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Reverse Backstory Tool
REVERSE BACKSTORY TOOL Filling in this Reverse Backstory Tool for your characters will help you understand the big picture: what they want and need, what motivates them, what their backstories might be. Planning out their wounds and the lies they tell themselves will also help you choose what traits might help them succeed and which will get in the way. Plotting this information in the brainstorming stage (or even as you revise, to add depth to your character) will help you determine what sensitive areas to target, creating challenges for your hero. © Angela Ackerman & Becca Puglisi, 2013 1 http://writershelpingwriters.net PRAISE FOR THE EMOTION THESAURUS “One of the challenges a fiction writer faces, especially when prolific, is coming up with fresh ways to describe emotions. This handy compendium fills that need. It is both a reference and a brainstorming tool, and one of the resources I'll be turning to most often as I write my own books.” ~ James Scott Bell, best-selling author of Deceived and Plot & Structure PRAISE FOR THE POSITIVE AND NEGATIVE TRAIT THESAURUS BOOKS “In these brilliantly conceived, superbly organized and astonishingly thorough volumes, Angela Ackerman and Becca Puglisi have created an invaluable resource for writers and storytellers. Whether you are searching for new and unique ways to add and define characters, or brainstorming methods for revealing those characters without resorting to clichés, it is hard to imagine two more powerful tools for adding depth and dimension to your screenplays, novels or plays.” ~ Michael Hauge, Hollywood script consultant and story expert, author of Writing Screenplays That Sell and Selling Your Story in 60 Seconds: The Guaranteed Way to Get Your Screenplay or Novel Read © Angela Ackerman & Becca Puglisi, 2013 2 http://writershelpingwriters.net. -
Leonard, Philip. "Global Catastrophe." Orbital Poetics: Literature, Theory, World
Leonard, Philip. "Global Catastrophe." Orbital Poetics: Literature, Theory, World. London: Bloomsbury Academic, 2019. 107–140. Bloomsbury Collections. Web. 28 Sep. 2021. <http:// dx.doi.org/10.5040/9781350075115.ch-005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 23:01 UTC. Copyright © Philip Leonard 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 5 Global Catastrophe The end of the world, Shakespeare’s Lear tells us, will come when a vengeful nature overwhelms all that is known: Blow, winds, and crack your cheeks! Rage, blow! You cataracts and hurricanoes, spout Till you have drench’d our steeples, drowned the cocks! You sulphurous and thought-executing fires, Vaunt-couriers to oak-cleaving thunderbolts, Singe my white head! And thou, all-shaking thunder, Strike flat the thick rotundity o’ the world, Crack Nature’s moulds, all germens spill at once That make ingrateful man! (3.2.1–9) At this moment in the play, Lear has descended into madness following the catastrophic collapse of both family and kingdom. The bonds of blood and the principle of sovereign authority have been betrayed, and as a result civilization as he understands it has fallen into disarray. ‘Blow, winds, and crack your cheeks’ is his desperate apostrophe to an enraged nature that is unmoved by the plight of a humanity that struggles with its place in the world, and Lear addresses the unruly storm that engulfs him not to seek deliverance or absolution, but to yield to a greater authority. -
Plot? What Is Structure?
Novel Structure What is plot? What is structure? • Plot is a series of interconnected events in which every occurrence has a specific purpose. A plot is all about establishing connections, suggesting causes, and and how they relate to each other. • Structure (also known as narrative structure), is the overall design or layout of your story. Narrative Structure is about both these things: Story Plot • The content of a story • The form used to tell the story • Raw materials of dramatic action • How the story is told and in what as they might be described in order chronological order • About how, and at what stages, • About trying to determine the key the key conflicts are set up and conflicts, main characters, setting resolved and events • “How” and “when” • “Who,” “what,” and “where” Story Answers These Questions 1. Where is the story set? 2. What event starts the story? 3. Who are the main characters? 4. What conflict(s) do they face? What is at stake? 5. What happens to the characters as they face this conflict? 6. What is the outcome of this conflict? 7. What is the ultimate impact on the characters? Plot Answers These Questions 8. How and when is the major conflict in the story set up? 9. How and when are the main characters introduced? 10.How is the story moved along so that the characters must face the central conflict? 11.How and when is the major conflict set up to propel them to its conclusion? 12.How and when does the story resolve most of the major conflicts set up at the outset? Basic Linear Story: Beginning, Middle & End Ancient (335 B.C.)Greek philosopher and scientist, Aristotle said that every story has a beginning, a middle, and an end. -
Conventions of the Play
Conventions of the Play Nikpreet Singh (SVV@G_D@VVG) Colin Ludwig Mu’az Abdul-aziz Julian Stanley IB English 12 Formal Structure Prologos ● Entire part of an ancient Greek play that precedes the parodos (an ode sung by the chorus at the entrance). Formal Structure Episodes ● One series of events throughout the course of the drama. Formal Structure Exodus ● Final scene or departure How do you think the final messenger influenced the exodus? DQ 1 Discussion: 1) Who? 2) Purpose? 3) Impact? “You are right; there is sometimes danger in too much silence” (1324). Use of Peripeteia and Anagnorisis Peripeteia = turning point or shift in the drama Page 2088 when the chorus begins speaking Anagnorisis = “recognition” When a character makes a crucial finding ● Find an example on page 2083 Conventions of a play Use of Chorus- Acts as a narrator for the play, giving info not given from the actors themselves How does Sophocles use the chorus as a proactive character and how would the story change if he used a different form of narration? DQ 2 ● Uses the chorus to ask question to Creon and find out what he’s thinking ● Chorus is the one who tells the messenger to go look for Conventions of a play Conventional Characters- Stereotypical characters that are usually flat Messengers used to deliver off stage to the audience Blind Seer- embodies a contradiction High Status Characters High on the social ladder, placed in a position of power In Antigone, status contributes to the pride of Creon and how he handles Antigone’s ‘crime’ Conventions of the Tragic Hero Aristotle’s Poetica: •This text is Aristotle’s theory on drama, and the general effects of drama on humanity. -
Backstory-The Gospel Told As Story
BACKSTORY-THE GOSPEL TOLD AS STORY BACKSTORY LIFE@LARGE REVISITED Backstory is the new and revised version of Life@Large. We took all the best elements of the original version, simplified it, clarified it, and made it highly intuitive to use and wonderfuly visual to look at. The result is a very simple, very graphic, very clear presentation of the gospel message. Here is the opening premise: There are seven billion people in the world. Seven billion stories. And yet there are themes in our stories that are universal: betrayal, love, romance, redemption, sacrifice . The question is if there’s a larger story or narrative to which all our stories relate, one that makes sense of our shared experience—a common Back Story. The booklet goes on to explain the backstory which, of course, is the gospel: 1) Intimacy: God created us to know him 2) Betrayal: Humanity rebelled and sin seperated us from him 3) Anticipation: The Scriptures promise of a coming Deliverer 4) Pursuit: The coming of Christ 5) Sacrifice: Jesus’ death and resurrection 1 6) Invitation: God invites us to return to him 7) Reunion: The age to come—judgment and eternal life. As you can see, Backstory provides a broader more comprehensive BACKSTORY explanation of the gospel and thus a more compelling case for Christ. POSTCARDS FROM CORINTH ORDER ONLINE AT CRUPRESS.COM © 2010, CruPress, All Rights Reserved. CruPress.com HOW TO SHARE “BACKSTORY” 1. Read aloud the black pages, beginning with the “Does this prayer express the desire of your white text (the summary statements), followed by the heart?” If yes, ask if they’d like to pray the prayer right Bible passages. -
Greek Theory of Tragedy: Aristotle's Poetics
Greek Theory of Tragedy: Aristotle's Poetics The classic discussion of Greek tragedy is Aristotle's Poetics. He defines tragedy as "the imitation of an action that is serious and also as having magnitude, complete in itself." He continues, "Tragedy is a form of drama exciting the emotions of pity and fear. Its action should be single and complete, presenting a reversal of fortune, involving persons renowned and of superior attainments, and it should be written in poetry embellished with every kind of artistic expression." The writer presents "incidents arousing pity and fear, wherewith to interpret its catharsis of such of such emotions" (by catharsis, Aristotle means a purging or sweeping away of the pity and fear aroused by the tragic action). The basic difference Aristotle draws between tragedy and other genres, such as comedy and the epic, is the "tragic pleasure of pity and fear" the audience feel watching a tragedy. In order for the tragic hero to arouse these feelings in the audience, he cannot be either all good or all evil but must be someone the audience can identify with; however, if he is superior in some way(s), the tragic pleasure is intensified. His disastrous end results from a mistaken action, which in turn arises from a tragic flaw or from a tragic error in judgment. Often the tragic flaw is hubris, an excessive pride that causes the hero to ignore a divine warning or to break a moral law. It has been suggested that because the tragic hero's suffering is greater than his offense, the audience feels pity; because the audience members perceive that they could behave similarly, they feel pity. -
Sustainable Development As Deus Ex Machina
Biological Conservation 209 (2017) 54–61 Contents lists available at ScienceDirect Biological Conservation journal homepage: www.elsevier.com/locate/bioc Discussion Sustainable development as deus ex machina Claudio Campagna a,b,⁎,DanielGuevarac, Bernard Le Boeuf d a Wildlife Conservation Society, Marine and Argentina Programs, Amenábar 1595, 1426 Buenos Aires, Argentina b Department of Ecology and Evolutionary Biology, University of California, Santa Cruz, California 95064, United States c Department of Philosophy, University of California, Santa Cruz, California 95064, United States d Department of Ecology and Evolutionary Biology, Institute for Marine Sciences, University of California, Santa Cruz, California 95064, United States article info abstract Article history: The advocacy of sustainable development (SD) by governments, NGOs and scientists over the last three decades Received 3 August 2016 has failed to diminish the alarming species extinction rate fueled by overuse and habitat destruction. Attempts to Received in revised form 9 January 2017 satisfy worldwide demands for economic growth and development have, in fact, thwarted conservation efforts Accepted 25 January 2017 and greatly diminished the diversity and abundance of life forms, including key iconic species. Here, we argue Available online xxxx that this crisis is one of values rooted in a discourse that justifies development and downplays the morality of human-caused extinction of life forms. The language of SD does not convey the loss—worse, it masks or rational- Keywords: Language izes it as blameless or necessary. The language of SD represents the loss in biodiversity as fallout from the reduced Conservation discourse capacity of ecosystems to provide services for human benefit, while providing no sense of the values necessary Species crisis for conserving life for its own sake. -
Philosophical Fables for Ecological Thinking: Resisting Environmental Catastrophe Within the Anthropocene
Centre for Research in Modern European Philosophy, Kingston School of Art, Kingston University Philosophical Fables for Ecological Thinking: Resisting Environmental Catastrophe within the Anthropocene Alice GIBSON Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy in Philosophy February 2020 2 Abstract This central premise of this thesis is that philosophical fables can be used to address the challenges that have not been adequately accounted for in post-Kantian philosophy that have contributed to environmental precarity, which we only have a narrow window of opportunity to learn to appreciate and respond to. Demonstrating that fables may bring to philosophy the means to cultivate the wisdom that Immanuel Kant described as crucial for the development of judgement in the Critique of Pure Reason (1781), I argue that the philosophical fable marks an underutilised resource at our disposal, which requires both acknowledgment and defining. Philosophical fables, I argue, can act as ‘go-carts of judgement’, preventing us from entrenching damaging patterns that helped degree paved the way for us to find ourselves in a state of wholescale environmental crisis, through failing adequately to consider the multifarious effects of anthropogenic change. This work uses the theme of ‘catastrophe’, applied to ecological thinking and environmental crises, to examine and compare two thinker poets, Giacomo Leopardi and Donna Haraway, both of whom use fables to undertake philosophical critique. It will address a gap in scholarship, which has failed to adequately consider how fables might inform philosophy, as reflected in the lack of definition of the ‘philosophical fable’. This is compounded by the difficulty theorists have found in agreeing on a definition of the fable in the more general sense. -
The Bulletin of the Colloquium on Violence & Religion
The Bulletin of the Colloquium on Violence & Religion COV&R ____________________________________________________________________________________________ No. 45 October 2014 “THE ONE BY WHOM SCANDAL HAS COME” COV&R Object: “To explore, criti- cize, and develop the mimetic model of Critically Engaging the Girardian Corpus the relationship between violence and religion in the genesis and mainte- nance of culture. The Colloquium will be concerned with questions of both research and application. Scholars from various fields and diverse theo- retical orientations will be encouraged to participate both in the conferences and the publications sponsored by the Colloquium, but the focus of activity will be the relevance of the mimetic model for the study of religion.” The Bulletin is also available online: The Gateway Arch and city of St. Louis at night http://www.uibk.ac.at/theol/cover/bulletin/ COV&R Conference: July 8-12, 2015 at Saint Louis University Contents The Colloquium on Violence & Religion invites you to par- “The One by Whom Scandal Has Come” ticipate in its 25th Annual COV&R Conference. The theme COV&R Conference 2015 1 of the conference, “The One by Whom Scandal Has Come: Announcements 2 Critically Engaging the Girardian Corpus”, offers the oppor- Program of COV&R at the AAR 2014 3 tunity to look retrospectively at the relationship between mi- Letter from the President 4 metic theory and its critics in order to discuss constructively Musings from the Executive Secretary 5 the role these critiques have played in the development of -
Spontaneous Backstory Creation Ryan Sullivan Department Of
Spontaneous Backstory Creation Ryan Sullivan Department of Psychology and Neuroscience University of Colorado Boulder Defense Date: April 2, 2020 Thesis Advisor: Matt Jones Department of Psychology and Neuroscience Defense Committee: Matt Jones, Professor in the Department of Psychology and Neuroscience Eliana Colunga, Professor in the Department of Psychology and Neuroscience Paul Gordon, Professor of Humanities Abstract The ability to spontaneously construct narrative representations of others is an example of how predictive processing models can have implications for research in social cognition. In this study, subjects were given images or brief text excerpts of various people and asked to come up with a backstory for each. Responses were analyzed for length, structure, and source material. After analysis, cartoon images were found to elicit more evaluative clauses in their responses. Also, items that included text excerpts elicited responses that were of the narrative type most frequently. Subjects used people from their own lives as well as characters from fictional works as material when crafting their stories. The results of this study have implications for the study of fiction’s impact on cognition. Also, the neuroscience of such representations and clinical applications are discussed. Introduction Imagine you’re walking down a deserted street one afternoon when you see in the distance a man walking toward you with a strange, limping gait. It looks to you like he might be injured, so you walk a bit faster toward him to help. But a thought occurs to you that causes you to slow your step. Whatever injured him could still be there. It sort of looks like he’s trying to get away. -
Play and Games in Fiction and Theory
Angles New Perspectives on the Anglophone World 11 | 2020 Are You Game? Play and Games in Fiction and Theory Joyce Goggin Electronic version URL: http://journals.openedition.org/angles/2561 DOI: 10.4000/angles.2561 ISSN: 2274-2042 Publisher Société des Anglicistes de l'Enseignement Supérieur Electronic reference Joyce Goggin, « Play and Games in Fiction and Theory », Angles [Online], 11 | 2020, Online since 01 November 2020, connection on 13 November 2020. URL : http://journals.openedition.org/angles/2561 ; DOI : https://doi.org/10.4000/angles.2561 This text was automatically generated on 13 November 2020. Angles est mise à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. Play and Games in Fiction and Theory 1 Play and Games in Fiction and Theory Joyce Goggin Introduction 1 There are many reasons to read fictional texts as a kind of play form or game. For example, popular works of fiction disseminated in various in media such as novels, TV series and films, frequently foreground their relationship to games with titles such as Game of Thrones (HBO 2011-2019), The Hunger Games (2012), or Molly’s Game (2018). But beyond a survey of titles, there are also more significant reasons for considering fiction and games together. Indeed, the history of literature is replete with examples of fictional texts structured around games, from Boccaccio’s Decameron (1353) and Chaucer’s Canterbury Tales (1392), to the game of Ombre in Pope’s Rape of the Lock (1712), to the preponderance of texts in various forms from print or codex to digital which have been published in the 20 th and 21 st centuries, and which somehow foreground their “game-ness”. -
High School Creative Writing Course Planning in This Course Students Will Read, Critique, and Compose Original Poetry, Essays, Short Fiction, and Creative Non-Fiction
High School Creative Writing Course Planning In this course students will read, critique, and compose original poetry, essays, short fiction, and creative non-fiction. Students will examine the works of published writers as well as peers to discover, expand, and refine their own skills, voice, and repertoire. Students will share their work for both written and oral peer critique. Publication will be strongly encouraged as students develop portfolios of their writing. Enduring Understandings Academic Vocabulary • What understandings about the big ideas are desired? (what you want students to understand & be able to use several years from now) • What misunderstandings are predictable? • Creative writing is a process using six interrelated Mentor text repetition elements: ideas, organization, diction, syntax, voice, Voice masculine rhyme and convention. Style feminine rhyme • The way a writer looks at the world impacts his/her Tone half/slant rhyme work. Theme assonance • Words have power and should be used to impact Purpose consonance readers for a specific purpose. Hook alliteration line • A variety of styles and genres can be used to build a Pitch metaphor writing portfolio and develop a writer’s voice. Critique simile • Critiquing and editing establishes a framework for Narrative personification improving one’s writing using multiple drafts. Styles of conflict symbol • Audience impacts an author’s creative choices and Plot stanza how they tell a story. characterization foot • Genres: poetry, fiction, creative non-fiction exposition meter