Villains – the Necessary Evil? Capt
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AP English Literature Required Reading
Kerr High School AP English Literature Summer Reading 2019 Welcome to AP Literature! I’m fairly certain you are parched and thirsty for some juicy reading after a year of analyzing speeches and arguments, so let us jump right in. After months of deliberation and careful consideration, I have chosen several pieces from as far back as 429 BC Athens, to 1200 AD Scotland, venturing on to Africa 1800s, and finishing up in 20th century Chicago. Grab your literary passport and join me as we meet various tragic heroes and discover their tragic flaws and tragic mistakes. You will learn the difference between an Aristotelian tragic hero and a Shakespearean tragic hero, not to mention gain a whole bunch of insight into the human condition and learn some ancient Greek in the process. I made sure each piece is available in PDF online. If you choose to use the online documents, be certain you are able to annotate and have quick access to the annotated text for class discussions. The only AP 4 summer writing you will do is five reading record cards. Four of your reading record cards could include all of the required summer reading pieces. It is my expectation that you earnestly read, annotate, and ponder each of the required pieces and be ready to launch into discussion after your summer reading exam. Heavily annotated notes on the four attached tragic hero articles and your handwritten reading record cards will count as one major grade and are due Thursday, August 15, by 3:00 pm. Instructions for the reading record cards are attached. -
The Scientist: Hero Or Villain?
Intertext Volume 25 Issue 1 Article 9 2017 The Scientist: Hero or Villain? Charlotte Oestrich Syracuse University Follow this and additional works at: https://surface.syr.edu/intertext Part of the Nonfiction Commons Recommended Citation Oestrich, Charlotte (2017) "The Scientist: Hero or Villain?," Intertext: Vol. 25 : Iss. 1 , Article 9. Available at: https://surface.syr.edu/intertext/vol25/iss1/9 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Intertext by an authorized editor of SURFACE. For more information, please contact [email protected]. Oestrich: The Scientist: Hero or Villain? Charlotte Oestrich s prevalent as the scientist is in modern cinema and culture, depictions of the character A have not changed much since its earliest introduction. Sometimes good, but usually por- trayed as “mad,” scientists work to uncover the unknown and are not afraid to accept the con- sequences of their theories. As Christopher Frayling writes, the scientist is usually depicted as a “very intelligent [person]–a genius or almost a genius… [They know their] subject… [They are] prepared to work for years without getting results and face the possibility of failure with- INTERTEXT 2017 | 17 Published by SURFACE, 2017 1 Intertext, Vol. 25 [2017], Iss. 1, Art. 9 out discouragement; [They] will try again” ies of knowledge and styles of knowl- (12). When we are asked to describe a sci- edge. The gap has usually been filled by entist, our minds often move to stereotypical stereotypical representations of one depictions gathered from films; rarely do we kind or another. -
The Effects of Sacred Value Networks Within an Evolutionary, Adversarial Game
J Stat Phys (2013) 151:673–688 DOI 10.1007/s10955-012-0678-4 The Effects of Sacred Value Networks Within an Evolutionary, Adversarial Game Scott G. McCalla · Martin B. Short · P. Jeffrey Brantingham Received: 24 August 2012 / Accepted: 14 December 2012 / Published online: 11 January 2013 © Springer Science+Business Media New York 2013 Abstract The effects of personal relationships and shared ideologies on levels of crime and the formation of criminal coalitions are studied within the context of an adversarial, evo- lutionary game first introduced in Short et al. (Phys. Rev. E 82:066114, 2010). Here, we interpret these relationships as connections on a graph of N players. These connections are then used in a variety of ways to define each player’s “sacred value network”—groups of individuals that are subject to special consideration or treatment by that player. We explore the effects on the dynamics of the system that these networks introduce, through various forms of protection from both victimization and punishment. Under local protection, these networks introduce a new fixed point within the game dynamics, which we find through a continuum approximation of the discrete game. Under more complicated, extended protec- tion, we numerically observe the emergence of criminal coalitions, or “gangs”. We also find that a high-crime steady state is much more frequent in the context of extended protection networks, in both the case of Erdos-Rényi˝ and small world random graphs. Keywords Crime dynamics · Sacred values · Evolutionary game theory 1 Introduction The members of gangs and insurgent networks—which we shall simply refer to as “criminals”—are usually well known within their local communities, and are often shel- tered from authorities by non-criminal community members. -
The Dark Side of the Tune: a Study of Villains
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2008 The Dark Side Of The Tune: A Study Of Villains Michael Biggs University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Biggs, Michael, "The Dark Side Of The Tune: A Study Of Villains" (2008). Electronic Theses and Dissertations, 2004-2019. 3811. https://stars.library.ucf.edu/etd/3811 THE DARK SIDE OF THE TUNE: A STUDY OF VILLAINS by MICHAEL FREDERICK BIGGS II B.A. California State University, Chico, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2008 © 2008 Michael Biggs ii ABSTRACT On “championing” the villain, there is a naïve quality that must be maintained even though the actor has rehearsed his tragic ending several times. There is a subtle difference between “to charm” and “to seduce.” The need for fame, glory, power, money, or other objects of affection drives antagonists so blindly that they’ve no hope of regaining a consciousness about their actions. If and when they do become aware, they infrequently feel remorse. -
Heroes and Villains M/W 1:00-2:15 Spring 2018 Texas A&M University
English 4317: Heroes and Villains M/W 1:00-2:15 Spring 2018 Texas A&M University - Central Texas Instructor: Dr. Jeff Kirchoff Office: Founder’s Hall 217O Email: [email protected] (this is the best way to reach me) Office Hours: M/W 2:30-4:00; other times may be available by appointment UNILERT (The Emergency Warning System for Texas A&M University–Central Texas) UNILERT is an emergency notification service that gives Texas A&M University-Central Texas the ability to communicate health and safety emergency information quickly via email, text message, and social media. All students are automatically enrolled in UNILERT through their myCT email account. Connect at www.TAMUCT.edu/UNILERT to change where you receive your alerts or to opt out. By staying enrolled in UNILERT, university officials can quickly pass on safety-related information, regardless of your location. COURSE OVERVIEW AND DESCRIPTION Official Catalog Description An in-depth study of one major theme in literary history. Topics vary and the course can be repeated for credit if taken under a different emphasis. A Note from Dr. Kirchoff This reading-intensive class is an exercise in thinking about the role characters play in (and outside of) a text, paying particular attention to the rather flexible notions of heroism and villainy. Scholars have been fascinated by the notion of heroes and villains as far back as Aristotle (as he writes about this in his Poetics), and scholarly journals, conferences, and books remain devoted to the subject today; in fact, the notion of heroism has become particularly in vogue with the rebirth the superhero, thanks to a seemingly endless parade of superhero blockbuster films. -
Paladin Rising Paladins Are Warriors Who Are Sworn to Uphold the Cause of Good
Paladin Rising Paladins are warriors who are sworn to uphold the cause of Good. It is the dream of every paladin to transcend this corrupt world and become a demigod. During this Journey to Ascension, a paladin will face many moral dilemmas, for things are never as they seem. This is a game about good people who do bad things.You are tightly bound by your oath to never do evil. The more good things you do, the higher you rise. The more evil things you do, the faster you fall. As a paladin, you will be thrown into morally obnoxious situations where you must avoid doing evil at all costs. Concoct a plan on the edge of logical absurdity. Get someone else’s hands dirty. Whatever it takes. As long as you didn’t technically do anything wrong, you’ll be in the clear. Character Creation Holy Points (HP): Each paladin begins play with four Holy Points. Holy Points are the core of this game. When a paladin performs a good deed, regardless of intention, he gains a number of Holy Points. When a paladin performs an evil deed, regardless of intention, he loses some Holy Points. When a paladin’s HP falls below zero, he falls from grace and loses his status as a paladin, along with all of his paladin powers. He can only be redeemed by going on an Apology Quest. If a paladin obtains twelve Holy Points, he becomes a demigod. Skills: Skills indicate what a paladin is good at. A paladin has 24 skill points to allocate to his skills as he sees fit. -
Hero Or Villain?"
IR - PERPUSTAKAAN UNIVERSITAS AIRLANGGA CHAPTER I INTRODUCTION 1.1 BACKGROUND OF THE STUDY In fictional works, in this case, interactive fictional works like video games, there are characters in the narrative, and the characters consist of protagonists and antagonists. A protagonist is described as the center of the story, the one that is close to the audience and the one who makes a decision and experience the consequences, however not necessarily the same as the hero. (Duncan, 2006). A hero is defined as the person that the audience will root and support. (Vogler, 2007). In many medias especially video games, a hero is often associated with having a strong sense of justice and always doing for the sake of greater good (GamesRadar, 2018). The opposite of a hero is a villain, in which Vogler (2007) describes it as the enemies and the one who stands against the hero, and the audience will root for their loss. Antagonist, on the other hand, is defined as someone who stands in opposition to the protagonist, who will also become the force for the protagonist to develop and move in the story, usually takes the form of villain but not necessarily has to be one (Blaisdell, 2018). From the definitions, it is certain that the protagonist, hero, antagonist, and villain, have different definitions. These definitions mean that everyone who is the center of the story is a protagonist, but not all protagonist is a hero. The same as an antagonist, who is someone that stands in opposition side of the protagonist, but not all villains are 1 SKRIPSI "HERO OR VILLAIN?".. -
EXPLORING the CHARACTERIZATION of SHAKESPEARE's VILLAINS by Olawunmi Amusa BA
EXPLORING THE CHARACTERIZATION OF SHAKESPEARE’S VILLAINS by Olawunmi Amusa B.A (Eastern Mediterranean University) 2015 Submitted in partial satisfaction for the requirements for the degree of MASTERS OF ARTS in HUMANITIES in the GRADUATE SCHOOL of HOOD COLLEGE Accepted: ----------------------- -------------------------- Terry Scott, PhD. Corey Campion Committee Member Program Director ---------------------- Didier Course, PhD ------------------------ Committee Member April Boulton, PhD Dean of the Graduate School ------------------------- Heather Mitchell-Buck, PhD Portfolio Advisor ii CONTENTS INTRODUCTION--------------------------------------------------------------------------------- 1 CHAPTER ONE: LANGUAGE USED BY FOUR OF SHAKESPEARE’S VILLAINS-------- 11 CHAPTER TWO: INCLUDING A COMIC THEME TO A TRAGEDY: THE CASE OF SCOTLAND, PA-------------------------------------------------------------------------------------------- 31 CHAPTER THREE: DUAL REPRESENTATION OF PROSPERO’S EPILOGUE------------- 44 BIBLIOGRAPHY------------------------------------------------------------------------------------------ 58 1 Introduction When we watch a movie or read a book, we tend to watch out for the hero or villain. For those of us who grew up in the Disney era, we have been trained to watch out for good and evil, with the belief that the heroes will come to save us. Despite anything that happens, we always know that the heroes will always win, and the villain will fail. However, a story does not seem to be complete without the villains. If the heroes do not have any villain to fight, then how do we define their acts as being heroic? Villains provide a conflict that intrigues the audience as well as readers because it gives the heroes conflict and something to look forward to. Without the conflict of the villains, there will be not much to the backstory of the heroes. Therefore, villains are a great addition to the success of a piece of work. -
Is Macbeth a Tragic Hero?
Is Macbeth a Tragic Hero? Lesson Transcript This lesson will cover the reason why Macbeth from Shakespeare's famous play, ''Macbeth'', is a debated tragic hero. We'll explore the argument that shows he is a tragic hero by proving his stature and greatness, his tragic aw, and his downfall. What Makes a Tragic Hero? Many of us encounter the tragic hero in popular movies and ction. Sometimes, that hero is even considered a villain. The well-known Godfather trilogy follows hero and sometimes villain Michael Corleone on his journey through (1) _____. Michael is born into a powerful family, is awed by his ambition, and is left broken and alone after the deaths of his family members. This makes him a tragic hero, or a character of noble birth who has qualities the audience can (2) _____ with, but who also has aws and is fated to doom. The roots of these characters stem from Shakespeare's plays written hundreds of years ago, which is why it's important for us to study them today. The Argument for the Tragic Hero Many scholars see Macbeth as a villain instead of a hero because of his vile actions. But, a (3) _____ can be either a protagonist or an (4) _____. The key is that the audience can empathize with the character. Look again at the example of Michael Corleone. Many of us do not approve of mob violence and crime, but we can empathize with Michael when he loses his family members. The same can be said for Macbeth. -
Aka a Generic Medieval Fantasy World
Gragyriss, Captor of Princesses Jump By Cthulhu Fartagn Welcome, Jumper, to Gragyriss, Captor of Princesses! ...aka a generic medieval fantasy world. With a dragon. Yeah, there really isn't anything special about this place, or even anybody here. And the 'plot' as it were, is just the dragon's attempts to catch some princesses. So, uh. Have 1000 cp and have fun? Origins Look, I'll be honest. All I would normally have is 'dragon' and 'not dragon'. So, you get some location based perk discounts as well. Dragon ...yes, you are a dragon now. A baby one. Who maybe hasn’t even hatched yet. By the time you’re fully grown, you could probably roast a man in one breath, and would be as big as several horses. Not terribly impressive, but neither is this world. Princess You are now royalty, however minor it may be. Or perhaps it might be better to simply call yourself nobility. You can, in fact, be male if you so wish, but for simplicity's sake, and to not confuse and infuriate the inevitable kidnapping dragon, please be female? Other Exactly what it says on the tin. You are not a Dragon. Or a Princess. Instead, you are irrelevant. ...Okay, that’s not quite what I meant, but given there’s at least one Dragon with a divine blessing, I’m fairly certain that makes anyone out to try and kill said dragon the villain. Age & Gender Age is free choice between 15 and 30 or so, and gender is the same as your last jump. -
Writing a Good Villain and Interesting Characters
Writing a Good Villain and Interesting Characters JF Garrard, Deputy Editor, Ricepaper Magazine ● The villain is the person in conflict with Why do you need a the main character with opposite needs villain? and wants ● Villains are the antagonists, they move the plot along and they challenge the hero to do better ● Villains that are purely evil are one-dimensional and not believable, they need to have a motive and are the heroes in their own stories ● Motives are important because opposite motives cause conflict and the conflict drives the story ○ Why + Motive = Villain Action ○ Villain Action = Hero Reaction ● Villains can take many forms, but Different types of generally are either abstracta, are humans villains or have human characteristics ● An abstract villain can be a setting, a society, something supernatural or even the protagonist’s self. ● It may be difficult for readers to connect with an abstract villain, so sometimes a person is assigned to represent it ● The villain is someone that the reader loves to hate and elicits strong emotions ● Without the villain, there is no hero 1. Connect them to the hero - the villains What Are the actions are what makes the protagonist grow Characteristics of a 2. Clear moral code - the villain believes they Good Villain? are doing the right thing and it is clear what they will do and not do 3. Let the Villain win sometimes - this shows that they are a real threat to the hero and a worthy opponent 4. Strong backstory - this connects the readers to the villain and elicits sympathy to make them seem realistic 5. -
Archetypes Stock Characters (PDF)
STOCK CHARACTERS Shakespeare, as an heir to the Commedia Del-Arte tradition, in which the play’s message is communicated largely through easily recognizable or even stereotypical characters, employs many of “stock” characters throughout his works. Once you look at their basic characteristics, it is easy to identify them across the Shakespearean canon. This identification of characters can make understanding an unfamiliar text a little easier – because the characters in a particular category behave in similar ways, and may even speak using similar rhetorical, image or verse structure. LOVERS ● Ingenue (female): Innocent, sweet, youthful, honorable ● Sobrette (female): Not-so-innocent, not-so-young, usually honorable, witty, likes banter and argument ● Rustic/ Rude (Male and Female): country born and bred, simple, agrarian, earthy. ● Noble (Male): born of nobility, high-born, generally honest COMPANIONS ● Councilors (Male or Female): faithful, honest, convey messages, have information, confidantes. ● Bawds (Female): worldly, saucy, dispense advice, maternal with an edge. ● Mentors (Male): fatherly, give advice, supply the hero with the means to pursue their desire. AUTHORITY FIGURES AND SOLDIERS ● In Control (male): authoritative, most times fair, peripheral to plot, initiate or resolve conflict. ● In Distress (male or female): strong, noble, comprised by circumstance or bad decisions/advice, decisive, often with a flaw of temperament. RELUCTANT HEROES ● Rakes & Cads (male): Walk the line between good and bad but usually turn out good,witty, bawdy, seductive, hot-tempered, loyal but independent. COMIC CHARACTERS ● The Wit: Language based humor, somewhat noble, melancholy. ● The Clown: Physical comic, jester, paid to be amusing, singer. ● The Fool: situational comic, dim-witted, unaware of being a fool.