OCC GATE Workshop part 1 archetypes 2010

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The document defines archetypes and discusses their origins and characteristics. It states that archetypes are basic models or patterns that transcend time and culture, projecting human hopes, fears and values. Archetypes are influenced by Jungian psychology and represent fundamental human experiences. The document provides examples of archetypal symbols, situational archetypes like the quest or rites of passage, and character archetypes like the hero, villain or underdog.

Educação

STANDARDS ,[object Object],[object Object],[object Object]

STANDARDS ,[object Object],[object Object]

CONCEPT ATTAINMENT: ,[object Object],[object Object]

ARCHETYPES ,[object Object],[object Object]

VARIATIONS ,[object Object],[object Object]

BASIS OF ARCHETYPES ... ,[object Object],[object Object],[object Object]

KEY CHARACTERISTICS ,[object Object],[object Object]

TYPES OF ARCHETYPES ,[object Object],[object Object],[object Object]

ARCHETYPAL SYMBOLS ,[object Object],[object Object],[object Object],[object Object],[object Object]

SITUATIONAL ARCHETYPES ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

CHARACTER TYPES ,[object Object],[object Object],[object Object],[object Object],[object Object]

GUIDED PRACTICE WHAT ARCHETYPES [SYMBOLS, SITUATIONS, CHARACTERS] DO YOU SEE TODAY IN LITERATURE AND FILM?

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Literary Analysis “What distinguishes literature from other forms of knowledge is that it cannot be understood unless we understand what it means to be human.” (J. Bronowski) There are many ways to interpret, analyze, and evaluate literature. Perhaps you’ve already been asked to make an observation or take a position about a work of literature (whether a poem, short story, novel, play, or film) and examine such elements as plot, characters, theme, setting, conflict, structure, point of view, imagery, or symbolism. When you are asked by a teacher to write an interpretation, a critique, or a literary analysis, you are being asked to figure out what is going on in a work of literature. Much more complicated than merely summarizing a piece or writing a personal reaction to it, literary analysis requires that you read between the lines of a text and discover something meaningful there. Why does a specific image recur throughout a poem? How does a novel relate to a social issue facing the author at the time it was written? Do you recognize a pattern or perceive a problem with a character’s behavior in a play? How is the role of women significant in a movie? Answers to all of these questions can be determined only through critical thinking and the synthesis of your ideas. · An interpretation—explains a text’s overall meaning or significance, explaining your reasoning for this interpretation with supporting evidence from the text. · A critique—also called a critical response or a review, it provides your personal judgment about a text, supported by reasons and references to the work of art and often secondary sources.· A formal analysis—different from a critique in that examines a work of art by breaking it down into various elements to discover how the parts interrelate to create meaning of effect. · A cultural analysis—examines a work of art by relating it to the historical, social, cultural, or political situations in which it was written to show how the author was influenced by personal experiences, events, prevailing attitudes, or contemporary values. How can I persuade readers that my view or interpretation is reasonable? First, be sure that your view or interpretation asserts a debatable claim. For instance, if you were to say that “Antigone is a play about a young woman who questions authority,” you wouldn’t be saying much beyond a summary. But if you said that, “Antigone’s punishment is well-deserved because she violates the laws of the king,” that is debatable. Another student could just as easily argue that Antigone’s punishment is not well-deserved and that she should be commended for respecting the higher laws of the gods over the laws of the king. Because you are essentially arguing that your perspective is a valid one, you have to support it effectively with reasons, evidence from the piece (direct references to specific quotations, lines, passages, scenes, etc.), and—if required—secondary sources (articles and bo ...

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What is a literature review? A literature review is NOT a book review; it is a review of the literature. THE literature, in this case, means all of the research you have collected. Your secondary sources only. The scholarship. So, why am I doing this? Because good researchers—good writers—do it. You may be tempted to just jump directly from gathering materials to writing an essay (or you may have been tempted to skip the research part altogether); however, before you can write an essay, you need to identify a purpose for your writing and develop a plan for using your sources. You need to synthesize; the lit review is that synthesis. This is also an important step in proving your expertise before I allow you to edit and annotate a fairy tale. So, what am I looking for? Basically, you are looking for patterns of association; you want to look at the body of scholarship (the literature) you have collected and decide how it all works together. You need to see the literature as a body of research rather than separate pieces. The scholarship is written by real scholars who are familiar with one another’s work and sometimes know each other personally; it is a kind of elaborate conversation. You are listening to that conversation, waiting for a good opportunity to jump in. So, I have six pieces of literature to review, right? Well, you have AT LEAST six pieces. It will actually be easier to write a lit review of more sources; eight or ten sources would be a good number. This does require more research and more time for reading, but the payoff is greater expertise and more to discuss in the review. Okay, so what do I do first? First, make sure you have gathered the literature. For this assignment, I am only permitting you to use the CSCC Library databases to gather your sources. Specifically, you will look at the Academic Search Complete, MLA International Bibliography, and Literary Reference Center databases; if these don’t turn up 6-10 good sources for you, then you can search other databases (and I have posted a video showing you how to do this research, so make sure you watch it). You are NOT permitted to locate web based sources, even via Google scholar. And I am asking you not to use books, simply to save time. And then? Once you have all of the literature, you should read it and understand it. It isn’t absolutely necessary to pore over each page of each source—this would likely be hundreds of pages of difficult reading. Use your reading skills—the first two or three pages usually contain the thesis and main arguments—the last couple of pages will often contain some kind of summary or conclusion. Look for important headings in between. I strongly suggest highlighting the thesis (probably more than a single sentence) and the main points (topic sentences) and any interesting passages you may want to reference later. But how do I write the lit review? You should begin by grou.

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Imagery, symbolism, and allusion Imagery Imagery refers to the creation of mental images – sight, sound, taste, touch – through words. Imagery is related to the themes and ideas of a poem. Poets use imagery to create an experience that opens the reader up to the poem’s themes and ideas. Types of imagery Visual imagery uses words to create sights. In Pound’s “In a Station of the Metro,” the visual is that of faces in a station crowd. In Pound’s image, these faces are “Petals on a wet, black bough” (line 2). Auditory imagery captures sounds. In “Preludes,” Eliot’s images of the city include the familiar sounds of inner-city life: The showers beat On broken blinds and chimney-pots, And at the corner of the street A lonely cab-horse steams and stamps. (lines 9 – 12) Types of imagery Olfactory imagery uses smell to create an experience. It’s quite direct in Eliot’s “Preludes”: “The winter evening settles down / With smell of steaks in passageways” (lines 1-2). And again: “The morning comes to consciousness / Of faint stale smells of beer” (14-15). Gustatory imagery describes tastes. In “Ode to a Nightingale,” Keats describes pining for the taste of wine thus: “O, for a draught of vintage! that hath been / Cool’d a long age in the deep-delved earth, / Tasting of Flora and the country green” (lines 11 – 13). Types of imagery Tactile imagery relates to touch and texture. Eliot’s “Preludes” creates a cycle of urban life that connects day and night, work and rest, using images: Sitting along the bed’s edge, where You curled the papers from your hair Or clasped the yellow soles of feet In the palms of both soiled hands. (lines 35-38) Kinetic imagery is images of general motion, while kinesthetic imagery is images of human or animal movement. In “Sonnet 130,” Shakespeare describes the awkward walk of his beloved: “My mistress, when she walks, treads on the ground” (line 12). Symbolism Symbolism is the use of symbols to create meaning in an imaginative way. A symbol is a thing that represents something else. Think of symbolism as using code to express ideas. A word, an action, a setting, a character, a situation – all of these can be symbolic and, as symbols, significant to the themes and ideas of a work. Symbolism Symbols are often indirect and subtle. For example, one wouldn’t say that a character’s cough is a symbol for the character’s illness. The cough is a symptom of the illness and directly related to it. Be careful how you use the terms “symbolism,” “symbolize,” and “symbol.” Often students use “symbolizes” when they actually mean “represents” in the general sense. Identifying symbolism and symbols in works of literature is interpretation, and, like all interpretation, it must be supported by the text. symbolism Cultural or universal symbols are symbols that are common and easily recognized. Spring as a symbol for new life is a cultural/universal symbol. Contextual, private, or authorial symbols are sy ...

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Overall Instruction: · For any of these topic choices, you must quote directly from your chosen works and include page numbers in a parenthetical citation after quotes. Instructions for in-text, parenthetical citations are attached (see pages 3-5 of this handout). · Choose quoted passages that function as strong evidence and help you communicate your main message about the works of literature you are analyzing. Once you quote a passage, be sure to USE it: that is, interpret what it’s saying and tie it back to your main point about the text. Through your interpretation (analysis) of each and every quote, you should advance your paper’s main argument (thesis). · Avoid summary! In none of these assignment choices do I ask you to summarize or retell the storyline. Assume your audience has read the pieces that you’re writing about. Instead of summary, I want your creative-analytical response to the literature. Topics: 1. Put any character in conversation with a character from another work by a different author. Createthe dialogue they might have. Note that your dialogue should capture an important aspect of each character and should be focused on one main theme. You might, for example, have two characters discuss their views about their adversaries or lovers, their plans for dealing with a similar problem they have (e.g. unfaithful spouses or low social status), their different encounters with the underworld, and so on. Write a dialogue (of any length) between the two characters and attach it to an essay of 4-5 pages explaining the reasons you chose to write this particular dialogue and the message you wanted to get across about the role these characters play in their respective works and the burdens or successes they represent. Keep in mind that you don’t have to choose a work’s main characters; it would be very interesting to choose minor characters who play a smaller but critical role in the text. The best essays will illuminate a surprising intersection between the character and texts, as well as an important message about both your characters and the works they represent. Be sure to quote from the original texts in your dialogue and accompanying essay. An alternate approach to this essay choice would be to put two different authors from our syllabus into dialogue with each other. 2. Imagine that you’re planning a film based on a pairing or group of works from the syllabus. Write a description of your film, making sure to answer the questions: why make a film on your chosen works? What message, drawn from the original texts, are you trying to get across, and why do you think it’s important for a contemporary audience to hear this message? Also, think about the stylistic decisions that a film director makes and explain how you would like to see your film made, and why. (Is it a big- budget action film, a romance with recognizable stars, a musical, a comedy, or a “quieter” family drama?) Write an essay of 6-8 pages in which you discuss the .

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