Tone Words for Literary Analysis
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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’. -
Uncovering the Underground's Role in the Formation of Modern London, 1855-1945
University of Kentucky UKnowledge Theses and Dissertations--History History 2016 Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945 Danielle K. Dodson University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.339 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Dodson, Danielle K., "Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945" (2016). Theses and Dissertations--History. 40. https://uknowledge.uky.edu/history_etds/40 This Doctoral Dissertation is brought to you for free and open access by the History at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--History by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
The American Postdramatic Television Series: the Art of Poetry and the Composition of Chaos (How to Understand the Script of the Best American Television Series)”
RLCS, Revista Latina de Comunicación Social, 72 – Pages 500 to 520 Funded Research | DOI: 10.4185/RLCS, 72-2017-1176| ISSN 1138-5820 | Year 2017 How to cite this article in bibliographies / References MA Orosa, M López-Golán , C Márquez-Domínguez, YT Ramos-Gil (2017): “The American postdramatic television series: the art of poetry and the composition of chaos (How to understand the script of the best American television series)”. Revista Latina de Comunicación Social, 72, pp. 500 to 520. http://www.revistalatinacs.org/072paper/1176/26en.html DOI: 10.4185/RLCS-2017-1176 The American postdramatic television series: the art of poetry and the composition of chaos How to understand the script of the best American television series Miguel Ángel Orosa [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – [email protected] Mónica López Golán [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – moLó[email protected] Carmelo Márquez-Domínguez [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador Sede Ibarra, Ecuador) – camarquez @pucesi.edu.ec Yalitza Therly Ramos Gil [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – [email protected] Abstract Introduction: The magnitude of the (post)dramatic changes that have been taking place in American audiovisual fiction only happen every several hundred years. The goal of this research work is to highlight the features of the change occurring within the organisational (post)dramatic realm of American serial television. -
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. -
An Apology for Mythology
An Apology for Mythology By Joseph Dalton Wright Submitted in Partial Fulfillment of the Degree of Bachelor Arts in the Integral Curriculum of Liberal Arts at Saint Mary’s College April 16, 2012 Advisor: Ms. Theodora Carlile Wright, 1 “Whence a lover of myth, too, is in a sense a philosopher, for a myth is composed of wonders” -Aristotle, Metaphysics1 1 Metaphysics, Book A, Chapter Two (Aristotle 1966) Wright, 2 Introduction What is the self, how does it operate? This question is the theme of Socrates’ final conversation in Plato’s dialogue Phaedo. The first word of the dialogue is αὐτός2 (self), and in the first sentence Plato connects this issue with the mixture of opposites. “Were you with Socrates yourself, Phaedo, on the day when he drank the poison in prison, or did you hear about it from someone else?” (Phaedo, 57A) Socrates drank the hemlock and fulfilled the Athenian court’s verdict. Plato uses the word φάρµακον3, which in Greek can mean both medicine and poison. If the φάρµακον is medicine, then Socrates is actually curing an illness, and liberating himself from disease, but is the hemlock medicine or poison? The φάρµακον embodies a critical question: how can opposites reconcile and collaborate? The opposing meanings meet, mix, and coordinate in the Φάρµακον; a unity-in-opposition of medicine and poison. Plato knows relationships like this are troubling, but the agony is beneficial, for the test reveals how our consciousness connects and creates. Socrates presents several opposites as candidates for reconciliation throughout the dialogue, such as pleasure and pain, and one and many. -
Annual Report Therapeutic Riding Program Norwich VT
High Horses 2015 Annual Report Therapeutic Riding Program Norwich VT relationships mobility confidence joy leadership communication “The more progress I have seen in myself, the more I have wanted to share this peace with fellow veterans. There is a companionship and loyalty in military service that is difficult to find in the civilian world and I have found that once again at High Horses.” - A veteran 93%of participants observed by independent raters demonstrated gains in skills in a goal area 49 New Participants in 2015 “I know A__ from working at her school. Her confidence has grown so much since she started riding with High Horses that you would never know she was the same kid! It is amazing what horses can do for our self -esteem.” - A school aid and High Horses volunteer www.highhorses.org High Horses Therapeutic Riding Program’s Mission: To improve the well-being of people with special needs through a therapeutic equine experience. Populations Served 231 participants ages 3-94 Cerebral Seniors, Veterans, Children, Teens, Adults Palsy 7% Autism Volunteers Spectrum Other disorder 13yrs Volunteers: Ageless 75yrs 37% 22% 4,557 hours contributed (VT rate = $21.65/hr) $98,659.05 Independent raters measuring outcomes: 29 Grey ADD/ADHD Horse 6% Down Volunteers are crucial to our PTSD 12% Syndrome success and are a valued 5% 11% member of the team that help participants reach their goals Finances Research and Development Grants/Community Funds awarded REVENUE 2014 2015 Alces Foundation F The Jack & Dorothy Byrne Program 63,2 87 69,260 o Foundation C Fundraising/grants 178,873 233,514 u Jane B. -
Myth Y La Magia: Magical Realism and the Modernism of Latin America
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2015 Myth y la magia: Magical Realism and the Modernism of Latin America Hannah R. Widdifield University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Latin American Languages and Societies Commons, and the Literature in English, North America, Ethnic and Cultural Minority Commons Recommended Citation Widdifield, Hannah R., "Myth y la magia: Magical Realism and the Modernism of Latin America. " Master's Thesis, University of Tennessee, 2015. https://trace.tennessee.edu/utk_gradthes/3421 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Hannah R. Widdifield entitled "Myth y la magia: Magical Realism and the Modernism of Latin America." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Lisi M. Schoenbach, Major Professor We have read this thesis and recommend its acceptance: Allen R. Dunn, Urmila S. Seshagiri Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Myth y la magia: Magical Realism and the Modernism of Latin America A Thesis Presented for the Master of Arts Degree The University of Tennessee, Knoxville Hannah R. -
A Computational Model of Narrative Generation for Suspense
A Computational Model of Narrative Generation for Suspense Yun-Gyung Cheong and R. Michael Young Liquid Narrative Group Department of Computer Science North Carolina State University Raleigh, NC 27695 [email protected], [email protected] Abstract that is leading to a significant outcome, b) intervening Although suspense contributes significantly to the events, and c) the outcome. enjoyment of a narrative by its readers, its role in dynamic Our approach attempts to manipulate the level of story generation systems has been largely ignored. This suspense experienced by a story’s reader by elaborating on paper presents Suspenser, a computational model of the story structure — making decisions regarding what narrative generation that takes as input a given story world story elements to tell and when to tell them — that can and constructs a narrative structure intended to evoke the influence the reader’s narrative comprehension process. desirable level of suspense from the reader at a specific To this end, we make use of a computational model of that moment in the story. Our system is based on the concepts comprehension process based on evidence from previous that a) the reader’s suspense level is affected by the number psychological studies (Brewer, 1996; Gerrig and Bernardo, of solutions available to the problems faced by a narrative’s protagonists, and b) story structure can influence the 1994; Comisky and Bryant, 1982). To generate suspenseful reader’s narrative comprehension process. We use the stories, we set out a basic approach built on a tripartite Longbow planning algorithm to approximate the reader’s model, adapted from narrative theory, that involves the planning-related reasoning in order to estimate the number following elements: the fabula, the sjuzhet, and the of anticipated solutions that the reader builds at a specific discourse (Rimmon-Kenan; 2002). -
An Analysis of the Magical Beauty in One Hundred Years of Solitude and Its Influence on Chinese Literature
Frontiers in Educational Research ISSN 2522-6398 Vol. 4, Issue 7: 56-61, DOI: 10.25236/FER.2021.040711 An Analysis of the Magical Beauty in One Hundred Years of Solitude and Its Influence on Chinese Literature Hui Han School of Foreign Language, Hubei University of Arts and Science, Xiangyang City, China Abstract: One Hundred Years of Solitude is the most representative work of magic realism in the literature created by Colombian writer Gabriel Garcia Marquez, and it is a dazzling pearl in magic realism literature. Marquez used magical techniques to describe the tortuous and legendary experiences of several generations of the Buendia family in the small town. Through the refraction of the magical realm, it indirectly reflects the history of Latin America and the cruel real life, and expresses people's desire for independence and stability. Compared with other Western literary schools, magic realism is one of the literary schools that have a profound influence on the development of modern and contemporary Chinese literature. This article mainly analyzes the magical beauty of One Hundred Years of Solitude and its influence on Chinese literature through magic realism. Keywords: magic realism, One Hundred Years of Solitude, root-seeking literature 1. Introduction Magic realism originated in Latin America. From the 1950s to the 1970s, Latin American literature had an amazing and explosive breakthrough. A series of masterpieces came out, and various literary schools came into being. Among the numerous literary schools, the most important is undoubtedly magic realism, which occupies a very important position in the contemporary world literary world. The publication of "One Hundred Years of Solitude" brought the literary creation of magic realism to the peak and caused an explosive sensation in the world literary world. -
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). -
Mother Most Amiable
VOLUME 40 De Maria Nunquam Satis ISSUE N O. 52 a To Promote Faithful Obedience to the Legitimate Teaching Magisterium of the One, TrueTrue,, Holy, CatholicCatholic,, Apostolic Church Founded by Jesus Christ... a To Preserve Without Compromise or DiluDilutiontion the TraditionsTraditions,Traditions , Dogma and Doctrines of the One, True Church... a To Work and Pray for the Triumph of the Immaculate Heart of Mary Our Queen and the Resultant Reign of Christ Our King... Motherhere shall always Most be thatAmiable enmity mentioned in Scripture T betweenIn the lastthe four Christian titles weforces have of considered the Our Mother’s holinessWoman by(Mary) looking and at whatthe sheAnti-Christ was not , that is, negatively. Nowforces let usof studythe serpent what she (Lucifer). is . And whileThe veryin our first presentthing that day we arethose told about her is that she is most amiable, i.e. , most lovable. The word forces of Anti-Christ (Freemasonry, “amiable,” as we commonly use it, has not in English the sameCommunism, force as theAtheistic Latin word Materialism, “amabilis,” which means, as weLiberalism have said, “lovable.”and its Protestant offspring,But is there Apostate not something Modernism, within us which tells us this withoutSocialism, its being Militant put intoIslam, words? etc.) Doare not her statues and pictures,gaining if theyuniversal are at allvictories in good taste,in depict Mary as a sweet, gentle, modest virgin? In a word is not her establishing the reign of the outstanding characteristic this—that she is one whom you Luciferian brotherhood throughout feel you must love? theShe world, is one we you who would fight neverbeneath be theafraid to go to, for you knowstandard she would of the never Cross be cross, know sharp, that sneering, unkind, or boredultimately and unwillingMary, Mother to listen of God to andyou. -
Grade 4 Narrative Writing Guide
Grade 4 Narrative Writing Guide Student Pages for Print or Projection SECTION 4: Suspense www.empoweringwriters.com 1-866-285-3516 Student Page Name____________________________________________ FIND THE SUSPENSE! Authors can build suspense by raising story questions to make you wonder or worry. They can use word referents in order to hint at, rather than name, a revelation. Read each suspenseful segment. Underline story questions in red. Underline the use of word referents in blue. 1. Robert climbed the steps to the old deserted house. Everyone said it was haunted, but could that really be true? He didn’t believe that things like ghosts or spirits actually existed. Robert took a deep breath and put his hand on the doorknob. He thought about the dare, and paused. Would he have the guts to go inside and see for himself? 2. Maria knew she should have worn her hiking boots and heavy socks - that sandals were not safe in this environment. She stepped carefully over the rocks and cautiously through the tall grass. She felt a sense of danger before she actually saw it. She heard a swishing sound and saw the grass in front of her separate. The rattling sound that came next stopped her short. What was hiding in the grass, she wondered? Its beady eyes glinted in the light and its tongue flicked. But when the the tip of the deadly creature’s tail, raised up, angrily vibrating its poisonous warning was the most terrifying thing Maria had ever laid eyes on. 3. Ben held the small gift-wrapped box in his hand for a moment.