Capstone Report for Program Development in Literature
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Transcript of Capstone Report for Program Development in Literature
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Running head: CAPSTONE REPORT FOR PROGRAM DEVELOPMENT 1
Capstone Report:
Program Development in Aesthetics of the Literary Masterpiece
Cynthia Gallagher
Jones International University
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CAPSTONE REPORT FOR PROGRAM DEVELOPMENT 2
Table of Contents
Abstract ........................................................................................................................................... 4
Introduction ..................................................................................................................................... 5
Statement of PurposeClear Statement of Purpose and Benefit ................................................... 6
Explanation of Core Concepts ........................................................................................................ 6
Relationship of Concepts to MEd Learning Objectives ................................................................. 7
Literature Review ........................................................................................................................... 9
Identification of the Target Population and Learning Community ............................................... 12
How the Project offers an important contribution to the Educational Community ...................... 13
About the program design, instruction, and graduate studies ....................................................... 15
Table 1. ............................................................................................................................. 16
Backward Design for Literary Aesthetics ............................................................................. 16
Statement about Benefits and Evaluation Criteria ................................................................ 19
Detailed Project Plan, including the Timeline ...................................................................... 20
Table 2. ............................................................................................................................. 20
Eight-Module Development Program Timeline ........................................................................... 20
Identified critical success factors to indicate progress and results ..................................... 21
Defined roles and responsibilities for each participant ...................................................... 22
Resources required and how they may be acquired ........................................................... 22
Developed plan ................................................................................................................... 24
Module 1 ....................................................................................................................................... 24
Foundations in Literature .................................................................................................. 24
Module 2 ....................................................................................................................................... 24
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CAPSTONE REPORT FOR PROGRAM DEVELOPMENT 3
Further Foundations in Literature ..................................................................................... 24
Module 3 ....................................................................................................................................... 26
The Importance of Tragedy .............................................................................................. 26
Module 4 ....................................................................................................................................... 29
Considerations: Influences of Style: ................................................................................. 29
Module 5 ....................................................................................................................................... 31
Module 6 ....................................................................................................................................... 35
Hugos Environment, Philosophy, Ethics, Style ............................................................... 35
Module 7 ....................................................................................................................................... 36
More Topics about Revolutionary Literature ................................................................... 36
Module 8 ....................................................................................................................................... 39
New Terms, Concepts, and Issues ..................................................................................... 39
Strategies for managing risk and addressing any political implication .............................. 41
Materials and Resources Required for Successful Completion ......................................... 41
Conclusion .................................................................................................................................... 41
References ..................................................................................................................................... 44
Honor Statement ........................................................................................................................... 48
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CAPSTONE REPORT FOR PROGRAM DEVELOPMENT 4
Abstract
As the powerful omniscient voice of an influential thinker who strives to analyze the mortal
dilemma, the tragedian studies a problem that is not resolved except through a conclusion that
offers a glimpse into a solution or complex reality, such as immortality. Did Hero attain ultimate
justice once Leander perished into the same body of water that once delighted both characters?
From one dynamic condition to an infinite cosmos of reactive forces and relief, sublimation and
metacognition tend to the psychoanalysis of the guiding tour de force and dramatic expression
that abounds in the creation of literary passages and volumes which evoke aesthetic
revelationsthe primary focus of the Capstone Project about Aesthetics in Literature. Aristotle,
Victor Marie Hugo, and Leon Trotsky have imprinted their compassion for humanity into the
sympathies and profundities of literary works that are an essential foundation to all young-adult
and college-age supporters of education.
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CAPSTONE REPORT FOR PROGRAM DEVELOPMENT 5
Capstone Report: Program Development in Aesthetics of the Classical Masterpiece
Humanitarian Foundations
Introduction (turn white for invisibility)
Literary criticism is a product of the Greek Academy that originated in the Lyceum of
Socrates (469399 B.C.), his student Plato (429347 B.C.), and Platos student Aristotle (384-
322 B.C.). Plato and Aristotle had derived many treatises in philosophy, ethics, rhetoric,
psychology, and poetry, and in the sciences that abound in remarkably detailed theory and
examples. The importance of Greek to the learning institution is evident through the sorority
houses and affiliations that are identified by Greek letters, for example; and through engineering
and statistical function indicators that are Greek. Although many original Greek volumes have
deteriorated, some remain as evidence to which scholars refer as they continue to decipher the
laws, standards, theories, contradictions, enigmas, and likenesses of characteristics that prevail in
semantics and educational literature.
The analysis of conditions that are psychological and the analysis of character are related,
as educators such as John Dewey (1859-1952) and Leon Trotsky (1879-1940) indicate through
their extensive writings about psychological topics such as free will, bias, egocentric motives,
given propensities, justice, care, and solutions to social and financial disorder. For example,
Dewey had assisted victims of Stalin as he had associated with Sigmund Freud (1856-1939),
who instructed him in psychology, including psychoanalysis, which resulted in part in Deweys
ability to manage extensive legal proceedings in Mexico. Thus, Dewey also negotiated with legal
counsel that revealed the innocence of Leon Trotsky, who otherwise would have been executed
unjustly by the Stalin regime. Insightful, captivating, and profound themes of literary works
prevail as chronicles, dramatic scripts and productions, documents, diaries, historic fiction, and
nonfiction that quest into the psyche, its tendencies, conflicts, resolutions, and control.
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CAPSTONE REPORT FOR PROGRAM DEVELOPMENT 6
Statement of PurposeClear Statement of Purpose and Benefit
The purpose of this Program Development is to introduce important concepts, functions,
and language that will improve knowledge, communications, and tolerance for literary
foundations as they relate to literary orientations and associations in academic and personal
applications. For example, the origins of the original Academy indicate that Aristotle had
represented instructional scholarship in the sciences and the humanities, including the highly
valued epic, dramatic poetry, and tragedy of ancient times, which have continued to influence
generations of writers, artists, and producers. The amphitheater still focuses on humanitarian and
social issues that writers originally addressed during ancient times, issues that relate to cultural,
ethical, and defensive concerns, and that may maintain a common bond or alliance among
community members. While some critics accredit epic poetry for entertaining cultivated
audiences, and tragedy for entertaining a more inferior audience (Applebaum & Koss, 1997,
p. 59), other critics offer enduring support for Aristotles treatment of poetry as a universal
aesthetic and necessary voice that functions as a catalyst or hamartia, and sometimes as a
subliminal influence. The Capstone Project appeals to those who are interested in literature
which evokes the cause for the intelligentsia and its goal of an ideal classless society that
resolves cataclysmic or mistaken forceshumanitarian concepts that Aristotle and Trotsky
reported, analyzed, and promoted in their instructional literary volumes of literature . Hugos
work is also based on those prominent concepts, which this Project does examine.
Explanation of Core Concepts
The psychological processes by which aesthetics are conveyed must be the influence of a
democratic universality of perception and insight that a composition or design expresses--
qualities that evoke wonder, dynamics, conflict and resolution, charisma, and/or hamartia, for
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CAPSTONE REPORT FOR PROGRAM DEVELOPMENT 7
example, which transcend mortal realities. The experience of transcendence is also subliminal,
therefore, relating to psychoanalysis. Trotsky had been a peer who was impressed favorably by
Freud for valuing the legal support that John Dewey and Albert Goldman (1897-1960) needed to
reveal about the foreboding Moscow Trials to realize the exonerating Dewey Commission
(Dewey, 1938, 1999; Glatzer, Walters, & Preliminary Commission of Inquiry into the Charges
Made against Trotsky in the Moscow Trials, 2000). Trotsky was impressed adamantly by
Aristotles detailed literary discourses about universal humanitarian impressions and about the
appropriate methods of conveying such knowledge to his communities. He accurately
summarizes in some volumes what ancient scholars had addressed in a plethora of volumes
ethical standards issued by Confucius, the Ancient Greeks, and the Roman Cicero, for example.
Trotskys goals to cultivate, encourage, and establish a conscientious and stable society free from
class distinctions and obstacles are important to education and to poetic literature (Dewey, 1938,
1997; Dewey & Small, 1897; 2006; Yale Law School et al., 2008; Westbrook, 1993; Berube,
2000; Stuhr, 2006; Ryan, 1997). The core concepts about an integral educational and community
network are fundamental to the foundation of harmonious social structure that Aristotle, Trotsky,
and their supporters continue to teach as essential components of theories in metacognition and
subliminal processingintelligible rational thinking (Trotsky & Strunsky, 1925).
Relationship of Concepts to MEd Learning Objectives
Studies in literary aesthetics and about the psychoanalysis of the hero and of plot coincide
with andragogy, the first MEd learning objective addressed in EDU 681 (Adult Learning
Theory). The Project developed in that course includes the original work,Aesthetics and
Universality in Perspective andthe associated Project,Ben Jonsons Tribute to William
Shakespeare,which is reviewed in Module One of the Program Development. The cause is
http://www.marxists.org/archive/trotsky/1937/dewey/http://www.marxists.org/archive/trotsky/1937/dewey/http://www.marxists.org/archive/trotsky/1937/dewey/http://www.scribd.com/doc/34746641/Aesthetics-and-Universality-in-Perspectivehttp://www.scribd.com/doc/34746641/Aesthetics-and-Universality-in-Perspectivehttp://www.scribd.com/doc/34746641/Aesthetics-and-Universality-in-Perspectivehttp://www.youtube.com/watch?v=YsRPPxYrmzkhttp://www.youtube.com/watch?v=YsRPPxYrmzkhttp://www.youtube.com/watch?v=YsRPPxYrmzkhttp://www.youtube.com/watch?v=YsRPPxYrmzkhttp://www.youtube.com/watch?v=YsRPPxYrmzkhttp://www.youtube.com/watch?v=YsRPPxYrmzkhttp://www.youtube.com/watch?v=YsRPPxYrmzkhttp://www.scribd.com/doc/34746641/Aesthetics-and-Universality-in-Perspectivehttp://www.scribd.com/doc/34746641/Aesthetics-and-Universality-in-Perspectivehttp://www.marxists.org/archive/trotsky/1937/dewey/http://www.marxists.org/archive/trotsky/1937/dewey/http://www.marxists.org/archive/trotsky/1937/dewey/ -
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derived in EDU630 (Needs Assessment for Learning Environments), that directs instructors to
the standards and problems addressed by the Intersegmental Committee of the Academic Senate
(ICAS, 2002) and the University of California, California Department of Education (University
of California, 2008). Thus, the MEd Learning Objectives continue to align with the Program
Development as the speaker and writer must learn and apply language conventions, processes
achieved through the language competencies addressed in EDU653 (Assessment Strategies to
Improve Adult Learning), and coordinated into the instructional designs realized in EDU542
(Strategic Planning for Educators) and EDU651 (Designing Interactive e-Learning). Through
EDU522 (Research Methods to Improve Learning Organizations), the Data Analysis Spiral
continues to serve as an instructional model to encourage the organization of information needed
to improve understanding of Aesthetics in Literature. The researcher is guided by the Spiral to
categorize and file relevant supportive literature that reveal why dramatic tragic poetry has long
been recognized as the highest form of literature (Appelbaum & Koss, 1997; Aristotle &
Butcher, 1961; Hammond, 2001; Trotsky & Strunsky, 1925; Trotsky & Siegel, 1992).
Another MEd Learning Objective involves costs and benefits identified in EDU544,
Business Management for Learning Organizations. The organization identifies with the
statement fromHarvard Business Review about influences of intelligible creative activity and
highest morale that could impede its products and services due to anomalies such as the over-
reliance or short-term financial measures ofROI (Magretta, 2002, p. 136), a potential that the
group must prevent. However, the organization has sustained a large group of sponsors,
members, and volunteers. The organization has also continued to conduct educational programs
in its own facility. Such programs include desktop publishing, instruction in letterpress and other
printer operations, community relations, and training in other areas of publications.
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Literature Review
Important esoteric information remains unknown to common communities, and that
information abounds in controversy even among literary scholars. For example, some believe
that until one purges oneself of outdated, dysfunctional, or fleeting actions and/or thought
processes, one cannot transform those capacities of thinking into more appropriate actions,
knowledge, and thought processes or revelations, even when those engagements are references to
lasting or momentary transcendence from the impressionable real world (Hammond, 2001; Dunn
& Singer, 2000). Those who are not knowledgeable about literary conventions are unaware that
profound reactions to catharsis may occur to a protagonist through plot structure, developing
plan, vision, reference(s), and/or goals that may not be achievable in the real world. Imitation
(mimesis) is also important to the development of tragedythe ability to identify, to manifest,
and to repeat impressions and behaviors that an individual observes and considers.
Metacognitive processes are important to the plot content by which a reversal of fortune is
achieved, and those same processes are important to the result of new knowledge and
understanding (Dunn & Singer, 2000). The Capstone Project about Aesthetics in Literature
reveals that tragedy is the highest literary form (Trotsky & Strunsky, 1925). It also covers the
subliminal processes involved in psychoanalysisthe belief about concepts involving sin and
expiation, also addressed by Dana Sobel of Medieval and Renaissance geniuses who lived tragic
lives of persecution (Sobel, 1999).
Catharsis is important to the revelation of truth and knowledge; hence, the essence of
developing insight, perseverance, and control, not only philosophically but in the manner in
which one observes and comprehends art forms (Dunn & Singer, 2000; Appelbaum & Koss,
1997; Hammond, 2001). The action that follows pathos is dramatic because it compels each
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individual of an audience to imitate or recollect upon the lyrics that evoke the sympathy that the
audience must express for a hero or martyr, for example. The manifestation of adamant pathos is
the major part of the praxis of Aristotlean action, and that pathos is important to the psychic
energy that projects and works itself outward (Trotsky & Strunsky, 1925; Aristotle, Butcher, &
Fergusson, 1961). From the ancient school of Socrates, Plato, and Aristotle, the terms catharsis
and mimesis were coined; likewise, other associated terms and expressions important to the
creation, understanding, and evaluation of all artistic form, which includes literature.
The original and anonymous Greek tragedy and legend is precedential about the
protagonist Leanders entire course of action. Leander swims the Hellespont each night to meet
his love until the sea takes his life; consequently, the unity of reversal actions that compel Hero
to throw herself into the same waters into which Leander once would emerge suggests the eternal
dissolving force that reigns through water over mortality. Other suggestions include numerous
definitions of waterthe essential component of life. Catharsis occurs at the end of the story,
when Leander loses his life due to a mysterious accident, and when Hero jumps to her death in
the same waters where Leander once would emerge and finally did perish. The term defined by
Aristotle incites controversy even today, however, because of its function in tragedy that results
through a fatal or disastrous conclusion to the concept of resurrection (Appelbaum & Koss,
1997). The Roman Stoic philosopher and poet Lucius Annaeus Seneca (circa 4 B.C.-65 A.D.)
probably introduced the first contemporary kind of tragedy as he recounted the macabre
activities of emperors such as Nero, and of warriors such as Heraclesmacabre activities
relating to fear, control, and transcendence. Concepts about afterlife, the underworld, and the
overpowering universal dimensions to which the mind must at last succumb influenced Aristotle
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(Aristotle et al., 1961), and have continued to be subjects of influential writers such as Trotsky,
Dewey, and Hugo.
Henrik Ibsen (1828-1906) of Norway produced a more modern tragedy, Hedda Gabber,
which exemplifies the tragic reversal and catharsis of a modern Hero and Leander; however,
rather than the folly of a sea, a pistol causes the macabre death of an associate of Heddas
husband shortly before she fatally wounds herself with a similar pistol over a financial dilemma.
As the protagonists comfort zone is reversed by some hubris of psychological, hereditary,
psychological, or environmental condition, the reaction is resolved in a tragic end that suggests
either hamartia or resurrection and eternal transcendence.
Schemata and structures are not readily transformed; they must be reformed continuously
in respect to new information and natural phenomenon. Probing the mind is a psychoanalytical
process that relates character and behavior with progress, planning, motivation, and transcendent
thinking. Transcendent thinking is important to literatureapocalyptic planning occurs when a
character or system plans, creates, or remains attentive to a method to achieve a goal. An
apotheosis is the completion of the praxis as Aristotle originally described of the essential
fulfillment that satisfies the motivating factors from which tasks are compelled (Aristotle &
Butcher, 2011; Aristotle, Butcher, & Fergusson, 1961)the psychic energy that directs and
works itself through outward conditions and environments to fulfillment.
Should one abandon the roots of cognition and language development, which have been
derived immensely from the classical and cultural traditions that are influenced through the art
and science ofAristotles volumes of classical instruction and Socratic inquiry? Without these
theories, histories, and processes, the Inquisition, which had begun in the 12th
century, scientific
and philosophical-educational scholars may not have reacted unconventionally to protect the
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reliable findings and lives of individuals such as Galileo Galilei (1564-1642) (Sobel, 1999). Why
condemn someone to exile or to execution over a conventional misinterpretation of sacred
scripture? Only those trained in the classical school of Socrates, Plato, and Aristotle develop the
determination to defend those who are persecuted unjustlystudies in Greek and Latin are
important to our understanding of an effective legal system. For example, Galileo had proven
that the earth orbited on its axes and about the sunevidence that the sun rather than the earth
was the center of the universe, and that the earth did in fact move constantly in its orbits.
However, not even the first Inquisition did prevent the persecution of such thinkers as Galileo,
for example, who common individuals forced into exile from his homeland where originally he
was disciplined academically. Only uncommon scholars in law protected him. The art or science
of inquiry is important to adult learning theory, as John Dewey learned and addressed while he
treated those who were oppressed byJoseph Vissarionovich Stalin (18781953)and his
Bolshevik party.
Identification of the Target Population and Learning Community
The ICAS identifies the target population as 50% of the beginning University students
who fail to collaborate, debate, and write in distinguishable English due to their poor
appreciation for rhetoric and their disinterest in semantics, classic literary terms, and related
analytical and critical thinking (ICAS, 2002, p. 4). Linguistics and rhetoric are important to
students of journalism and composition because they refer to communicative abilities that the
National Council of Teachers of English (NCTE) recognizes as multiple instructional steps. In
fact, the target population and learning community also refer to the less than 33% of new
University students who are prepared to analyze information or arguments that are based on their
reading (ICAS, 2002, p. 17). The NCTE implements and revises the generational fields of
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linguistics and rhetoric that are also of interest to organizations associated with Yale University,
the Educational Testing Service (ETS), the Oxford University Press, and the University of
Cambridge.
How the Project offers an important contribution to the Educational Community
The Project relates to the online community of English teachers and highly motivated
participants of learning organizations that flourish on an international scale through
correspondence, surveys, and forms, which serve to update and revise the system of central
competencies to reach under-achievers in University English skills. These organizations are also
available to everyone who demonstrates learning incentive. Participants are also involved in their
alumni learning communities. To guarantee quality, examiners and examinees are analyzed on a
center-by-center basis to reach diverse University infrastructures that provide information toward
overall improvementlesson plans, worksheets, and other learner resources as complimentary
online tools. These lesson plans and guidelines are elements of my program regarding aesthetics
in professional journalism and literature, persuasive logic, and syntax review.
Addressing the linguistic and rhetorical issues my program does address, the Cambridge
learning exams are given throughout the world by teachers, researchers, students, and academic
professionals to review thoroughly linguistic communication and language learning, the
Theoretical and Empirical Bases for Language Construct Definition Across the Ability Range
(University of California, 2009, p. 4). The program relates to the University of California (UOC)
andInternational English Language Testing System (IELTS) Guide so as to rely on updated
guidelines that the instructor and program designer originally learned upon completing graduate
assignments in English. Cambridge IELTS offers research-level online databases essential to
ongoing support and leading international assessment implemented by the 6000 institutions
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around the world, resources valued by undergraduate students of journalism and English
composition (University of Cambridge, 2009; 2010).
Since the first recognized Chinese book ofDiamond Sutra, applicants for government
jobs have been required to undergo objective standardized exams that have consisted as early as
7 A.D. of an expository requirement to studies of Confucianism and poetry. Linguists refer to
this early assessment practice, the 15th
-century Chinese movable type, and the Johannes
Gutenberg Press of Mainz, Germany as the original printing press of the Western World that
influenced the modern paper industry. One of our founders helped to originate the Gutenberg
Press and Publications that operated out of San Francisco for years. That group included linguists
and etymologists who shared information about Horace Mann, the public education advocate
who in 1845 demanded standardized writing exams which compelled a chain reaction of math,
geography, spelling, and grammar tests (Mathews, 2006, para. 7). Advancing and developing
methods of instruction and study methods have continued to achieve rapid development in
sciences, arts, and religion through the transmission of texts (Bellis, 2010, para. 2) as educators
such as Dewey and Trotsky have recognized that metacognitive processes and linguistic
dimensions influence the press as well as the writer, reader, teacher, and adult learner.
Even since Confucius, the adult learning environment has been the foundation of the
press and of standardized assessment procedures, therefore, both which have classical roots in
collaborative learning. Goals of the Learning Process at least since Imperial China have been
recognized and oriented about developmental foundations, motivational and Affective Factors,
for example, of the Learner-Centered Psychological Principles (American Psychological
Association's Board of Educational Affairs, 1997, para. 8, 9, 13). The press and learning
institution were formed by psycho-linguists concerned about teaching diplomacy, consideration
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for law and order, communicative skills, and technology to diverse learners. By the 16th
century,
the Gutenberg and the Oxford Press set to print translated Hebrew and Greek texts to instruct and
enlighten readers, books that instructors, philosophers, and linguists have continued throughout
the centuries to revise. The founders of our press have long advocated for appreciation and
knowledge of these facts, the foundation of this Program Development in Literary Aesthetics.
A central network important to our early University students and learning community is
coordinated through stakeholders who maintain expanding online dictionaries such as the Oxford
English Dictionary (OED) and theRiverside Shakespeare. As they preserve and nurture the
value of classical foundations, editors of these works welcome correspondence that those
students and learning communities may coordinate toward their new liaisons in education. The
true stakeholders maintain databases at Cambridge, Oxford, and in the domain of the original
Gutenberg and Confucian presses, which have been distinguishably expanding as the
stakeholders continue to upgrade their resources to compete with state-of-the-art e-learning
systems. Essential to the needs assessment of specific learners, the stakeholders databases
include guides and worksheets to which learners may refer so as to manage improvement and
formative planning. Consistent management by those who update mature databases does
generate the empirical-analytical epistemological process of enlightened action (Hayes &
Wilson, 2000, p. 6), successful communication between diverse societies, another subject that
coincides with the reversal of revolutionary tragic actions.
About the program design, instruction, and graduate studies
Backward Design, introduced by Grant Wiggins and Jay McTighe, introduces objective
statements and goals before learning content. The structure therefore applies an initial focus on
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CAPSTONE REPORT FOR PROGRAM DEVELOPMENT 16
the objectives before many integrated details are presented, and tends to augment the learning
process.
Table 1.
Backward Design for Literary Aesthetics (Template adapted from McTighe & Wiggins, 2011)
Backward Design Plan for Program Development in Literary Aesthetics
Learning Objectives
What are the overarching learning objectives? What are the overarching essential questions
Aristotles influence on dramatic poetry as a
highest art form is a subject addressed
extensively by Leon Trotsky inLiterature and
Revolution;
The relationship between Trotskys definition
of aesthetics and sublimation does not support
Bolshevikism and StalinismTrotsky believed
in equality and in a classless society, values
that he emphasized were inherent in the finest
literature even since Aristotle and Aeschylus.
How have Aristotle and Trotsky impressed
literature, aesthetics, and universality in art and
tragedy? Do their influences involve
philosophy? How? Why?
Why do aesthetical evocations into literary art
forms evoke transcendence?
Is transcendence related to sublimation and
metacognition?
What understanding will be conveyed through
this program?
What are the essential and specific foci of the
program?
How to develop classical and critical theory
into analogies;
How to identify and analyze tragedy, epic,
What constitutes a tragedy? A revenge
tragedy?
What identifies aesthetics in literature?
http://digitalliteracy.mwg.org/curriculum/template.htmlhttp://digitalliteracy.mwg.org/curriculum/template.html -
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Seneca tragedy, and Revenge tragedy;
John Dewey and Albert Goldman had
conducted a challenge of the Moscow trials to
prevent valuable educators, political
influences, and dynamically evocative writers
from horrifying execution and from other
methods of torture.
How did Seneca influence tragedy?
Why is TrotskysLiterature and Revolution
important to our understanding of poetry and
aesthetics as a classical and contemporary
genre? As a representation of universality?
What does universality mean to Aristotle and
Trotsky? Why is S. H. Butcher important to
our validation of Aristotles original Greek
work? Does Butcher believe that he accurately
translated everything? Is that even possible?
Why or why not?
How do metacognition and sublimation relate
to the literary metaphor?
Demonstration of Efficient Understanding
Evidence of understanding through observation and ongoing self-assessment
Methods of demonstrating mastery
Demonstration of Goal #1: Exhibiting motivation to read, discuss, and write about literature
through recognized and explorative metacognitive means, and recognizing mentor-oriented
writing disciplines;
Demonstration of Goal #2: Discusses and writes about qualities of classical style as a universal
framework even for contemporary models;
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Demonstration of Goal #3: reveal guiding principles and revelations that have shaped literature
throughout time; and
Demonstration of understanding for metacognitive, subliminal, and psychoanalytical processes.
Literary Tasks and Analytical, Critical Prompts
Exhibits an ability to develop critical analyses about the foundation and development of
literature throughout time in response to questions and in reflection of insightful conclusions
drawn from readings, discussions, and observations.
Planned Instruction
What instruction and learning experiences will prepare students to exhibit understanding in the
designated areas?
Recipients of instruction will demonstrate efficient understanding as they are able to identify
and/or analyze/synthesize:
Terms and concepts identified in the Eight Modules;
Symbols and actions that evoke transcendence;
The protagonist that begins and completes a course of action that unites instances of reversal
and recognition so as to compel katharsis (Greek for catharsis);
The chaotic evidence that may exist is some works parallel to the emotions that compel pity
and fear, which inhibit the orderly course of action;
Taxonomic principlescomponents of plot, denouement, resolution or anti-resolution in a
conflicting manner; components of tragedy and dramatic tragedy and mimetic impulse;
Any reversal of fortune (periipeteia);
The protagonists experience ofrecognition (anagnorisis) of his/her fate midst a reversal of
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events;
Aristotles description of metaphor; any metaphors a given work;
Evidence of any denouement as a typical and universal consequence or solution to conflict;
Diction that follows a metrical patternstrong rhyme and rhythm that flow as music
(melopoeia)?
Evidence of fablecontexture of incidents or plot;
Evidence of all six components when identifying tragedy;
Evidence of contexture of incidents (plot);
Evidence of transcendence as an escape to resolve problems in the physical world; and/or
Evidence of surrealist lyrical qualities that evoke the supernatural.
Statement about Benefits and Evaluation Criteria
Individual reactions are products of philosophical, cultural, and educational conditioning
that follow distinguishable patterns in their relationship with ethical standards that cannot really
change, and that therefore continue to follow the course which even highly educated ancient
scholars did recognize and document, benefits that are evaluated by the ICAS. To focus on the
specific components of these products is to fathom the very incipience of literary and fine art
form essential to the development of the model masterpiece. This occupation engages our
communities in valuable thinking, design, construction, and in the renovation of resources that
promote individual and community health; hence, the realization of benefits to a sustainable
social systemthe ability to resolve the dialectic or revolutionary occurrence. Further criteria
about the ascertainment of these qualities follow the Timeline.
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Detailed Project Plan, including the Timeline
Leaders in the work continue to merge and to represent the Foundations in Literature, as
the Modules indicate, beginning with Aesthetics and Universality in Perspective, and continuing
withTrotskysLiterature and Revolution(Trotsky & Strunsky, 1925) as the Program prepares
readers and students for the analysis of Hugos workLes Annes Funestes.
Table 2.
Eight-Module Development Program Timeline
TIMELINE
Week I (Module 1A)
Foundations in Literature
Identify leaders in the work; Review
Aesthetics and Universality in Perspective at
the associated address;
Send electronic and regular-mail
introductions to the new Program which will
be featured on the literary web,
ancientskybridge.com, Facebook, and through
other sources to be announced
Week II (Module 1B)
Further Foundations in Literature
Briefly review and analyze exemplary
works
Identify principles of masterpiece style
Week III (Module 2A)
The Importance of Tragedy
How tragedy is important to the revelation of
new knowledge and rationale;
Week IV (Module 2B)
Considerations: Conventional Style
Review common literary terms
Relate those terms with the influence of the
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How tragedy is important to all areas of
literature;
How concepts and relations of Katharsis
apply to other dynamic functions.
ancients, such as Aristotle, Plato, Socrates,
Aristophanes, Euripedes, and Sophocles.
Week V (Module 3A)
Victor Marie Hugos Environment (1802-
1885) and
Les Annes Funestes
Look for influences of Aristotle
Week VI (Module 3B)
Hugos Environment, Philosophy, Ethics,
Style andLes Annes Funestes
Identify evidence of revolutionary ideas,
such as influences of Franois-Ren
Chateaubriand (1768-1848) and Jean-
Jacques Rousseau (1712-1778)
Week VII (Module 4A)
More Topics that Relate to the Romantic Era
and Revolutionary Literature
Week IIX (Module 4B)
New Terms, Concepts, and Issues to Add to
the Pedagogy (very brief, may be completed
in Week VII)
Identified critical success factors to indicate progress and results
Critical success factors that will indicate progress and results shall be indicated through
results that align with the ICAS and UOC standards. For example, as participants recognize
aesthetical and cultural qualities of literature, they must objectively and persuasively combine
the rhetorical strategies of narration, exposition, persuasion, and description that demonstratea
command of standard English and the research, organizational, and drafting strategies of Writing
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Standard 1.0 (ICAS, 2002, p. 70). Therefore, all of the standards of the ICAS must be integrated
to indicate successful progress and results. Similarly, participants should demonstrate an ability
to critique diction and syntax with the purpose of oral communication, to successfully
impact words, to analyze the technique used in media passages, and to evaluate
effectiveness (ICAS, 2002, p. 76), processes that coincide with Andrew Radfords instruction in
transformational grammar. For example, participants should demonstrate understanding from a
psycholinguistic and colloquial approach for the innate knowledge of universals, and for the
linguistic experience--the idiosyncratic, language-particular properties of a target language,
also known as language of the mind (Radford, 1989, p. 37).
Defined roles and responsibilities for each participant
Each participant must be motivated to complete important reading assignments that
provide information essential to the analytical and critical writing assignments. At the same time,
participants must maintain an active reading and writing portfolio that does include lists of new
words, authors, playwrights, productions, and subjects that may be coordinated into the writing
assignments and learning discussion opportunities.
Resources required and how they may be acquired
The following resources, descriptions, and learning Modules are also included in the authors
web at http://www.ancientskybridge.com/shakespeare%27s_inkhorn.htm:
An edition of the Oxford Encyclopedia of Literature (this may be up to 20 years old)
This is only an introductory program, but the following are recommended, affordable copies
which may be located through online searches and as described:
Appelbaum, S. (Gen Ed.) & Koss, R. (1997). Aristotle poetics. Mineola, NY: Dover
Publications.
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Aristotle and S. H. Butchers The poetics of Aristotle (2011);
Aristotle, S. H. Butcher, and F. FergussonsAristotles poetics (dramabook) (1961);
Asimov, Isaac (1970).Asimovs guide to Shakespeare. NY: Random House Publishing.
A. Dunn and A. SingersLiterary aesthetics: a reader(2000).
Glatzer, A., Walters, D., & Preliminary Commission of Inquiry into the Charges Made Against
Trotsky in the Moscow Trials,The case of Leon Trotsky: Report of hearings on the charges
made against him in the Moscow Trials. (2000, August-September). Available at
http://www.marxists.org/archive/trotsky/1937/dewey/
Hammond, N. G. L. (2001).Aristotle poetics. University of Copenhagen: Museum Tusculanum
Press.
Hugo, V. (n.d.).Les annes funestes. New York, NY: Collection Nelson.
Kline, AsFranois Chateaubriand mmoires doutre-tombe available, for example, at
http://www.poetryintranslation.com/PITBR/Chateaubriand/Chathome.htm
Sachs, J. (2001; 2005). Aristotle: poetics.Internet Encyclopedia of Philosophy at
http://www.iep.utm.edu/aris-poe/
S. Schamas Citizens: A chronicle of the French Revolution (1989)
Victor HugosLes Annes Funestes (if you cant find a copy, I will provide one from an
original undated and instructional work published by Collection Nelson, Charles Sarolea (the late
Doctor of Letters at the University of Edinburgh). The last four modules refer to Hugos work
that I have translated and interpreted numerous times since 2000, and which I have dispersed
throughout Language Arts Departments at Universities and Churches. It is available at Les
Annees Funestes translation and original.
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Developed plan
Eight Modules will be directed to legislators and Chairs of English Departments throughout the
Bay Area, and to several legal groups.
Module 1
Foundations in Literature: The Project begins with a review of authors and works that are
reviewed in the inkhorn located in Module 1 more than midway through the page at
http://www.ancientskybridge.com/shakespeare%27s_inkhorn.htm and Aesthetics and
Universality in Perspective.
Module 2
Further Foundations in Literature: Briefly review and analyze exemplary works; identify
principles of masterpiece style
Even during the 19th
century, University and/or tutored students learned of classical principles
defined by Aristotle, such as the following, which are important to consider. Aristotle had
described the Tragedy, which was improvised originally in terms of the Cyclopes popular during
those times, as an attempt to convey individuals in a manner which is better than they are
currently. On the other hand, comedy attempted to convey those individuals in a manner which
is worse than they are currently. The Dorians were dramas (drontasindividuals in action), and
their reveling (komazein) in villages (kumai) evoked activities that the poet and/or playwright
would record and share with all intention on a scale as grandly constructed as the work itself. Of
further relevance is the Elegythe elegiac poet, which referred also to the epic poet,
significant characteristics of the dithyramb of the original amphitheater.
Does the work evoke transcendence?
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Does a protagonist begin and complete a course of action that unites instances ofreversal and
recognition so as to compel katharsis or moments ofkatharsis?
Does chaotic evidence exist of emotions that compel the pity and fear, which also inhibit the
orderly course of action?
Do you detect taxonomic principlescomponents of plot, denouement, resolution or anti-
resolution in a conflicting manner; components of tragedy, drama, and mimetic impulse?
Do you detect any reversal of fortune (periipeteia)?
Does the protagonist experience recognition (anagnorisis) of his/her fate as a reversal of
fortune?
Aristotle had described the importance of metaphor. Are any metaphors evident in the work?
Is any denouement evident as typical and universal consequence or solution to the conflict?
Does the diction follow a metrical patterndo strong rhyme and rhythm flow as music
(melopoeia)?
Consider evidence of fablecontexture of incidents or plot. Explain.
Does the work consist of all of the six components that identify tragedy?
Does the work consist of all of the six components that identify tragedy (contexture of incidents
or plot), manner, diction, sentiments, decoration, and music? Explain.
Is hope evident to transcend or to sense transcendencean escape to resolve problems in the
physical world through vision?
Does evidence exist of surrealist lyrical qualities that evoke the supernatural?
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Module 3
The Importance of Tragedy: how tragedy is important to the revelation of new knowledge
and rationale; how tragedy is important to all areas of literature; how concepts and relations of
Katharsis (catharsis) apply to other dynamic functions.
Dichotomy: the active real world versus the visionary evoked through reading, outlets of current
physical movement and properties, both influencing transcendence of the immediate
environment, as prevalent themes of tragedians, for example.
Even though some independent writers have varied their meter, rhyme schemes, and style
to deviate from classical conventions of epic, tragedy, and comedy, for example, their work
nonetheless does follow significantly a varying range of those conventions. Melancholy may
vary in intensity from light to revolutionary and nihilistic. The fundamental tragic vision,
however, is basically the samethe spectacle of a highly respected individual whose idealisms,
respect, and courage conflict with his/her restricting nature that must hopelessly struggle in an
indifferent or rivaling universe. Traditionally, the classic tragic hero was a hero or individual of
significant prestige or honor whose significance is undone through a personal flaw (hubris), by
the will of a supernatural dimension or through relentless support of a value or desire. Modern
tragedy developed from the struggle against fate, or the force of hubris, to the conflict with
genealogical, social, psychological, environmental, and semantically idiosyncratic forces.
Original tragic plays of Sophocles, Euripides, and Aeschylus dramatically compelled the
audience and reader to pity, fear, sometimes compassion; thereby generating the simultaneous
consequence for a catharsis of those emotions.
Among the first tragedians, Euripides innovation ofAndromache did convey the
message about the unsupportable and needless sinister suffering and inhumane behaviors that
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prompted and sustained war. The components of tragedy that reveal the mortal struggle against
fate or the force of hubris indicate the caustic criticism and subtle analysis of psychological
motives through Euripides characterization, for example. Euripides even challenged the
common Athenian attitude about the subordination of women in his tragedyAlcestis; and, the
spiteful Athenian attitude for foreign women inMedea. Furthermore, Euripides attacked the
prevalent attitude and inhumane treatment of illegitimate children inHippolytus. These tragic
plays were introduced by a choral ode, also composed by the tragedian. The other two original
tragedians, Sophocles and Aeschylus, also sought to search for effective revelations and
insightthe truth and introspective understanding to correct the current brutality of the moral
order, which abounded in the massacre and annihilation of entire communities. Through
impressive grandeur of language and prolific works, Sophocles and Aeschylus magnificently
portrayed and deciphered the conflicts between historic heroes in The Persians and in mythology
inAgamemnon, scrutinizing between old and new policy and law in Eumenides, and between
supernatural and mortal beings in Prometheus Bound. Another critical issue about the ancient
playwrights involves the elaborate and intricate costumery in which the tragedians did clad their
characters. Through the scrutiny of these playwrights, innovated through the original Academy
and Poetics of Aristotle who began to derive variations of style, the Comedy did evolve through
these same tragedians.
Thus, a dichotomy of forces prevails in the apocalypse suggested by a physical or
communicative property of highest artistic quality. One must observe from his/her real
surroundings the work that influences a visionary escape through summaries, dialogues, colors,
imagery, and attitudes. One must grasp the components that suggest mortal dilemma that may be
surmounted by transcendence, the process of concepts, conceptualization, progression,
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socialization, and behaviors. Dating to the first tragedians of ancient times, the first tragedians,
ShakespearesRomeo and Julietis perhaps the most known tragedy today. Family feuding
results in misunderstandings and the unnecessary mortality of young lovers, for example. First
published in 1562 as a poem by Englishman Arthur Brooke, who had translated Masuccio
Salernitanos original version ofIl Novellino in 1476, the play had also been treated by Luigi da
Porto in approximately 1530 before Shakespeare adapted it to his inkhorn. Beginning with the
chorus typical of the ancient tragedy, which introduces the abounding reveling of the Verona
households, Montecchi and Capeletti in the Da Porto version; the Montagues and the Capulets in
the Shakespeare version, Shakespeare did name the character who advocates for good will
Benito. Benito was an invention that is accredited to the Bard that sought for the reconciliation
of family differences that existed between the Montagnes and the Capulets. Hence, one detects
that tragedians throughout time have studied the psyche of protagonists and antagonists as they
attempt to reveal to their audiences the pitiful mortal conditions that could be resolved
conscientiously and diplomatically, rather than through bloodshed and further preventable
fatality. Furthermore, the apocalypse and transcendence that the ancients and the inkhorn compel
through their treatment of tragic conditions that could be corrected are a part of the aesthetic
quality of literary masterpieces.
The recounting of the following works is important to understanding Hugo, for example,
whose innovations vary to some degree but not considerably from the original ancient poets-
playwrights. They are so important to Hugo, for example, that he refers to them in his work.
Even James Joyces Ulysses is an introspective search through his stream-of-consciousness style
into the human faculty to generate a solution to mortal dilemma, and I suggest a review into the
psyche of the protagonists and antagonists of these works which present bounding conflicts.
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Prometheus Bound, The Persians, Hippolytus (which includes Electra, to whom Hugo refers in
hisLes Annes Funeste), Medea, Trojan Women, Andromache, Helen, and Electra.
These introduce us to psychological conditions that influential tragedians attempted to address
even during ancient times, from the original Greek Academy. Do these conflicts resolve
themselveswhen is a sign of Omniscience or eternal life detectable? That is the foremost
question to the conscientious dramatic lyricist such as Aeschylus, Shakespeare, Hugo, and Ben
Jonson, and critics such as Leon Trotsky.
Module 4
Considerations: Influences of Style: review common literary terms; relate those terms with the
impressions evoked by the ancients, such as Socrates, Plato, Aristotle, Euripides, and Sophocles.
Considering the following will enable one to decipher the true intentions of the literary
artist who follows classical or neoclassical principles:
Even Dante (Durante Degli Alighieri, 1265-1321) had referred to Aristotle as the Master
of those who know. From science, physics, rhetoric, metaphysics, and natural history to Poetics,
Aristotle observed, analyzed, and documented all sides of every spectrum. Syllogism and
dialectic were evident in the approaches of philosophers and dramatic writers to reason or logic,
andNichomachean Ethics andEudemian Ethics were foundations of his own treatises, which
indicate that mortals sought a happiness that could not be achieved through wealth, fame, and
wealth. Rational principle, virtue, and the contemplation of philosophic truth were essential to
the secure longevity and health of a community, and instructors did imitatethe actions of their
instructors, while their plots did imitate important dynamical issues that they endured and
analyzed toward perspective improvement. Aristotle had been taught by Plato in the Academy
and Lyceum in which Plato had learned from Socrates; the semantics and diction evoked by the
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teachings of the teacher of wisdom are evident in the Dialogues of Plato and the treatises of
Aristotle. The diction of Socrates and his students sought a universal definition of virtue in all
areas of ethics, knowledge, and logic.
To Aristotle, Poetics and tragic drama are achieved through unity of action, place, and
time. Both epic poetry and Tragedy should be achieved through the imitation of verse that
characters express of a divine awarenessa cognizance of wisdom. Butcher recognizes the
praxis of Aristotle as actionthe motivation from which deeds originate (Aristotle & Butcher,
2011; Aristotle, Butcher, & Fergusson, 1961)a psychic energy that projects and works itself
outwards. All of the inspiration of ancient Greek tragedians treated plot through modes of pathos
and purpose to a resulting perception, parts of the work which Aristotle and his students
identified as quantitative parts. Prologue, Episode, Exode, and Choric song (Aristotle et al,
1961). He also concerned himself with what he recognized as the organic parts of his plots
the action that gives rise to the instance of the catastrophic finale: (1) Reversal of Situation; (2)
Recognition; and (3) Pathos (i.e., Scene of Suffering) (Aristotle et al., 1961, 16).
Other terms important to the tragedians who had been influenced by the wisdom of
Socrates and by the quest for truth and justice:
Katharsis (cleansing of emotions)
Peripeteia (reversal of fortune)
Anagnorsis (to experience recognition)
Metaphor
Aristotles Rhetoric
Tragedy as a unity of plot or contexture of incidences; manner,
diction, sentiments, decoration, and music
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Denoement
The Choral Ode
Deus ex machine
The Episode (episodes of tragedy being distinguished from those
of epic)
Thought as an intellectual element that is developed in dramatic
speech or dialogue
Gender of Nouns
The review of common literary terms in respect to the ancientsAristotle, Plato, Socrates,
Aristotle, Euripedes, and Sophocles--does relate directly to their generations of students. Please
share your reviews in respect to this important humanitarian issue.
Module 5
Victor Marie Hugos Environment(1802-1885) and Les Annes Funestes; look for influences of
Aristotle:
Hugo emphasizes serenity as the condition and atmosphere that he prefers (page 20, for
example); through grand literary style, he conveys the catastrophe of an inferno created by
despotic leaders, an Anagnorsis (experience of recognition) that continues throughout the work.
He also implements elements of tragedy, oxymoron, catharsis, Nemesis, metaphor, strophe,
contexture of circumstances and actions, and references to the ancient tragedian Aeschylus (424-
456 B.C.), who had fought against the Persians. His reference to Dante indicates his academia
that followed the line of students educated through student predecessors of Socrates, Plato, and
Aristotle, for example. Dante had written that Aristotle was Master of those who know, and all
writers even during Shakespeares times had studied through the original Academy (and
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Lyceum) of Aristotle and Plato, because Aristotle had studied with Plato; Plato with Socrates.
The cause for his death was completely unjusthe was a martyra saint to those who learned
of his wisdom. Referring to the saintly cause, inhumane groups, and his lofty spirit that
plays tempest hymns that shine and blaze (page 19, 20), Hugo creates an evocation to
superimpose the ideal sphere where havoc and infernal impossibilities multiply. Clearly, Hugo
was intricately educated in the ancient tragedians. To him, conquerors and tyrants are inhumane
and intolerable, and from the lofty heights of skies, his heart had to endure the dead who
sacrificed their lives as martyrs to fulfill the will of despots. Relieving his pain compels qualities
that evoke transcendence, compassion, and profound wisdomcomponents of Aesthetics.
Napoleons name first appears on page 22; simultaneously, dreadful dreams, disaster,
altars of danger, an empire with no rightful claimant, immense remorse for the massacres.
Why recall Corneille (page 26)? To continue with the tremendous evocation of worthy reality, in
contrast to the desires of the Emperor who compels poverty and sorrow. Reinforcing the
grievous plagues brought forth by despots, kingsHugo is tormented by Brutus and Caesar, who
he deplores for their extortion of finances, resources, and labor. Hugo staunchly opposes the
Caesars who he declares do wash from their streets the blood of those who have lost their lives to
the same opulent despots who ever hide behind the sacred word and altars. In fact, he considers
tyrants who work others inhumanely to be traitorsdeceitful in respect to the humanitarian
codes that they purport. On page 28, Bonapartes name appears againa fallacy persists about
those who justify to themselves the massive massacres that they commit against their
communities. Furthermore, a reversal of situation (peripeteia) is evident (page 41) after Hugo
relieves himself of his tormenting grief by considering the other side of Englands support for
Bonaparte. I will intoxicate him [the laborer] through the machine gun, and he states that he
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does not desire Bonapartes finale--that everyone recovers when Bonaparte knows that they will
fall again. Yet, he reverts again in another reversal of situation to the tragic revelation about
egocentric unjust standards that support the sword (page 53) to eliminate rivals to resources.
Hugos thought is relentless as an intellectual element of his introspective dialogues through
himself and through the interactive characterization that he recounts.
A germane exercise includes the highlighting of words, phrases, and statements that
indicate Hugos education in the ancient tragedians. Very much evidence exists that foundations
exist which relate to the causes for diplomatic methods and distinguishable diction--semantics
that may be translated across languages; hence, a universal language and aesthetic. To begin and
perhaps substantially prove these theories, the following should be underlined or highlighted:
Page 17: Reference to comedian Molire (actor, dramatist); Tyrtaeus: an elegiac Athenian
poet who had inspired the Spartans by his songs so as to defeat the Messenians;
Page 18: Reference to Dante with grand esteem--Dante who had declared Aristotle to be
the Master of those who know;
Page 19: AeschylusGreek tragic dramatist (525-456 B.C.) who fought against the
Persians, and highly respected by Aristotle (384-322 B.C.);
Page 20: Electra again; Hugo prefers serenity. Why mention Boccaccio and Venus, who
midst these conditions would fly away? Hugo clearly emphasizes his discontent with
Sophism and intimate relations;
Page 25: creation seems an apotheosis;
Page 26: Emperor;
Page 28: Bonapartes name first appears in reference to one of the tyrants who have
devastated civilization through unconscionable massacres
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Page 30: Hell, Ipsara;
Page 31: Caphe
Page 34: Where the infamous thrivethe black shadow down of monstrous day
Paris set in bondage by tyrants, kings, emperors, conquerors;
Page 35: Baudin;
Page 36: Napoleon IIIs Minister Rouher whose vile mouths
Page 37: Cliomuse of music;
Page 41: I will intoxicate him [the laborer]the machine gun; he desires not the death
of Bonaparte, that everyone recovers, when he knows that they will fall again; Irony;
Page 53: innocence is by the swordcompletely innocent individuals are unjustly
imprisoned, forced to a premature unjust death, and even executeda theme that is
reworded repeatedly with different historic figures and literary tactics
Page 54: these Sophists
Page 58: Nemesis
Page 66: Reading Homer will have magnificent effects
Page 80: The English admire Bonaparte
Pertinent titles that address these issues which one will note in classic masterpieces, such as
HugosAnnes Funeste, for example are as follows:
Appelbaum, S. (Gen Ed.) & Koss, R. (1997).Aristotle poetics. Mineola, NY: Dover
Publications.
Aristotle & Butcher, S. H. (2011). The poetics of Aristotle. Martino Fine Books. Eastford, CT:
Martino Fine Books.
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Aristotle, Butcher, S. H. (Translator), & Fergusson, F. (Introduction). (1961).Aristotles poetics
(dramabook). NY: Hill and Wang.
Asimov, Isaac (1970).Asimovs guide to Shakespeare. NY: Random House Publishing.
Dunn, A., & Singer, A. (2000).Literary aesthetics: a reader. Oxford UK: Blackwell Publishers
Ltd.
Hammond, N. G. L. (2001).Aristotle poetics. University of Copenhagen: Museum Tusculanum
Press.
Sachs, J. (2001; 2005). Aristotle: poetics.Internet Encycopedia of Philosophy. Retrieved from
http://www.iep.utm.edu/aris-poe/
The last four modules refer to Hugos work that I have translated and interpreted numerous times
since 2000, and which I have dispersed throughout Language Arts Departments at Universities
and Churches. It is available at Les Annees Funestes, translation and original.
Module 6
Hugos Environment, Philosophy, Ethics, Styleand Les Annes Funestes
Impressed by other French tragedians who were also educated in the classic tradition of Socrates-
Plato-Aristotle, Hugo was also influenced by Franois Ren Chateaubriand (1768-1848), who
portrayed the realistic side of Revolutionary inspiration and aspiration through his detailed
chronicles. Written during the earliest stages of Romanticism, his chronicles consist of a style of
prose that are vibrantly passionate and circumspective, and that abound in a unique fervency for
nature. According toBinets Encyclopedia (Bint & Dingler, 1987), Chateaubriand was a
foremost influential writer who had served as minister of foreign relations and as ambassador to
Germany, England, and Italy. Research indicates that Chateaubriands themes did impress Hugo
through critical sensitivity that strived to detect and prevent exacerbating conditions.
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Chateaubriand had instilled current tradition into his focus of the Crusades, as evident in hisLes
Martyrs (1809) andLItinraire de Paris Jrusalem et de Jrusalem Paris (1811),
centerpieces of the Holy Land, ancient and current Greece, and surrounding Middle Eastern
lands. Hugos meditation did permeate in a blend of the original tragedians and Chateaubriands
chronicleshe had been influenced also by the mortal struggle and dilemma that Chateaubriand
had addressed, and the complex evocations of Spirit that the enduring diplomat had expressed
through his Mmoires dOutre-Tombe (Binet & Dingler, 1987).
Emperor Bonaparte I was portrayed by Chateaubriand and Hugo through three
generations of multi-faceted splendor; as a leader throughout Europe; he had lead tens of
thousands and hundreds of thousands of soldiers from Poland, Prussia, Austria, France, and
Switzerland, for example, who traversed helter-skelter trenches, blazing aftermaths of canon ball,
torch; incendiary ruins reminiscent even of Xerxes fiercest pyre; the multiple decline of Troy.
The detailed prose of Chateaubriand did influence the disciplined structure of Hugos panorama
and observation, the distances between the Emperor and his subservient riffraff that Hugo
recognized as inhumane and preventable massacres.
Check out the Memoires dOutre-Tombeand look for evidence of it in Hugos magnificent
dramatic poetry,Les Annes Funeste. How are the two similar? How do they differ? Please
check out the rhyme and meter of the original French version.
Module 7
More Topics about Revolutionary Literature. Of relatively obscure derivation, tragedy
has remained evident in dramatic works that recount fiction and non-fiction reports, even since
the times of ancient tragedian Seneca. Leon Trotsky (1879-1940) had written extensively of the
subject as it relates aesthetics, political influences, social reactions, extrinsic revolutionary
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actions, and internal conflicts with the dialectic analyses involved in the qualities and artistic
emanation of literature. Some of the following topics are important to the analysis of all forms of
literature, because all protagonists convey some conflict that resolves in some profound
revelation or resolution that coincides with the problem-solving characteristics of the tragedian
model, even when the tragedy evokes the revenge form associated with the dramatic features of
William Shakespeare (1564-1616) and Johann Wilhelm von Goethe (1785-1830).
Some of the topics associated with the critical analyses and metacognitive orientation of
exceptional literature include the following:
Comparisons of social activity and phenomenon that pertain to the existence and cyclesof natural science;
Effects of social and political conflict among the bourgeoisie, proletariat, and aristocracy--terms that vary among languages and nations;
Individual creativity as influenced through economic distinctions or class society; Prevalent conditions and discrepancies that initiate and exist due to war or other
revolution;
Similarities that relate to the anti-structuralism of Jacques Derrida (1930-2004) (Lawlor,2006; 2011) and that expound upon a method of cultural criticism that is more distinct;
See, for example: http://plato.stanford.edu/entries/derrida/
References to economic distinction evoked by trends of social activitiesdilemmas ofwar; the profundity that evokes thoughts about transcendence; laborers and troops
interacting in problematic and tragic ways; proletariat ideals; expressive emotions and
metaphor;
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Similarities to the dual impressions of dialectic thinking that are important to theobservation and criticism of surface or explicit areas of politics, implications of Marxism,
the expression of lifestyle, and proletarian culture as on official social system;
Implications of revenge tragedy in revolutionary literature and the evoking of spiritualdomain;
Profound impressions that are neoclassic as the concept of tragedy from Aeschylus andSeneca to English and French Middle Ages and Elizabethan dramatic histories,
chronicles, and references;
Bohemian Art Seneca Tragedy versus Revenge Tragedy Hudibras and Tragedy Trotskys Workingman Poetry Highest are form to Aristotle and Trotsky Intelligentsia of the Formalist Schools Denouncing of Marx by Trotsky Trotsky Art for the Sake of Art Creative Artistic Literature Social Influences as a Catalyst in Art Cosmos and Proletarian Art Cataclysmic and Insight as Generational Literature Futurism and Aesthetical Revelations in Literature Materialistic Dialectics and Aestheticism Influence of Trotsky and Dewey on Innovative Literature
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The topics evoke challenging discussion, debate, and expository; additionally, they evoke
insight into new literary work, to the educational vocabulary portfolio, and to critical, analytical
development.
Recommended Reading for this Module:
Trotsky, L. & Keach, W. (2005, May 1). Literature and revolution. Chicago, IL: Haymarket
Books.
Trotsky, L. & Siegel, P. (1992, June).Art and revolution: Writings and literature, politics, and
culture. Washington, D.C.: Pathfinder Books.
Trotsky, L. & Strunsky, R. (translator) (1925).Literature and revolution. Retrieved from
http://www.marxists.org/archive/trotsky/1924/lit_revo/index.htm
Module 8
New Terms, Concepts, and Issues to Add to the Pedagogy
accent
aesthetics
anagnorsis (to experience recognition)
catharsis (also spelled catharsis)
choral ode
Classical
Clio
Conflict
denouement
deus ex machine
elegy
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epic (Homeric)
episode (episodes of tragedy being distinguished from those of epic)
simile
euphemisms
Gender of Nouns (origin: Aristotle, a student of Plato who was a student of
Socrates;
hubris
irony
kennings
metaphor
nemesis
onomatopoeia
oxymoron
pathos (i.e., scene of suffering (Aristotle et al., 1961, 16)
peripeteia (reversal of fortune)
Platonism,
Neo-Platonism
recognition
Reversal of situation
Rhetoric (from Aristotle)
rhyme scheme
Sapphics
Simile
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Sonnet
Sophists
stream of consciousness
syncopation
synecdoche
thought (as an intellectual element that is developed in dramatic speech or
dialogue)
tragedy (as a unity of plot or contexture of incidences; manner, diction,
sentiments, decoration, and musicAristotle and classically derived)
universality
Strategies for managing risk and addressing any political implication
Legislators and English Department Chairs must be written regularly; an legal advocacy
group must also be maintained as a recipient of the developmental program in Literary
Aesthetics that will benefit early University students in their literary and syntactic efficiency.
Materials and Resources Required for Successful Completion
Materials and resources are listed in the References Section and in the Modules.
Conclusion
Midst the conflict of the omniscient voice of Hugo, the platonic function to relate to a
more perfect world is evident. Alan Singer and Allen Dunn explain that attempting to exaggerate
the influence of Plato (427-347 B.C.) on the development of literary aesthetics is impossible
(Dunn & Singer, 2000, p. 143). Ironically, however, he expresses no regard in The Republic for
poetry. However, he was nonetheless Aristotles instructor. Perhaps his life was so occupied by
other tasks and urgencies that he ignored the powerful tragic dramas of Aeschylus (525-456
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B.C.) who lived 29 years while Plato was living. The antithesis that Aeschylus instills in
Euripides conveys the pathos of tragedy, abounding in moral teachingsthe mortal
consequences of a failure that the dramatic tragedian strives to foresee (Aristotle et al., 1961).
Yet, the revelation of truth and an ethereal realm is undeniably the transcendence to which Plato
relates in his platonic explanation of literary aesthetics.
Because Platos instructor and hero had been Socrates (470-399 B.C.), the difference of
each philosophers value for poetry should be significant, except that Platos student Aristotle
followed Platos quest for literary aesthetics as he also associated that subliminal realm of
wonder with Socratic questioning. The Socratic dialogue is so important to the tragedian
Sophocles (496-406 B.C.) who sought for truth and individual understanding about social moral
order that one must wonder why Plato expelled Sophocles work as poetry--Plato clearly ignored
the teachings of the dramatic tragedy of profound lyrical meter. After all, Sophocles lived 21
years beyond Platos birth, and they both represented the Greek Academy and Amphitheatre.
Even Euripides (480?-405 B.C.) had deceased only 22 years before Platos birthEuripides was
only 10-years older than Euripides, and they valued with critical distinction the Greek
Amphitheater. The three great ancient tragedians had structured poetry of precedential power and
dramatic influence that Aristotle correctly addresses in his explanations about the psychological
experience that John Dewey describes as the remaking of the material experience from the
transformative capacity (Dunn & Singer, 2000, p. 277). The psychological examination of the
actions of Euripides characters about conflict and oppressive social actions does lend the insight
that Aristotle documents and that Trotsky exemplarily reveals. As conscience for a law-abiding
society free of aristocrats, the actions and pathos that evoke the psychological analysis essential
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to the cultivation of justice is shared among political, educational, and literary geniuses such as
Shakespeare, Dewey, Trotsky, and Hugo.
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References
American Psychological Association's Board of Educational Affairs (1997, November).Learner-
centered psychological principles: A framework for school reform & redesign. Retrieved
June 23, 2010, from http://www.apa.org/ed/governance/bea/learner-centered.pdf
Appelbaum, S. (Gen Ed.) & Koss, R. (1997).Aristotle poetics. Mineola, NY: Dover
Publications.
Aristotle & Butcher, S. H. (2011). The poetics of Aristotle. Martino Fine Books. Eastford, CT:
Martino Fine Books.
Aristotle, Butcher, S. H. & Fergusson, F. (Introduction). (1961).Aristotles poetics (dramabook).
New York, NY: Hill and Wang.
Asimov, I. (1970).Asimovs guide to Shakespeare. New York, NY: Random House Publishing.
Berube, M. R. (2000, January 30).Eminent educators: Studies in intellectual influence
(contributions to the study of education). Santa Barbara, CA: Greenwood/Praeger.
Bint, W. & Dingler, L. (1987).Bints readers encyclopedia. New York, NY: Harper & Row.
Dewey, J. (1938; 1997).Experience and education. New York: Touchstone Rockefeller Center.
Dewey, J. & Small, A.W. (1897; 2006, February 17).My pedagogic creed and the demands of
sociology upon pedagogy. Digitalized form retrieved from the University of Michigan at
http://books.google.com/books/about/my_pedagogic_creed.html?id=gZq6NB6R-P8C
Dunn, A., & Singer, A. (2000).Literary aesthetics: a reader. Oxford UK: Blackwell Publishers
Ltd.
Glatzer, A., Walters, D., & Preliminary Commission of Inquiry into the Charges Made Against
Trotsky in the Moscow Trials. (2000, August-September). The case of Leon Trotsky:
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Report of hearings on the charges made against him in the Moscow Trials . Retrieved
from http://www.marxists.org/archive/trotsky/1937/dewey/
Hammond, N. G. L. (2001).Aristotle poetics. University of Copenhagen: Museum Tusculanum
Press.
Hayes, E. R., & Wilson, A. L. (2000).Handbook of adult and continuing education. San
Francisco CA: Jossey-Bass.
Intersegmental Committee of the Academic Senates (ICAS) (Spring, 2002).Academic literacy:
A statement of competencies expected of students entering California public colleges and
universities. Sacramento, CA: ICAS. Retrieved April 18, 2008, http://icas-
ca.org/Websites/icasca/Images/Competency/AcademicLiteracy2002.pdf
Kline, A. (2005-2007; 2011, August 27). Franois Chateaubriandmmoires doutre-tombe.
Retrieved from
http://www.poetryintranslation.com/PITBR/Chateaubriand/Chathome.htm
Lawlor, L. (2006; 2011). Jacques Derrida. Stanford Encyclopedia of Philosophy. Retrieved from
http://plato.stanford.edu/entries/derrida/
Magretta, J. (2002). What management is. New York: The Free Press, A Division of Simon &
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Mathews, J. (2006, November 16). Just whose idea was all this testing. The Washington Post.
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McTighe, J. & Wiggins, G. (2011). [Digital] literacy: Researching education and training in a
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