Many critics who have used the concepts of theatricality and performance to discuss early modern culture have thus emphasized the deceptive, hollow, and illusory nature of the theatrical, even as it conjures the real into being. Most critics who take on the question of whether performance is norma- tive or transgressive presuppose the critical orthodoxy that discourse or representation subsumes, contains, and constructs embodied experience.
The Paper This course affords students an opportunity to appreciate the literary genres of poetry and drama in order to have a solid understanding of what constitutes form, an appreciation of visual metaphor—whether literal or suggested—and discrimination, in the finest sense of the word.
Students should expect lecture and class discussion to further these appreciations, so that these qualities reveal the artistic endeavors of poetical expression or dramatic effect as representative of all great civilizations.
Rhythm and metrical flow lie at the heart of all life, from our brain waves, pulse, seasonal moods, changes, or aging, following a pattern emulated and sustained by poetry or its physical manifestation in drama.
Toward these ends, this class attempts to help students realize the qualities and necessities of the poetic and dramatic genres; that is, poetry and drama give us the basic qualities of human expression, in joy, sadness, frustration, or conflict.
The most immediate and confrontational art form remains the drama, which has been censored, restrained, or banned more than any other artistic form of expression; in like manner, poetry represents our interior thoughts, the single voice reflecting upon, reasoning with, or arguing against any number of thoughts, emotions, or actions, so that the genre has been prized above all other forms of human thought.
Our class will examine these two genres in the light of history, society, cultural changes, and other causes for stating our emotions: Other classes have used individual drama texts and Poetry: The course requirements consist of a midterm and final examination, one paper, 5 to 8 pp.
As well, if the class decides that too view grades are available, we can have another short test between midterm and final. As well, this site has a page with writing samples, complete with editing comments: Click here to find sample papers and other useful information; suggestions for writing will appear soon for the fall course--the link at the top of this page will take one there, when activated.through study of their “externa l forms somaesthetics of music with an experiential and performative focus.
Questions arise for imagine that her own feelings come about thr ough. Barbara Koziak has shown the potential of the concept of thumos in her book, Retrieving Political Emotion in which she uses it to examine gendered political practices and the politics of gender in drama and criticism.
Koziak does not argue that emotion is absent from pub lic discourse. Identify Key Qualities Of Drama And Poetry Which Emphasize Their Performative Qualities Question 1 – Kaizen Philosophy Kaizen: Basic Concepts and key practices Kaizen is a Japanese philosophy based on gradual but ongoing and never-ending day-to-day improvement approach in all aspects of an organization, not only productivity.
Performance in Drama and Poetry All literature involves some kind of performance which is intended for an audience.
Identify key qualities of drama and poetry which emphasize their performative qualities. In your post, identify key qualities of drama and poetry which emphasize their performative qualities.
Discuss how these characteristics shape your reading response. Support your views with at least one example of a Susan Glaspell’s Trifles and one example of a poem from list attached.
Prose was primarily written in paragraph form, poetry was structured in stanzas, and drama included character names before each line of dialogue. However, in today's post-modern literary world, writers often borrow qualities from many different forms to create their own unique style of literature.