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Literature (LIT) 1
Literature (LIT) 1 LITERATURE (LIT) LIT 113 British Literature i (3 credits) LIT 114 British Literature II (3 credits) LIT 115 American Literature I (3 credits) LIT 116 Amercian Literature II (3 credits) LIT 132 Introduction to Literary Studies (3 credits) This course prepares students to understand literature and to articulate their understanding in essays supported by carefully analyzed evidence from assigned works. Major genres and the literary terms and conventions associated with each genre will be explored. Students will be introduced to literary criticism drawn from a variety of perspectives. Course Rotation: Fall. LIT 196 Topics in Literature (3 credits) LIT 196A Topic: Images of Nature in American Literature (3 credits) LIT 196B Topic: Gothic Fiction (3 credits) LIT 196C Topic: American Detective Fiction (3 credits) LIT 196D Topic: The Fairy Tale (3 credits) LIT 196H Topic: Literature of the Supernatural (4 credits) LIT 196N Topic: American Detective Fiction for Nactel Program (4 credits) LIT 200C Global Crossings: Challenge & Change in Modern World Literature - Nactel (4 credits) Students in the course will read literature from a range of international traditions and will reach an understanding and appreciation of the texts for the ways that they connect and diverge. The social and historical context of the works will be explored and students will take from the course some understanding of the environments that produced the texts. LIT 200G Topic: Pulitzer Prize Winning Novels-American Life (3 credits) LIT 200H Topic: Poe and Hawthorne (3 credits) LIT 201 English Drama 900-1642 (3 credits) LIT 202 History of Film (3 credits) The development of the film from the silent era to the present. -
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. -
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. -
University Microfilms, a XERQ\Company, Ann Arbor, Michigan
72- 15,293 SHARP, Nicholas Andrew, 1944- SHAKESPEARE'S BAROQUE COMEDY: THE WINTER'S TALE. The Ohio State University, Ph.D., 1971 Language and Literature, modern University Microfilms, A XERQ\Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED SHAKESPEARE'S BAROQUE CŒEDY: THE V/INTER'S TALE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Nicholas Andrew Sharp, B,A., M,A, ***** The Ohio State University 1971 Approved by Id^iser Department of English PLEASE NOTE: Some pages have indistinct print. Filmed as received. University Microfilms, A Xerox Education Company Acknowledgraent I am extremely grateful to my adviser, Professor Rolf Soellner, for his advice, suggestions, and constant encouragement. ii VITA January 24, 1944 . Born— Kansas City, Missouri 1966 ......... B.A., The University of Kansas, Lawrence, Kansas 1966-1970........... NDEA Fellow, The Ohio State University, Columbus, Ohio 1968-1969, 1971-1972 . Teaching Associate, Department of English, The Ohio State University, Columbus, Ohio 1968 .......... M.A., The Ohio State University, Columbus, Ohio iii TABLE OF CONTENTS Page ACKNOWLEDGMENT..................................... ii VITA ..................................... .•.......... iii INTRODUCTION: BAROQUE AS AN HISTORICAL CONCEPT .... 1 Chapter I. THE JACOBEAN SETTING AND THE BAROQUE AESTHETIC 16 II. THE THEME OF SKEPTICAL FIDEISM............... 45 III. THE STRUCTURE............................... -
The Place of Creative Writing in Composition Studies
H E S S E / T H E P L A C E O F C R EA T I V E W R I T I NG Douglas Hesse The Place of Creative Writing in Composition Studies For different reasons, composition studies and creative writing have resisted one another. Despite a historically thin discourse about creative writing within College Composition and Communication, the relationship now merits attention. The two fields’ common interest should link them in a richer, more coherent view of writing for each other, for students, and for policymakers. As digital tools and media expand the nature and circula- tion of texts, composition studies should pay more attention to craft and to composing texts not created in response to rhetorical situations or for scholars. In recent springs I’ve attended two professional conferences that view writ- ing through lenses so different it’s hard to perceive a common object at their focal points. The sessions at the Associated Writing Programs (AWP) consist overwhelmingly of talks on craft and technique and readings by authors, with occasional panels on teaching or on matters of administration, genre, and the status of creative writing in the academy or publishing. The sessions at the Conference on College Composition and Communication (CCCC) reverse this ratio, foregrounding teaching, curricular, and administrative concerns, featur- ing historical, interpretive, and empirical research, every spectral band from qualitative to quantitative. CCCC sponsors relatively few presentations on craft or technique, in the sense of telling session goers “how to write.” Readings by authors as performers, in the AWP sense, are scant to absent. -
Proprietary Aspects of Commercial Remote-Sensing Imagery, 13 Nw
Northwestern Journal of International Law & Business Volume 13 Issue 2 Fall Fall 1992 Proprietary Aspects of Commercial Remote- Sensing Imagery Patrick A. Salin Follow this and additional works at: http://scholarlycommons.law.northwestern.edu/njilb Part of the Science and Technology Commons Recommended Citation Patrick A. Salin, Proprietary Aspects of Commercial Remote-Sensing Imagery, 13 Nw. J. Int'l L. & Bus. 349 (1992-1993) This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of International Law & Business by an authorized administrator of Northwestern University School of Law Scholarly Commons. Proprietary Aspects of Commercial Remote-Sensing Imagery PatrickA. Salin * I. INTRODUCTION Remote-sensing is performed by sensors on board a satellite which is usually placed on a low polar orbit so that it may vertically scan the Earth while the Earth is revolving around its axis. Remote-sensing en- ables a very high altitude view of the areas which are covered and since it always follows the same path in a circular movement which is perpendic- ular to the rotation of the Earth, it covers the whole Earth after a few rotations. For example, US Landsat satellites, the initiator in the field, circle the globe fourteen times a day at a 920 km circular and sun-synchronous orbit,1 with a 200 km wide swath.' Their repeat coverage at the Equator is 18 days.3 Resolution of Landsat imagery is 30 m. (i.e. the size of the smallest object which can be identifiable on the basis of picture elements or "pixels"), within a standard image of 185 km by 170 km. -
De Draagbare Wikipedia Van Het Schrijven – Verhaal
DE DRAAGBARE WIKIPEDIA VAN HET SCHRIJVEN VERHAAL BRON: WIKIPEDIA SAMENGESTELD DOOR PETER KAPTEIN 1 Gebruik, verspreiding en verantwoording: Dit boek mag zonder kosten of restricties: Naar eigen inzicht en via alle mogelijke middelen gekopieerd en verspreid worden naar iedereen die daar belangstelling in heeft Gebruikt worden als materiaal voor workshops en lessen Uitgeprint worden op papier Dit boek (en het materiaal in dit boek) is gratis door mij (de samensteller) ter beschikking gesteld voor jou (de lezer en gebruiker) en niet bestemd voor verkoop door derden. Licentie: Creative Commons Naamsvermelding / Gelijk Delen. De meeste bronnen van de gebruikte tekst zijn artikelen van Wikipedia, met uitzondering van de inleiding, het hoofdstuk Redigeren en Keuze van vertelstem. Deze informatie kon niet op Wikipedia gevonden worden en is van eigen hand. Engels In een aantal gevallen is de Nederlandse tekst te kort of non-specifiek en heb ik gekozen voor de Engelse variant. Mag dat zomaar met Wikipedia artikelen? Ja. WikiPedia gebruikt de Creative Commons Naamsvermelding / Gelijk Delen. Dit houdt in dat het is toegestaan om: Het werk te delen Het werk te bewerken Onder de volgende voorwaarden: Naamsvermelding (in dit geval: Wikipedia) Gelijk Delen (verspreid onder dezelfde licentie als Wikipedia) Link naar de licentie: http://creativecommons.org/licenses/by-sa/3.0/deed.nl Versie: Mei 2014, Peter Kaptein 2 INHOUDSOPGAVE INLEIDING 12 KRITIEK EN VERHAALANALYSE 16 Literaire stromingen 17 Romantiek 19 Classicisme 21 Realisme 24 Naturalisme 25 -
Durham Research Online
Durham Research Online Deposited in DRO: 11 April 2019 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Sunderland, Luke (2020) 'Visualizing elemental ontology in the Livre des propri¡et¡esdes choses.', Romanic review., 111 (1). pp. 106-127. Further information on publisher's website: https://doi.org/10.1215/00358118-8007978 Publisher's copyright statement: Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Visualizing Elemental Ontology in the Livre des propriétés des choses Luke Sunderland Durham University A major challenge for the humanities and social sciences, according to Bruno Latour, is the need to supersede the model of cultural diversity, which he does not see (as we might expect) as a positive, open-minded stance that valorizes difference. Instead, he holds that to speak of cultural diversity is to suggest that difference is only possible on the level of concepts and vocabulary, stories and beliefs, and to assume that there are objectively knowable truths about the material world that are immune to variation (Inquiry 20). -
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. -
The Comic in the Theatre of Moliere and of Ionesco: a Comparative Study
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1965 The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study. Sidney Louis Pellissier Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pellissier, Sidney Louis, "The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study." (1965). LSU Historical Dissertations and Theses. 1088. https://digitalcommons.lsu.edu/gradschool_disstheses/1088 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 66-744 PELLISSIER, Sidney Louis, 1938- s THE COMIC IN THE THEATRE OF MO LI ERE AND OF IONESCO: A COMPARATIVE STUDY. Louisiana State University, Ph.D., 1965 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE COMIC IN THE THEATRE OF MOLIHRE AND OF IONESCO A COMPARATIVE STUDY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Foreign Languages btf' Sidney L . ,') Pellissier K.A., Louisiana State University, 19&3 August, 19^5 DEDICATION The present study is respectfully dedicated the memory of Dr. Calvin Evans. ii ACKNO'.-'LEDGEKiNT The writer wishes to thank his major professor, Dr. -
Imagery in the Journals Written by the Writing I Students of the English Department of Widya Mandala Catholic University Surabaya
Imagery in the Journals Written by the Writing I Students Of the English Department Of Widya Mandala Catholic University Surabaya Nonce Trisnawaty Abstract. Many students think that writing is a daunting task and, therefore, they cannot write a good composition and journal writing is assigned for writing improvement. One of the aspects in writing a journal is imagery. Imagery is the use of concrete words to replace the abstract ones in order to enable the readers to imagine in everything experienced by the author. This study explored the kinds of imagery which are found in the journals written by the Writing I students of Widya Mandala Catholic University Surabaya. The subjects were eleven students of Writing I. Each student submitted 4 journals. A checklist was used to organize the imagery in the journals. Not all writing journals that were analyzed exposed imagery. Visual and auditory imagery were found. There were forty seven examples of visual imagery and six examples of auditory imagery. The olfactory, gustatory and tactile imagery were not found. Key words: imagery, journal, writing I class Introduction Writing is a way in which people can communicate thoughts and feelings with others graphemically. It is a complex process of language communication and also a creative thinking process (Zuo Huangqi, 2002, p. 197). Hansen (2006) states that writing skills can be the ticket to better college grades and greater academic achievement, even if the students do not study harder and know the material better than others do. Writing allows students to keep permanent records such as journals, and it lets students demonstrate their knowledge on an examination. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Domestic
UNIVERSITY OF CALIFORNIA, SAN DIEGO Domestic Dispatches: The Moral Imperative of Modernity, Writing, and the Evolving Role of Female Missionaries A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Anthropology by Emily Frances King Committee in Charge: Professor Suzanne Brenner, Chair Professor Joseph Hankins Professor Saiba Varma 2017 The thesis of Emily Frances King is approved and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Chair University of California, San Diego 2017 iii Dedication This thesis is dedicated to my family. Thank you for telling me family stories, and constantly finding new articles and photographs in old boxes that made this thesis longer than I anticipated. Thank you for always making me laugh at horrible puns. Thank you for your unwavering support and love. This thesis wouldn’t have been possible without you. iv Table of Contents Signature Page……………………………………………………………………………iii Dedication……………………………………………………………………...................iv Table of Contents………………………………………………………………………….v List of Figures…………………………………………………………………………….vi Acknowledgements………………………………………………………………………vii Abstract of the Thesis..………………………………………………………………….viii I-Introduction……………………………………...………………………………………1 II-The Myth of Teleological Progress…………………………………………………......6