I am looking for someone reliable to work throughout the semester. This is 8 week of Literature course. Each week we need to write about 3 page (double spaced) (800-1000 words) paper on the topic given which will be posted under discussion. We will then make two peer response (be reasonable and reflective) while making response.
We are using book :
Literature: The Human Experience – shorter 12th edition
( I don’t have access to this book).
You can find the full instructions about week 1 assignment and response and details about other week schedule in the attached document
Let me know if you will have specific question.
Assignment 1, Sophocles, Antigone.
Due Sunday, Week 1 for first half, or WEEK 10 for the second half. Calendar due dates are in the
List of Due Dates in the Course Documents folder on Blackboard.
Assignment 1: Meaning and Interpretation in Ã¢â‚¬Å“AntigoneÃ¢â‚¬Â
Welcome to Introduction to Literature. As IÃ¢â‚¬â„¢ve noted elsewhere, I abandoned the overpriced
text book I used to use and opted to write more detailed assignments. WeÃ¢â‚¬â„¢ve got an anthology
we use for this course, and itÃ¢â‚¬â„¢s not bad as anthologies go. What happens with anthologies is
you get compromise texts that tend be interesting enough but not dangerous. When you
consider that most great authors are perceived as threats to standing order the result is a
strange aura of nicety that gives a false impression. To their credit, the editors here have done
a good job of avoiding the sense of literature as something created by people with frilly-cuffed
shirts babbling about sunsets.
Think of each of the assignment details IÃ¢â‚¬â„¢ve written as part of the reading assignment; what I try
to do is set things up so that youÃ¢â‚¬â„¢re not just casting around trying to figure out everything. The
trick with literature is to have a sense of how it was originally consumed; to consider what the
author intended (although thatÃ¢â‚¬â„¢s complex and doesnÃ¢â‚¬â„¢t control our minds); and to develop the
ability to accumulate observations to help you think. The text weÃ¢â‚¬â„¢re reading this week is the
play Ã¢â‚¬Å“AntigoneÃ¢â‚¬Â by Sophocles. ItÃ¢â‚¬â„¢s on page 371 of our anthology, Literature: The Human
Experience. After you read these details, read the play. Then, following the process I outline
below, youÃ¢â‚¬â„¢ll write a short paper. At the end of the syllabus (which you should read now if you
havenÃ¢â‚¬â„¢t) is a narrative version of the rubric I use in a fairly loose way to assess your work. ItÃ¢â‚¬â„¢s
brand new since IÃ¢â‚¬â„¢ve abandoned the notion of a formal essay and returned to what I think
essays are meant to be. Where the rubric doesnÃ¢â‚¬â„¢t fit, donÃ¢â‚¬â„¢t worry about it, just follow the
assignment details. The rubric applies only where it is coincident with the assignments, and its
primary purpose is to let me give you comments efficiently. That is, it prompts me to think
about your main ideas; the evidence you use to support your points; your structure and
organization; and then mechanical stuff.
Note: All the due dates are on the Sunday at the end of each week except as noted. The cross
posts that you make in response to other studentsÃ¢â‚¬â„¢ work are due on Tuesday the week
following (except the last assignment). As I note in the syllabus, I try to be reasonable about
due dates and approach everything like that with some perspective. For example, my daughter
is a nurse. Like a lot of deadlines that medical professionals face, when something important
needs to happen it needs to happen. When I say, Ã¢â‚¬Å“Your paper is due Sunday,Ã¢â‚¬Â what I mean is
Ã¢â‚¬Å“Get it in on Sunday so you will be able to work on the next project.Ã¢â‚¬Â That is important, but not
like, say, something involving needles and blood. YouÃ¢â‚¬â„¢ll see elsewhere that you can give
yourself one extension automatically, without even asking me ahead of time. If you choose to
do that, let me know afterwards and turn that assignment in by the end of the course. Be
careful, though, and donÃ¢â‚¬â„¢t forget. If you decide to put one of the assignments off to the end,
thatÃ¢â‚¬â„¢s your responsibility.
If you blow through a deadline by, say, a day because you had piles of stuff to do or you worked
third shift or your car exploded, donÃ¢â‚¬â„¢t let that freak you out. Let me know and get the work in
as soon as you can. If you start being unreasonable and not turning in work for weeks and
weeks, you wonÃ¢â‚¬â„¢t do well, and I reserve the right to respond to unreasonable behavior by
lowering your grade. A little bending here and there, not such a big deal. DonÃ¢â‚¬â„¢t miss the crossposts as described below, though. I have set Blackboard to show me your work as Ã¢â‚¬Å“Ready for
GradingÃ¢â‚¬Â in the Needs Grading section of my Grade Center only have you have 1) posted a
response in the correct discussion board and 2) posted at least two responses. Until youÃ¢â‚¬â„¢ve
done that, all I will see is either nothing or a little blue circle. Last semester I had a brilliant and
funny student but he wouldnÃ¢â‚¬â„¢t make the damn cross posts. Eventually he made most of them,
and IÃ¢â‚¬â„¢d been over-riding the needs grading filter to read his papers (they were irreverent and
funny and it was a course on horror fiction) so I didnÃ¢â‚¬â„¢t have to fail him. He couldÃ¢â‚¬â„¢ve gotten the
best grade possible if heÃ¢â‚¬â„¢d just MADE THE DAMN CROSS POSTS.
Okay. Now on to the assignment details.
For Week 1 weÃ¢â‚¬â„¢ll read Ã¢â‚¬Å“AntigoneÃ¢â‚¬Â and use strategies for interpreting literature to develop a
concise summary of the plot, describe the playÃ¢â‚¬â„¢s key moments, and then develop a connection
to the work through the important details you find. ThatÃ¢â‚¬â„¢s three things. Got that? Summary,
key moment, connection. ThatÃ¢â‚¬â„¢s a general beginning to the process of learning about how
people interpret literature, especially drama, in an academic way. When youÃ¢â‚¬â„¢ve finished your
writing, youÃ¢â‚¬â„¢ll post it to the Discussion Board in the Assignment 1 forum on Blackboard. DonÃ¢â‚¬â„¢t
miss the deadline or youÃ¢â‚¬â„¢ll fail! Ha, ha. Just kidding.
Here are the steps to follow.
1. Read these instructions in their entirety before you start reading the play.
2. Read Ã¢â‚¬Å“Reading DramaÃ¢â‚¬Â in the text book. ItÃ¢â‚¬â„¢s only a few pages starting on p. 17.
3. Read SophoclesÃ¢â‚¬â„¢s Ã¢â‚¬Å“Antigone.Ã¢â‚¬Â ItÃ¢â‚¬â„¢s not too long, but it can feel confusing. DonÃ¢â‚¬â„¢t worry.
HereÃ¢â‚¬â„¢s a link to a visual representation of the Theban genealogy at the center of much of
Sophocles (itÃ¢â‚¬â„¢s goofy, and it does Ã¢â‚¬Å“give awayÃ¢â‚¬Â a lot of plot twists, so if you prefer not to
know how the play ends, look at it later):
Greek tragedy was built around ancient dynasties that were well known, and this one is
the most significant. Imagine if we had a series of plays about the Kennedys, or perhaps
the Kardashians, whom I mention with only the most general sense of who they are or
why theyÃ¢â‚¬â„¢re well-known, but there you have it. YouÃ¢â‚¬â„¢ll see Antigone is in the bottom left
of the family tree. WhatÃ¢â‚¬â„¢s important is to know is that Antigone and Ismene are from a
cursed family and their brothers fought on different sides of a civil war. Greek States
were centered on cities, in this case Thebes, Creon is trying to maintain order in that
city. To the Greeks at this time, a city was equal to a nation, and without a connection to
a city you had no identity. For example, one of the reasons the philosopher Socrates
committed suicide after his trial, despite having an easy way to escape, was due to his
strong identification with Athens; in the Platonic dialogues Socrates is seen leaving
Athens only once, and that was to take a stroll with a lovely young man named Phaedrus
to talk about writing speeches. (Socrates gets him to acknowledge that written speeches
are a waste of time, but thatÃ¢â‚¬â„¢s just a Socrates kind of thing.}
4. As you read, here are things for you to keep in mind. These are general mental
processes you should run through as your read. Make notes on them if that helps.
Get the facts straight. Ask journalistic questions. Who? What? Why? Where?
When? The more you understand the action of the plot, which is how it is
presented in the play itself, the quicker you can get to the story. The story is
what you have when you take the action of the play and lay it out in a clear
timeline. The action of the plot doesnÃ¢â‚¬â„¢t do that, necessarily. It usually unfolds
with some piece of information left to be revealed, or it starts in the middle of
things and we learn about the past as the play unfolds. ThatÃ¢â‚¬â„¢s how the plot
creates dramatic tension for the audience, by building a conflict among the
characters, or by withholding information. Here, we arenÃ¢â‚¬â„¢t shown the civil war or
the history of the characters, only the aftermath.
The story is the entire series of events laid out in a clear timeline.
The plot is laid out in the action of the play, and sometimes
unfolds with parts of the story concealed.
Notice how the dramatic elements are formed. Drama, by the way, usually
refers to a theatrical performance in which characters adjust to the changing
conditions of life. How do you see the drama building here? What are the
motives of each character? What are the changing conditions of life and how do
the characters adjust?
Connect the work with yourself. Think about what this work would mean to the
people who produced and consumed it originally. Greek tragic plays were
solemn religious events that produced terror and pity in the audience. Terror
and pity in this sense are called catharsis, a term from AristotleÃ¢â‚¬â„¢s Aesthetics. It
suggests a kind of release thatÃ¢â‚¬â„¢s built on attraction and repulsion. ThereÃ¢â‚¬â„¢s a lot
of philosophical work around the effect of contradictory mental and emotional
functions in the western tradition, such as KantÃ¢â‚¬â„¢s notion of the sublime, that are
similar to catharsis. People have a logical or rational idea of things that can be
affected by emotions. We understand motives, causes, etc., and then have
profound and conflicting emotions about them. As youÃ¢â‚¬â„¢ll see in this play,
Antigone is quite determined and thinks her actions are justified, but she leaves
a wake of tragedy, as does Creon. Strong character traits can often lead to
sorrow because of conflict.
Is AntigoneÃ¢â‚¬â„¢s choice the right one, or is she just drawing attention to herself and
Is Creon right that civil order is the most important thing?
What do you think of Ismene? She has advice for Antigone. Is it sound or
Haimon makes a case for Antigone, but Creon refuses to listen.
The chorus, chanting together or through its representative, the Choragos, have
The Sentry, who can be seen as comically slow-witted as he enrages Creon,
reflects some of the ideas of the chorus in a different voice. These type of
characters can be called eirons and they play against Ã¢â‚¬Å“straightÃ¢â‚¬Â or serious
characters who are called alazons. The pairing of eiron and alazon is still a part of
comedy. His pairing with Creon, while not strictly comical, certainly has elements
Tiresias (thatÃ¢â‚¬â„¢s the transliteration from Greek that I use; I canÃ¢â‚¬â„¢t recall what the
anthology does) is a seer and another frequent character in Greek plays. WhatÃ¢â‚¬â„¢s
he up to here? He gives prophecies that are always ignored, and the same is true
here. What does that reveal about Creon?
NOTE: Tiresias is blind and spent a long time as a woman. HereÃ¢â‚¬â„¢s what happened:
He saw some snakes copulating and hit them with a stick. This angered Hera,
queen of the gods, and she turned him into a woman. Tiresias became a
priestess to Hera, married, had children, and then one day saw some snakes
copulating (I mean, how common is that? IÃ¢â‚¬â„¢ve never seen snakes copulate) and
she let them finish. Bam. She is turned back into a he (at least in the most
common version of the story). Once someone asked him whether sex was better
as a man or a woman, and he said as a woman, angering Hera again because
that was supposed to be a secret. CÃ¢â‚¬â„¢mon Tiresias, learn your damn lesson.
DonÃ¢â‚¬â„¢t forget that this is just the text and that the play would be performed.
When you read a play always think Ã¢â‚¬Å“What would this look like on stage?Ã¢â‚¬Â Below
is a link to excellent version of the play:
This version does a few things inconsistent with the original production, aside
from the translation into English. First, the original actors wore masks, and the
acting style would have been more physical.
Second, itÃ¢â‚¬â„¢s shot as a film, cutting from shot to shot, with close-ups, etc. The
original play would have had a simple stage and a pit, called the orchestra, in
which the chorus would move. YouÃ¢â‚¬â„¢ll see the text has the odes separated. These
are poetic lines chanted by the chorus as it dances back and forth, and changes
in their direction are likely marked by the strophe, antistrophe, and in some
cases an epode.
Third, and related to the second, the action of the play puts key events out of
sight. In a film version this feels different, but for the Greeks it was a point of
contention about what could be depicted on stage. Much of the violence is put
obskene, or off stage. You can see that this is where we get the word obscene.
Sophocles is the second of the three greatest tragedians (Aeschylus is the oldest
for whom we have works extant, and Euripides is the later standout). Aeschylus
used few scenic transitions and had long declarations from the characters.
Euripides had a lot of action and put gruesome events on stage. Sophocles is
somewhere in between, and he is arguably the most balanced.
For example, in his most famous play the main character, Oedipus, finds out heÃ¢â‚¬â„¢s
married his mother, Jocasta. Oh, sorry. Spoiler alert! Anyway, while offstage she
hangs herself and he finds the body. He then takes the pin from her dress, which
coincidentally would mean her dress would fall off revealing her naked body, and
gouges out his eyes because thatÃ¢â‚¬â„¢s a thing you do. A messenger comes on stage
and describes all this in detail, but we donÃ¢â‚¬â„¢t see it. Then, at the climax of the
play, Oedipus stumbles out with clotted gore running down his face.
In Ã¢â‚¬Å“AntigoneÃ¢â‚¬Â there are three deaths! Five if you count the brothers! Bonus! We
donÃ¢â‚¬â„¢t see them, though. The focus is on the reaction to them.
Back to the process of writing:
Develop hypotheses as you read.
o Why is Antigone so determined?
o What is Ismene afraid of?
o Why is Creon so forceful?
o Who is the chorus and whose side are they on?
o What do you think of Haimon?
o How does Tiresias affect the action?
Write as you read. With a paper book you can underline, write notes, etc. I
usually type notes when IÃ¢â‚¬â„¢m reading something I plan on writing about. Find a
way that works for you to keep the information straight. The purpose is to have a
road map for your observations so you can develop interesting ideas.
Once youÃ¢â‚¬â„¢re finished, reread the work. This doesnÃ¢â‚¬â„¢t mean starting from the
beginning and digesting the whole thing. Instead, go to key parts, reread
important passages, and make connections. Look for the turns and twists that
generate the excitement, and then for the subtle clues in the rest of the text.
Also, go to where you found the play the most interesting. DonÃ¢â‚¬â„¢t try to guess
what the most important part is. The best literary criticism is written from
honest and real enthusiasm. What did you like? DonÃ¢â‚¬â„¢t write about what you
think IÃ¢â‚¬â„¢m interested in because IÃ¢â‚¬â„¢m not writing the response paper, you are.
Passion and engagement canÃ¢â‚¬â„¢t be faked well.
For example, Scene 4 is AntigoneÃ¢â‚¬â„¢s Ã¢â‚¬Ëœwedding to death,Ã¢â‚¬â„¢ her march to a cave
where sheÃ¢â‚¬â„¢ll be entombed. The Exodos, or ending, is where the messenger gives
the details of HaimonÃ¢â‚¬â„¢s death. Scene 5 is where Tiresias rips Creon a new one.
Any of these is filled with key information about the action in the play.
Analyze the play. Analysis is the process of breaking the work into pieces and
seeing how it works. As literary critics, we break a text part and look for the
organic connections. For example, how does AntigoneÃ¢â‚¬â„¢s early hubris (pride and
self-confidence) turn into a kind of wisdom for Creon? Is there a process or
transformation at work here? When do the big turns occur? Who is involved?
How do they describe their feelings or thoughts?
Got all that?
Get the facts straight.
Notice how the dramatic elements are formed.
Connect the work with yourself.
DonÃ¢â‚¬â„¢t forget that this is just the text and that the play would be
Develop hypotheses as you read.
Write as you read.
Once youÃ¢â‚¬â„¢ve finished, reread the important parts of the text.
Analyze the play.
5. Now, here are the details of the work product for this assignment.
a. With the process of interpretation in mind, read Antigone.
b. Prepare a concise summary of the plot.
c. Identify one or two key moments in the play.
d. Develop a connection to other parts of the text through the important details
you find both in a specific moment, scene, or character and other parts of the
play. Explain why you found your key moment, scene, or character so important
by linking it to the play as a whole. To emphasize: Pick the key moment that you
think best explains your understanding of the play. What does that moment say
about the meaning of the play as a whole? That is, donÃ¢â‚¬â„¢t go after the entire play
at once. Pick a scene and use it to discuss the rest of the play.
For example, there is an extended exchange between Creon and Teiresias. What is the
central conflict between them? How does that explain, say, CreonÃ¢â‚¬â„¢s interaction with
Haimon or CreonÃ¢â‚¬â„¢s decision to entomb Antigone?
6. Put these thoughts in a short paper, roughly three to four pages. DonÃ¢â‚¬â„¢t worry about
formal introductions, etc. Just imagine that you are explaining the plot to me concisely
(three paragraphs or so) and then analyze your key moment, scene, or character and
explain how that analysis points to what you believe is a larger theme of the play. ThatÃ¢â‚¬â„¢s
it. Focus on one thing that you think points to a Big Thing in the play.
If your paper had headings they might read Ã¢â‚¬Å“Concise Summary,Ã¢â‚¬Â Ã¢â‚¬Å“Key Moments,Ã¢â‚¬Â
Ã¢â‚¬Å“Larger Themes and Connections.Ã¢â‚¬Â You donÃ¢â‚¬â„¢t have to use these or any headings. IÃ¢â‚¬â„¢m just
emphasizing the nature of the assignment.
RESPONDING TO OTHER PAPERS:
Once youÃ¢â‚¬â„¢ve posted your paper, read two papers from other students and respond to each by
Tuesday or Wednesday; I usually sit down and read everything on Thursday and Friday,
depending, and I need your cross posts in order to assess your work. In your response, suggest
how the large theme of the play identified by the author is relevant to contemporary events
and could be made into a performance. If the writer talks about conflicts between siblings or
the individual versus the state, see if you can find a way that the play might be produced by a
theater company to reflect that for contemporary audiences.
By the way, this is exactly what weÃ¢â‚¬â„¢ll do in the next assignment, which is why I am using it to
help shape your response to the Antigone papers. Yay.
The paper should be at least three pages, roughly 800-1000 words, double-spaced, Times New
Roman, 12 pt font. Go to the Discussion Board Assignment 1 forum and create a thread to post
your response paper as a Word file by the due date. Remember that your work wonÃ¢â‚¬â„¢t be
graded until youÃ¢â‚¬â„¢ve read and commented on two other papers. Try to get that done by Tuesday
following the due date.
First Half of Semester
8 Week Accelerated
Week Due Date (Sunday at end of week)
1 Assignment 1
2 Assignment 2
3 Assignment 3
4 Assignment 4
5 Assignment 5
6 Assignment 6
7 Assignment 7
8 Assignment 8
Second Half of Semester
8 Week Accelerated
9 Assignment 1
10 Assignment 2
11 Assignment 3
12 Assignment 4
13 Assignment 5
14 Assignment 6
15 Assignment 7
16 Assignment 8
5/14 NOTE: This is Friday of exam week because of the grading schedule
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