted, unaware of being a fool. -
Documentation Title
Arts Integration In Action At Desert Harbor Elementary Peoria, AZ th 4 grade teacher Mrs. Shaver leads a Character Interview lesson Arts Integration Lesson: Reading and Theater Students infer and make judgments through character dialog, actions, and feelings by acting as one of the characters from the book “Brighty of the Grand Canyon”. Step 1 Step 2 Step 3 1. recall facts: Who was at the camp? 2. sequence events: What happened just before the sheriff and Uncle Jim entered the tent? 3. make predictions: What might happen now that Brighty is sick? (this can be confirmed by subsequent reading) 4. make inferences: Jake, now that you’re in the same room as Uncle Jimmy, what you will say to keep your identity hidden? Mrs. Shaver chooses and becomes familiar with The purpose of the interview questions is Independent or Guided Reading- Students read the text, characters, motives, setting, plot, and clarified by Mrs. Shaver—this time, questions from “Brighty of the Grand Canyon”. their relationships. asked will be open-ended to help children develop inferential thinking. Step 4 Step 5 Step 6 Mrs. Shaver facilitates a discussion of the In small groups, students determine and Mrs. Shaver, posing as T.V. talk show host Ella characters’ traits, and how we infer and make practice characters’ voices and body gestures Stration, leads improvised responses through judgments through character dialog, actions, for the character interview scene. high level questioning. Students remain in and feelings. character throughout interview. Teacher Name: Mrs. Shaver Learning Objectives Student Reflections Language Arts - Reading Concept 6 Comprehension: Employ strategies to comprehend text.