Capstone Report for Program Development in Literature

8/3/2019 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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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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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: 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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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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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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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.


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;
http://plato.stanford.edu/entries/derrida/http://plato.stanford.edu/entries/derrida/


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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/


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 &

Schuster.

Mathews, J. (2006, November 16). Just whose idea was all this testing. The Washington Post.

Retrieved June 25, 2010, from http://www.washingtonpost.com

McTighe, J. & Wiggins, G. (2011). [Digital] literacy: Researching education and training in a

digital world. Retrieved from http://digitalliteracy.mwg.org/c

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