Voices For The Voiceless Rhetorical Analysis

Tuesday, December 14, 2021 6:39:40 PM

Voices For The Voiceless Rhetorical Analysis



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Giving a Voice to the Voiceless - Tarik Sayeed - TEDxToronto

A glossary of terms used in the body of this dictionary. See also Wiktionary:Glossary , which contains terms used elsewhere in the Wiktionary community, and Appendix:Glossary of rhetoric , which explains commonly used rhetorical terms. Definition from Wiktionary, the free dictionary. Hence, a quotation from " a. It is used alone or with certain prepositions. For example, if English had a fully productive case system that included the ablative case, then in the phrase came from the city , either "the city" or "from the city" would likely be in the ablative.

In some languages, such as Latin, this case has acquired many other uses and does not strictly indicate separation anymore. The system is used for purposes of inflection and word derivation. In the Germanic languages, it forms the basis of the strong verbs. A specific form of ablaut is referred to as a grade ; see for instance zero-grade. More at Indo-European ablaut on Wikipedia. Wikipedia absolutive case A case used to indicate the patient or experiencer of a verb 's action. Antonym of concrete noun. Also called an indeterminate verb. The opposite type of verb, which expresses a single, completed action, is termed a concrete verb or a determinate verb.

English does not make this distinction. For example, "I went to the post office" could be abstract if I went there and came back, i. Abstract verbs are always imperfective in aspect , even with prefixes that are normally associated with the perfective aspect e. A case that is usually used as the direct object of a verb. For example, if English had a fully productive case system, then ball in "The man threw the ball" would most likely be in the accusative. The boy kicked the ball. See also Voice grammar on Wikipedia. AD Anno Domini. Year-numbering system equivalent to CE.

For example, an adverbial participle is a participle that functions like an adverb in a sentence. Examples are When my friend arrives , I will take him out to dinner and If it rains , I will go home the latter example being specifically a conditional clause. In the narrow sense, synonym of suffix. For historical reasons, this abbreviation is sometimes used here to identify a respelled pronunciation that is given in enPR form.

We will look at poems from the time of Shakespeare to the Contemporary period. We will read one twentieth century novel, The Enormous Room, by e. In our analysis of these works we will pay attention to the basic elements of short fiction, poetry, and the novel, such as plot, character, setting, point of view, rhythm, and rhyme. We will equally explore their ideas and themes, and look at the position of these works in their literary and social contexts. There is no cure for curiosity. The theme of this course, identity and belonging, will be explored through a variety of accessible texts including non-fiction, short stories, and a novel. You will learn to analyze non-fiction and fictional texts, acquire an understanding of basic technical literary terms, learn tools for successful close readings of texts, improve your individual reading strategies, analyze the techniques and devices used to construct a work of literature and learn how to make use of effective writing strategies in your own analytical essays.

Through your encounters with the chosen intriguing texts and the ensuing class discussions and written efforts you will hopefully improve your understanding of the world and your own place in it. Who are you? Who defines you? How do you define yourself? How have you been allowed to exist? How have you been denied? In this course, we look at authors and works of literature that seek to answer these questions. We think about assumptions, stereotypes, and lived experience.

As students learn how to identify the strategies used to make a work of literature, they will also be making use of effective writing strategies in their own critical, analytical response essays. What is innocence? As a state of being, we cannot know innocence until we lose it. As a social judgement, innocence is far from stable, since what constituted innocence at one point in history may later be the very be the very condition of guilt. We will then look how this theme presents in a variety of modern poems and short stories, looking at how the loss of innocence is figured as both painful wound and necessary step on the path to maturity.

Students will also be expected to read a novel which engages with the theme of innocence lost. Since the dawn of time human beings have been telling stories and singing or reciting poetry to each other. Why have such people, storytellers in a broad sense, always existed in every human society, Canada included? What do they do, and what do they say, that makes them so necessary? And, most importantly, what do their works tell us about Canada in the time in which they lived? This course helps students develop college-level skills in reading comprehension, critical analysis, and written expression. Students will learn strategies for active reading and methods of analysis to apply to a variety of literary genres. They will also learn basic literary concepts and the role of techniques and devices authors use to create meaning.

A major goal in the course is to learn how to write sensible and well-organized analytical essays about literary texts. The course also includes regular grammar practice to correct basic errors in expression. Introduction to College English is a course designed to help students develop college-level skills in reading comprehension, critical analysis, and written expression. Students will learn strategies for active reading and methods of analysis that will be applied to at least two literary genres. They will also learn other elements such as how authors employ techniques and devices to create meaning in their texts. This course is an introduction to the study of literature in English at the college level: students will read good writing, think about it, talk about it, and learn to clearly express their thoughts in writing.

Humanity has created a body of literature that explores, converses with, and is shaped by the ongoing cultural flourishing of our beloved — and not so beloved — cities. Used as a metaphor for religion and the body, or seen as a place of refuge and menace, the city encapsulates our identities in its thrum and threnody. The often shifting meaning of the city is clear, especially in the COVID era, when keeping close together becomes a source of danger. Older than any person, sometimes lonely and desolate, sometimes pulsing with energy and excitement, our cities persevere and reshape themselves continually. In this introductory literature class, we will read writers across genres who use the city and cityscape as a vehicle for expression.

Students will be urged to look at the global village with a critical eye through positive intellectual engagement. This course explores the relationship between contemporary stories and the society which informs them. We focus on current fiction and poetry and analyze the human truths illuminated within these works as a means to develop strong critical thinking and to learn how to respond to fiction in writing.

In this course, students will read works in the genres of poetry and narrative fiction. We begin by studying the work of an American poet, Mary Oliver, paying close attention to the way her poems about real moments in life — events in the natural world, personal discoveries, personal meditations — provide examples of linguistic grace and power in the service of personal expression and self-examination. We then turn to a novel by emerging British writer Stephen May, paying close attention to his expert use of narrative voice and point of view to create a fictional world remarkably close to our sense of the actual world, but skilfully shaped to make us intensely aware of the meaningful potential of existence. Students are encouraged to develop skills in reading, or being able to place or situate a text, to understand it from the inside, sympathetically, and to step away from it and see it from the outside, critically.

In order to develop these skills, we will examine rhetorical devices used in personal writing, poetry, and fiction, such as voice, metaphor, imagery, and symbol. Finally, students will put these skills to use in learning to produce discourse and essays suitable for the college level. This is a first-semester English course where students will read a variety of genres: short stories, poetry, film, and a novel. An important aim of this introductory English course is to help students develop college-level reading skills by engaging in critical thinking, literary analysis, and written expression. Students will learn effective active reading strategies and literary analysis.

They will learn to identify literary, rhetorical and filmic techniques symbolism, metaphor, etc. Students will also learn how to write well-organized interpretive essays. The problem with the real world, frankly, is that it is the only one we have. The fantastic worlds of literature, when we first enter it, whether with the sigh of relief or the gasp of terror, come alive for us as alternatives to the real world. In one sense, all art is fantastic simply because it offers us worlds in which some order prevails. Where did we come from? How can one explain the feelings of awakened sexuality?

Why must there be death? Is there an afterlife? Fantastic worlds dramatize answers to these real questions for the ease of the questioners. We will therefore explore the answers provided in creation stories and fairy tales, as well as horror and science fiction stories. This course helps students develop college-level reading and writing skills by introducing them to texts from a variety of literary genres, such as the short story and poetry. The course places strong emphasis on the experience of literature by allowing students to respond to creatively and critically to literature.

The 20 th century was a turbulent one, packed with political conflicts, technological innovations and cultural revolutions that profoundly affected the world we live in. It was also rife with literary innovations, as writers had to come up with new ways of talking about this new world. In this class, we will use 20 th century literature as our backdrop to think about the function of literature. Moving through one decade at a time, we will read short stories, poems and a play, and learn to write productively about texts, ideas, and arguments. Labyrinths and mazes figure prominently in poetry and fiction. Sometimes the literary labyrinth is a key setting, a circuit of mysterious paths that a disoriented hero might set out to navigate.

Elsewhere the labyrinth might appear as a metaphor for confusion, complexity, or contemplation. At yet another level of abstraction, the act of walking the labyrinth can be likened to the puzzling practice of reading and interpreting a text. Thought itself, after all, has a labyrinthine structure. We will address these and other labyrinth-related topics as we wind our way through a diverse set of texts that range from classical epic to contemporary fiction. A narrative tells a story, offers a description of a series of events.

In this latter sense, one story risks becoming the only story. By examining diverse narratives in prose and poetic forms, this course will examine the various ways in which questions of value are shaped by the formal qualities of narrative structure. This course is designed to provide students with the critical tools necessary for thinking and writing about literature. Our literary analysis of selected works will involve examining their basic elements, themes, as well as their historical positioning.

Through a series of development assignments, students will learn how to develop interpretive claims, support these claims using textual evidence, and structure their analysis into coherent arguments. One of the goals of the course is to introduce students to the conventions and best practices related to writing about literature. By reading a variety of genres, including fiction, nonfiction and poetry, we will also explore how landscape is used both as setting and symbol to develop themes. Some of the writing fundamentals that will be covered in the course include sentence structure, paragraphing, quoting, essay structure and the writing process.

One view of literature sees its role as method to raise awareness about the world we live, so that we will hopefully rise to the challenge of making it a better place for all. With this view in mind, we will explore a variety of books and films that have played a major role in captivating the hearts and minds of those who have go on to make major changes in our world. The texts we will explore will examine our relationship to slavery, labour, gender, consumerism, and the environment, etc. This course introduces students to common themes in medieval literature, including the inconstancy of this world we live in, the life of the mind, the pursuit of ideals, and the corruption of authority. We examine the development of these themes in a variety of stories from popular medieval genres: dream vision, hagiography, Arthurian romance, and fable.

The course should prepare students to recognize common medieval ideas, to understand differences among narrative genres, and to understand the value of situating a text in its cultural and historical moment. All texts are in translation. Students will learn how to think and write about literature by studying the depiction of romantic love by authors as varied as Plato, Shakespeare, Hemingway and others. This course focuses on some of the best love literature from the Western and Eastern worlds which deals with positive love relationships.

Students will read fairy tales, short stories, essays, poems, and a short novel on love in the face of social obstacles, love in the face of psychological obstacles, seduction, ideal love, celebration of the beloved, and celebration of lovemaking. Special attention is paid to strategies students can use to increase their pleasure in and understanding of literature and their ability to write about it. Perhaps no other word has such a consistent impact throughout our lives yet, somehow, its actual definition remains as elusive as its perpetual pursuit. We certainly love people including ourselves but also things, ideas and places — often in the exact same way. By looking at prose, poetry and non-fiction, we will consider such issues as whether a universally-accepted definition of the word is even possible; whether there is something thematically common in all of its depictions; whether its usage is often standing in as a metaphor for something else; whether all stories of love, by definition, have beginnings as well as endings.

A metafictional work of literature is one that draws attention to its own status as artifice. When a character in a television show, for instance, turns to the screen and speaks directly to the viewers, they draw attention to the fact that there is a camera in their presence. This is cunning move on the part of the actor; without completely destroying the fictional world of the show, they still manage to draw attention to the fact that they are, after all, only acting. In this class, we will study a series of literary texts which, through use of metafictional devices, pose questions about the delicate relationship between reality and fiction.

This course introduces students to the study of literature at the College level through a study of mythology. Students will read a variety of material, with emphasis on Greek myth, epic and dramatic literature, as well as reading, thinking and writing strategies necessary for the College. During the course of the semester the class explores the Sumerian epic of Gilgamesh, Greek creation myths as well as the greater and lesser gods of Olympus. The class also reads Greek Drama tragedy and comedy and heroic epics such as the Iliad and the Odyssey. By the end of the semester students have a comprehensive survey of Western principally Greek mythology.

By the end of the semester successful students are able to read the texts critically, work together as groups and write competent college level essays which indicate critical thought, understanding of techniques and devices, annotation and organization. The course readings and evaluations are the same as those for Liberal Arts This course provides an introduction to literature through poetry, prose, and drama by looking at characters who have been exiled from their communities, forcibly or by choice. These outcasts often seek companionship in unconventional ways and rely on themselves in order to battle worlds hostile to their beliefs. Isolated and plagued by physical and mental barriers, characters studied in this course struggle to express and exorcise their demons, revealing the power and limitations of language.

This course will introduce the student to short fiction, lyric poetry, the informal essay, and the novel. Generational clashes, sexuality, murder, racism, self-hatred, doubt, alienation, pride, courage, goodness: these forces can estrange individuals, creating a tension between them and society. This tension makes the individual an outsider; this tension is the focus of the course. Grammar and essay-writing skills will also be studied, practised, and tested.

How have literary artists throughout the twentieth century and at the dawn of the twenty-first chosen to represent real historical events in both nonfiction, fictional, and graphic texts? Students will try to make sense of the various tools writers use to record and remain faithful to memory not only through critical reading but also through creative practice. Within a broadly defined theme of transformation initiation, coming of age, and other variations on character transformation , this course will introduce you to a variety of literary genres including poetry, fiction, non-fiction, and film.

You will practice the skills for successful close readings of texts, acquire a working knowledge of basic technical literary terms, analyze the techniques and devices used to construct a work of literature, and learn to apply effective writing strategies in your own analytical response essays. This course will provide students with an introduction to literature through texts that look at how human relationships are affected by science and how the language of science can be used to write about love.

This is a foundational course designed to introduce students to a variety of genres and time periods of English literature, connected thematically by the idea of romantic love. From the seductresses of Gilgamesh , to the rebellious adulteresses of Chaucer, to the irreverent musings of modern song writers, this course aims to give the student a snapshot of love seen through the literary lens. In addition, students will learn essay writing and research skills as they hone their abilities to critically analyse what lies before their eyes.

This course aims at introducing the students to College English through the symbolic value of colour in literary narratives and poetic works. Our analysis will consider how colour is symbolically used not only with reference to natural beauty and to the visual arts that influenced many of these writers, but also as a means to unveil highly complex social issues, such as racism, and homophobia. The variety of the texts in question will also allow us to reveal how different stylistical features and devices are applied when colour is described in narratives developed through fiction, essays, poetry, film and music.

In Storytelling we consider the impulse to tell stories and the various creative methods and the beats, the ticks, the pulses that rouse people to activate the heart and share human and other-than-human experience: oral, written, and visual storytelling. We explore stories from different cultural perspectives, with emphasis on, but not exclusive to, Indigenous storytellers. Expect to encounter both fiction and nonfiction essays and memoir , poetry, short stories, film, and drama. The course will introduce students to the cultivation of reading, critical thinking and college-level writing skills and hopefully, the enjoyment in at least one, if not all these activities!

The aim of this course is to engage in the culture of a country often disliked: America. Throughout this course we will read and discuss various forms of mostly contemporary American literature short fiction, novel and the themes reflected by them. Class discussion and participation is strongly required in this course. My job is to mediate and stimulate the discussion necessary to point out the relationships between these themes, the theories possibly suggested, and the language, the literary terminology you will need to articulate them. This course aims at introducing the students to College English through the symbolic value of friendship in literary narratives and poetic works.

Our analysis will consider how friendship is represented, celebrated and fictionalized as one of the most important and archetypal relationships in human life. The variety of the texts in question will also allow us to reveal how different stylistic features and devices are applied when friends and their memories are described and developed through fiction, poetry, and film. The all-round, all-in-one, magic theatre course for all horses. This course is ideal for students studying or just plain interested in theatre: Theatre Workshop students, Professional Theatre students, scientists who really want to go on the stage etc. All students work together on theatrical projects, while doing other assignments specific to their college level.

In Theatre Workshop English, students can expect to develop facility in reading, watching and interpreting a variety of texts dramatic, fictional, poetic, and cinematic as well as improving written and oral expression in English. The Final Showcase offers an opportunity for dramatic writing to students in the Playwright Stream and group performance to all participants. Despite what many might like to think, it is clear that the Western world is still far from being an entirely peaceful place. For instance, many of us believe that violence must sometimes be used to enforce laws and protect human rights. Although we may consider the former uses of violence unfortunate necessities, many of us still enjoy watching contact sports and even the more explicit forms of violence found in action or horror films.

However, sometimes the violence found in fiction is so gruesome that it is not easily accepted, let alone enjoyed. Figuring out what authors hope to accomplish by depicting acts of extreme violence will be one of our main goals. In order to reach some conclusions, we will examine a variety of texts containing such forms of violence. Each work will be considered in relation to its appropriate cultural and historical context. Seeing as this is an English course, the second aim will be to develop skills necessary for students to be effective readers and writers. The cultivation of these abilities will not only aid students in their exploration of violence in literature, but in any other analytical work they may need to do in the future.

Students develop their own voices as writers, and their vision as critical analytical readers, through engagement with the visions and voices of others, with a focus on texts by Indigenous writers. We will explore the power of the spoken and written word, how this power affects us, and how we can access it effectively, both in speaking and in writing, as well as the pleasures of exploration, new experiences and discovery that the world of reading and writing opens to us. This introductory course will challenge students to read, write, and think critically as they explore the theme of water in literature and consider current water-related issues around the world.

In this course, students will study works from a variety of literary genres, including non-fiction and film, to discover the literary significance of water, one of our essential needs for survival. A soul-devouring monster appears in your kitchen and demands a peanut. Do you laugh? Ask how it would feel about an almond? Thanks to the monumental success of J. Yet, while magic today is often celebrated in literature, or even used as a metaphor for imagination and the power of childhood, witches and wizards have long been the subject of visceral horror and violent persecution.

Bearing in mind this dark past, this course will pursue the objectives of the literature requirement through study and debate of issues pertaining to magic in literature. Students in this class will read drama, short poetry, novels, and selections from contextual non-fiction to discover multiple genres. In this course, students will enhance their writing proficiency, enrich their oral skills, and develop close-reading abilities that can easily be adapted to achieve success in any field.

To go wild is to break free of restraints, live life outside of the norms. What are the costs to breaking the rules and who makes those rules, anyway, and why? In this course we examine stories about those wayward souls who find themselves willingly and not so willingly inhabiting the fringes. They often wear their wildness as nonchalance, contempt, rage, boredom. Some enact senseless violence and vandalism, others take extreme risks; always, though, they seem to meet with some form of tragedy. Yet, within this tragedy something survives, something seeds and grows. In this course, we will explore the positive things that survive and thrive in this wildness.

The main focus of these courses is to study the relationship between form and meaning. There are numerous sub-genres within these broad categories. In these courses, the focus may be on either one genre e. Students learn to identify and analyze such structural elements as plot, character, point of view, tone, symbol, diction, rhythm, rhyme, metaphor and how these devices interact to produce meaning. The courses will focus on helping students recognize the patterns that enrich the works, the themes that these patterns suggest, and the relationship between the significant elements of the work and the themes.

To pass these courses students are expected to write a 1, word essay that meets specific criteria. In this course we will study texts from a variety of genres, written in Europe and North America during the 18th and 19th centuries. We will encounter some of the well-known issues of this era, such as the Enlightenment, Romanticism, revolution, Symbolism and Transcendentalism. Throughout the course, students will be encouraged to develop their own understandings of the readings and to strengthen their writing skills. Originally designed for students in the Liberal Arts program, this course is open to all students who are interested in Enlightenment and Romantic literature.

How have fans changed the course of literature? How do our reactions and interpretations change the course of a text? What happens when the reader takes over and becomes the writer? How do they transform and resist the source work? Do we, as readers, actually have far more power over the narrative than we thought? In this course, we will explore and complicate the roles of authors, fans, and readers.

In particular, we will be focusing on the texts and adaptations that resist the canonical work in some way and what value those resistant transformations can have — not just for the texts themselves, but for people writing and reading them, making space for themselves where the canon did not. This course will introduce students to modern African short stories. A variety of stories by authors from different African countries will be analyzed; specific attention will be paid to how each writer makes use of the conventions of the genre to reflect upon the present-day realities across the continent.

Through the study of these diverse tales of African people — children and adults, men and women — we might be able to shed damaging stereotypes and gain knowledge and appreciation of the diverse and colourful literature from that far-away continent. By examining literature, art and film from the early 19th Century to the present, we will examine how writers and artists create a means through which they can address specifically North American cultural concerns, including issues surrounding national identity, religion, race relations, and the urban environment. This class will introduce you to a variety of traditional and innovative American short stories.

We will attend to the particular formal elements that make a story appealing and incite an emotional response from readers. In the process, we will meet people, ideas, different ethnic communities, and have a glance at the process of writing itself. By the end of this course, we will have discovered the potential of the short story as a vehicle for literary creativity and the exploration of what it means to be human. Why do people read and write poems? What role do poems play in our individual and collective lives?

In order to address such questions thoughtfully, students in this course will be introduced to poetry as an art that uses language deliberately and playfully, challenging its readers to see, hear, and understand the world with open hearts and minds. By encountering various types of poetic forms—closed e. Specifically, they will learn to read poems closely and confidently by investigating how poets use form, rhetorical devices, and literary techniques to communicate ideas meaningfully and memorably, with emotional power and intellectual scope.

Contemporary Canadian short-fiction writers are much bolder than their literary ancestors. Issues of sexuality and violence and ethnicity, for example, are being treated in frank and disturbing ways, while humour often winks from a footstep away. Apart from provocative content, our writers are ambitiously experimenting with form and technique. In the carnivalesque, we see that the comedic and the profane can often provide a critique of society.

In this course, we will study literary texts which work in the mode of the carnivalesque: they examine the delicate balance between breaking an order and reinforcing it. In this course, we will think the unthinkable; some would say the impossible: poetry can change the world. One poem at a time, we will discuss how poets influence our lives through global perspectives of love, desire, beauty, nature, lamentation, death, translation, metamorphoses, war, foul language, dissent, protest, and miracles.

The poems in this course are literal and symbolic expressions of difference, survival, and innovation. They affect our ways of thinking about, representing, and enacting human relationships in surprising and predictable ways. What will emerge over the course of this class are the ways in which poetic perceptions shift our own thinking, shock us out of our complacency, and motivate us to want to change the world too.

One of the presuppositions of this course is that fart jokes are funny. Indeed, we shall presuppose that buttocks, boobs, boners, and bodily images of all kinds are perfectly hilarious. Anyone who disagrees with these presuppositions will have to enjoy the exceptional rarity of his or her sense of humour in silence. The fact is, there is a long tradition of literature that delights in foregrounding the body in its comic aspect, and our purpose in this course is to try to understand why. Why do fart jokes exist? What is the function of this kind of humour, psychologically, socially, and artistically? Why is the body so closely and so easily associated with laughter? These are a few of the questions we shall attempt to answer as we study a sampling of comic literature from the 14th century to the present.

This course is designed to allow students to explore the genre of the short story in greater depth. We will concentrate on Contemporary American short fiction analyzing the relationship between the contemporary author, his or her work, and the literary elements he or she uses to explore themes that illuminate the world in which we live. Similar is the nature of the narratives about the island, its traditions, and its changing history; these fictions are a mixture of peculiar, individual literary voices and collective accounts. Focusing on the memoir genre, we will consider how Cuba and its culture have been the centre of increasing personal narratives created by authors both Cuban and international whose identities have been shaped both from outside and inside the country.

A series of parallel literary texts, essays and articles, collected in the course pack, will allow us to create the proper historical, literary, musical and filmic framework in order to address how Cuba has been described and discussed in the memoir genre both literary and cinematographic and how these particularly personal narratives have revealed some of the most interesting and hidden aspects of the evolution of Cuban culture from the Fifties to today.

How can we account for the powerful appeal of mysteries and detective stories? Why do people find detectives and their ability to investigate, solve, and be baffled by crime fascinating? Students in this course will read classic detective stories, learn to detect the basic literary devices and techniques that writers use, and attempt to understand the mysterious attraction of this very popular genre.

In addition to developing their analytical reading and critical thinking skills, students will also be expected to learn how to write a well-organized thesis-driven essay. In late sixteenth-century England, a burgeoning theatrical culture emerged. This course focuses on the golden age of English theatre, with attention to four plays from the period. This course presents a formal introduction to the fable as a genre of moral tales with talking animals and other fantasy elements. In this course, students will learn to read fiction of a particular genre as well as non-fiction prose.

Students will be exposed to diverse examples of the genre in question and explore its parameters. Dressed in garish book covers, some fantasy literature may be considered formulaic and lowbrow, but this genre has its roots in the oldest and most influential forms of literature of all times: myths, legends, hero tales and fairytales. Loved by young and old alike, these tales have been handed down from parent to child throughout the ages.

Moreover, along with the symbols and archetypes of the oral tradition, cultural beliefs, values and the most universal hopes of humankind are woven into the fabric of these ancient stories. In this course, students will read, tell, analyse and respond to ancient and modern examples of these stories of faerie… that place of imagination and inspiration… just beyond the border of our physical reality. This course will examine the role that certain famous fairy tales have played in society from the time when they were first told up to the present day.

We will look not only at how works in this genre and related ones reveal our changing desires and anxieties but also at how we might use these varied generic forms to address the new fantasies and fears that we will face in the future. Consequently, few people are made aware of the classic fairy tale as a form of storytelling that boasts a rich history, from its development through oral transmissions and modern textual expressions of the past to its present cultural and literary manifestations.

In addition to identifying the archetypal motifs, storytelling techniques, and didactic underpinnings of such stories, this course will investigate the manner in which fairy tales introduce readers to a varied and often explicit and sophisticated thematic universe imbued with rich psychological and symbolic significance. Students will also be introduced to different interpretative modes of reading fairy tales in order to address, question, and understand their lasting appeal. This course offers an introduction to the genre of science fiction, focusing on the conventions and reading protocols that distinguish science fiction from mimetic realistic fiction. Students will see that the way science fiction treats character, plot, and setting, is quite different from treatments in mimetic novels that strive to represent reality.

How are identity and performance linked? What if the line between reality and performance gets blurred? To what extent does life imitate performance and performance imitate life? This class will explore what happens to the dramatic text as it travels from the page to the stage. We will look at various definitions of identity and performance through an exploration of the main currents of modern and postmodern drama.

This course is aimed at revealing the complexities of gender as depicted in the short story genre. The short story genre, which often relies on the beauty of the unsaid, or on the minimalism that its limited number of pages requires, will be scrutinized as a perfect literary medium to reveal how difficult are the definition and narration of gender. In this course, we will study how literature engages with the potential or actual effects of science on humanity. Golfers love to read greens, and study fairways. Students who love to read books, and study literature, will enjoy this course. Golfers practice constantly, and students will do weekly exercises to develop their reading and writing skills especially.

This course is designed for pupils who are interested in science, history, and metaphysics. Themes of madness, the supernatural, death, incest, and the repressed will haunt our readings and our discussions. This course will explore how authors use the conventions of the short story genre, as well as the novella and film to express their horrific tales. We will also investigate, through secondary critical readings, reasons for our fascination with the gothic and the power of story-telling. This course focuses on the relatively recently identified genre of the graphic novel, or the comic book as serious literature. In surveying a selection of these texts students will explore not only the range of this literary genre, which includes fiction, memoir and non-fiction narratives, but also the distinctive artistic techniques which distinguish the graphic novel form from that of purely textual works.

For the Greek Athenian playwrights of the fifth-century B. The philosopher and first drama critic, Aristotle, argued that the purpose of performing tragedy on stage was to promote feelings of pity and fear in members of the audience who tended to be sympathetic to characters in the plays, seeing in them their own strengths and weaknesses. This course explores the major themes and techniques of the haunted house tale in American Gothic and horror stories.

Students will read haunted house stories from the 19th and 20th century and together we will identify genre-defining features which reappear in film and television. Through a combination of short lectures, guided discussions, film analyses and individual writing creative and analytical the course will examine Gothic terror as an expression of societal, political and psychological anxiety in order to then study the haunted house in its function as a metaphor for the oppressive nature of domestic, normalizing value systems. Together, we will outline the rise of the Gothic home as narrative force which emerges within haunted tales in moments when the values embodied in the home possess the bodies and minds of those who dwell within it.

This genre course explores the twentieth century novel. In the second half of the twentieth century, the writing of history became particularly questioned as just another form of fiction. Novelists during this period focus on historical themes but take license in retelling them or exploring them in invented worlds. The rather funny novel The Evolution Man: How We Ate My Father by Roy Lewis rewrites the evolution period of the human species and poses questions such as whether humans should have suppressed the use of fire for the greater good of humankind.

Excerpts from other novels and interviews, articles, and commentary will complement our course readings. Students will practice active reading and apply analysis to the course readings in the form of essays, journals, oral presentations, and some creative work. This course will involve reading and thinking about crime fiction. Students will also think separately about crime and about fiction. But most of all, we will think about thinking.

As we read about the methods of various detectives, whether amateur, private, or police, we will ask ourselves these and related questions: What do we think we know, and how do we think we know it? What constitutes a good argument? How can we change minds—those of others, of course, but also our own? What distinctions can we and the detectives we will be reading about make between belief, faith, hypothesis, conjecture, evidence, logic, probability, proof, knowledge, and so on?

This course takes as a given the fact that we will be wrong about a number of different things that we believe. With this in mind, what obstacles do we face cognitive biases, logical fallacies, social pressure, etc. Illustrative Storying examines the blend of image with text. The course explores sub-genres of illustrative storytelling, such as comics, graphic novels, manga, Japanes anime, animation, and cartoons.

Expect to learn about generic conventions, literary history, reader participation and response, as well as transcultural convergences of forms. As this course is a literary course, we do literary analysis of the text. This noted the course introduces a creative component that allows students to animate their imagination. This course introduces the student to the literature of the Middle-East, predominately from Persian and Arabic traditions often Islamic , but including works from various countries. The course is a historical survey: works from the origin of Middle Eastern literature Gilgamesh, Bible, Koran, medieval narrative poems, prose of Nights, classical lyrical poetry are studied in the first half of the course, while the second half of the term is devoted to modern literature, predominately prose fiction.

The works are also selected in order to address a variety of themes in Middle Eastern culture, as well as questions of genre, with its unique history in Middle Eastern literature. This class examines literary genres through readings in Japanese Literature. During the course of the semester the class explores universal genres such as Poetry, the Short Story, the Novella, the Novel, Drama as well as some genres that originate from Japan. Evaluations are: reading tests, literary journals, in class essay examination, two essays of words. Successful students are able to identify, critically evaluate and write well organized and clearly expressed essays on the subject of genres.

Student skills in reading, critical comprehension and evaluation of texts as genres are fully developed. The course explores the conventions, literary history, and sub-genres of the short story. The selection of stories will also invite thinking and discussion around theoretical approaches to storytelling, plus themes pertaining to gender, sexuality, immigration, religion, and racial discrimination. The course, thus, will explore what typifies and challenges our categorization of the short story. As this course is a literary course, we do textual analysis; we do not write short stories. In this course, we will read and listen to a wide selection of works from three genres: lyrical poems written over five decades; a romantic coming-of-age story, and excerpts from a second, more experimental novel; and songs taken from an impressive catalogue from to the s that has inspired and continues to influence the world of folk, punk, rock, and other popular types of music.

Most people consider yoga to be a form of exercise or, at best, a trendy spiritual practice. Few, however, realize that the physical aspect of yoga asana is only a small, albeit integral, part of the rich literary and cultural tradition that is Yoga. Because literature privileges direct experience over abstract concepts, it is the natural vehicle for yoga philosophy which engages with the body and the mind at once. In this course, we will both examine traditional literature on yoga and use the physical practice of yoga to inspire our own creative writing.

This class is devoted to the rich and strange content of Medieval and Renaissance literature. Our timeline spans from the first English poem, which was probably written in the 8th century, to the drama and poetry of the late sixteenth- and early seventeenth-centuries. The reading list provides a survey of representative genres, jokes, and topics. While we delineate our linguistic history and the literary trends of the past, we can expect some weird and wonderful encounters with lovers, knights, madmen, tyrants, faeries, monsters, and other marvels.

Students will study two major representative texts from the medieval and early modern periods. In terms of their subject matter, they have important similarities: both are representations of aristocratic violence, featuring great men wielding power over others. In terms of genre and form, however, the texts are quite different: our first text is a medieval romance, concerned with ideals. What brings these two texts together in this course is our approach to them: we will examine them in light of how they, as works of literature, intersect with political, social, and cultural history, or in other words how each work is bound up with the life and thought of its own culture.

Neither of these texts offers easy answers to questions about the nature of the relationship between literature — or culture, more broadly — and the ideological formations in which it is produced. The short story is notoriously resistant to formal categorization and encompasses a wide range of modes of expression. We will look at subgenres of the short story that use magical, absurdist and speculative components to impart themes of metamorphosis and otherness.

We will also look at realist fiction and a short story cycle that tests the formal boundaries between the short story collection and the novel. By the end of the course, students will have discovered the potential of the genre as a vehicle for literary creativity and the exploration of diverse themes. Want to find out about real and weird issues in our North-American society? Join the literary journey to the world of the others amongst us as presented through fiction within the very contemporary and fairly dominant, particularly North-American genre of multicultural literature.

Through the study of short stories from both sides of the border, similarities and differences in the very core of the concept of multiculturalism will be revealed. In engaging with these literary texts students are expected to acquire not only a certain familiarity with a major North-American form of literature, but also god-willing, or inshallah a better appreciation of it — as well as of those represented in it.

The Metamorphoses, written in the first decade CE, is a highly entertaining narrative poem that describes the twisted and surreal adventures of Roman gods and goddesses. While drawing on the conventions of the epic genre, Ovid also adapted and challenged those conventions, writing a new sort of poem that, in turn, has inspired a whole series of later adaptations and reworkings. This course introduces students to the genre of narrative through an examination of two contemporary novels. Each novel in this course is narrated by the central figure within the story, giving us a chance to look closely at different ways of developing first-person narratives.

Above all, our close study of these novels gives us a way to understand key aspects of narrative in general, such as plot, character, and point of view. In the early 20th Century, as the United States welcomed immigrants from all over the world and grew its cities especially New York into diverse cosmopolitan centres, a new art form emerged, a uniquely American contribution to the performing arts: The American Musical. Blending the popular entertainment of the music hall with the thematic and artistic ambitions of classical Opera, it first emerged in the s with such landmarks as Porgy and Bess and Oklahoma! It then passed through a Golden Age, an Age of Experimentation, an Age of Blockbusters, and today presses onward with genre-expanding hits such as the hip-hop-musical Hamilton.

Pillars of the American Musical will focus on key plays in the early and middle periods of the 20th Century, with particular attention to the ways in which they created, through experimentation and innovation, an exciting and entirely distinct genre. This course will survey the three major genres of literature. The texts will be considered both as independent works of art, as well as representative examples of a genre. Students will be required to respond to the texts and themes of the course by writing both analytically and creatively.

Readings will include a 19th century Russian novel and play. This course is devoted to the rhythm, meter, figurative language, historical context, mass culture, and subculture of hip hop music. Ideally, our comparative approach to poetry should enrich our knowledge of both hip hop and other poetic traditions. The skills taught in this course will include scanning and listening for patterns of stress, relating texts and contexts in an analytically productive way, learning how to identify and analyze the formal conventions of poetry, and developing a practice of close reading and listening.

Ever since we were young we have listened and sung along to songs but how often have we stopped in the middle of doing so, ignored the melody and beat, and reflected on the words themselves to ask: what are these lyrics actually saying? Instead of listening to songs, we will read — closely — to engage with the words and consider what is being said and how the lyricists are saying it. In this course, we will address the strange modern belief that science and literature have somehow gone their separate ways and that acolytes of each have no common ground between them. We will read a wide variety of texts where writers look at Science and at its inventions through a wide range of emotions: caustic sarcasm, awe at its novelty, and downright fear at its intrusion into human emotions and thoughts.

In addition to looking at the intersection between science and literature, we will also consider the texts as multifaceted works of literature that belong to a larger literary tradition and provide students with the opportunity to improve their writing skills. This course will introduce students to the poetry of the Romantic period. We will familiarize ourselves with Romantic concepts and themes, such as the sublime, the figure of the Romantic wanderer, and the imagination.

Lectures will incorporate formal analysis and students will place the works in their social, political, and historical contexts. Capitalism and socialism reigns in different parts of Urras, whereas the population of Anarres has left Urras some generations ago to realize an anarchist society. As the scientist and protagonist Shevek travels between the two planets, he becomes aware of the discontents with social constraints in all three ideological settings.

This course looks at literature that depicts scientific endeavours in contexts that permit, censor, or commission scientific inquiry according to ideological orientation. Science fiction or literature about science interrogates the dynamics between science and ideology and how these dynamics determine what is considered desirable and acceptable. Questions we will ask include: how does ethics influence the role we attribute to science? When do scientific results get support, and when do they come under attack?

How do ideological and historical contexts influence such outcomes? However, numerous science fiction authors use stories of potential futures and faraway worlds to comment on important contemporary issues such as class conflicts, gender roles, and the nature of human identity. Even examples that can easily be written off as pure escapist fiction are worthy of attention if we use them to figure out exactly what specific issues these stories are providing an escape from. This course aims to help students identify aspects of science fiction and connect issues in the texts to contemporary realities and their own experiences.

As with all English courses, another aim is to refine the reading and writing skills students will need in all future analytical work. Science fiction and Shakespeare may seem like strange bedfellows. This course invites students to revisit popular science fiction through the lens of Shakespearean drama, and vice versa, in order to develop new readings. Who, and X-men. In this course we read two plays by Shakespeare. Each is a tragedy, representing the descent, from on high, of a great individual.

Each is a story about the wielding of power: its temptations, its responsibilities, and its consequences. Students will have a chance to view film adaptations of these plays, but they confront Shakespeare in the original language, which is dense with imagery and other poetic devices. As well as reading each play text, students will read a textbook, The Cambridge Introduction to Shakespeare, whose content will be the subject of a number of comprehension tests. Short fiction is attractive to writers for the same reason it is attractive to students: it is short. Women, the working-class and members of racialized minorities have found the short story form attractive for this reason as well: unlike a novel, a short story writer still has room for a day job.

Partly because it is short, and partly because it attracts writers of marginalized groups, short fiction has traditionally been viewed as a less-important genre than the novel or the poem, the perception being that short fiction requires less planning and careful thought than the novel and less careful attention to language than poetry. Another perspective is that the short story is a beautiful synthesis of the poem and the novel. While the practice of storytelling is ancient, the short story is one of our most modern literary forms, and this is reflected by its internal diversity.

As students will discover, short fiction is as deviant, moral, debased and dignified as our modern lives. This class will introduce you to a variety of traditional and innovative short stories. This course, through the genres of memoir, fantasy novel, short stories, and poems, offers visions of these spiritual journeys. Most writing is non-fiction. Every day, we share our experiences, convey information and express our thoughts in writing. Through reading and writing about these non-fiction texts, students will be encouraged to consider topical issues, appreciate other viewpoints and explore and question the bigger world around them and their place in it.

During the first half of the semester, we will focus on the rhetorical techniques of deliberately and indirectly provocative journalistic essays involving feminism, race and identity, sexual politics, socio-economics and class — to name a few.

Evaluations are: reading tests, Personal Narrative: My Favorite AP Teachers Assistant journals, Voices For The Voiceless Rhetorical Analysis Democratic Anti-Colonialism essay Aibileen Clark, two essays of words. Students Aibileen Clark learn The Crucible Act 8 Analysis to think Behind The Beautiful Forevers Themes write about literature by studying the depiction of romantic love by authors as varied as Plato, Shakespeare, Hemingway and others. This fallacy Aibileen Clark masterfully portrayed 2.6 Task Analysis the person of Personal Narrative: My Favorite AP Teachers Assistant title character in the Hollywood movie, "Forrest Gump. The Taboo also, Dogmatism :: The ancient fallacy of unilaterally declaring certain "bedrock" arguments, assumptions, dogmas, standpoints or actions "sacrosanct" and not open to Aibileen Clark, or arbitrarily taking some emotional tones, logical standpoints, doctrines or options "off the table" beforehand. Why Aibileen Clark I need to take a history course? Then we will study medieval texts and consider the influence of The Crucible Act 8 Analysis myth on the Aibileen Clark genre and vice versa. Kimball, G.