Interactive Narrative, Plot Types, and Interpersonal Relations
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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. -
Narrowing the Gap Between Imaginary and Real Artifacts: a Process for Making and Filming Diegetic Prototypes
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Narrowing the Gap Between Imaginary and Real Artifacts: A Process for Making and Filming Diegetic Prototypes Al Hussein Wanas Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Art and Design Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3142 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Al Hussein Wanas 2013 All Rights Reserved 2 Approval certificate for Al Hussein Wanas for the thesis project entitled Narrowing The Gap Between Imaginary And Real Artifacts: A Process For Making And Filming Diegetic Prototypes. Submitted to the faculty of the Master of Fine Arts in Design Studies of Virginia Commonwealth University in Qatar in partial fulfillment for the degree, Master of Fine Arts in Design Studies. Al Hussein Wanas, BFA In Graphic Design, Virginia Commonwealth University in Qatar, Doha Qatar, May 2011. Virginia Commonwealth University in Qatar, Doha Qatar, May 2013 Diane Derr ______________________ Primary Advisor, Assistant Professor Master of Fine Arts in Design Studies Patty Paine ______________________ Secondary Advisor, Reader, Assistant Professor Liberal Arts and Science Levi Hammett ______________________ Secondary -
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. -
1 the Berlin Mission Society and Its Theology: the Bapedi Mission
The Berlin Mission Society and its Theology: the Bapedi Mission Church and the independent Bapedi Lutheran Church. By Karla Poewe and Ulrich van der Heyden. This paper appeared in: South African Historical Journal 40 May, 1999, pp.21-50. Abstract The task of this paper is to understand how some Berlin missionaries portrayed the formation of the Bapedi Lutheran Church, an independent church, in what was north Transvaal, South Africa. To that end, we should be clear about three things: (1) the inner logic of missionary endeavours; (2) the impact of African spirituality and thinking on missionary narrative; and (3) the appropriation by Africans of missionary teachings to shape their own institutions and politics despite mission resistance. The different genres of missionary narratives, especially those of the Berlin mission director Hermann Theodor Wangemann (1818-1894), were deeply affected by African initiatives and thinking at the same time that African thinking was an accommodation to the Christian metanarrative learned from missionaries. The irony is that, while Berlin missionaries taught indigenisation in order to avoid independency, their narratives are a portrayal of precisely that which they wanted to avoid. My story you will hear from others, for this story will be talked about in the whole world, in Africa and in Europe. The work that I started in 1856 I have now completed (Martinus Sebusane, 1890, Historische Angaben n.d.:36, Berliner Missionswerk). It was the wish of the first heroes who came to us, and who were our benefactors that the natives were not always to be supported by the societies in Europe, but should learn to stand on their own feet. -
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. -
The Marriage of Mimesis and Diegesis in "White Teeth"
University of New Mexico UNM Digital Repository 2019 Award Winners - Hulsman Undergraduate Jim & Mary Lois Hulsman Undergraduate Library Library Research Award Research Award Spring 2019 The aM rriage of Mimesis and Diegesis in "White Teeth" Brittany R. Raymond University of New Mexico, [email protected] Follow this and additional works at: https://digitalrepository.unm.edu/ugresearchaward_2019 Part of the Literature in English, British Isles Commons, and the Other English Language and Literature Commons Recommended Citation Raymond, Brittany R.. "The aM rriage of Mimesis and Diegesis in "White Teeth"." (2019). https://digitalrepository.unm.edu/ ugresearchaward_2019/5 This Article is brought to you for free and open access by the Jim & Mary Lois Hulsman Undergraduate Library Research Award at UNM Digital Repository. It has been accepted for inclusion in 2019 Award Winners - Hulsman Undergraduate Library Research Award by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Raymond 1 Brittany Raymond Professor Woodward ENGL 250 28 April 2018 The Marriage of Mimesis and Diegesis in White Teeth Zadie Smith’s literary masterpiece, White Teeth, employs a yin-yang relationship between Mimesis and Diegesis, shifting the style of narration as Smith skillfully maneuvers between the past and present. As the novel is unfolding, two distinctive writing styles complement each other; we are given both brief summaries and long play-by-play descriptions of the plot, depending on the scene. Especially as the story reaches its climax with Irie, Magid and Millat, Smith begins to interchange the styles more frequently, weaving them together in the same scenes. These two literary styles are grounded in Structuralist theory, which focuses on the function of the language itself. -
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. -
Affective Acting: an Appraisal-Based Architecture for Agents As Actors
DIPLOMARBEIT Affective Acting: An Appraisal-based Architecture for Agents as Actors ausgefuhrt¨ am Institut fur¨ Medizinische Kybernetik und Artificial Intelligence der Medizinischen Universitat¨ Wien sowie am Osterreichischen¨ Forschungsinstitut fur¨ Artificial Intelligence unter Anleitung von o. Univ.-Prof. Ing. Dr. Robert Trappl und Dipl.-Ing. Dr. Paolo Petta als verantwortlich mitwirkendem Universitatsassistenten¨ durch Stefan Rank Sonnenuhrgasse 1 A-1060 Wien Wien, Februar 2004 Zusammenfassung Emotion spielt eine zentrale Rolle fur¨ fesselndes Drama. Konflikte zwischen den Charakteren in einem Stuck¨ und die Emotionen, die bei der Losung¨ be- teiligt sind, sind die Bausteine einer dramatischen Struktur, einer Handlung. Diese Pramisse¨ fuhrt¨ zu der Annahme, dass eine Gruppe von Charakteren ausreicht, um dramatische Strukturen nur durch ihre Interaktion in einer kon- fliktgeladenen Umgebung zu erzeugen, falls sie mittels einer Simulation des Prozesses, den die Appraisal Theory of Emotion beschreibt, gesteuert wer- den. Das sollte auch ohne eine zentrale Einheit, die die Charaktere kontrolliert, moglich¨ sein. Der Einsatz einer appraisal-basierten Architektur wird demnach als Schlussel¨ zur Konstruktion von emotional und dramatisch glaubwurdigen¨ Charakteren fur¨ interaktives Drama gesehen. Diese Diplomarbeit prasentiert¨ das ActAffAct Projekt: ein Versuch, diese Ideen anhand einer Implementierung auf die Probe zu stellen, um Erfahrun- gen bezuglich¨ Machbarkeit und Komplexitat¨ zu sammeln. Als Grundlage fur¨ die Implementierung der Appraisal -
Review: the Journal of Dramaturgy, Volume 23, Issue 1
University of Puget Sound Sound Ideas LMDA Review Other Publications Summer 2013 Review: The ourJ nal of Dramaturgy, volume 23, issue 1 Sydney Cheek-O'Donnell Vicki Stroich Martine Kei Greene-Rodgers Curtis Russell Will Daddario See next page for additional authors Follow this and additional works at: https://soundideas.pugetsound.edu/lmdareview Recommended Citation Cheek-O'Donnell, Sydney; Stroich, Vicki; Greene-Rodgers, Martine Kei; Russell, Curtis; Daddario, Will; Hollingshaus, Wade; and Becker, Becky, "Review: The ourJ nal of Dramaturgy, volume 23, issue 1" (2013). LMDA Review. 46. https://soundideas.pugetsound.edu/lmdareview/46 This Book is brought to you for free and open access by the Other Publications at Sound Ideas. It has been accepted for inclusion in LMDA Review by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. Authors Sydney Cheek-O'Donnell, Vicki Stroich, Martine Kei Greene-Rodgers, Curtis Russell, Will Daddario, Wade Hollingshaus, and Becky Becker This book is available at Sound Ideas: https://soundideas.pugetsound.edu/lmdareview/46 The Journal of Dramaturgy Published by Literary Managers and Review Dramaturgs of the Americas ISSN 2157-1007 Volume 23, Issue 1 Summer 2013 TRAVELOGUE 3 “Dramaturgy and Risk in Pakistan” by Vicki Stroich BOOK REVIEW PHOTO: 7 The Process of Dramaturgy by Scott R. Irelan, Anne Fletcher, and Julie Felise Dubiner CHRISTOPHER MORRIS Reviewed by Martine Kei Green-Rogers and Curtis Russell PEER-REVIEWED CONTENT 10 “Emancipating Dramaturgy: From Pedagogy to Psychagogy” by Will Daddario and Wade Hollingshaus 20 “Directing Like a Dramaturg: The Art of Being a Whale” by Becky Becker PHOTO: JOHN W.