American Literature and Theater Wrtite two papers about American Literature and Theater Appreciation. Ameican Literature pap
American Literature and Theater
Wrtite two papers about American Literature and Theater Appreciation. Ameican Literature paper needs 3 pages and Theater Appreciation 1 page. you need watch a theater play on youtube before write the theater appreciation paper. I will send the requirement about Literature paper later.
Theater Appreciation: watch the play on youtube The Skin of our teeth
Then write a 1 page paper about it, talk about what you think
American Litertature paper:
Write an analytical essay about Virginia Woolf’s Jacob’s Room(novel), elements include:
-Character
-Voice(narrator)
-Focalization
-Abstraction
-Metaphors or symbolism
-Chronology (plot v.story)
in Times New Roman 12point font, and with one-inch margins
358:206 Women and Modernity Short Paper Writing Assignment In the past few weeks, we have discussed the major elements of modernism as a response to and reflection of a rapidly changing society. From the British tradition, we have read Virginia Woolf’s Jacob’s Room, an example of high-modernism, or the most abstract and experimental form of modernist writing. We have also discussed Woolf’s feminist writing, focusing on her understanding of women’s changing roles in political and artistic life. Using your knowledge of the class materials and discussions, write an analytical essay in which you comment on one technical element of Woolf’s prose style (listed below; using several examples from the novel) and connect it to an interpretation of the novel. Some questions you might ask yourself: What is the impact of using this style? How does it affect the major themes of the novel? What is your interpretation of the reading? Elements include:
– Character – Voice (narrator) – Focalization – Abstraction – Metaphors or symbolism – Chronology (plot v. story)
Due at the beginning of class on Tuesday, November 21. Responses should be 3-4 pages, typed, double-spaced, in Times New Roman 12 point font, and with one-inch margins. See syllabus for our late paper policy. You should follow the conventions of an academic paper in both organization and tone. The tone of your paper (word choice, syntax, punctuation, general style) should be appropriate for an academic setting. Your paper should contain an introductory paragraph with a thesis statement at the end, body paragraphs containing topic sentences and evidence in support of claim, logical transitions between paragraphs, and a concluding paragraph that states the broader implications of your argument (do not use “In conclusion”). Your “evidence” will likely be significant quotations, details, patterns, or passages from the text, cited appropriately (using page numbers for all evidence used). Use quotation marks to denote ANY writing that is not your own. You will only be working with the novel for this paper. You may not quote word for word from the study materials provided to you or any other sources. All information must be in your own words, unless it is a direct quote from the text. Six Requests:
1. Provide a thematically rich thesis statement. Usually, your thesis will be the last sentence or two of your introductory paragraph.
2. Work on developing strong topic sentences that explicitly articulate the claim or insight of a particular paragraph and serve as supporting parts or stages of your overall argument.
3. Quote from the text. Your essays need to provide examples demonstrating your points.
They also need to be enlivened by drawing your readers into the stories you have to tell about the works of fiction.
4. Reread. And reread again. At least sixty percent of the time you devote to this essay should be spent re-reading the text. Keep asking yourself “what else?” and “where else?” Try to get as rich and inclusive interpretation of the stories as possible. Don’t settle for a single telling quotation, but find others that are like it that can be used for elaboration, clarification, and qualification.
5. Search for the nuances. Your responses should not fall into either/or categorizations, but
rather should focus on subtle differences or surprising similarities. I would be as happy to see you open up a problem that cannot be solved as to settle conclusively on an interpretation that fails to admit of its limits.
6. Bring some energy to your writing. Tell a good story, back it up with evidence from the
text, and don’t assume that there is a right answer to any of it. Show your thought and provide evidence for it.
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Introduction to Literary Studies: Who Speaks and Who Sees
Voice and Focalization
· Voice: Who speaks?
· Focalization: Who sees?
· When we read for voice and focalization, we are often attempting to determine a relationship of DISTANCE OR PROXIMITY between:
· A: Author (NOT narrator)
· B: Narrator
· C: Characters
· B: Narratee (implied reader: Who hears? Who reads?)
· A: Reader
Voice: Who Speaks?
· When?
· Where?
· How? With what voice? Authority? Tone?
· What kind of language?
· To whom?
· When? Past, present, long ago, or just a short while ago?
· Where? From the perspective of a friend? A neighbor? With poetic distance?
· How? Affectionately? Kindly? Angrily? Bemused? Compassionately?
· With what voice? Authority? Tone? Factually? Untrustworthily?
· What kind of language? Realistically? Poetically? Scientifically?
· To whom? To us as readers? To someone like the character?
Focalization: Who Sees?
· When?
· Where?
· How? To what extent?
· With what level of accuracy?
· More or less than what “we” see?
· Where? In a room? In the mind? On the street?
· Who sees? Is it the character or someone else? Is there a distance implied?
· How much more than the protagonist does the narrator know? What can the narrator “see” that other characters cannot?
· How close is the omniscient narrator’s voice to that of the protagonist?
Direct, Indirect, and Free Indirect Discourse
· When considering “who speaks,” we encounter different kinds of speech represented by the narrator: direct, indirect, and free indirect discourse or speech.
· Direct discourse or direct speech is the direct representation of speech. Often identified by quotation marks; a reporting phrase such as “he said” or “she said;” sociolect or dialect; the present tense; and first person when the speaker refers to him or herself.
· Illusion of least mediation.
· Indirect discourse or indirect speech (a.k.a. reported speech) is the indirect representation of speech. It also uses reporting phrases such as “she said,” but no quotation marks; tends to be in the past or past perfect tense; can adopt character’s syntax, vocabulary, and pronunciation; and references to the first person are rendered in the third person.
· Less immediate, more mediation.
· Representations of thought are sometimes called silent or inner speech and can be represented in a direct or indirect manner:
· Direct: He thought, “I’m tired today.”
· Indirect: He thought he was tired today.
· Free indirect discourse (FID; also known as narrated monologue) is a technique by which the narrator reproduces the “mind style” of the character, as if the narrator is ventriloquizing what the character is thinking or feeling (without saying so). The narrator continues to talk of the character in the third person but the character’s thoughts are reproduced in a way that one would imagine the character to think. Unlike drama, narrative allows the reader to look into a character’s thoughts without having the character speak, giving the impression of first-hand and intimate knowledge.
· Gosh, how tired he was today!
· FID should NOT be straightforwardly equated with “stream of consciousness,” which describes the way cognitive processes are formed through chaotic associations rather than orderly and well-structured thoughts.
· FID can be recognized by:
· A change in syntax, often to less formal incomplete sentences, exclamations, rhetorical questions, dashes, etc.
· A change in diction, to match the speech style of the character; emotive words (Oh! Damn!).
· Stream of consciousness of the character to reproduce their thoughts and perceptions.
· Adverbs indicating uncertainty (perhaps)
· Modal verbs (can/could, may/might, must, will/would, shall/should)
· DUAL VOICE: FID gets you “inside” the character’s thoughts while maintaining the possibility of distance (frequently ironic): proximity with the hint of distance!
· Find an example in the novel where the narrator is describing Jacob in what seems to be free indirect discourse: where is the distance? Where is the proximity? How do we know this is FID?
· What can we learn about the narrator by their approach to Jacob?
Introduction to Literary Studies: Terms and Questions
Narrative – story (what is told) and discourse (how it is told)
· Story (general) – a sequence of events and actions involving characters; the “what” of narrative. Story/plot,[footnoteRef:1] character, setting. [1: There are two important definitions of story. The first definition is the part of narrative that describes what is told (the basic sequence of events). The second definition refers to the chronological sequence of events (in contrast to the “plot,” which is the relation of events in a particular order to show causality or logical structure). ]
· Story (specific)/plot – the chronological sequence of events and the order in which those events are told.
· Space/setting – atmosphere, characterization, milieu (social background), fiction vs. real space, symbolic space or other symbols, plot-line that occurs in only one setting.
· Character – representations of people with certain functions in a narrative context.
· Discourse – how the story is transmitted. Plot, narrative situation, time, style, etc.
· Narrative situation – an aspect of discourse, including narrative voice and focalization.
· Narrative voice – “who speaks” or who tells the story. Narrative (prose) is always told or mediated through a voice, even when the narrator presents directly dialogue between characters.
· Homodiegetic narrator is also a character in the story.
· Heterodiegetic narrator is not a character in the story.
· Focalization – “who sees” or perspective from which the narrator transmits the story to the reader.
Who speaks? (Narrative voice)
· How distant or close is the narrative voice to the character, if there is one?
· If there isn’t one, what can we know about this voice?
· Is the narrative voice reliable or unreliable?
· Is the narrator overt or covert? (with or without a personality, intrusive or invisible)
Who sees? (Focalization)
· Does “who sees” match up with “who speaks”?
· If so, how?
· If not, what doesn’t match? Consider tone, syntax, and diction.
Is there a plot? (Chronology of events)
· What can we answer about who, what, when, and where?
· Is there a sequence of events? If so, what is it?
· Does the plot match the story (real-time occurrence) of events? If so, how?
· If not, how do they not match up?
Who are the characters?
· What function do they play? (major, minor, foil, protagonist, witness, confidant, antagonist, etc.)
· How do we learn about them? (Directly/Explicitly or indirectly/implicitly)
· What is the inner life of the character? How much do we know about it?
· Who tells us about the character and how reliable is the narration?
What do we know? How?
· What do we not know? How?
· What are our expectations?
· How does the text set up, challenge, and/or complicate these expectations?
What is unusual, puzzling or stands out in the narration? Why?
· What is the overall tone of the passage?
· Is there something that departs from or changes the tone, even a little bit?
· Are there any rhetorical devices (metaphors, etc.)? Or particularly interesting phrases?
Interpretations to Make:
For all observations above, remember to ask, “what is the effect of this?”
· The “so what?” question: how does the use of this particular strategy or device contribute to the overall meaning of the line, passage, and/or novel?
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