Setting in literature
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The document discusses the concept of setting in literature and provides questions to consider regarding how setting influences meaning. It defines setting as the time and place in which the narrative occurs and explains that setting can reflect societal norms, further the plot, enhance mood, develop characters, and reflect elements of characters' lives. Specific components of setting like season, weather, location are discussed as possible symbolic devices that authors use to add deeper meaning. Readers are assigned a chapter from a book on literary analysis to read and prepare to discuss how setting functions in different works.
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InstructionsILOsUnderstand the general nature, purposes, a.docx
Instructions
ILOs
Understand the general nature, purposes, and techniques of literature with a sense of its relationship to life and culture.
Understand the biographical, historical, and cultural contexts of a representative selection of works by major writers.
Identify the relationships among the literary works studied and the philosophical, religious, political, social, and economic milieus of the cultures and subcultures within and among which they were written.
Engage and respond to literary texts personally and creatively.
Think, write, and speak about literary texts critically and effectively.
For weeks 3-6 you will be completing a variety of creative or analytical reading engagements. There are nine choices for this assignment. Choose a different one to do for each week; you may not repeat choices.
Each week the content for your RE must be drawn from the week's assigned readings:
For the week 3 RE: Use the week 3 short stories
Choice 1: Collection of Poems
Write a collection of poems (three minimum) that demonstrate reflection upon and engagement with the short story or stories. You may write about a setting, about a theme, or from a character's point of view. Each poem must be a minimum of ten lines, and you must complete two drafts. Share the first draft with a friend or family member for review feedback. Please ensure the reader writes or types his or her feedback as you will need to submit proof of your outside review. In your submission, include the first drafts (with commentary for revision) and the final drafts. Make sure that the poems demonstrate strong specific connections with and to the text—they should convince your grader of a critical engagement with the text. Alternately, if you are musical, you can record three short songs. You would submit the lyrics (two drafts, demonstrating revisions) and a video of you (or an appointed performer) performing the songs.
Choice 2: Draw a Map
Draw a map that captures, in detail, the setting of a text. This could be a house, town, or roadside event. You may need to draw more than one map to capture multiple scenes from a text. Fill in all the details you can identify from the story or poem and add details that you find plausible and that connect to the plot. Write a paragraph that explains how place functions in your story. How is it important? Symbolic? Thematic? You will likely need to be able to scan in your work for this project or submit a photo file.
Choice 3: Draw a Collection of Pieces of Art
Draw a collection of pieces of art and record a talk that reflects upon how the pieces (a minimum of three) connect to the literature. Make sure that you can locate five or more points of connections in each piece of art. (Some ideas: the black and white images represent the piano Sonny played; the cross that has fallen on the floor represents Grace, the child who has died.) The drawings can be realistic or symbolic. You do not need to be an excellent artist to complete.
Major Paper #1--The Point of View EssayWe will be working on this .docx
Major Paper #1--The Point of View Essay
We will be working on this paper for the next three units. The final draft of the paper--with all three sections described below--will be due at the end of Unit #4.
Purpose:
This paper assignment has several purposes. As the first major paper for this class, the Point of View Essay is designed to re-engage you with the fundamentals of all good writing, including using lush sensory details to show the reader a particular place (rather than tell them about it), basic organization, clear focus, etc. However, this unit does not function as a mere review. The Point of View Essay will also introduce you to the concept of "thinking and seeing rhetorically, and analyzing writing rhetorically"--using the Writer's Toolbox described in this unit to improve your writing and critical reading skills. Finally, the Point of View Essay allows you to reflect on this process.
The Assignment:
1. Pleasant/Unpleasant Description of the Place:
Choose a place you can observe for an extended period of time (at least 20-30 minutes). Use all of your senses (sight, hearing, touch, smell, even taste if possible) to experience the place, and record all of the sensations that you experience. As you record your data, you may wish to note which details naturally seem more positive, negative, or neutral, in terms of tone. (For instance, a stinky and overflowing trash barrel swarming with flies in a nearby alley might seem more inherently negative than a little white bunny rabbit hopping playfully across the lawn.) Then, you will use this information to help your write two descriptions of the place: one positive, one negative (at least 1-2 well-developed paragraphs or a minimum of 125-150 words each). Both descriptions should be factually true (same real time and real place), but you will want one description to be clearly positive in terms of tone and the other to be clearly negative. In addition to including the information and sensory details you've collected as the basis for these descriptions, you will also use the Writer's Toolbox to create your two contrasting impressions for this assignment. (The Writer's Toolbox is explained in the Lecture Notes section of this unit.) As you revise and refine your descriptions, please be sure you are "showing" your readers your place (really putting the readers "there" in the moment and in this scene), rather than simply "telling" them about it. You will also want to try to eliminate unnecessary linking verbs as much as you can, incorporating verbs that show "action" whenever possible.
2. Rhetorical Analysis:
Looking back at your descriptions, analyze how you created these two very different impressions of the place (one positive, one negative) without changing any of the facts. How did you make your place seem so positive in one paragraph and yet so negative in the other paragraph, without changing the facts? Discuss how you incorporated each of the tools from the Writer's T.
riting About LiteratureGenerally, the essays you write in lite.docx
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
· What did the author want to communicate in this work?
· What does the work reveal about the author’s feelings, opinions, or psychology?
· What does the work reveal about the society in which it was written?
· What can we learn from this work about the issues or topics it deals with?
· What motivates the characters in the work to behave as they do?
· How are literary devices used in the work?
· How does the work create emotional or intellectual experiences for its readers?
· Is this work good or bad?
· Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself. Analyses which try to make statements about the work itself is often calledformalist criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. A ...
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Major Paper #1--The Point of View EssayWe will be working on this .docx
Major Paper #1--The Point of View Essay
We will be working on this paper for the next three units. The final draft of the paper--with all three sections described below--will be due at the end of Unit #4.
Purpose: This paper assignment has several purposes. As the first major paper for this class, the Point of View Essay is designed to re-engage you with the fundamentals of all good writing, including using lush sensory details to show the reader a particular place (rather than tell them about it), basic organization, clear focus, etc. However, this unit does not function as a mere review. The Point of View Essay will also introduce you to the concept of "thinking and seeing rhetorically, and analyzing writing rhetorically"--using the Writer's Toolbox described in this unit to improve your writing and critical reading skills. Finally, the Point of View Essay allows you to reflect on this process.
The Assignment:
1. Pleasant/Unpleasant Description of the Place: Choose a place you can observe for an extended period of time (at least 20-30 minutes). Use all of your senses (sight, hearing, touch, smell, even taste if possible) to experience the place, and record all of the sensations that you experience. As you record your data, you may wish to note which details naturally seem more positive, negative, or neutral, in terms of tone. (For instance, a stinky and overflowing trash barrel swarming with flies in a nearby alley might seem more inherently negative than a little white bunny rabbit hopping playfully across the lawn.) Then, you will use this information to help your write two descriptions of the place: one positive, one negative (at least 1-2 well-developed paragraphs or a minimum of 125-150 words each). Both descriptions should be factually true (same real time and real place), but you will want one description to be clearly positive in terms of tone and the other to be clearly negative. In addition to including the information and sensory details you've collected as the basis for these descriptions, you will also use the Writer's Toolbox to create your two contrasting impressions for this assignment. (The Writer's Toolbox is explained in the Lecture Notes section of this unit.) As you revise and refine your descriptions, please be sure you are "showing" your readers your place (really putting the readers "there" in the moment and in this scene), rather than simply "telling" them about it. You will also want to try to eliminate unnecessary linking verbs as much as you can, incorporating verbs that show "action" whenever possible.
2. Rhetorical Analysis: Looking back at your descriptions, analyze how you created these two very different impressions of the place (one positive, one negative) without changing any of the facts. How did you make your place seem so positive in one paragraph and yet so negative in the other paragraph, without changing the facts? Discuss how you incorporated each of the tools from the Writer's Tool.
riting About LiteratureGenerally, the essays you write in litera.docx
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
What did the author want to communicate in this work?
What does the work reveal about the author’s feelings, opinions, or psychology?
What does the work reveal about the society in which it was written?
What can we learn from this work about the issues or topics it deals with?
What motivates the characters in the work to behave as they do?
How are literary devices used in the work?
How does the work create emotional or intellectual experiences for its readers?
Is this work good or bad?
Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself.
Analyses which try to make statements about the work itself
is often called
formalist
criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. Almost all fict.
Exploration of one or more characteristic(s) of an authors style an.docx
Exploration of one or more characteristic(s) of an author's style and approach
Consider analyzing the author's use of imagery or setting:
Analyzing Setting
“Setting refers to the natural or artificial scenery or environment in which characters in literature live and move. Seeing also includes what in the theater would be called props or properties—the implements employed by the characters in various activities. Such things as the time of day and the consequent amount of light at which an event occurs, the flora and fauna, the sounds described, the smells, and the weather are also part of the setting. Paintbrushes, apples, pitchforks, rafts, six-shooters, watches, automobiles, horses and buggies, and innumerable other items belong to the setting. References to clothing, descriptions of physical appearance, and spatial relationships among the characters are also part of setting.” (Edgar V. Roberts, Writing Themes about Literature)
In order to create an argument about the function of the setting in a particular work, you need to identify the principal settings and to see how they work. Here are some steps you can take:
1) Read the story and mark references to setting. Start with the place and time of the action and then focus upon recurrent details and objects.
2) Think about what the story is about. What happens? What is its point? Is it a story about love, jealousy, gain, or loss? What is the main experience here?
3) Look through your setting notes and see if they fall into any pattern. What are the interesting shifts and contrasts?
4) Determine how the setting relates to either the main point of the story (step 2) or to some part of it. In other words what does the setting have to do with character or action? What are its effects? Whatever you decide here will be your thesis statement.
5) Make an outline, indicating what aspects of setting you will discuss and what you intend to say about them. Discard notes that are not central to your plan (you don’t have to discuss everything). Focus on the four or five key passages in the story that you wish to examine. List them in your outline in the order in which they occur.
Analyzing Imagery
As distinct from character, theme, and plot, imagery occurs primarily in language, in the metaphors (i.e. comparisons), similes (comparisons with “like” or “as”), or other forms of figurative (pictorial) language in a literary work. Sometimes setting, i.e., the locality or placing of scenes, or stage props (like swords, flowers, blood, winecups) can also be considered under the rubric of imagery. But whatever the expression, images primarily are visual and concrete, i.e., things which the reader sees or can imagine seeing. Some examples are flowers, tears, animals, the moon, sun, stars, diseases, floods, metals, darkness and light.
In order to create an argument about the significance of an image in a particular work, identify a principal image or image cluster and to see how it works by following the.
Short Story Critical Paper Assignment Page count 3-4.docx
Short Story Critical Paper Assignment
Page count
: 3-4 pages
Format:
MLA, double-spaced, 12-point font
Required sources
: The short stories we’ve read to date
Now that we have nearly completed the short fiction unit of this course, it’s time to get to work on your critical papers.
The goal of a “lens analysis” essay or critical paper is
not
to simply compare and contrast two or three works of literature, but to put them in conversation with one another. We aren’t necessarily interested in how two or three particular stories contrast (because
every
story is different in a myriad of ways). We’re interested in looking at the ways the stories and their writers illuminate one another, how elements of craft and author intention are evident across multiple works of literature, and we’re interested in seeing how these elements of craft work to create different effects and create meaning in many works of literature.
Start your paper by formulating a two or three-sentence thesis statement or
argument
. You must then pull no less than
two quotes
from each story or text, passages of the story that serve as evidence to your thesis/argument.
You may choose one of the following essay topics (or another idea altogether) to address in your paper:
Character:
Choose protagonists (main characters) from two or three of the stories we’ve read. What does the protagonist most want? Make an argument. Who or what is in his/her way (antagonist)? Why is this a source of conflict or tension for him/her? What is the crisis? How does the climax or ending give you more insight into the meaning of the character’s desires and the overall theme(s) of the story? How do those desires change throughout the story?
Detail & Description and Imagery:
What sensory details make the world of the characters in these stories come alive? How is description working to affect meaning? What does the imagery add to the sensory in terms of emotional associations it brings to the text? Does the image recur (i.e. “the things they carried”)? If so, how does this repetition work to create meaning or enhance theme? Do you notice any
objective correlatives, metaphors
or examples of
personification
that enhance or affect meaning? Pick two different passages in each story you choose, and discuss how the writer’s choice of details and imagery helps characterize a place or a person, suggesting something that goes unstated (subtext) in the themes.
Subtext:
What goes unsaid in the dialogue and how does the writer give us hints to this subtext? Choose
at least
two passages of description of action or dialogue from two different stories and “read between the lines.” How are character gestures, imagery and/or metaphor working to help you “read between the lines” or uncover the subtext and Hemingway’s
Iceberg Theory.
What do you think is the purpose of subtext? What effect does subtext have on the reader?
Point of View and Voice:
How does the author’s use of sty.
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Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
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Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
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http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
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