Group Collaboration

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The following questions will give you a chance to self-evaluate, to think about what you’ve been learning in this course, and to draw your own conclusions about how you can apply collaboration and your relationship-building skill in your life. Your answers may be used to determine how to improve the program for future students. Your answers will not be used for marketing purposes. Please respond in a paragraph of at least 5–7 sentences to fully address the questions. Be sure to use your own words!

•What is one thing you learned about collaboration that surprised you, but you find valuable? Why?

•What was one challenge you experienced when working toward your common goal with others?

•How did you overcome that challenge?

•How did working on the common goal improve your collaboration skill?

Write an epilogue to ” The Cask of Amontillado”

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Write an epilogue to ” The Cask of Amontillado” in which a case against Montresor comes to trial.  In your epilogue, provide the prosecuting attorney’s closing argument. Reminding the jury of any evidence that proves Montresor’s guilt.  Then provide the defense attorney’s closing argument. And describe the jury’s final verdict.
Assignment Requirements:

Your submission must:
  • include a minimum of 400 words, written in paragraph form.
  • be written in the third-person point of view (academic voice). You may write in the first-person point of view if you want to pretend you are Montresor.
  • be double spaced.  A title page, running head, and abstract are not required.
  • be submitted as a Microsoft Word attachment on the submission page (click title above).  Assignments not submitted in this way may be returned to you ungraded.
No Research
There is a no-research policy in place for this class. Using any material other than the assigned readings and lectures. Even if it is correctly quoted and cited, will result in a failing grade for this assignment. Contact your instructor if you have questions about this policy.

the experience of a theatrical production

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Instructions
Plays are meant to be performed, rather than read. The purpose of dramatic arts often extends far beyond the words written on a page; staging, lighting, costumes intonation, expression, and audience experience are all part of the experience of a theatrical production. To develop your understanding of the cultural role of the dramatic arts, you will view a production of a play this week and write a reflection to explain your viewing experience. Choose a play that you would like to view and find a version online, YouTube, DVD or iTunes, Amazon, Netflix, etc. You can also choose to see a play live if you prefer.

Play Suggestions:

  • A Midsummer Night’s Dream
  • Romeo and Juliet
  • As You Like It
  • Taming of the Shrew
  • The Tempest
  • Much Ado About Nothing
  • The Comedy of Errors
  • Macbeth
  • King Lear

If you have another idea, please ask your instructor to approve it.

Then, select and address one of the following options:

Option 1: Write an analysis of the play that you viewed. Include at least one quote from the play. Address the following:

  • Identify the performance that you have selected.
  • Describe the staging, lighting, costumes, and characters of the performance. How do these match or revise the written version of the play? You do not need to read the entire play, but you should skim the text.
  • What;
  • type of mood and tone does the performance create? How?
  •  parts of the play are easier to understand through performance?
  • are some details that stood out through performance?
  • are your feelings about this performance? What did you take away from viewing it?

Option 2: Find an adaptation or transformation of a play. Choose an adaptation with some significant differences from the original, such as transposed plots and characters into a variety of different settings and historical contexts. Here are some examples:

  • A Midsummer Night’s Dream – A Midsummer Night’s Dream (1999) or A Midsummer Night’s DREAM (2018)
  • Romeo and Juliet – Romeo + Juliet (1996) or West Side Story (1961) or Romeo Must Die (2000)
  • As You Like It – As You Like It (2006)
  • Taming of the Shrew – 10 Things I Hate About You (1999) or Kiss Me, Kate (1948)
  • Much Ado About Nothing – Much Ado About Nothing (2012)
  • The Comedy of Errors – The Bomb-itty of Errors (2012)
  • King Lear – A Thousand Acres (1997)
  • Othello – O (2001)
  • Hamlet – The Lion King (2019 or 1994) or Hamlet (2000)
  • Twelfth Night – She’s the Man (2006)

If you have another idea, please ask your instructor to approve it.

Watch the original version and the adapted version. Address the following:

  • How is the adaptation the same as the original? Discuss plot, characters, theme, conflict, language, etc.
  • How does the adaptation differ from the original? Discuss setting, time period, characters, plot, language, etc.
  • Does the original story translate well in the adaptation? Why or why not? Did the adaptation work in a different setting, time period, etc. Why or why not?
  • Why do you think Shakespeare’s plays are adapted so often?

Writing Requirements (APA format)

  • Length: 1.5-2 pages (not including title page or references page)
  • 1-inch margins
  • Double spaced
  • 12-point Times New Roman font

American Literary Naturalism And American Literary Modernism

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American LITERATURE: Summer II

 

 

 

 

Based upon your analysis of the reading assignments for week one through three, answer each question using textual evidence to substantiate your claim (five questions total). Responses without textual evidence will not receive full credit.

 

American Literary Realism

 

Emily Dickinson’s “Because I Could Not Stop for Death”

 

1. Emily Dickinson evidently spent a great deal of time thinking about the nature of pain, dying, and death—she wrote many poems on this subject. Drawing from the selection of Dickinson’s poems below, observe how she treats the subject of death. Write a thorough response comparing “[Because I could not stop for Death—]” with at least three of the poems below, making an argument about her conception of death and immortality. Is it consistent across the poems? Does it seem to shift or vary in different poems? Does a shift appear within individual poems?

 

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American Literary Naturalism

 

 

Kate Chopin’s Desiree’s Baby

 

2. Chopin writes, “When the baby was about three months old, Desirée awoke one day to the conviction that there was something in the air menacing her peace. It was at first too subtle to grasp. It had only been a disquieting suggestion; an air of mystery among the blacks; unexpected visits from far-off neighbors who could hardly account for their coming”. The threat of miscegenation (the mixing of races) can account for the odd behavior of Desiree’s visitors as they inspect the baby’s skin color, but the story never explicitly says what they suspect (she leaves it to Armand to state with brutal terseness). Why do you think that the narrator suggests the answer rather than provides it? What information from the text lead you to your assertion?

 

 

Steven Crane’s The Open Boat

 

3. Examine how nature is discussed throughout “The Open Boat.” Once you have established your own ideas, research how literary critics have discussed nature in the short story and analyze the following questions: What does nature mean to the men aboard the boat? Do their perceptions of nature shift throughout the story? Why or why not?

 

American Literary Modernism

 

 

Langston Hughes | Various Selection

 

4. Survey the assigned selections of Hughes’s poetry. Choose and discuss a minimum of four poems that represent the various themes that illustrate Hughes’s major concerns with life during this era.

 

 

William Faulkner’s A Rose for Emily

 

5. What makes Emily Grierson such an enigma to her neighbors? What is she hiding from them, literally as well as figuratively? Does the story end with a smoking gun that ultimately explains Emily’s behaviors, or with a red herring that provides more questions than answers? Is Emily mentally ill, or do her actions instead reflect on the community that raised her?

 

 

 

 

Works Cited

 

LITERARY ANALYSIS

Persian literature

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Persian literature

Although Rumi was born in Afghanistan and lived in Turkey. His poetry was written mostly in Persian, and his Sufi religious beliefs transcended national bound- aries. Afghanistan was on the edge of the Persian Empire. And Rumi’s father was a traditional Islamic religious teacher who trained his son to follow in his footsteps. When he was forty, Rumi had a religious epiphany when he met Shams, a wandering Sufi, who was about sixty. Rumi became a Sufi, and the outpouring of poetry that followed was staggering. Sufism combines ideas from Islam, Christianity. And Bud- dhism, and it attempts to achieve union with God: not by logical means (which is beyond the ability of the human mind), but by emotional means.

Rumi founded the Mevlevi order of dervishes, sometimes called whirling dervishes because of the spinning dance that they do to achieve a trance-like state. Despite the loss of Shams, who may have been murdered by Rumi’s jealous disciples, Rumi continued to write, amassing over forty thousand couplets of poet- ry over his lifetime. The Divani Shamsi Tabriz is a collection of individual poems, including poems in the ghazal form and the rubaiyat form (which are different ways to group couplets). The Masnavi (also spelled Mathnavi or Mathna- wi) is referred to as the “Quran in Persian”; it was meant to teach his followers the spirit of Sufi Islam, drawing on the Quran, folktales, and anecdotes (among other forms) for the prose sections between the poems.

Unlike the Divani Shamsi Tabriz, the Masnavi is a cohesive collection, with a moral to each story. Today Rumi is the most important medieval Persian poet and one of the most widely-read mystical poets. Perhaps in part because of his emphasis on the positive, and his embrace of all religions, Rumi is now the best-selling poet in the United States (Ciabattari). Written by Laura J. Getty image 6.3: rumi | A portrait of Rumi (or Molavi, as he is known in Iran) well-dressed and with a white beard. Author: User “Bellavista1957” Source: Wikimedia Commons license: Public Domain

285 Divani Shamsi Tabriz and Masnavi Selections from the Persian mystics Jalálu’d-Dín Rúmí, edited by F. Hadland Davis, L. Cranmer-Byng, and S. A. Kapadia Sorrow Quenched In The Beloved Through grief my days are as labour and sorrow. My days move on, hand in hand with anguish. Yet, though my days vanish thus, ‘tis no matter. Do Thou abide, Incomparable Pure One. The Music Of Love Hail to thee, then, O love, sweet madness! Thou who healest all our infirmities! Who art the Physician of our pride and self-conceit! Who art our Plato and our Galen! Love exalts our earthly bodies to heaven, And makes the very hills to dance with joy! O lover, ‘twas Love that gave life to Mount Sinai, When “it quaked, and Moses fell down in a swoon.

” Did my Beloved only touch me with His lips, 1 too, like a flute, would burst out into melody. When The Rose Has Faded When the rose has faded and the garden is withered, The song of the nightingale is no longer to be heard. The BELOVED is all in all, the lover only veils Him; The BELOVED is all that lives, the lover a dead thing. When the lover feels no longer love’s quickening, He becomes like a bird who has lost its wings. Alas! How can I retain my senses about me, When the beloved shows not the Light of His countenance? The Silence Of Love Love is the astrolabe of God’s mysteries. A lover may hanker after this love or that love, But at the last he is drawn to the king of Love.

However much we describe and explain Love, When we fall in love we are ashamed of our words. Explanation by the tongue makes most things clear, But Love unexplained is better. Earthly Love Essential To The Love Divine In one ‘twas said, “Leave power and weakness alone; Whatever withdraws thine eyes from God is an idol.” In one ‘twas said, “Quench not thy earthy torch, That it may be a light to lighten mankind. If thou neglectest regard and care for it, Thou wilt quench at midnight the lamp of Union.” The Eternal Spendour Of The Beloved Why dost Thou flee from the cries of us on earth? Why pourest Thou sorrow on the heart of the sorrowful? O Thou who, as each new morn dawns from the east, License: Public Domain

Compact Anthology of World Literature286 Art seen uprising anew, like a bright fountain! What excuse makest Thou for Thy witcheries? O Thou whose lips are sweeter than sugar. Thou that ever renewest the life of this old world. Hear the cry of this lifeless body and heart! Woman Woman is a ray of God, not a mere mistress, The Creator’s Self, as it were, not a mere creature! The Divine Union Mustafa became beside himself at that sweet call, His prayer failed on “the night of the early morning halt.”

He lifted not head from that blissful sleep, So that his morning prayer was put off till noon. On that, his wedding night, in the presence of his bride. His pure soul attained to kiss her hands. Love and mistress are both veiled and hidden. Impute it not a fault if I call Him “Bride.” “He Knows About It All” He who is from head to foot a perfect rose or lily. To him spring brings rejoicing. The useless thorn desires the autumn, That autumn may associate itself with the garden; And hide the rose’s beauty and the thorn’s shame, That men may not see the bloom of the one and the other’s shame; That common stone and pure ruby may appear all as one. Resignation True, the Gardener knows the difference in the autumn, But the sight of One is better than the world’s sight.

Resignation The Way To Prefection Whoso recognises and confesses his own defects Is hastening in the way that leads to Perfection! But he advances not towards the Almighty Who fancies himself to be perfect. Love The Source Of Light Rather Than Vanishing Form Whatsoever is perceived by sense He annuls, But He stablishes that which is hidden from the senses. The lover’s love is visible, his Beloved hidden.

The Friend is absent, the distraction He causes present. Renounce these affections for outward forms, Love depends not on outward form or face. Whatever is beloved is not a mere empty form, Whether your beloved be of the earth or heaven. Whatever is the form you have fallen in love with— Why do you forsake it the moment life leaves it? image 6.4: Jalal al-din rumi mathnavi-i ma’navi | The pages of a Persian manuscript. Author: Hussain ibn Shaikh ‘Ali Source: Wikimedia Commons license: Public Domain

287 Divani Shamsi Tabriz and Masnavi The Religion Of Love The form is still there; whence then this disgust at it? Ah! lover, consider well what is really your beloved. If a thing perceived by outward senses is the beloved, Then all who retain their senses must still love it; And since Love increases constancy, How can constancy fail while form abides? But the truth is, the sun’s beams strike the wall. And the wall only reflects that borrowed light. Why give your heart to mere stones, simpleton? Go! Seek the Source of Light which shineth alway! The Religion Of Love The sect of lovers is distinct from all others, Lovers have a religion and a faith of their own.

Though the ruby has no stamp, what matters it? Love is fearless in the midst of the sea of fear. “Pain Is Treasure” Pain is a treasure, for it contains mercies; The kernel is soft when the rind is scraped off. image 6.5: masnavi | Pages of a Persian manuscript with beautiful blue decorations around the text. Author: Georges Jansoone Source: Wikimedia Commons license: CC BY 3.0

Compact Anthology of World Literature288 Selections from the Flowers of the Persian Poets Jalálu’d-Dín Rúmí, edited by Nathan Haskell Dole and Belle M. Walker “I To Myself Am Unknown” Lo, for I to myself am unknown, now in God’s name what must I do? I adore not the Cross nor the Crescent, I am not a Gianour nor a Jew. East nor West land nor sea is my home, I have kin nor with angel nor gnome, I am wrought not of fire nor of foam, I am shaped not of dust nor of dew.

I was born not in China afar, not in Saqsin and not in Bulghar; Not in India, where five rivers are, nor ‘Iraq nor Khorasan I grew, in this world nor that world I dwell, not in Paradise, neither in Hell; And from Eden and Rizwan I fell, not from Adam my lineage I drew. In a place beyond uttermost Place, in a tract without shadow of trace, Soul and body transcending, I live in the soul of my Loved One anew

The Yellow Wallpaper Protagonist

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In the start of the story. It is obvious that the hero permits herself to be second rate compared to John. “John is pragmatic in the limit. He has no tolerance with confidence, an exceptional repulsiveness of odd notion. And he jeers transparently at any discussion of things not to be felt and seen and put down in figures.” (Perkins P. 687). John directs orders as a doctor, for her to remain in bed, not to dive into her imagination, and cease her compositions. “So I take phosphates and phosphites-whichever it is, and tonics, and excursions, and air, and work out, and am totally taboo to ‘work’ until I am well once more.

By and by, I accept that suitable work, with energy and change, would benefit me” (Perkins P.687). “In any case, what is one to do?” (Gilman P.27). By then, she is being sub-par compared to John and having a low confidence and trust in herself. John knows his significant other on a shallow layer just and he sees the external part, yet misses the lady caught shouting to be liberated.

John’s obliviousness blinds him from completely understanding his significant other. Their relationship isn’t equivalent in a marriage sense. As indicated in the essay on The Yellow Wallpaper, ladies were required to satisfy their obligations as spouses and moms. The hero can’t or willing to hold fast to the best model of family life by the nineteenth century society and John is at misfortune regarding what to do. Considering this, John was an impression of society.

The obliviousness and deficiencies of society

The obliviousness and deficiencies of society drove the hero toward a path that might have been forestalled in the event that they would have just got out of the container. John’s answer was to utilize Weir Mitchell’s rest routine to fix his better half, not realizing he planned to drive her to the brink of craziness. On occasion, John alluded to the hero in the third individual “Favor her little heart!” (Perkins P.692) “She will be just about as wiped out however she sees fit!”. John disintegrated the hero’s character. She is treated as a kid depending on direction and help from John. She depends on John, as a kid would rely upon a parent in regards to any move or thought she makes.

Charlotte Perkins Gilman

The hero is designed according to Charlotte Perkins Gilman who is experiencing wretchedness and nervousness. She is peaceful and docile to John. She frantically might want to satisfy her better half and accept her job as a spouse and mother. And is battling with withstanding her better half’s requirements and her inward most cravings of imagination. “He doesn’t trust that I am wiped out! What’s more, how would one be able to respond? On the off chance that a doctor of elevated status, and one’s own better half, guarantees companions and family members that there is actually nothing the matter with one except for transitory apprehensive gloom, a slight insane propensity, what is one to do?”(Perkins P.687).

She stows away in her compositions that should be kept stowed away from John. “John doesn’t have a clue the amount I truly endure. He knows there is no motivation to endure, and that fulfills him.”(Perkins P. 688) “It is difficult to talk with John about my case, since he is so astute, and on the grounds that he cherishes me so”.

Confinement and weariness powers

Confinement and weariness powers the hero to utilize the room as a den where her brain starts to ponder and she starts to discover solace in the yellow backdrop. She continuously starts to see the examples in the backdrop, which is “a lady lowering down and crawling around behind that example.” (Perkins P.692) The hero becomes fixated on the ladies in the backdrop that she fails to remember that she needs to be the ideal spouse and mother.

The intriguing thing is “around evening time in any sort of light, in dusk, candlelight, lamplight, and most exceedingly awful of all by moonlight, it becomes bars! The external example, I mean, and the lady behind is pretty much as plain as can be.”(Perkins P.693) “I didn’t understand for quite a while what the thing was that displayed behind, that faint sub example, however I am very certain it is a woman.”(Perkins 693) The lady lowering down and crawling around behind the example that represents accommodation to man in the nineteenth century time. The hero starts to zero in just on the example during the evening time and resting in the day.

The obliviousness and deficiencies of society

During the evening hours the hero accepts the lady becomes alive and attempts to liberate herself from imprisonment. “I see her in that concealed path, crawling all over. And her in those dim grape arbors, crawling all around the nursery. I see her on that long street under the trees, crawling along, and when a carriage comes she stows away under the blackberry vines.”(Perkins P.695). Notwithstanding her obsession with the yellow backdrop, the hero starts to become stronger and more confident.

She starts to not pay attention to John any longer, not searching for his endorsement in dynamic, and starts the developing cycle of her self-assurance. Eventually, the hero has an enlivening or resurrection of herself concerning John. “Why there’s John at the door!”(Perkins P. 697). “It is of no utilization, young fellow, you can’t open it!”(Perkins P.687). “John dear!” said the hero in the gentlest voice.”(Perkins P.697). These are instances of the hero having had a job inversion with John; she is the definitive individual now, rather than John.

being mediocre

Likewise she could be portrayed as the senior and John as the minor. The hero has taken responsibility for and could remain on her two feet without being mediocre compared to John. And hero acknowledges I am an individual that can settle on choices all alone without sitting tight for authorization from John. The hero is starting to track down her actual character in the story. “When it was moonlight and that helpless thing started to slither and shake the example, I got up and rushed to help her.” (Perkins P.696). The hero has locked the room, while John is away and starts to strip off the layers of the backdrop.

Additionally the hero starts crawling around the room as the backdrop caught lady does when she comes out at evening time. John at last opens the entryway and sees what the hero has done and swoons. “I have left finally, ” said the hero, “despite you and Jane. Furthermore, I’ve pulled a large portion of the paper, so you can’t return it to me!” (Gilman P.32). As John blacks out, the hero continues to crawl over him to proceed with her work. The crawling over him represents that the hero has acquired control of her own life.

Resistance to Civil Government

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As I investigate Henry David Thoreau’s “Resistance to Civil Government“. I understand the claims he makes throughout his reading. And I can say that I most definitely agree with him. I believe that it is an American duty to protect. And defend their homeland in the face of any injustice. If any type of unjust laws is being enforced in the United States, the Americans must step up. And defend their rights to protest peacefully and disprove it. Today, we are seeing this happen in Cuba; how Cubans are protesting for their basic human rights because they are tired of the injustice. That they are living for over sixty years since Castro took over. Also, we are seeing peaceful manifestations all throughout the United States. Because Cuban Americans want the United States to do a military intervention in Cuba.

As we see what is going on and compare it with the reading, I do reinstate that it is an American duty to defy unjust laws and to defy the government if it ever comes an issue (for example, dictatorship, communism, Marxianism, etc.). To help support the American people in case of this happening is Amendment two; the right to bear arms. With this Amendment the American people have support in case we ever experience what the Cuban people are experiencing, that is having the government charge at the Cuban people with military ammunition and them just having nothing but baseball bats, and stones to fire back at the government and to defend themselves.

That is why I agree one hundred percent with what Henry David Thoreau’s main idea was in “Resistance to Civil Government”, that is our duty as Americans to defy and justify unjust laws when opposed by the government, this idea gives support to the American people.

WHY IS IT IMPORTANT TO SET GOALS?

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WHY IS IT IMPORTANT TO SET GOALS?

 

Joe Gibbs learned at an early age that being a professional football player was an unrealistic goal based on his strengths and abilities. So, he decided to pursue his dream job as an NFL head coach. It took decades to achieve that dream, but setting effective goals helped him get there!

To find success like Coach, we need to set SMART goals. Have you ever set a goal that was unrealistic? What happened? What did you learn? Using the SMART goal framework, identify a past goal that you made for yourself and explain why it might have been unrealistic.

Who Am I Called To Be In Light Of My Obligations To Human And Other Life On The Planet?

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Activity 3: Essay – Who am I Called to Be in Light of My Obligations to Human and Other Life on the Planet?

Context

Image of journal iconThis learning activity will ask you to discern the ways in which your own identity and vocation are intertwined with your responsibilities to other life on the planet.

Description

Please write a paper that reflects on your answers to the following questions:

· In which ways this week did you observe (or discover) that all life on the planet is interconnected? do you feel that, as a human, you play some role in maintaining the balance that exists in our larger world?

· Based on your thoughts in the two proceeding questions, what do you now feel (or, continue to feel) are your own responsibilities to human and other life on the planet? Does this responsibility become a part of your identity or vocation? How so, or how not?

Visual Analysis

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The Analysis Project is focused research  that performs a “close reading” of one of the complete works of  literature or any visual artwork (painting or photograph) included the course modules.

Students also may not substitute outside materials. (For example, just because an artist was discussed for one painting does not mean you may go on the internet and find a different painting by that artist – you must write about the exact artwork presented in the course. Likewise, several poets and writers are presented yet you may only analyze the specific poem or story presented in the course modules.).

Your assignment should offer an analytical interpretation of the work of art or work of literature by having a thesis about what the piece seeks to express and how the artist or author accomplishes this expression formally in its historical context.  The assignment should address the form, content, and context of the work, although not necessarily equally.  .Two outside/secondary sources are required.  (JSTOR, a database accessible through the FSCJ Library & Learning Commons is the best online research tool to find books and articles for Humanities.) You may have more than two secondary sources, although in an assignment of this length, more than four will limit the possibility for you to clearly develop your own voice and present your thesis about the work.  A note on sources: The provided course material does not count as an outside source. Sources are journal articles, books, and quality multi-media, such as video lectures by experts and museum blogs. Sources may be primary (such as a letter or publication by the artist him/herself) or secondary (such as scholarly criticism or historical research). Only one of your sources may be a web-based source, although certainly you may access print sources such as books and journal articles digitally. **Any and all sources must be documented correctly using MLA citation.**  Plagiarism and academic dishonesty are not acceptable; consequences as detailed in the college’s student code of conduct fully apply, including failure of the assignment and referral for disciplinary action. The assignment should be 4-5 pages, at least 800 words and no more than 1250 words, and be typed, double-spaced in MLA format.