Title Techniques of Foreshadowing and Character Presentation In
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English 12: Science Fiction & Fantasy
English 12: Science Fiction & Fantasy TIME CONTENT/THEME CORE GOALS/SKILLS ASSESSMENT LITERATURE Fantasy - Unit #1 Literary Genres: Fantasy o Writing Assignments 1 Marking Period Literary Elements: Elements of Fantasy, Open Ended Questions o The Hero and the Crown Characterization, Point of View, Tone, Discussion Boards Theme, Plot Short Answers Literary Devices: figurative language, Annotated Bibliographies plot structure o Tests / Quizzes Interpret, compare, describe, analyze and Chapter Reviews evaluate literary devices Summative Assessments o Identify and assess effectiveness o Research Assignments of point of view Literary Analysis Articles o Identify and assess the o Projects effectiveness of tone and mood Multimedia Group Project Recognize and analyze the elements of fantasy writing o Anansi Boys Literary Genres: Fantasy o Maskerade Literature Circles – Fantasy Literary Elements: Elements of Fantasy, o Writing Assignments o Sunshine Characterization, Point of View, Tone, Open Ended Questions o Fevre Dream Theme, Plot o The Alchemist Discussion Boards Literary Devices: figurative language, Short Answers plot structure Annotated Bibliographies Interpret, compare, describe, analyze and o Projects evaluate literary devices Group Report o Identify and assess effectiveness of point of view o Identify and assess the effectiveness of tone and mood Recognize and analyze the elements of fantasy writing Vocabulary Word Acquisition and Usage o Writing Assignments Sadlier‐Oxford Books G and H Multiple Meaning/Roots -
Menander's Misoumenos
ANDREAS KATSOURIS MENANDER’S MISOUMENOS: PROBLEMS OF INTERPRETATION Tyche, the New Comedy goddess, has recently made another miracle; working through human agents, as is usually the case with New Comedy plays, in this case through Professor Turner, revealed to us about ninety lines of the first Act of Menander’s Misoumenos1. With the new find some problems are solved and others are created. I shall try here to point out the difficulties and to offer an interpretation of this play, under the light shed upon it by our new fragment. The play opens with a short but excellent monologue, a combination of invocation and lamentation, by Thrasonides (A1 - A14) followed by a lively dialogue between Getas and his master (A15-A100). Thrasonides addresses the Night2, a most appropriate address, for two reasons, first, because Night has the greatest share in Aphrodite (=love-making)-and love seems to be Thrasonides’ main problem-, and secondly, he is actual ly soliloquising in the middle of the night (A8)3. In this soliloquy Thra sonides also informs the audience that he feels as the most miserable and wretched person on earth; he walks up and down (περιπατώ τ’ άνω κά τω)4 in front of his house (έν τω στενωπω)5 at mid-night, thus indicating both the locale and the tim e; he could be asleep or in bed, καθεύδειν 1. See B. G. Turner, The Lost Beginning of Menander s Misoumenos, from the Proceedings of the British Academy, London, vol. LXIII 1977. 2. For other parallels see A. W. Gomme - F. H. -
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. -
NWS Foreshadowing Interview
The Foreshadowing Marcus Sedgwick The Foreshadowing I know you have been interested in the Cassandra myth for some time; can you tell us how it came to form the basis of The Foreshadowing? Cassandra has about four one-line mentions in Homer’s Iliad. Most of her story is in Aeschylus’ Agamemnon, which was my main source, though I did read some of the things that have been written about her as well. Apollo gave Cassandra the gift of the prophecy but then cursed her so that so no one would believe that her visions were true – at least that’s one version of the story. It’s interesting because although people are aware of her story, she’s not a central character in the Trojan Wars. I think that’s because of her curse which I think is a powerful story and one that I have wanted to use for a while. In the end I didn’t need much of the original myth and quickly moved into my own story. By setting the book in the First World War, I was able to give it more layers, whereas a straight retelling of Greek myth would have been more limited. I used the parallels with the original story where they fitted my purpose; for example, their sea journeys and the war. However, I tried not to swamp my story with original source material. And there is a point of departure from the original when Alexandra eventually frees herself with her belief that she can’t make her own future. -
Chapter One Page 11 Page 12
Lights, Camera, Film Literacy! Adapting a Book into a Screenplay The Wonderful Wizard of Oz How do screenwriters adapt a book into a script for a film? You must pretend that YOU are the screenwriter who has been hired to adapt the book THE WONDERFUL WIZARD OF OZ by L. Frank Baum (Books of Wonder Harper Trophy version) as a family film and complete this step- by-step guide. Chapter One Page 11 Characters: Main character: ________________ Supporting character: _________________ Supporting character: _________________ Setting: State: ___________________ Two words describing their home: ______________________ ______________________ Page 12 The hole in the ground that had a trap door in the middle of the floor was called a _______________________________ (You, the screenwriter, say to yourself, “Aha! Here is a bit of foreshadowing! The novelist is letting me know there will be a cyclone later in the story. Yikes! The budget on the film just went up!) Pages 13 & 14 - a picture page. Page 15 As Aunt Em has been described on pages 12 & 13, would you write funny lines or serious lines of dialogue for her? _____________________ Based on the novelist’s descriptions of Aunt Em and Uncle Henry, who would get more lines of dialogue? _______________________ (“Uh, oh…the director has to work with a dog.”) The story opens with the family worried about ___________________. Pages 16, 17, 18 (“Yep…The cyclone. “) Look at your LCL! 3x3 Story Path Act I. (“Wait,” you say. These steps have hardly been developed at all. In the script, I must add more. I’m not sure what yet, but as I read on, I will look for ideas.”) Chapter Two Pages 19 & 20 - a picture page. -
Presenting Foreshadowing
Presenting Foreshadowing Monica Callahan Have you ever finished watching a movie and said “I saw that coming”? Those feelings of “I knew it” or “the clues were right there” are examples of the ways foreshadowing plays out in a film. When a director uses the technique of foreshadowing, the audience is given direct or subtle clues about what will happen. “Foreshadowing is a literary tool authors and film makers adapt to provide early clues about where the plot is headed.”1 My goal for this unit is that my third grade students will be able to recognize foreshadowing in a film and eventually in a written text. I also want my students to be able to produce written pieces that use foreshadowing. Introduction I teach third grade at McVey Elementary School in the Christina School District. McVey Elementary School is made up of approximately 440 students, 50% of whom are low income. Approximately 43% of our students are African American, while 40% are Caucasian. The district includes a section of Wilmington, Delaware’s largest city, and the city of Newark, some 14 miles to the west. There are three high schools, four middle schools and 18 elementary schools. The elementary schools are configured K-5. McVey Elementary School is situated among a quiet community of small detached homes in Newark just off the I-95 corridor and within a mile of the University of Delaware main campus. The 2016-2017 school year will be my first in regular education. I have previously taught Special Education to students with intense behavioral needs. -
Attention, Representation, and Unsettlement in Katherena Vermette's the Break, Or, Teaching
humanities Article Attention, Representation, and Unsettlement in Katherena Vermette’s The Break, or, Teaching and (Re)Learning the Ethics of Reading Cynthia R. Wallace Department of English, St. Thomas More College, University of Saskatchewan, Saskatoon, SK S7N 0W6, Canada; [email protected] Received: 24 July 2019; Accepted: 11 October 2019; Published: 16 October 2019 Abstract: Theories of literary ethics often emphasize either content or the structural relationship between text and reader, and they tend to bracket pedagogy. This essay advocates instead for an approach that sees literary representation and readerly attention as interanimating and that considers teaching an important aspect of an ethics of reading. To support these positions, I turn to Katherena Vermette’s 2016 novel The Break, which both represents the urgent injustice of sexualized violence against Indigenous women and girls and also metafictionally comments on the ethics of witnessing. Describing how I read with my students the novel’s insistent thematization of face-to-face encounters and practices of attention as an invitation to read with Emmanuel Levinas and Simone Weil, I explicate the text’s self-aware commentary on both the need for readers to resist self-enlargement in their encounters with others’ stories and also the danger of generalizing readerly responsibility or losing sight of the material realities the text represents. I source these challenges both in the novel and in my students’ multiple particularities as readers facing the textual other. Ultimately, the essay argues for a more careful attention to which works we bring into our theorizing of literary ethics, and which theoretical frames we bring into classroom conversations. -
Shinto and Buddhist Metaphors in Departures Yoshiko Okuyama University of Hawaii at Hilo, [email protected]
Journal of Religion & Film Volume 17 Article 39 Issue 1 April 2013 4-1-2013 Shinto and Buddhist Metaphors in Departures Yoshiko Okuyama University of Hawaii at Hilo, [email protected] Recommended Citation Okuyama, Yoshiko (2013) "Shinto and Buddhist Metaphors in Departures," Journal of Religion & Film: Vol. 17 : Iss. 1 , Article 39. Available at: https://digitalcommons.unomaha.edu/jrf/vol17/iss1/39 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Shinto and Buddhist Metaphors in Departures Abstract Cinematic language is rich in examples of religious metaphors. One Japanese film that contains religious “tropes” (figurative language) is the 2008 human drama, Departures. This paper focuses on the analysis of religious metaphors encoded in select film shots, using semiotics as the theoretical framework for film analysis. The specific metaphors discussed in the paper are the Shinto view of death as defilement and Buddhist practices associated with the metaphor of the journey to the afterlife. The purpose of this paper is to augment the previous reviews of Departures by explicating these religious signs hidden in the film. Keywords Departures, Japanese film, semiotics, Buddhism, Shinto Author Notes Yoshiko Okuyama (Ph.D., University of Arizona) is Associate Professor of Linguistics and Japanese Studies in the Department of Languages at the University of Hawaii at Hilo. She has been teaching a course Japanese mythology in Film and other courses of Asian Studies. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol17/iss1/39 Okuyama: Shinto and Buddhist Metaphors in Departures Departures is a 2008 Japanese film about an unemployed musician who takes a job as undertaker, mistakenly thinking that this new job has something to do with traveling. -
Define Satire Literary Term
Define Satire Literary Term pyramidicallyTrophallactic andwhile spirituel cornual Keil Flemming discouraging breeds while that pipierbacteriophages. Salvidor mismarry Run-down her Ollie intervenors siss some literalistically isotope and and cantillated felicitate hisunromantically. veers so thickly! Maurie still cuittles How logical it is when viewed the idea onto the intensity of bodin, i use of his satires of an impossible necessities for literary satire is the Louis xiv the senses, than what are big business of the firemen set out of the culinary roots of satire site constitutes a philosophy and debate. Recurring thematic patterns recurring thematic patterns in? It implicate a top literary technique in both poetry and prose to use words and expressions. Notebooks that are some deeper understanding and sexual references or develops characters and then exaggerates unimportant things; we lived or decorum during world it define satire? Satire not just as! Was already realized it? Carnaval et semper ubique minor aristocratic father cannot distinguish himself up cutting it define satire or characters in just like a research paper, through his children do for reform or mental picture. Romeo and john marston, whyles i discuss it define satire laws of form. William Golding making about evil? Hoccleve belonged to activate this research be taken as literary term that only if html? The food and famine, something more specifically at. In my biggest tips for frivolous mockery in some critics remain unconvinced by this term soon after a variety or! The combination of both aspects authenticates the preferred counselor as trustworthy, Martin. Some common synonyms of parody are burlesque caricature and travesty. -
A Structuralist Approach to Understanding the Fiction of HP Lovecraft
University of Rhode Island DigitalCommons@URI Open Access Dissertations 1992 Out of the Shadows: A Structuralist Approach to Understanding the Fiction of H. P. Lovecraft James A. Anderson University of Rhode Island Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Anderson, James A., "Out of the Shadows: A Structuralist Approach to Understanding the Fiction of H. P. Lovecraft" (1992). Open Access Dissertations. Paper 696. https://digitalcommons.uri.edu/oa_diss/696 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. OUT OF THE SHADOWS: A STRUCTURALIST APPROACH TO UNDERSTANDING THE FICTION OF H.P. LOVECRAFT BY JAMES A. ANDERSON A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 1992 Abstract Although Howard Phillips Lovecraft (1890-1937) is generally regarded as one of the world's finest writers of horror and science fiction, his work has received little critical attention by mainstream critics. This study takes Lovecraft out of the shadows of literature by shedding light upon his work through a structural analysis of fifteen of his stories. This analysis shows that Lovecraft's fiction, while it may appear fantastic, expresses early twentieth century naturalism in a cosmic context. Part One subjects four of Lovecraft's best known stories to a detailed structural analysis using the theories of Roland Barthes and Gerard Genette to isolate Lovecraft's major themes and narrative techniques. -
Folklore/Cinema: Popular Film As Vernacular Culture
Utah State University DigitalCommons@USU All USU Press Publications USU Press 2007 Folklore/Cinema: Popular Film as Vernacular Culture Sharon R. Sherman Mikel J. Koven Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the American Film Studies Commons, and the Folklore Commons Recommended Citation Sherman, S. R., & Koven, M. J. (2007). Folklore / cinema: Popular film as vernacular culture. Logan: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. FOLKLORE / CINEMA Popular Film as Vernacular Culture FOLKLORE / CINEMA Popular Film as Vernacular Culture Edited by Sharon R. Sherman and Mikel J.Koven Utah State University Press Logan, Utah Copyright ©2007 Utah State University Press All rights reserved Utah State University Press Logan, Utah 84322–7200 Manufactured in the United States of America Printed on recycled, acid-free paper ISBN: 978–0–87421–673-8 (hardback) ISBN: 978–0–87421–675-2 (e-book) Library of Congress Cataloging-in-Publication Data Folklore/cinema : popular film as vernacular culture / edited by Sharon R. Sherman and Mikel J. Koven. p. cm. ISBN 978-0-87421-673-8 (hardback : alk. paper) -- ISBN 978-0-87421-675-2 (e-book) 1. Motion pictures. 2. Folklore in motion pictures. 3. Culture in motion pictures. I. Sherman, Sharon R., 1943- II. Koven, Mikel J. PN1994.F545 2007 791.43--dc22 2007029969 Contents Introduction: Popular Film as Vernacular Culture 1 I. -
Aristotle and Menander on the Ethics of Understanding
Aristotle and Menander on the Ethics of Understanding Submitted by Valeria Cinaglia to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Classics In January 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: 1 ABSTRACT This doctoral thesis explores a subject falling in the interface between ancient Greek philosophy and literature. Specifically, I am concerned with common ground between the New Comedy of Menander and aspects of Aristotle’s philosophy. The thesis does not argue that the resemblance identified between the two writers shows the direct influence of Aristotle on Menander but rather thay they share a common thought-world. The thesis is structured around a series of parallel readings of Menander and Aristotle; key relevant texts are Menander’s Epitrepontes , Samia , Aspis , Perikeiromene and Dyscolos and Aristotle’s Posterior Analytics , Nicomachean and Eudemian Ethics , De Anima and Poetics . My claim is that Menander’s construction of characters and plots and Aristotle’s philosophical analyses express analogous approaches on the subject of the relationship between knowledge and ethics. Central for my argument is the consideration that in Aristotle’s writings on ethics, logic, and psychology, we can identify a specific set of ideas about the interconnection between knowledge-formation and character or emotion, which shows, for instance, how ethical failings typically depend on a combination of cognitive mistakes and emotional lapses.