...Area of Study: Belonging * ‘As You Like It’ written by William Shakespeare * ‘Towelhead’ directed by Alan Ball in * ‘The Surfer’ written by Judith Wright | As You Like It | Towelhead | The Surfer | Language Form and Structure | * ‘As You Like It’ is a stage play in the form of a comedy * It also qualifies as a pastoral romance * Shakespeare wrote the lines of the play in both verse and prose | * ‘Towelhead’ is a film | * Poem * 3 stanzas * Free verse | Personal, cultural, historical and social context | * Written during the reign of Elizabeth I and ironically, both Rosalind and Celia would have been played by men * Appealing nature to both lower and higher classes * Used as a model of social critique | * Set in Houston, Texas during the 1990s * Occurred during the Gulf War * Follows the sexual awakening of Jasira (an American-Lebanese girl) | * Set in Australia | Identity One’s sense of belonging is built upon their exploration of self and the confidence they establish through their own identity. | Identity is explored most obviously with Rosalind’s disguise as Ganymede. This concealment of her true identity allows Rosalind to discover whether Orlando truly loves her. It also allows Rosalind to gain a deeper understanding of herself. This is seen through the use of dramatic irony, this enhances the audience’s connection with the characters and adds to the humour of the play. “Nay, you must call me Rosalind”. Ultimately, it...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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