Genres Web Paper 2

www.youtube.com/watch

Hey now, hey now

“The best moments in reading are when you come across something - a thought, a feeling, a way of looking at things - that you'd thought special, particular to you. And here it is, set down by someone else, a person you've never met, maybe even someone long dead. And it's as if a hand has come out, and taken yours.”-History Boys

           Anne’s mention in class of how the “world underground” is illustrated in the book versus in the various film adaptations of Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass caught my attention.  I read Alice, as many others have before me, as a parody of the stanch Victorian system of education that existed at the time in which Carroll wrote.  What goes on in the imagination of Alice in the book is the antithesis of what an English schoolteacher of the time would want his or her pupils

 

Does a story itself change when it is transferred to another medium? If a text starts out as a novel, then is made into a movie, does the addition of audio and visuals make the tale something entirely different?

 

 

 (sorornishi.blogspot.com/2008_08_01_archive.html)

 

The Dream of Definitions

In a dream world, the definitions of reality seem to be no longer viable. They become twisted and multiplied; each definition can be molded to a new form. The connections between objects and their definitions are liquid, and seemingly inapplicable to the waking reality. And yet, as Lewis Carroll proposes in Alice in Wonderland and Through the Looking-Glass, the dream world is not so different from reality –they are both absurd. If this is the case, could not the nature of definitions be fluid in reality as well as in dreams?

                                                                 

To all teachers, teacher assistants and professors: I feel for you.

Hello, reader. Today I will be talking about uncomfortable situations in life and how they can affect us positively if we allow them. Do not be afraid, however, to read on from this point—I have no intention of being the distributor of uncomfortable feelings (although that intent may change from this sentence to the next). Hopefully, after reading this paper, you will more often seek out the uncomfortable than avoid or ignore it. I want to provide a prescriptive redemption of uncomfortable situations. However, I am exploring discomfort from the point of view of the person feeling the emotion, not the person eliciting the emotion. I cannot endorse that we, as human beings,

 

In "Get Out of Gaol Free, or: How to Read a Comic Plot" by John Bruns1, Bruns writes that "a novelistic plot demands that we, as readers, must always be moving endward, in a more or less rectilinear fashion, towards resolution, closure, and understanding"; he opposes this understanding of the genre of the novel to the novel as "a way of enabling characters to engage in lively dialogues to which the reader can then respond". Bruns then goes on to say that "the comic plot, however has no demands, save one: that the reader must always be moving somewhere, moving anywhere. In the comic plot, characters needs not be understood - their movement alone