Five stars on Amazon. Not sold in stores. Void where prohibited. Because the theme of this course is adaptation, we will be watching films and reading the novels, short stories, or plays upon which they have been based. The two central and interrelated questions we will address are how and why screenplay writers and film directors choose to deviate from or align themselves with the original texts in the ways that they do.
One of the major assignments will be to write a short screenplay. Please note that some of the films may be offensive to the squeamish.
This course explores the relationship between rhetoric and religion. It is not a course on theology. Rather, it is an inquiry into how two powerful cultural elements inform each other. We will begin by examining the influence that classical Greek rhetoric has on the formation of early Christianity, and we will end by examining how Christianity informs language theory in the modern and postmodern eras.
While the greater part of the course will focus on rhetoric and Christianity, the connections between rhetoric and Judaism and rhetoric and Islam will also be explored. Students will read novels and short stories by Native American writers active from about until the present, such as Darcy McNickle, N. Graded work will consist of weekly quizzes and two essays. To help us gain an understanding of this vibrant field, our class has the opportunity to meet guest poets this semester who include James Davis May and Chelsea Rathburn.
This class focuses on the fundamentals of screenwriting for television. We will study character development, conflict, structure, formatting, and so on as we explore how to write screenplays. Our focus will be as expansive as possible, covering drama, comedy, and action genres.
Students will write one research paper and work on both an hour and a half-hour TV pilot. This honors seminar will examine themes, tropes, and milestone episodes from the original Twilight Zone series, tracing its influences throughout popular culture over the past five decades and identifying key narrative concepts and production techniques as applied in contemporary media.
EH provides an introduction to some of the most essential debates within and approaches to critical theory and literary criticism. We will read excerpts by important theorists grouped topically and focus on effective methods of bringing these wide-ranging lenses to a primary text or two of African American literature. We will approach Romanticism as a literature of transformation, power, and the dangerous pursuit of truth and authenticity through extremity, the primitive, and the occult.
Our focus will be the role of folk and Gothic themes in foundational British and American Romantic texts. What is a true war story? And who gets to tell it? Please see Dr. Harrington if you would like to register for thesis hours and have not already discussed your committee, graduation requirements, etc. Clever and competitive, he excelled in the construing and pastiche of Greek and Latin texts and in the rhetorical techniques required to write model essays on set themes.
By the time he was in his mid-teens, he could run effortlessly up and down the scales of late 18th-century idiom. Prose style arises out of an accommodation between the competing claims of brevity and ornament.
Thomas De Quincey - Lois Peters Agnew - Paperback () » Bokklubben
Everything we write tends either to the epigrammatic or to the periphrastic, the terse or the expansive, the lapidary or florid, stone or flowers. De Quincey was on the side of the flowers. Stone had reached its consummation in Johnsonian apophthegm. De Quincey grew up in the Johnsonian force field, but resisted it, developing a style that took its sustenance from pre-Augustan writers such as Jeremy Taylor and Thomas Browne. It was as if he had struck water from the Johnsonian rock, liberating the spirit of loquacity from the inert and massy block in which it had been imprisoned.
Humour is integral to this radical and insurgent turn and, if we want to place De Quincey in a tradition, he flows with the current that streamed from Sterne to Dickens and onward to Joyce.
For De Quincey, writing, like conversation, was a social stage. But writing also has to perform the act of thinking.
CONTENTS OF VOL. II
De Quincey returned to the idea of writing as an organic process in an exuberant excursus on the nature of his own writing practice, at the beginning of his Suspiria de Profundis , an autobiographical essay published in as a sequel to the Confessions. Not the flowers are for the pole, but the pole is for the flowers. He mapped the one onto the other in the vignette about the Lakeland tourist which wittily illustrates the superior claims of the ornamental by being the thing we most remember from the passage:.
Figure to yourself an energetic tourist, who protests everywhere that he comes only to see the lakes. He has no business whatever; he is not searching for any recreant indorser of a bill, but simply in search of the picturesque. Next, he applies to the postilions — the Westmorland postilions always fly down hills at full stretch without locking — but nevertheless, in the full career of their fiery race, our picturesque man lets down the glasses, pulls up four horses and two postilions, at the risk of six necks and twenty legs, adjuring them to reveal whether they are taking the shortest road.
Finally, he descries my unworthy self upon the road; and, instantly stopping his flying equipage, he demands of me as one whom he believes to be a scholar and a man of honour whether there is not, in the possibility of things, a shorter cut to Keswick.
Writing was a form of vagrancy, the page an open road, grammar the generator of limitless possible routes through thought. The possibilities for fractal division of syntax and idea seem endless. We itch for a less divergent thought process, to head for a point on the horizon rather than to follow winding paths into an ever widening landscape. De Quincey, waking and sleeping, was haunted by the nightmare of infinite ramification, of being lost in a labyrinth of paths or stairways without end Borges worshipped him.
De Quincey used appositions to smooth out the line and rhythm of his sentences. He treated syntax as a mould with expandable compartments.
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The grammatical logic was impeccable, the semantic picture smudged. The implication is that there is no pole for the flowers to adorn, just flowers.
To live in six places at once was to live nowhere. The experience of reading De Quincey is one of parsimony and excess: the merest hint of an idea was to him a drop of perfume whose fragrance he spread through several pages before it faded.
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The exorbitance of his style suited comedy better than pathos. At his best — where his work springs up out of the confluence of grammar and gaiety, of logic and facetiousness, of structure and silliness — he can be one of the funniest writers in the language. Making fun of others, he idealises himself, but, whether consciously or not, his writing always presses at the limits of seriousness, where solemnity cracks up in a snort of poorly supressed hilarity. His style tips his grander effects into self-parody.
checkout.midtrans.com/ligar-chicas-vilanova-i-la-geltr.php It was here that he tried for the gravitas of the Wordsworthian poetic melisma. Thou art classed amongst the depressing passions. And true it is that thou humblest to the dust, but also thou exaltest to the clouds. The default use of apostrophe in poetry, the lexicon of schematic gesture in the early 19th-century theatre, the fashion for melodrama on the stage and in the Gothic novel: all defined a register of heightened feeling which now seems stilted and sentimental, but De Quincey was fully signed up to that aesthetic.
He depicted himself as someone of exquisite sensibility, of high sensitivity to pain and to beauty, and he needed to demonstrate this in what he wrote. It surfaces explicitly in his conception of dreaming. How dreaming was induced was of no consequence: opium, raw pork, whatever — it had no bearing on the genius of the dreamer. And, in a certain sense, the same could be said for everything he told us about himself. His self-image was seriously meant. We are not to imagine he took his mask off when he went home for the day.
What happened at home was not for us to know. He was an exceptionally formal and conservative person, conscious to a fault of what was considerate and polite. There were things it was not proper to speak about. You neither asked people about their private lives nor did you bore them with your own. Lois Peters Agnew. Paperback Fri frakt! Leveringstid: Sendes innen 14 dager. Om boka.