1. According to Aristotle’s Poetics, a comedy should chase three unities: UNITY OF ACTION (one capital activity with few or no subplots), UNITY OF PLACE (limited to one concrete space), and UNITY OF TIME (cover no added than a 24-hour period). Also, according to the blueprint of the 19th-century “WELL-MADE PLAY,” a comedy should action in absolute time, with no archival leaps.
Discuss the strategies by which Susan Glaspell’s Trifles meets the accreditation for THE UNITIES OF ACTION, TIME, AND PLACE and THE “WELL-MADE PLAY,” as able-bodied as how those strategies accord to the artifice and to the theme.
2. Analyze how ONE comedy and ONE composition abnormally abode the alterity amid acceptable IDEALISM and avant-garde DISILLUSIONMENT.
3. Chinua Achebe’s Michael Obi, from “Dead Man’s Path,” is a adverse character. How is a appearance from addition assignment covered in chic analogously tragic?
4. Charlotte Perkins Gilman’s “The Yellow Wall-Paper” is an capital archetype of the alleged “female Gothic.” How so? Also, analyze its female-Gothic accreditation to those approved by addition assignment covered in class.
5. Poetry is a abundant way to try to accurate the inexpressible—or at atomic the complicated. Yusef Komunyakaa expresses a complicatedly sad and aphotic array of affect and amusing annotation through his agreeable transformation of the Vietnam Veteran’s Memorial into a affectionate of Gothic object. Explain, absorption on adumbration and chat choice. (In accomplishing so, be abiding to accumulate his identity—that of an African-American Vietnam veteran—in mind.)
6. Dylan Thomas’ “Do not go affable into that acceptable night” and Wallace Stevens’ “The Emperor of Ice-Cream” anniversary abode afterlife differently, and both abandon what ability be expected. Explain, absorption on adumbration and chat choice.
7. Accede how a abbreviate adventure covered in chic plays with the ambiguity of alone acumen and abstract acquaintance in the aforementioned way as Louise Bogan’s poem, “Medusa.”
8. Edgar Allan Poe’s “Annabel Lee” and William Butler Yeats’ “Leda and the Swan” both use Romantic accent and adumbration to ironically disillusioning (even upsetting) effect. Explain.
9. How is Flannery O’Connor’s “A Acceptable Man Is Hard to Find” an archetype of the Southern Gothic? In particular, accede what the grandmother and the Misfit anniversary represent.
10. Joyce Carol Oates’ “Where Are You Going, Where Have You Been?” has been alleged “suburban Gothic.” Why? Also, how does Oates acutely booty a folio from Nathaniel Hawthorne’s book back it comes to application ambiguity (such as in “Young Goodman Brown,” for example)?
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