Hamartia and Virtue
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FIVE ELEMENTS of PLOT CONFLICT Melissa Voelker - Updated March 23, 2017
FFSSWW 002 FIVE ELEMENTS OF PLOT CONFLICT Melissa Voelker - Updated March 23, 2017 The plot structure, also called the dramatic structure, of a story, novel or script includes the events that make up the idea of the writing. These are often laid out as a series of beginning, middle and end details and include five basic elements as well as a conflict. Conflict is necessary to the plot of any story, novel or script, and comes in two types: internal or external, and four kinds: man vs. man, man vs. circumstances, man vs. society and man vs. self. The idea of a plot containing these five elements first originated in 1863 in the "Technique of the Drama" by Gustav Freytag, who was building on the ideas of Aristotle from "The Poetics." 1. Introduction or Exposition The introduction is where the basic characters and plot elements such as setting are revealed. In most cases the major conflict of the story, novel or script is also hinted at in the introduction, though smaller conflicts in the plot may be introduced later. In a shorter work, the introduction happens within the first few paragraphs, while in a longer work such as a novel it will happen within the first few chapters. The narrative hook or point in the story where the author truly catches the reader's attention, is often presented within the introduction. 2. Rising Action Taking place within the first third of a story, novel or script, the rising action is also the part of the work where the problem or conflict central to the plot is truly introduced. -
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’. -
Towards a Philosophy of The
Toward a Philosophy ofthe Act MICHAEL HOLQUIST. • • • • • • • • TOWARD A PHILOSOPHY OF THE ACT····· UNIVERSITY OF TfXAS PRfSS SLAVIC SERIES, NO. 10 MICHAEL HOLQUIST General Editor M. M. BAKHTIN TOWARDA PHILOSOPHY OF THE ACT TRANSLATION AND NOTES BY VADIM LIAPUNOV EDITEDBY VADIM LIAPUNOV & MICHAEL HOLQUIST UN I V E R SIT Y 0 F T E X ASP RES S, AU S TIN ••••••••••• Cop\'right © 1993 lw the L'niversit\, of Texas Press All rights reser\'ed Printed in the United St,nes of AmeriCl Third paperback printing, 1999 Requests te)r permission to reproduce m,nerial trom this work should be sent to Permissions, Universit\' of Texas Press, Box -819, Austin, TX -8-15--819, @ The paper used in this publiCltion meets the minimum requirements of American ;-.Jeltion,,1 StaIlli.lrd te)r Inte1rl1ution Sciences-Pernunence of P,'per te)r Printed Librar\, Materi"ls, ANSI Zj9,+8- 198+, LIBRARY OF CONGRESS CATALOGING-IN-PUBLlCATION DATA Bakhtin, M, ,\1. (Mikh,lil 189,-19-', I K tilosotii poStlIpk.1, English I Toward a philosophl' of the ,lct / lw Bakhtin ; transLnion ,md notes b\' V,ldim Liap"n{)\' ; edited bl' \',ldim Li,lp"no\' ,1I1d Michael HolqlIisL - 1St cd, p, cm, - (L' nil'ersit\' of 'I'ex, IS Press SLn'ic series; no, 10) Incilides bibliogr,lphical reterences ,1I1d index, ISBN 0-292--653+--, - ISBN 0-292--0805-X (pbk,) L Act (Philosophl') 2, Ethics, " Commlinication-l\\oral ,1I1d ethic,ll aspects, +, Literelture-Philosophl', I. Li,lpUn()\', V,ldim, 193,'- II. Holquist, Michael, 193'- Ill. Title. 1\', Series, BI05,A35 B3+13 1993 128' ,4-dc20 93--'5- • • • • • • • • CONTENTS FOREWORD (fll MICHAEL HOLQUIST TRANSLATORJS PREFACE VADIM LIAPUNOV INTRODUCTION TO THE RUSSIAN EDITION ,x;xi s. -
Fantasy Football University Chapter 1
Fantasy Football University Chapter 1 What is Fantasy Football? Fantasy Football puts you in charge and gives you the opportunity to become the coach, owner, and general manager of your own personal football franchise. You'll draft a team of pro football players and compete against other team owners for your league's championship. The game and its rules are designed to mimic pro football as much as possible, so you'll live the same thrills and disappointments that go along with a football season. And your goal is simple: build a complete football team, dominate the competition and win your league's championship. Why should you be playing Fantasy Football? The game is easy to learn and fun to play. You'll become more knowledgeable about football than ever before. It does not take a huge commitment to be competitive and requires only as much time as you'd like to invest. And you don't have to be a die-hard fan to enjoy playing. In fact, most people who are trying Fantasy Football for the first time are casual fans. Chapter 2 Team & League Team name: The first step to getting started is creating a name for your new team. This is how you and your team will be identified throughout the season so get creative and have a little fun. Join or create a league: Your competition will be made up of the other owners in your league. The number of teams in a Fantasy Football league can vary but should always be an even number. -
The Character of Huckleberry Finn
Forthcoming in Philosophy and Literature 2017 Gehrman The Character of Huckleberry Finn Kristina Gehrman University of Tennessee, Knoxville ABSTRACT: Mark Twain’s Huckleberry Finn is morally admirable because he follows his heart and does the right thing in a pinch. Or is he? The Character of Huckleberry Finn argues that the standard reading of Huck woefully misunderstands his literary and moral character. The real Huck is strikingly morally passive and thoroughly unreliable, and when the pinch comes, he fails Jim completely. His true character emerges when, with Iris Murdoch’s “justice and love”, we attend to Huck’s youth and his history of unmitigated abuse and neglect. Huck’s case reveals how (and how much) developmental and experiential history matter to moral character. I. Ever since Jonathan Bennett wrote about Huckleberry Finn’s conscience in 1974, Mark Twain’s young hero has played a small but noteworthy role in the moral philosophy and moral psychology literature. Following Bennett, philosophers read Huck as someone who consistently follows his heart and does the right thing in a pinch, firmly believing all the while that what he does is morally wrong.1 Specifically, according to this reading, Huck has racist beliefs that he never consciously questions; but in practice he consistently defies those beliefs to do the right thing in the context of his relationship with his Black companion, Jim. Because of this, Huck is morally admirable, but unusual. Perhaps he is an “inverse akratic,” as Nomy Arpaly and Timothy Schroeder have proposed; or perhaps, as Bennett argued, Huck’s oddness reveals the central and primary role of the sentiments (as opposed to principle) in moral action.2 But the standard philosophical reading of Huckleberry Finn seriously misunderstands his 1 Forthcoming in Philosophy and Literature 2017 Gehrman character (in both the moral/personal and the literary sense of the word), because it does not take into account the historically contingent, developmental nature of persons and their character traits. -
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. -
Blake Snyder's Beat Sheet
NYC Screenwriters Collective Blake Snyder’s Beat Sheet - Explained The Blake Snyder Beat Sheet breaks down three-act screenplay structure into 15 bite-size, manageable sections called beats, each with a specific goal for your overall story. Below is an explanation of each beat. The page numbers are not strict, they are approximations of where the beats should occur in a 110 page screenplay. THE BLAKE SNYDER BEAT SHEET (aka BS2) Opening Image (1) – A visual that represents the central struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins. Often mirrors the Closing Image. Set-up (1-10) – Expand on the opening image. Present the main character’s world as it is, and what is missing in their life. Stasis = Death, the “before” life of the protagonist is such that if it stays the same, he or she will figuratively die. In addition, the main character’s flaw, his problem that needs fixing over the course of the story, is revealed. (In many stories, it is not the main character’s flaw, but another central character’s flaw that is presented for him to resolve over the course of the story – for the character to ‘arc’) Theme Stated (5) (during the Set-up) – The message, the truth you want to reveal by the end of your screenplay. What your story is about in a larger sense. Usually, it is spoken to the main character or in their presence, but they don’t understand this truth…not until they go on the journey to find it. -
On Violence: a Mimetic Perspective *
On Violence: A Mimetic Perspective * Wolfgang Palaver Ten years ago a violent tragedy happened in this town that still causes us to think about the problem of human violence. This period of ten years coincides exactly with the period since the end of the cold war and its significant change of the international political landscape. The first chapter of my paper will focus on the problem of civil wars that followed the end of the cold war and gave us a new insight into the complex nature of human violence. My second chapter will give a short introduction into René Girards mimetic theory that seems to me one of the most efficient analytical tools to understand violence, especially if we look at civil wars. A third chapter will address some of those questions that arise when we are confronted with tragedies like the Montréal Massacre. I will turn to the work of Dostoevsky to understand what may cause a man to run amok and kill other people - fourteen young women - cruelly, indiscriminately and without knowing them. In a concluding chapter I will give a short summary of possible answers to the problem of violence. 1. From the Cold War to Civil War During the eighties, optimistic members of the peace movement like me thought that if the cold war would ever end it would be followed by a period of peace and harmony. We were, however, quite wrong and had to learn our lesson when we were confronted with an increase of civil wars since 1989. In 1993 the German poet and essayist Hans Magnus Enzensberger published his book Civil Wars: From L.A. -
Reading Unit 2 – Character Conflict Lit. Circle
Newburyport Public Schools Draft Curriculum Unit: November 2013 2013-2014 Grade Level: 8 Trimester 1 Length 4 weeks Reading Unit 2 – Character Conflict Lit. Circle Unit Overview What is the nature of conflict? How do authors reveal characters? In this unit students will read a realistic fiction novel of their choice and participate in literature circles. Students will also write a literature analysis piece comparing and contrasting the protagonist’s internal/external conflict with It’s a Wonderful Life’s George Bailey’s internal/external conflict. Students will watch the movie version and read the play version. Focus Standards Bold = assessment included 8 RL 1: Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text. 8 RL 2: Determine a theme or central idea of a text and analyze its development over the course of the text, including its relationship to the characters, setting, and plot; provide an objective summary of the text. 8 RL 3: Analyze how particular lines of dialogue or incidents in a story or drama propel the action, reveal aspects of a character, or provoke a decision. 8 RL 4: Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including analogies or allusions to other texts. 8 W 1: Write arguments to support claims with clear reasons and relevant evidence. a. Introduce claim(s), acknowledge and distinguish the claim(s) from alternate or opposing claims, and organize the reasons and evidence logically. -
Strategic Stories: an Analysis of the Profile Genre Amy Jessee Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 5-2009 Strategic Stories: An Analysis of the Profile Genre Amy Jessee Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Mass Communication Commons Recommended Citation Jessee, Amy, "Strategic Stories: An Analysis of the Profile Genre" (2009). All Theses. 550. https://tigerprints.clemson.edu/all_theses/550 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. STRATEGIC STORIES: AN ANALYSIS OF THE PROFILE GENRE A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Amy Katherine Jessee May 2009 Accepted by: Dr. Sean Williams, Committee Chair Dr. Susan Hilligoss Dr. Mihaela Vorvoreanu ABSTRACT This case study examined the form and function of student profiles published on five university websites. This emergent form of the profile stems from antecedents in journalism, biography, and art, while adapting to a new rhetorical situation: the marketization of university discourse. Through this theoretical framework, universities market their products and services to their consumer, the student, and stories of current students realize and reveal a shift in discursive practices that changes the way we view universities. A genre analysis of 15 profiles demonstrates how their visual patterns and obligatory move structure create a cohesive narrative and two characters. They strategically show features of a successful student fitting with the institutional values and sketch an outline of the institutional identity. -
Create a Character: Acting & Language Arts with Caren Graham
Create A Character: Acting & Language Arts With Caren Graham ESSENTIAL QUESTIONS LEARNING TARGETS ● How do actors create a character? ● I can make creative choices with my voice and body ● How can characters I discover in other disciplines like to invent a variety of characters history, fairy tales, or literature come to life in ● I can create other forms of dramatic writing or drama? analyze a recording of myself performing MATERIALS NEEDED: Paper and Pencil DIGITAL SUPPORT RESOURCES: <link> INSTRUCTIONS 1. Choose a character from a favorite book. Examples: Harry Potter or Hermione Granger. 2. With pencil and paper write down 3 sentences to describe your chosen character. 3. Use descriptive words like tall, lanky, bent over. 4. Add personality traits like brave, scary, quick witted, confident. 5. Now use your imagination to create a character statue which is a frozen moment in time in a posed position. Start with your face. Try making a “brave” facial expression! a. Is there a moment in Harry Potter, when Harry or Hermione felt clever or brave? Write it down. b. Create that moment in a character statue and then come to life. c. Try to exaggerate (make bigger) a personality trait: for instance brave, and then switch to another feeling or trait like scared. 6. Now add a gesture (an expressive movement) to go with that character trait! a. Move your whole body with expression, posture and gesture. Try saying something in the manner your character might speak with the gesture. b. Acting like the character, did it feel better to be brave or scared? Why? 7. -
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.