...EMMANUEL ALICE LAMBAJO COURSE: STUDIES IN DRAMA QUESTION: ATTEMPT A DRAMATIC ANALYSIS OF THE PLAY ANTIGONE BY JEAN ANOUILH Dramatic analysis is the process of identifying the elements of the structure of a dramatic work such as a play, or film. There are six elements used when analyzing a drama which includes: exposition, inciting incidence, rising action, climax, falling action and the resolution. The exposition provides the background information needed to properly understand the story, such as the problem in the beginning of the story. It introduces the characters and the basic conflict in a play. Inciting incidence is an incidence which comes after the introduction of the characters and the basic conflicts. The rising action is when the basic internal conflict is complicated being the introduction of related secondary conflicts including various obstacles that frustrate the protagonist attempt to reach his goal. Climax, also referred to as turning point marks a change for the better or the worse in the protagonist affairs. Falling action therefore, is a moment of reversal after the climax. The conflict between the protagonists unravels with the protagonist winning or losing against the antagonist. Denouement, resolution or catastrophe comprises the event between the falling action and the actual ending scene of the drama. It serves as a conclusion of the story where the conflicts are resolved. Jean Anouilh’s Antigone is an adaptation of Sophocles’ tragic play...
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...Hamartia in Oedipus the King According to the Aristotelian characteristics of good tragedy, the tragic character should not fall due to either excessive virtue or excessive wickedness, but due to what Aristotle called hamartia. Hamartia may be interpreted as either a flaw in character or an error in judgement. Oedipus, the tragic character in Sophocles’ Oedipus the King, certainly makes several such mistakes; however, the pervasive pattern of his judgemental errors seems to indicate a basic character flaw that precipitates them. Oedipus’ character flaw is ego. This is made evident in the opening lines of the prologue when he states "Here I am myself--you all know me, the world knows my fame: I am Oedipus." (ll. 7-9) His conceit is the root cause of a number of related problems. Among these are recklessness, disrespect, and stubbornness. Oedipus displays an attitude of recklessness and disrespect throughout the play. When he makes his proclamation and no one confesses to the murder of Laius, Oedipus loses patience immediately and rushes into his curse. Later, he displays a short temper to Tiresias: "You, you scum of the earth . . . out with it, once and for all!," (ll. 381, 383) and "Enough! Such filth from him? Insufferable--what, still alive? Get out--faster, back where you came from--vanish!" (ll. 490-492) If an unwillingness to listen may be considered stubbornness, certainly Oedipus would take advice from no one who would tell him to drop the matter of his...
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...Juan Hernandez Prof: Anna Krift Global Crisis in Response Feb 16 2014 Colombia´s conflict For many years Colombia has been characterized as a country of drugs and violence marked by internal conflict that lasts until today. This conflict has claimed the lives of about 2 million people, which the population of Colombia today is 47 million, within that internal war has killed 4,2% of the current population (NoticiasCaracol,1). It is a very high percentage with regards an internal war of 60 years. That's why Colombia has suffered from armed conflict for several years and it has negatively impacted the country's development. To understand the issue it is necessary to see the origins of this conflict and also how this has affected the country. The conflict dates back to 1946 when it began a civil and political conflict between supporters of the Liberal Party and the Conservative Party for taking control of the State Power. But the outbreak was the assassination of the Liberal presidential candidate Jorge Eliecer Gaitán. Gaitán was the leader of poor agricultural producers and represented the interests, created jobs and economic opportunities for them to take advantage (Downing,1). But since the death of Gaitán, farmers lose their representation in politics and its future had been vanished. Because of the economic problems and tensions between liberals and conservatives, Colombia entered a period called "La Violencia " (The Violence) which lasted from 1948 to 1960 until they...
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...how, law is promulgated by legitimate authority? What is promulgation? Why promulgate law? Who is legitimate authority? Why and how, law is of common observance? Why and how, law is of common benefit? ============================ Introduction to Law Series Part 2.1 - Evolution of the Concept of Law A.) Classical Greek Concept of Law ============================ Side Notes: - Literature is the reflection of reality. -Greek civilization is two things, politics and drama. -Greek drama is two things, tragedy and comedy -Alexander the Great's teacher is Aristotle. -Aristotle's school is the Lyceum. -Aristotle's teacher is Plato. -Plato's school is the Academy. -Plato's teacher is Socrates. -Socrates' teachers are the Sophists. -One of the sophists is Sophocles. -Sophocles is an ancient Greek tragedian (tragedy writer). *For our study, we will look at two of his tragedies, Oedipus the King and Antigone. ============================ Sopholes' Definition of Law Oedipus the King Antigone In the video, it said, "Doing what is right is more important than following the will of a king or a country." Before Sophocles, law is made by God, or simply extra-human. During Sophocles, it is shown the...
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...how, law is promulgated by legitimate authority? What is promulgation? Why promulgate law? Who is legitimate authority? Why and how, law is of common observance? Why and how, law is of common benefit? ============================ Introduction to Law Series Part 2.1 - Evolution of the Concept of Law A.) Classical Greek Concept of Law ============================ Side Notes: - Literature is the reflection of reality. -Greek civilization is two things, politics and drama. -Greek drama is two things, tragedy and comedy -Alexander the Great's teacher is Aristotle. -Aristotle's school is the Lyceum. -Aristotle's teacher is Plato. -Plato's school is the Academy. -Plato's teacher is Socrates. -Socrates' teachers are the Sophists. -One of the sophists is Sophocles. -Sophocles is an ancient Greek tragedian (tragedy writer). *For our study, we will look at two of his tragedies, Oedipus the King and Antigone. ============================ Sopholes' Definition of Law Oedipus the King Antigone In the video, it said, "Doing what is right is more important than following the will of a king or a country." Before Sophocles, law is made by God, or simply extra-human. During Sophocles, it is shown the...
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...will, defined as ‘the power of an individual to make free choices, not determined by divine predestination, the laws of physical causality, fate, etc. (…).’ Human beings have thought of these antithetic concepts as something to worry about since the beginning of civilization. Because of that, playwrights have taken them into consideration when writing different plays all over the years. This essay seeks to explore the tension existing between the concepts of destiny and free will in the world of drama through the study of language as well as the analysis of character and situation development. In order to carry this research out, I will take Oedipus Rex by Sophocles (429 BC) and Dr Faustus by Christopher Marlowe (1604) as the basis for the analysis. Although the plays were written in different eras and consequently were inspired by very different social and historical backgrounds, the limits between destiny and free will play a very important role in both of them. But how does drama manage to explore this tension? How do playwrights convey the paradox that exists between destiny and free will? Over the course of...
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...Senior English Curriculum Map: 2010-2011 School Year English IV * Note: “Sacred Book List” Addendum is at the end of this document Quarter #1 August 23 to October 22 Essential Questions: 1. How do writers and artists organize or construct text to convey meaning? 2. What does it mean to be a stranger in the village? Unit Goals 1. To understand the relationship between perspective and critical theory. 2. To apply critical theories to various texts studied and created. 3. To control and manipulate textual elements in writing to clearly and effectively convey a controlling idea or thesis. Student Published Portfolios: For each of the first three quarters, students are required to complete three to four published writing portfolio products. Quarter 4 is devoted to completion of the Laureate Research Project. . Pacing: This map is one suggestion for pacing. Springboard pacing guides precede each unit in the “About the Unit” sections and offers pacing on a 45-minute class period length. Prentice Hall Literature – Use selections from Prentice Hall throughout the quarter to reinforce the standards being taught as well as the embedded assessments within the SpringBoard curriculum. QUARTER #1 SpringBoard Curriculum Pacing Guide August 23 – October 22 Standards and Benchmarks | Unit Pacing Guide | SpringBoard Unit/Activities | Assessments | SpringBoard Unit 1Literature * The students will analyze and compare significant works of...
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...Specimen Papers and Mark Schemes for English Literature For first AS Examination in 2009 For first A2 Examination in 2010 Subject Code: 5110 Contents Specimen Papers Assessment Unit AS 2 Assessment Unit A2 1 Resource Booklet Assessment Unit A2 2 1 3 9 15 25 Mark Schemes Assessment Unit AS 2 Assessment Unit A2 1 Assessment Unit A2 2 29 31 61 95 Subject Code QAN QAN 5110 500/2493/0 500/2421/8 A CCEA Publication © 2007 Further copies of this publication may be downloaded from www.ccea.org.uk Specimen Papers 1 2 ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 English Literature Assessment Unit AS 2 assessing The Study of Poetry Written after 1800 and the Study of Prose 1800-1945 SPECIMEN PAPER TIME 2 hours INSTRUCTIONS TO CANDIDATES Write your Centre number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer one question from Section A and one question from Section B. Section A is open book. INFORMATION FOR CANDIDATES The total mark for this paper is 120. All questions carry equal marks, ie 60 marks for each question. Quality of written communication will be assessed in all questions. 3 Section A: The Study of Poetry Written after 1800 Answer one question on your chosen pairing of poets. Heaney: Opened Ground Montague: New Selected Poems 1 John Montague and Seamus Heaney both write about the Irish past. Compare and contrast the two poets’...
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...Drama in schools second edition Like theatre, drama in schools can unlock the use of imagination, intellect, empathy and courage. Through it, ideas, responses and feelings can be expressed and communicated. It carries the potential to challenge, to question and to bring about change. Jude Kelly (theatre director and founder of Metal) Contents Foreword 2 1 Introduction 4 2 Why drama in schools? 6 3 Recognising good drama 9 3.1 What does good drama look like at the Foundation Stage? 9 3.2 What does good drama look like at Key Stages 1 and 2? 12 3.3 What does good drama look like at Key Stage 3? 18 3.4 What does good drama look like at Key Stage 4? 22 3.5 What does good drama look like at post-16? 24 3.6 What does good drama look like in special schools? 26 3.7 What does a good drama enrichment programme look like? 27 4 Structuring drama in schools 32 4.1 Level descriptions for drama 33 5 Policy, facilities, resources 41 5.1 Useful points for schools managers and subject leaders to consider 41 5.2 What does a good school policy for drama look like? 42 5.3 What do good facilities and resources in drama look like? 44 6 Conclusion 46 Appendix 1 Drama and the early learning goals within 48 the Foundation Stage Appendix 2 The National Curriculum for England – English 50 Appendix 3 Drama within the Primary Strategy...
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...ARTS TEACHERS’ GUIDE Grade 9 ARTS Teacher’s Guide Unit I WESTERN CLASSICAL ART TRADITIONS GRADE 9 Unit 1 ARTS TEACHERS’ GUIDE GRADE 9 Unit 1 WESTERN CLASSICAL ART TRADITIONS LEARNING AREA STANDARD The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision. key - stage STANDARD The learner demonstrates understanding of salient features of music and arts of the Philippines and the world, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. grade level STANDARD The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. CONTENT STANDARDs The Learner: demonstrates understanding of art elements and processes by synthesizing and applying prior knowledge and skills demonstrates understanding that the arts are integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/ occurrences and other external phenomenon ...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...AS/A2 English Literature B Student Guide A-LEVEL STUDENT HANDBOOK CONTENTS PAGE | | | |What we Expect of A-Level Students |3 | |Overview of the AS and A2 Course |4 | |Assessment Objectives |5 | |AS Marking Criteria |6 | |A2 Marking Criteria |7 | |Selecting and Studying Texts |8 | |Approaching Essays – coursework |9 | |Punctuation Guide |11 | |Glossary of Literary Terms |12 | |Reading List ...
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...associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. THE POETICS OF ARISTOTLE trans. S. H. Butcher, the Pennsylvania State University, Electronic Classics Series, Jim Manis, Faculty Editor, Hazleton, PA 18201-1291 is a Portable Document File produced as part of an ongoing student publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Cover Design: Jim Manis Copyright © 2000 The Pennsylvania State University The Pennsylvania State University is an equal opportunity university. THE POETICS OF ARISTOTLE THE POETICS OF ARISTOTLE Analysis of Contents A TRANSLATION BY S. H. BUTCHER I ‘Imitation’ the common principle of the Arts of Poetry. II The Objects of Imitation. III The Manner of Imitation. IV The Origin and Development of Poetry. V Definition of the Ludicrous, and a brief sketch of the rise of Comedy. VI Definition of Tragedy. VII The Plot must be a Whole. VIII The Plot must be a Unity. IX (Plot continued.) Dramatic Unity. X (Plot continued.) Definitions of Simple and Complex Plots. XI (Plot continued.) Reversal of the Situation, Recognition, and Tragic or disastrous Incident defined and explained. XII The ‘quantitative parts’ of Tragedy defined. XIII (Plot continued.) What...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...I-Introduction: The term "realism" was first used to formulate the philosophical doctrine that "universals exist outside of the mind" (Freyberg-Inan, 1). Yet, in political theory, "realism" represents a school of thought that analyzes the political process as it is or as it is disclosed by historical forces " ... that the able political practitioner takes into account ... and incorporates ... into his political conceptions and his political acts "(Ibid, 1-2). In the field of international relations, realism became the dominant analytical paradigm mostly after the start of the Second World War, when it displaced idealist doctrines, promising "to provide more accurate information, more powerful, and more relevant answers" to the roots or causes of peace and war (Brecher& Harvey, 54). At the same time, many features of the current realist paradigm can be traced back to the time of Thucydides, Niccolo Machiavelli and Thomas Hobbes. Among contemporary thinkers recognized as major writers and contributors to the realist tradition are Hans Morgenthau, Edward Carr and Kenneth Waltz (Freyberg-Inan, 8). What are then the basic tenets or common features of a realist thinker? Machiavelli would acknowledge that to be a realist one has to look at history as "a sequence of cause and effect whose course can be analysed and understood by intellectual effort, but not directed by imagination" (Carr, 64). Hobbes would persist in the same train of thought and insist that to be a realist thinker...
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