LITR 4533:
TRAGEDY

Research Proposals 2000

 

Alphabetically arranged below are research report proposals submitted by students for LITR 4533: Tragedy, summer 2000. Following each proposal is the instructor’s emailed response.

Stacey M. Burleson

Since myth and legend are closely related, I want to extend the research that I began with the presentation on legends. The topic is significant because legends have played an important role in literature and movies for centuries. By researching the topic more, I hope to find ways to really distinguish between the myth and the legend since they seem to be so closely related. Some research on the topic has shown very minor distinctions between the two, but I hope with more research to find a more distinct difference. The question I propose to answer in regarding to this topic is Is there really a difference between myth and legend? What are the differences? Why does society need myths and legends? How have they changed and why?

This is just a broad beginning that I hope to narrow down by more research on the topic.

Dear Stacey,

Welcome back from mythical, legendary Vegas. Your topic is good. One additional question may be, why does the distinction between myth and legend matter? One approach to answering that may be to consider how the terms are used colloquially. But your other questions are plenty for research, so proceed as it suits you.

 

Sami Cantwell, LITR 4533: Tragedy, Summer 2000

RESEARCH REPORT PROPOSAL

For my report, I would like to research Gothic romance. More specifically, I want to explore the setting, character development, and plot which might define a Gothic romance. I would like to focus on authors such as Emily Bronte, Charlotte Bronte, and Daphne du Maurier.

I have always been interested in Gothic literature. I love to read Edgar Allan Poe, and I also enjoyed reading Mary Shelley’s Frankenstein. I had never been introduced to Daphne du Maurier until the student presentations. After reading the first part of Rebecca in class, I became curious about the romantic elements in Gothic literature. I wondered how romantic elements might affect the gloom and horror of Gothic literature. Romance often centers around hope, and I wanted to know if a Gothic romance ended differently because of the romantic qualities. The roles of men and women in Gothic romance are also intriguing, because their relationships are often sick, twisted, and unnatural.

I have only read Frankenstein, Wuthering Heights, and some of Poe’s works. What I have read so far has been useful because I have a better understanding about Gothic elements in literature. In addition, I have written research papers about Mary Shelley’s Frankenstein and the works of Edgar Allan Poe.

For this research report, I have found several books about Gothic literature which focus on character and plot development. I have also searched on the internet several times. I look forward to learning more about Gothic romance.

Dear Sami,

Your topic sounds fine—I like the fact that you have some previous experience with the subject but also have a plan for learning more. For the sake of unifying the report around a central issue, I’d recommend concentrating on the interplay of terms in "gothic romance"—what you wrote about gloom versus hope was striking, and works directly with issues of genre. You could research these terms more fully. Most of my material on romance narrative came from Northrop Frye’s Anatomy of Criticism (1957), but for starters you may do as well with reference books.

 

Shannon Chamberlain

Research Proposal

I am wanting to do my research over something to do with the Greek tragedies. I find them very interesting, especially the female roles. I think that an evaluation of these female roles may help in understanding the ancient views on women in society. I have already looked at some possible sources, but that is where I may be limited on this subject. There is not a lot of direct information on "female roles in Greek tragedies" or "how ancient Greek women were portrayed in tragedies." However, I really have not looked that much, yet. I think I may be able to find information in general Greek texts. Is this the kind of topic you were looking for? If so, where do you think I can find more information on this idea and how do you think I should begin writing this research?

Dear Shannon,

Your mind raises the same blocks mine would, so I don’t have a quick fix. One dumb but pro-active technique I sometimes use in such situations is to find the section in the library stacks containing the books on Greek Tragedy, pull the most promising titles, and leaf around until you see some references or ideas that refine your sense of the possible. Another, maybe better way is to go to the Oxford Companion to Classical Literature (and related volumes) and simply look under the heading of "women" as well as under the titles of the plays (such as Medea, Antigone, The Trojan Women, etc.) that could relate, plus or minus the authors. Also you could bug the reference librarians for help. Yours is a subject that’s discussed a little bit everywhere but, as you indicate, may not be concentrated on until recently, so check in more recent reference works. Is there one on women in literature? Feel free to inquire further.

 

Karen Daly

Originally, my genre presentation was going to focus on the Nursery

Rhyme. After researching, I was drawn to Humpty Dumpty and its numerous interpretations. I had a difficult time putting the research information I found into a ten minute discussion. I would like to write my Research Report on the different meanings of Humpty Dumpty. In doing so, the reasons for multiple meanings must also be discussed.

To date, I have uncovered three interpretations. I hope to find more (or possibly the answer to the question - Which interpretation is correct?). Some of the information I have touches on political meanings of the entire rhyme.

Other information focuses on the character, Humpty Dumpty. Do you have any suggestions as to where I might find helpful sources? I am also concerned about the layout of the report. Is the topic broad enough for the report?

Dear Karen,

I’m charmed by the topic, but, regarding your question, it is more specific than most of the topics. My first impulse is to say go ahead, and if you find enough material to justify spending the hour on it, then good. The three interpretations may be a natural organizing pattern. I’m guessing that the political interpretation is one of the three. Following the political angle, emphasize the potential significance of the Nursery Rhyme, whether in its original meaning or in how we remember and apply it. For sure, political commentary still alludes to Humpty Dumpty—as for instance President Clinton’s health care plan: after it fell off the wall, no one could put it together again. A similar political metaphor is "The Deacon’s One-Hoss Shay," based on a poem by Oliver Wendell Holmes—it again stands for something kept together with rubber bands and scotch tape that, once broken, can never regain its previous height or prestige. Ask again as you proceed if you like.

 

Sylvia Duncan 

Even though I missed the lecture yesterday, I would like to research "A Raisin in the Sun."  The play fascinated me on several levels.  Every human has a dream or hope for the future and I believe that this work speaks to that hope in a unique way.  In addition, I would like to examine how the dream element directly correlates with the undertones of tragedy within the play (all dreams do not come true, how people deal with unfulfilled dreams and hopes, etc.).  The play seems to have dream sequences for each character. 

I am also interested in the extent to which each character is developed and the various symbols that are used.  For example, the old plant that "never had any sunshine" representing the strength and resilience of Mama. 

I want to explore the possibility of this work ‘standing the test of time’ as a tragedy (even though it has a happy ending).  I feel that the time period in which the play was produced made a happy ending being the only feasible one.  However, the conclusion does not address Beneatha’s schooling or Walter’s occupation.  I felt myself wondering if things really did change.  How will moving solve the emotional issues within each character (even though Walter seems to have an epiphany about life in general)? 

Obviously, I am bouncing some ideas off of you.  I am not sure if I am on the right track and would like to speak to you after class on Monday if you are available.

Thanks, Sylvia Duncan

Dear Sylvia,

Sorry not to have posted my lecture notes yet (doing this instead), but my main discussion of the dream was that it is a motif in African American culture (not only this play, but the Hughes poem on the first page, plus Dr. King’s speech a few years later). I didn’t pursue the idea very far—you’re right, this play is rich on several levels—but I believe your comments on undertones of tragedy conform to the nature of the African American dream, which is always getting knocked down but then dusting itself off.

See where your research takes you, but one possible approach that occurred to me would be to find out about different productions of the play since the 50s. Has the play itself stayed in the 50s, or has it been updated? Has it changed as the dream has changed?

This course already has too many themes, but a radical simplification of the course would be to organize the plays around "dream," from Iokaste’s remark to Hamlet’s "Perchance to dream" to Midsummer Night’s D---- to anything by O’Neill.

My only reservation about your topic may be that it resembles a traditional essay topic more than a research topic, but if you can find the research, no problem. Consider looking up "dream" in The Encyclopedia of Religion (great series in reference section) and in a psychology encyclopedia or dictionary.

 

Mirsha Flores

For my research topic I will analyze the genre of realism in Children’s Literature. So far, I have learned there are four subgenres in this particular type of litereature. I have found several reference books which have provided background information on Children’s Literature and its constant developing (Chidren & Books, A Critical Handbook of Children’s Literature). As an elementary teacher I am extremely interested in anything and everything related to literature for children so that I can provide better guidance and instruction on the topic.

Question: I had a harder time finding useful site on the web about this topic, do you have any suggestions?

Dear Mirsha,

Your problems with the web may be worth reflecting on and possibly even commenting on in your report. Perhaps children’s literature and the web do not overlap much yet, possibly because, particularly for very young children, we still think of literature as a non-technological or real-space activity (even though some children’s books feature options that are parallel to internet functions, as one student pointed out during the hypertext discussion).

Children’s literature is one of my weak areas (partly because it changes so rapidly), so pardon me for not having researched the topic myself. However, have you taken any courses in the School of Education that concern children’s lit? If so, you might communicate with your instructor regarding any helpful web sites. Another possibility would be to think of some important publishers of children’s literature and visit those publishers’ web sites.

The genre of realism and its four subgenres seems like a natural organizing pattern for your essay.

 

Laura Gicheru, Research Report Proposal

The topic that I would like to do a report on is haiku. Haiku is a traditional Japanese verse form that consists of three lines totaling seventeen syllables and measures 5-7-5. The writing must reflect natural images and is based on Buddhism and Taoism. Haiku is a very interesting form of writing and it is amazing how one can say so much with so little words. Haiku can also be a very important tool in writing certain emotions and letting the reader gain the significance of what one is trying to say. In doing this report I would like to explore the history and background of haiku. From some of the research I have already done I have found that haiku has evolved from renga which is an earlier from of verse used by Zen Buddhist monks in the 15th and 16th century. I have found a lot of information on the internet but I am having a hard time finding any other source from the library. Do you have any suggestions? If so they would greatly be appreciated

Dear Laura,

As we discussed the other day, the haiku is a very identifiable genre, with very clear rules and guidelines. Given the high degree of definition, you might ask yourself some interesting questions about it. First, how much can one learn about it by returning to it as you are doing? That is, will you learn anything significant beyond what you presented? (I think you can, so I’m not meaning this as a challenge, but only as a source of interest.) A further question might be how artists respond to such strict rules about a genre. Just as a contrast, all semester we’ve noted how the genre of tragedy changes according to the needs of the writer or audience. However, it seems as though haiku doesn’t change. How does this fixedness affect the significance of the genre or the ways that artists may or may not use it? You’re finding and offering a lot of good data on the genre, but you need also to explore its significance.

 

Lydia Gonzales

The topic I have chosen is Gothic Elements in film. As defined by Phillip Wood in his presentation, they contain ruined castles, haunted graveyards, and eerie noises. He listed The Amityville Horror as a Gothic Film; however, it does not contain a castle or graveyard; it does contain eerie noises. I wish to find out what elements in this movie make it a gothic film, to prove whether it is gothic or just horror. This subject is interesting to me because I enjoy these types of movies and books. Would I be able to find sources of criticism by looking up Amityvilles Horror in the library, or where should I start? You also mentioned possible interviews on the internet. Would this be possible with this subject and how would I go about looking? Thank You, Lydia

Dear Lydia,

Thanks for your submission, and I appreciate your following up on another student’s topic—I was hoping this would happen at least with a few students. If you’d like to start with Amityville, you might consider reading some reviews of the film (you can find these in the library and possibly on the web) when it came out to see whether they emphasized "horror" or "gothic." Or you can start with these terms, looking them up in reference books such as the following. (You may have missed this handout on the first day of class.)

The Film Encyclopedia

REF / PN / 1993.45 / .K34 / 1994

Oxford Companion to Film

REF / PN / 1993.5 / .A1 / O87x

(documentary)

Encyclopedia of Fantasy

REF / PN / 3435 / .E53 / 1997

(fantasy, gothic fantasy)

I’m not sure what you mean about interviews on the net—if I said that, I may have meant two different things. You’re welcome to search the net / web or to try for some interviews, but I’m not sure who with, unless you know someone who’s an expert on these kinds of films. If you feel inspired, give it a try. Also consider working with the terms of horror and gothic, finding where they are the same and where they are different.

 

Erin Gouner, LITR 4533: Tragedy, Summer 2000, Research Proposal

The topic I am interested in developing for my research report is the genre of fairy tales. I wish to further examine the idea of fairy tales being more than just children’s stories. Fairy tales not only take the reader into the realm of fantasy; they also speak about the issues of the times and have many symbols to stress these issues. The main focus of this genre that I wish to explore is the idea of gender issues being represented in fairy tales. I became interested in this topic in an earlier class on world literature. In this class we read Marie de France and her writing enlightened me to the idea that upon analysis the fairy tale could contain more than just a literal meaning. The idea of this complexity in fairy tales is significant because it means that what society dismisses as a children’s fantasy story, might have other levels that we are exposing our children too. This opens controversies whether society is giving our youth the right ideas about gender and gender roles in society. Through research, I hope to discover that fairy tales contain a complexity that goes beyond a mere amusing fantasy story and that issues that affect society are present within the stories. I have already found a wonderful book about fairy tales that describes the origins of this genre and how it has developed through the years. This book also discuses Disney’s influence on the genre and how the United States has changed fairy tales. Also, this book touches on the idea of gender issues being present in fairy tales and has helped give me a starting point in researching this idea. If anyone has any ideas or comments on how I can make this idea stronger or knows of any sources that will aid me in my research, please let me know.

Dear Erin,

Yes, proceed, as this is a good continuation of what your presentation began. The only other angle on fairy tale research with which I’m familiar is that some classic adult literature and popular films adapt fairy-tale narratives, e. g.., Jane Eyre, Oliver Twist, Pretty Woman, and others. (This may not be helpful, but there it is if you like.)

 

Doris Herrmann

Topic: The Tragic Hero

Tragedy revolves around one central character, or hero. This hero must contain a "tragic flaw" that causes his/her downfall. The great tragic heroes of literature are both fascinating and pitiful. Since art imitates reality, what do these tragic heros have in common with real life tragic heroes of modern times? In my research report I intend to illustrate tragic flaws in these characters: Oedipus , Hamlet, Medea, Eben as well as to highlight tragic flaws in modern day tragic heros O.J. Simpson, Bill Clinton, Pete Rose, Jim Bakker.

This subject is of great interest to me and is extremely important in modern times. Why do people do what they do? Why do great people fall so far and why are we so fascinated with this?

Research done:

I have begun to trace the character flaws in the heroes listed above. I have also received copies of articles from The Chronicle on the heroes of today.

My Question: I am considering using The Great Gatsby’s hero Gatsby as a hero. Will he fit in? Will this work in one hour or should I limit my comparison subjects?

Dear Doris,

In answer to your question, your examples are rapidly multiplying, but use Gatsby if he can set up a crucial insight that you could relate or apply to your other examples. (In other words, the key is not simply the number of subjects but your ability to unify them.)

Regarding the fascination with the tragic hero or flaw, such flaws may reflect something about the audience or the culture the hero and audience share, a conflict that is both powerful (or attractive) and dangerous (or repulsive). The very characteristic that distinguished Pete Rose as a ballplayer, his competitiveness as "Charlie Hustle," was what led him to gamble when his playing days were over. (Michael Jordan supposedly shares this almost-deranged competitiveness, but he’s at least controlled the image that has gotten out, while Rose was oblivious.) The same competitiveness drives our market economy but also makes people risk everything and sometimes lose.

Clinton’s trickier, if only because it isn’t sports and involves sex. The drive to "woo" or "charm" voters in order to be elected doesn’t shut down after the votes are counted. Toss in American weirdness about sexuality (i. e., we constantly tempt ourselves, then punish ourselves for being tempted), and there’s more to Monicagate than mere politics—it’s a genuine cultural drama in which some irresolvable social conflicts are acted out. Gatsby certainly participates in these.

I’m not sure how to research this. I recall a book about Nixon by Garry Wills called Nixon Agonistes that used this theme. Otherwise you might look up the tragic flaw (possibly under tragedy or hamartia) in the Oxford Companion to Classical Literature, and you might simply search "Tragedy" in cultural sources.

 

Yvonne Hopkins, LITR 4533, Tragedy: Research Report Proposal

The research report will be an extension of my genre presentation on Confessional Poetry. After noting the movement away from the impersonal, detached style inspired by Eliot, I intend to narrow the focus by concentrating on the American Confessional Poets, Robert Lowell and Sylvia Plath. The report will explore the confessional nature of each poet’s work with emphases on similarities and differences. It will consider why Lowell’s poetry defines the modern confessional movement, and why some critics regard Plath as not being a poet of the genre. The report will also refer to the genre’s legacy, as it exists today.

Although I am familiar with Sylvia Plath’s work, I have never covered Robert Lowell. If anyone has ideas or suggestions, I would appreciate the input.

Dear Yvonne,

Thanks, your topic is fine, so proceed. My familiarity with Lowell is limited, but his "Skunk Hour" is a little masterpiece that’s widely anthologized. Also you might consider any connections with Eliot, as he was widely seen as Eliot’s successor as a master and arbiter of American poetry. Again also you might consider psychoanalysis, as Lowell was confined I think a few times and underwent extensive psychotherapy, at least some of which shows up in his poetry.

 

Neely Kim, Research Report Proposal

The topic that I would like to research is a take off from one of the genre reports. I would like to research Romeo and Juliet and the elements that make it so appealing to young people. I would like to study the new version to see what elements attract young viewers to this story. I am interested in finding this out because of my own attraction to the versions of this story. In high school I saw the 1968 version and fell in love with it. I also saw the 1996 story and loved it too. I would like to compare how a high school student of the ‘80’s that saw the 1968 version felt in comparison to the high school students of the ‘90’s and the 1996 version. I am interested in seeing the response of the different ages. Are the elements that attracted the 80’s students same elements that attract the 90’s students? If the elements are the same what are these basic elements, if the elements are different what changes make these elements more attractive. I hope to show with this research the timeless elements that make this story appealing to each new generation and how versatile it is that it can apply to each generation. Some possible sources would be critics of the films and play, some background on the play its self, some web sources, and I would like to ask permission to do some interviews. I want to interview some students to compare the films, these would not be experts. I would like to have a mixed group of these ages see the two films and compare the responses. Maybe even compare the 80’s students responses to the old version compared to the new version and the same with the 90’s students.

Dear Neely,

I like your plan very much but question whether you can complete this kind of research in such a short time. That is, it sounds as though you’re talking about organizing people and surveying their responses, which takes a lot of time. But it’s a worthy plan, so let’s consider ways we could lay some groundwork for it. I’d recommend that you do some basic research on the two plays in terms of what the makers of the films had in mind, how they were reacting to changes in the culture and in ways of making movies. Both of them were adapting a "timeless classic" to the times in which they lived. So what can you learn about what they thought of their times and how they imagined changing a timeless classic to meet the moment’s needs? You could complete some basic research like this in the next two weeks and succeed in writing the research up in an hour, whereas your plan for surveying respondents will take much longer on both fronts. If you resume your original plan later, this basic research will equip you better for the job.

I could loan you the article that Sylvia used on film adaptation. Plus you might look up some periodical (newspaper and magazine) articles dealing with the two movies when they appeared. As one who was 17 years old when the 68 version came out, I remember that it was a breakthrough for casting young actors in the roles, whereas earlier Romeos and Juliets had looked like my parents. There was a youth movement going on then, and the movie evidently responded to it.

Stay at it. Your original idea is worth working toward.

 

Laura Peterson, LITR 4533, Research report proposal

The topic I would like to develop for my research report is comedy. I would like to develop the idea of comedy within tragedy. Comedy is a "literary work, usually dramatic, aiming chiefly to amuse." Tragedy however "seeks to engage the emotions." All the tragic works we have read this semester have the element of comedy within them.

I feel that writers of tragedy put comedy in the tragic work in order to give the reader a break from the tragic events taking place. The comedy in tragedy is usually dark. I hope to find through my research what makes tragic writers place the comedy where they do in their work. Do the writers of tragedy strategically place the comedy? I have researched comedy as a general topic and have found many comparisons to tragedy. Almost all of the research on comedy refers to tragedy. I feel that this will be useful in pulling out the comedy in tragedy. I will continue my research on this topic via the internet and the UHCL library.

Dear Laura,

Your topic is intriguing, and your research so far is what I would have advised. Also you might contrast the elements in your opening paragraph above—what is the difference between amusement and engagement of the emotions? Maybe those comic element in tragedy pull us rapidly from one to the other—with what impact? (Just wondering—go where your research takes you.)

 

Taryn Richmond

I would like to do my research report on comedy.  Comedy is defines as "literary work, usually dramatic, aiming chiefly to amuse."  Comedy has changed so much over the years.  I would like to see exactly how much it has changed.  Also, I would like to see in what ways comedy has changed.  I would like to see how the humor has changed.  One hundred years ago something that was funny may not be funny today.  I believe comedy changes with the times.

Question:  Should I narrow my research down to a certain aspect of comedy? 

Dear Taryn,

Just a quick note, as my daughter is waiting for me. You could narrow your topic to a sub-genre of comedy—that may simplify things if you run into difficulty. However, the idea you already have about researching how comedy has changed may be narrow enough, though you may want to narrow down where, as in comedy in the USA or Britain, plus you may want to narrow down to theatrical comedy, unless you want to get into comic novelists like Twain. It’s inevitably a big subject, but any actions you can take to keep narrowing it down will do you good. Ask again if you like after you’ve thought some more, but for the time being okay, stay on this subject and see where it takes you.

 

Jessica Sirmans, Research Proposal

I would like to do my research over American Southwestern literature. The genre contains books, plays and songs composed by men and women in the southwestern United States. The majority of works that I have done research on contain similar plots and settings. Most are tragedy or romance with a "southwestern" or "Indian" theme. Some of the authors and works that I would like to use as references are Lonesome Dove, by Larry McMurtry; The Old Order, by Katherine Ann Porter; Bless Me Ultima, by Rudolpho Anaya; and All the Pretty Horses, by Cormac McCarthy.

    In my research, I would like to touch on the emphasis that each author puts on the history of the southwestern region. Readers are touched and usually taken back in time with stories of the "old south", slavery and the hardships of racial discrimination. The topic is of special interest to me not only to find out more about southwestern literature, but to learn about the history of my own origin.

Question: Should I narrow the topic down, or broaden it, and is this even an acceptable genre for research? Are there any other particular sources that I should use (that you know of)?

Dear Jessica,

This is a good topic, so go ahead. Based on what you’ve written above, however, my main advice would be to mention the authors and maybe briefly go into their contributions to the genre, but above all discuss what they have in common and the variations they play on common themes and forms. You could consider a "genealogy" approach—that is, how did the genre start, and how has it evolved? For instance, among your authors Porter is the earliest, and she does the expected contrast with the eastern US; McCarthy is a transplant from Virginia, but that puts him in the "FFV" tradition of Texas at least; McMurtry is born and reared here, and he really doesn’t have an outside frame of reference; Anaya contributes a Mexican or Mestizo voice. You might also consider Leslie Marmon Silko’s Ceremony, which brings in a more distinct American Indian voice. A related (or even enveloping) tradition in American literature is "Regionalism" or "Local Color," so look up these terms in a dictionary of literary terms or in the Oxford Companion to American Literature (on the PS shelves in the reference section).

 

Cara Skinner

I have chosen to research the the life and career of Tennessee Williams with a focus on his play, "Cat on a Hot Tin Roof." I have obtained several sources including the play itself in our textbook, critical reviews of this play and Tennesee Williams work in general by William Becker and Harold Bloom, and information about his life from The Reader’s Encyclopedia and The Encyclopedia of World Drama. These sources have provided much information about Williams and several of his plays including "A Streetcar Named Desire, "The Glass Menagerie," "Suddenly Last Summer," and "Cat on a Hot Tin Roof." I, of course, had heard of Tennessee Williams but never knew much about him or his work. I thought this would be a good opportunity to find out about him. I had also heard about the popularity of "Cat on a Hot Tin Roof" but had never read or seen the play before now. Do you know of any other sources or critics that could give more insight into Williams and his work? Should I narrow it down or focus on a certain of aspect of Williams life or this play?

Dear Cara,

Good choice of subjects, so proceed. Are you aware of the early-60s movie of "Cat" with Liz Taylor as Maggie the Cat, Paul Newman as Brick, and Burl Ives as Daddy? It’s pretty good at least. My memory of sources for Williams is pretty rusty. Go ahead with your own instincts for narrowing the topic, but I’ll just mention a couple things I’d do if I were teaching Williams, which may help you narrow down your topic as you like. Like Euripedes, he’s very interested in women protagonists—Blanche DuBois in "Streetcar Named Desire" is his most famous heroine, but in some regards Maggie the Cat is even more admirable, certainly less helpless. Most of his great plays have an "Old South" background, akin to Faulkner’s, but as there the Old South is always being invaded and undermined by the world beyond. Homosexuality also shows up in what now seem rather tame ways but at the time were daring. It’s been a long time since I’ve read "Cat," but Brick is pretty helpless with Maggie, and she’s pretty frustrated by his lack of desire. Williams is great. About 3 years ago the Alley Theater in Houston put on a premiere of a lost early play by him, "Not About Nightingales," that someone gave me tickets for, and it was just like everything else of his, very affecting and involving, very good with women characters, made you care about everyone somehow.

 

Scott Stewart

My research proposal in the area, or subgenre, of urban legend. I have always been fascinated with its ongoing popularity. I would like to dig beneath the surface and discover its origin and its evolution throughout history. I have done little research in the subject are, but I have been privy to it in life experiences, via ghost stories, scary movies, and the like. My questions would be, "When and where did urban legends begin?", and "How have they changed with the changing of culture and society?" Please let me know if this subject is okay for a research topic. I look forward to "hearing" from you.

About urban legends for your research report, yes. You heard the extent of my knowledge the other day. At least a couple of books have come out in recent decades on the subject, but the web is likely a medium both for their study and for their unselfconscious activity. I wonder if the urban legend has an electronic subgenre? Maybe one episode would be about the Pan Am (?) crash off the east coast about 3 years ago; that one web posting of a photo indicating a missile bringing it down caused a real stir, but this may not fit the definition.

 

Paula Thomson

I am trying to decide on a topic for my research report. I could do musical, since that was my presentation genre. I have already done some research already, as seen in my presentation handout. The only trouble that I have with doing this topic is I don’t know how far I can go with it? I thought about focusing on Musicals that are based on works of literature.

My other interest is poetry. Since, I have already done research on T. S. Eliot, I thought I might do more research on him as a poet. I have noticed that there is quite a bit of reference material on Eliot in the library. I could focus on a few major poems. I don’t want to pick a topic that is too broad for one hour, but I do want to be able to find enough material for a paper. Anyway, these are my ideas for the report

Dear Paula,

I’m trying to remember (maybe I never knew) if the revival of Ah! Wilderness on Broadway a few years ago was a musical, or if some other attempt was made to stage it as a musical. There’s also the example of Pygmalion becoming My Fair Lady, Oliver Twist becoming Oliver, Candide, R & J > West Side Story, bound to be more.

Or Eliot is fine. You might consider his genres, since he switched from lyric to dramatic poetry and then back to the Four Quartets, which interestingly combine lyricism and music.

Feel free to ask again if you like after you’ve started to commit.

 

Phillip T. Wood, Research proposal

  • I would like to discuss one of Shakespeare’s plays, either MacBeth or Hamlet. I am leaning toward Hamlet, but if you think MacBeth would be a better choice please say so. I don’t want the fact that Hamlet was part of our curriculum to negatively affect my grade.
  • The topic I would like to discuss is going to cover Shakespeare’s Hamlet. I plan to discuss any possible critiques of the play regarding whether it is a true tragedy or not. I will also discuss some other qualities of the play, including what makes Hamlet a tragic hero. I will also discuss what the importance of the gravedigger scene is to the play.
  • I find Shakespeare’s Hamlet to be a truly great play, as well as a tragedy. I am aware that there is controversy over Hamlets tragic hero qualities, and the climax of the play. I am also aware of the fact that the play doesn’t adhere to Aristotle’s definitions of a true tragedy.
  • The only research I have done over the play is the reading of it, and classroom discussions. I am eager to learn more information on the play.
  • I am only loosely aware of the names of the authors who think Hamlet is not a true tragedy. Any author who rips the play apart with negative criticisms would be helpful.

Dear Phil,

No problem (or effect on grade) if you choose Hamlet over Macbeth. Hamlet is the most written-about work of literature in the world, so I wouldn’t dare stop you if I wanted to. I’m not up enough on Shakespeare research to tell you exactly who to read. More superficially, though, I have a "Biography" of Hamlet taped off the A&E series, so ask me for it if you want to look at it—it may give you some ways to narrow down your topic.

 

Ava Zinn (outside graduate research paper proposal)

Evaluating Hypertext Fiction

I propose to write a formal research paper (10-15 pages) that will define the genre, address the questions listed below, then discuss various elements necessary for evaluating hypertext fiction. I have ordered Afternoon, a Story by Michael Joyce. I plan to use it to give examples of the various criteria. I will have approximately 4-5 sources listed on a Works Cited page and, it is my understanding, that this part of the Independent Study class is due on or before July 17th.

  • If hypertext fiction is a series of choices for the reader that may create a different end product each time it is read; then, how can hypertext literature be evaluated by the same set of criteria used for print literature? or
  • Should there be a different set of rules when judging hypertext literature?
  • If so, what are some of these elements of good hypertext?

Because it offers a reading experience completely unique from a printed text, an author should understand and satisfy the unique demands of the genre.
    1. Satisfactory reader interaction.
      1. agency
      2. momentum
      3. closure
    2. "Successful integration of form and content"
      1. central metaphors
      2. natural connections within the text
      3. complex themes
    3. Simple (but useful) visual representation
      1. maps
      2. colors
      3. graphics
      4. link placement

Kendall, Robert. "But I Know What I Like." Web article from www.wordcircuits.com

"A constructive hypertext should be a tool for inventing, discovering, viewing and testing multiple, alternative organizational structures of thought with more traditional ones and transforming one into the other."

Hypertext should

  • engage learning.
  • help readers look at ideas in new ways
  • present clear navigational capabilities

Joyce, Michael. "Of Two Minds." Book which is a collection of essays or "theoretical narratives" written by Joyce.

Judge a work of art by

  • how it is similar to other works of its kind
  • how it is unique and distinctive

Becker, Howard. "A New Art Form: Hypertext Fiction" Web article based on a paper that was given at a conference in Lisbon. It is scheduled to appear in a book title How to Read a Hypertext ed. By Mark Bernstein.

Dear Ava,

I look forward to reading your essay. One curiosity for me (and maybe for others) will be, under what conditions will you read the story? Will you be sitting up staring at the screen, or, remembering Doris Herrmann’s description, curling up in bed with a laptop? What effect will these conditions have on your enjoyment of reading? If you’re sitting up, making decisions, frowning before acting, then your behavior supports my guess that hypertext resembles a video or computer game. (Supposedly one reason that the computer screen and the TV screen haven’t merged is that we sit forward when watching one, back when watching the other.)