Fauklner Writes a Fable
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Major-General Jennie Carignan Enlisted in the Canadian Armed Forces (CAF) in 1986
MAJOR-GENERAL M.A.J. CARIGNAN, OMM, MSM, CD COMMANDING OFFICER OF NATO MISSION IRAQ Major-General Jennie Carignan enlisted in the Canadian Armed Forces (CAF) in 1986. In 1990, she graduated in Fuel and Materials Engineering from the Royal Military College of Canada and became a member of Canadian Military Engineers. Major-General Carignan commanded the 5th Combat Engineer Regiment, the Royal Military College in Saint-Jean-sur-Richelieu, and the 2nd Canadian Division/Joint Task Force East. During her career, Major-General Carignan held various staff Positions, including that of Chief Engineer of the Multinational Division (Southwest) in Bosnia and Herzegovina, and that of the instructor at the Canadian Land Forces Command and Staff College. Most recently, she served as Chief of Staff of the 4th Canadian Division and Chief of Staff of Army OPerations at the Canadian Special OPerations Forces Command Headquarters. She has ParticiPated in missions abroad in Bosnia and Herzegovina, the Golan Heights, and Afghanistan. Major-General Carignan received her master’s degree in Military Arts and Sciences from the United States Army Command and General Staff College and the School of Advanced Military Studies. In 2016, she comPleted the National Security Program and was awarded the Generalissimo José-María Morelos Award as the first in her class. In addition, she was selected by her peers for her exemPlary qualities as an officer and was awarded the Kanwal Sethi Inukshuk Award. Major-General Carignan has a master’s degree in Business Administration from Université Laval. She is a reciPient of the Order of Military Merit and the Meritorious Service Medal from the Governor General of Canada. -
Benefits of Nonlinear Storytelling in Film and Television
BENEFITS OF NONLINEAR STORYTELLING IN FILM AND TELEVISION A THESIS Presented to the University Honors Program California State University, Long Beach In Partial Fulfillment of the Requirements for the University Honors Program Certificate Joshua Seemann Spring 2017 I, THE UNDERSIGNED MEMBER OF THE COMMITTEE, HAVE APPROVED THIS THESIS BENEFITS OF NONLINEAR STORYTELLING IN FILM AND TELEVISION BY Joshua Seemann ______________________________________________________________ Adam Moore, MFA Film and Electronic Arts California State University, Long Beach Spring 2017 Running Head: BENEFITS OF NONLINEAR STORYTELLING Abstract Screenwriters strive to create narratives that are emotionally compelling and engaging to audiences. This research explores the technique of nonlinear storytelling, focusing on what makes a film nonlinear, as well as discussing what benefits nonlinear storytelling provides to the screenwriting process. Through the analysis of three films and one television show that utilize aspects of nonlinear story structure, this study argues that linearity should be thought of as a spectrum rather than something that is categorical. In addition, this work argues that nonlinear story structure makes it easier for films to cover larger spans of time, allows screenwriters to achieve effects that would be impossible in fully linear stories, and helps writers enhance the audience’s emotional connection to scenes through implicit storytelling. This research suggests that by taking advantage of these benefits, screenwriters can create films that lend audiences an emotionally powerful viewing experience. 1 BENEFITS OF NONLINEAR STORYTELLING Benefits of Nonlinear Storytelling In Film and Television Nonlinear storytelling is a narrative technique in which the events of a story are told out of chronological order. Better understanding nonlinear story structure will help screenwriters create scripts that are more emotionally compelling than traditional linear films. -
Hemingway & Faulkner English 423, Fall 2016 Dr. David Swerdlow 405
Hemingway & Faulkner English 423, Fall 2016 Dr. David Swerdlow 405 Thompson-Clark, x7345 Office Hours: MWF 11-12 and by appt. Ernest Hemingway and William Faulkner are among the United States’ most celebrated writers. Nobel laureates and icons of the modernist era, these two writers may be most known for their easily recognizable and radically different styles that surface in everything they write. In many ways, however, they are kindred spirits in terms of theme and ambition. Consider their Nobel Prize acceptance speeches. (Please note that Hemingway, because of illness, was not able to give his speech himself. It was delivered by the U.S. Ambassador to Sweden.) Having no facility for speech-making and no command of oratory nor any domination of rhetoric, I wish to thank the administrators of the generosity of Alfred Nobel for this Prize. No writer who knows the great writers who did not receive the Prize can accept it other than with humility. There is no need to list these writers. Everyone here may make his own list according to his knowledge and his conscience. It would be impossible for me to ask the Ambassador of my country to read a speech in which a writer said all of the things which are in his heart. Things may not be immediately discernible in what a man writes, and in this sometimes he is fortunate; but eventually they are quite clear and by these and the degree of alchemy that he possesses he will endure or be forgotten. Writing, at its best, is a lonely life. -
Tenth Lecture Flashback: Significance of Flashback in Literature the Flashback in the Old Man and the Sea
Tenth Lecture Flashback: A flashback is defined as an interruption in the present of a vivid memory set in the past. There are a variety of things that can cause a flashback to occur, which include songs, food, people, places, or similar events to those in the past. Through flashbacks, we are able to reflect upon experiences we have had in life, both positive and negative, and apply them to the present. Flashback is one of the most popular literary devices used in writing . A flashback typically is implemented by: The narrator tells another character about past events The narrator has a dream about past events The narrator thinks back to past events, revealing the information only to the reader The narrator reads a letter that prompts back to an earlier time Significance of Flashback in Literature Authors use flashbacks in their works for many different reasons. One key reason is to fill in elements of one or more characters’ backstories. Flashbacks can help the reader understand certain motivations that were otherwise unclear, or provide characterization in other ways. Flashbacks can also create suspense or add structure to a story. Some authors have chosen to tell their stories entirely in flashback, such as in Homer’s Odyssey, in which Odysseus tells his story to a listener, or Joseph Conrad’s Heart of Darkness, in which the character Marlow tells his fellow sailors about a journey he once took up the Congo River. Other authors, like Kurt Vonnegut in Slaughterhouse Five and Julio Cortázar in Rayuela, choose to tell their stories completely out of chronological order. -
Amanda Schmitt in Conversation with Loretta Fahreholz, Madeline Hollander, and Monica Mirabile”, Texte Zur Kunst, December, 2019
Schmitt, Amanda. “Supernature: Amanda Schmitt in Conversation with Loretta Fahreholz, Madeline Hollander, and Monica Mirabile”, Texte Zur Kunst, December, 2019. [online] [ill.] Supernature: Amanda Schmitt in Conversation with Loretta Fahrenholz, Madeline Hollander, and Monica Mirabile Jordan Peele, Us, 2019, film still Evil forms the background of much in the world of horror films, which have become ever more elaborate in recent years, involving complex choreography as a means to animate the undead or possessed. One unavoidable fact is that this genre has always relied on a certain chauvinism for its spectacles – from slasher flicks to supernatural horror – where the female body is frequently put under extreme physical duress, including torture and mutilation. Recently, several new horror features have been released that showcase forms of bodily dysmorphia, also featuring women. Amanda Schmitt sat down with two choreographers, and an experimental filmmaker who works with dance, to discuss these new horror films and their significance for the history of female corporeal torture in film. The discussion provides a unique behind-the-scenes look at how gesture and movement become translated into intricate arrangements for the screen. This roundtable brings together three artists – Loretta Fahrenholz, Madeline Hollander, and Monica Mirabile – to discuss two films that both debuted in the last year: Luca Guadagnino’s remake of the cult classicSuspiria (originally inspired by the 1845 Thomas de Quincey essay and rewritten for release as a feature film directed by Dario Argento in 1977) and Jordan Peele’s original Hollywood blockbuster Us (2019). The two films have something in common: their use of choreography as both a theme and technique to depict the (often female) body in states of despicable horror. -
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. -
Philip Roth's Confessional Narrators: the Growth of Consciousness
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1979 Philip Roth's Confessional Narrators: The Growth of Consciousness. Alexander George Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation George, Alexander, "Philip Roth's Confessional Narrators: The Growth of Consciousness." (1979). Dissertations. 1823. https://ecommons.luc.edu/luc_diss/1823 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations 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. Copyright © 1979 Alexander George PHILIP ROTH'S CONFESSIONAL NARRATORS: THE GROWTH OF' CONSCIOUSNESS by Alexander George A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 1979 ACKNOWLEDGE~£NTS It is a singular pleasure to acknowledge the many debts of gratitude incurred in the writing of this dissertation. My warmest thanks go to my Director, Dr. Thomas Gorman, not only for his wise counsel and practical guidance, but espec~ally for his steadfast encouragement. I am also deeply indebted to Dr. Paul Messbarger for his careful reading and helpful criticism of each chapter as it was written. Thanks also must go to Father Gene Phillips, S.J., for the benefit of his time and consideration. I am also deeply grateful for the all-important moral support given me by my family and friends, especially Dr. -
English, American Nobel Prize Winners in Literature. INSTITUTION Kansas Univ., Lawrence
DOCUMENT RESUME ED 058 196 TE 002 709 AUTHOR Phillips, James A. TITLE Modular Curriculum: English, American Nobel Prize Winners in Literature. INSTITUTION Kansas Univ., Lawrence. Extramural Independent Study Center. PUB DATE 70 NOTE 54p. AVAILABLE FROMUniversity of Kansas, Extramural Independent Study Center, Coordinator of Secondary Education, Lawrence, Kansas 66044 ($2.00) EDRS PRICE MF-$0.65 HC Not Available from EDRS. DESCRIPTORS *American Literature; *Authors; College Curriculum; Creative Writing; Curriculum Design; *English Curriculum; Guides; Independent Study; *Literary Genres; *Secondary Education; University Extension IDENTIFIERS *Nobel Prize in Literature ABSTRACT This independent study module treats those Americans who have been awarded the Nobel Prize in Literature. They include Sinclair Lewis, Eugene O'Neill, T. S. Eliot, William Faulkner, Ernest Hemingway, John Steinbeck, and Pearl Buck. Selections from the writings of these authors are included. Their works represent many literary genres and also encompass much that man has had to say about his fellow man. (Editor/CK) I. THE UNIVERSITY OF KANSAS / AT LAWRENCE "PERMISSION TO REPRODUCE THIS COPY RIGHTED MATERIAL BY MICRDFICHE ONLY 1-14$PEEN GRANTED BY/I NAAJ uo IL)Q U.N/i 14rdS4-S. TO ERIC AND ORGANIZATIONS OPERATING UNDER AGREEMENTS WITH THE U S OFFICE OF EDUCATION. FURTHER REPRODUCTION OUTSIDE THE ERIC SYSTEM REQUIRES PER MISSION OF THE COPYRIGHT OWNER OF HEALTH. U.S. DEPARTMENT EDUCATION & WELFARE OFFICE OF EOUCATION HAS BEEN REPRO- THIS DOCUMENT MODULAR CURRICULUM: AS RECEIVEDFROM DUCED EXACTLYORGANIZATION ORIG- THE PERSON OR OPIN- ENGLISH INATING IT. POINTSOF VIEW OR NOT NECESSARILY American Nobel Prize Winners IONS STATEO DO OFFICE OF EDU- REPRESENT OFFICIAL OR POLICY. -
Faulkner & Morrison
William Faulkner and Toni Morrison are generally understood as two of the most important writers of the twentieth century, and, indeed, the work of each is integral to American literature. But why are Morrison and Faulkner so often Faulkner & mentioned in the same breath—he, born in the South, white and wealthy, she, the Morrison daughter of a working-class black family in the Midwest? Perhaps it is because in a country that works hard to live without a racial past, both Morrison’s and Faulkner’s work bring deep articulation to the often unseen, and more commonly, English 95.03 the unspeakable. This class will make some explorations across each author’s work, Prof. Parham looking for where their texts converge and diverge. As well, we will learn how to [email protected] talk and write about the visions, dreams, and nightmares—all represented as daily life—that these authors offer. Workload & Attendance This is a discussion driven class, and its greatest requirement is that you pay close attention—in class as well as while reading. This also means that we might make changes to the syllabus, adjusting according to our progress through the texts. You will complete 5 three page papers, of which I will drop the lowest grade. You may choose to skip paper #5, but you may not skip papers 1-4. For your final grade, you must submit at least four papers, revised if you like, as a portfolio. I do not give paper topics, but we can build one for you during office hours in 10 Johnson Chapel. -
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). -
University of Regina Archives and Special Collections The
UNIVERSITY OF REGINA ARCHIVES AND SPECIAL COLLECTIONS THE DR JOHN ARCHER LIBRARY 2012-35 JOAN GIVNER RESARCH AND WRITING ON KATHERINE ANNE PORTER JULY 2012 BY CHELSEA SCHESKE, LYDIA MILIOKAS, ELIZABETH SEITZ AND MICHELLE OLSON REVISED MARCH 2016 BY ELIZABETH SEITZ 2012-35 JOAN GIVNER 2 / 12 Biographical Sketch: Joan Givner (nee Short) graduated from the University of London with a Bachelor of Arts Honours degree in 1958 and a Ph.D. in 1972. She earned a Masters degree in Arts from Washington University in St. Louis, Missouri in 1965. While in the United States she taught high school from 1959 until 1961. She then taught English at Port Huron Junior College (now St Clair County Community College) from 1961 until 1965. Givner joined the predecessor of the University of Regina, the University of Saskatchewan, Regina Campus, as a Lecturer of English in 1965 and in 1972 became an Assistant Professor, in 1975 an Associate Professor and in 1981 she became a Professor of English. Joan retired from the University of Regina in 1995 to Victoria, British Columbia and taught creative writing at Malaspina College – Cowichan Campus during the spring of 1997. Joan Givner’s Ph.D. thesis is titled A Critical Study of the Worlds of Katherine Anne Porter (1972), since then, Joan was chosen by Katherine Anne Porter to undertake the task of writing Porter’s biography. Katherine Anne Porter: A Life was published in 1982. Other publications by Givner are Tentacles of Unreason (1985), Katherine Anne Porter: Conversations (1987); Unfortunate Incidents (1988), Mazo de la Roche: The Hidden Life (1989), Katherine Anne Porter: A Life (Revised Edition) (1991), Scenes from Provincial Life (1991), The Self-Portrait of a Literary Biographer (1993), In the Garden of Henry James (1996), Thirty-four Ways of Looking at Jane Eyre: Essays and Fiction (1998) and Half Known Lives (2000). -
Soldiers and Statesmen
, SOLDIERS AND STATESMEN For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 - Price $2.65 Stock Number008-070-00335-0 Catalog Number D 301.78:970 The Military History Symposium is sponsored jointly by the Department of History and the Association of Graduates, United States Air Force Academy 1970 Military History Symposium Steering Committee: Colonel Alfred F. Hurley, Chairman Lt. Colonel Elliott L. Johnson Major David MacIsaac, Executive Director Captain Donald W. Nelson, Deputy Director Captain Frederick L. Metcalf SOLDIERS AND STATESMEN The Proceedings of the 4th Military History Symposium United States Air Force Academy 22-23 October 1970 Edited by Monte D. Wright, Lt. Colonel, USAF, Air Force Academy and Lawrence J. Paszek, Office of Air Force History Office of Air Force History, Headquarters USAF and United States Air Force Academy Washington: 1973 The Military History Symposia of the USAF Academy 1. May 1967. Current Concepts in Military History. Proceedings not published. 2. May 1968. Command and Commanders in Modem Warfare. Proceedings published: Colorado Springs: USAF Academy, 1269; 2d ed., enlarged, Washington, D.C.: Government Printing Office, 1972. 3. May 1969. Science, Technology, and Warfare. Proceedings published: Washington, b.C.: Government Printing Office, 197 1. 4. October 1970. Soldiers and Statesmen. Present volume. 5. October 1972. The Military and Society. Proceedings to be published. Views or opinions expressed or implied in this publication are those of the authors and are not to be construed as carrying official sanction of the Department of the Air Force or of the United States Air Force Academy.