23 Aug BackgroundDramatic elements conspire to create a narrative /

BackgroundDramatic elements conspire to create a narrative / story–that is literature. When reading a dramatic work in class, as a reader, we experience another world, a world often located in another realm, informed by the fact and memory. Part of entering that world is one way of understanding story through memory, truth, narrative structure, narration, and language; another way to understand story is to read it aloud, a type of performance. The beauty of literature is in the way it can be accessed by different modalities: sound, sight, and performance, which offers a student of literature many possibilities for comprehension and study. More particularly, the elements of drama, such as character, plot, pacing, language, story, setting, narrator, narrative structure, narrative gaps, first-person narration, memory, dialogue, point of view, theme, voice, and literary criticism, each add to the potential comprehension and interpretation of literature. DirectiveWrite an interpretive analysis, choosing your own subject matter, literary elements, or the provided topics. Begin by reviewing the notes or thoughts you’ve written in your books. Then, you may want to brainstorm or journal to better develop your ideas.For your papers,you may (and we will cover this in class) choose to focuson a theme, characters, narration, language, structure, setting, the human condition, plot, pacing, dialogue, point-of-view, story (as an art form) aesthetic, its world, among others. FormatPapers need to be 2 pages in length, not including a works cited page, and follow MLA format. (You can review a sample of MLA papers in supplementary material). Since this course emphasizes critical thinking, the papers will need to engage in the material and be analytical in nature. *Write about one work specifically and then include one or two paragraphs (that relates to your topic) on the second work. * Pick a topic you’re interested in–as always, your interest will allow for a better paper. Part of your grade is determined by your engagement and close reading of the material. * Note: Additional help: If you believe your thesis statement is simply a statement, begin to develop by asking, ‘Why?’ or ‘How?’1. Jesus Hopped the ‘a ‘ Train( main work)1. Pick a character and argue why he or she is essential to the play?2.Create an argument from the title.3. Early on in the play, Valdez has a monologue–which may appear to be his only redeeming moment in the play. Re-read the monologue. What does it mean? Why is it significant to the play?4. Lucius and Angel act as spiritual foils. Explore, Explain, and argue. 5. Redemption is a clear theme in the play. Explore, explain, and argue.2. Lysistrata (secondary work)–Create an argument of how Aristophanes fulfills Aristotle’s claim of katharsis–when indeed the play is a satire and not a tragedy. Remember Aristotle believed catharsis was a release for audiences whereas Plato believed performance art could be dangerous, to the audience. (You may research Aristotle’s definition of katharsis.) –Argue for satire as the higher art form, higher and more important than farce. Pick sections of the play. How do we read satire today?–Reread the play as a heroine’s journey to peace–remember there abounds much mockery here; Lysistrata’s journey is a mock heroine’s journey. –Watch the documentary Pray the Devil Back to Hell and tie Lysistratato that alternative artform.http://www.traileraddict.com/trailer/pray-the-devil-back-to-hell/trailer (Links to an external site.)Links to an external site. (Links to an external site.) –Critics claim that Aristophanes is kaleidoscopic in how he develops satire, and comedic tension; is Simon Bent kaleidoscopic in how he develops humour? Then, express: ‘how’ or ‘why’ they are or aren’t . –Closely review how comedic tension and effect are developed through two plays. What relationships between wit, irony, farce, double entendre, word play say about the play’s performance, read?