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Books on the topic 'Plot device'
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1
Cox, Roger L. Shakespeare's comic changes: The time-lapse metaphor as plot device. University of Georgia Press, 1991.
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2
Heidi, Stephens, ed. Plot: 15 creative projects that help kids become better readers and writers. Scholastic Professional Books, 1998.
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3
Mannel, Sylvio. Comparison of combinations of sighting devices and target objects for establishing circular plots in the field. Rocky Mountain Research Station, Natural Resources Research Center, 2006.
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4
The chortling bard!: Caught'ya! grammar with a giggle for high school : a method for teaching grammar, mechanics, usage, vocabulary, and literary devices with plots and vocabulary borrowed from Shakespeare. Maupin House, 2003.
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5
Heidi, Stephens, ed. Setting: 15 creative projects that help kids become better readers and writers. Scholastic Professional Books, 1998.
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7
Boriss, Lis. Nuclear Hoodie: Broken Plot Device collection Volume 1. Lulu Press, Inc., 2010.
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8
Cox, Roger L. Shakespeare's Comic Changes: The Time-Lapse Metaphor As Plot Device. University of Georgia Press, 2011.
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10
Heller, Natasha. Understanding Retribution in a Changing Religious Landscape. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190278359.003.0015.
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This chapter considers ideas of sin, retribution, and injustice from the introduction of Buddhism to China to 600 CE. The concepts of karma and transmigration are usually considered among the most significant contributions Buddhism made to religious belief in China, but these ideas were understood within an existing framework of how transgressions were handled in both the human and superhuman realms. This chapter examines the interaction of these new and old discourses by focusing on the sixth-century collection known as Annals of Avenging Spirits (Yuanhun zhi 冤魂志), compiled by the eminent literatus Yan Zhitui 顏之推 (531–591 CE). This chapter considers how this concept of injustice is in dialogue with both pre-Buddhist and Buddhist texts on sin, revenge, and retribution. It discusses how instances of injustice fit into narrative and the degree to which injustice as a plot device also functions to model moral thinking about misdeeds and retribution.
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Drury, Joseph. Realism’s Ghosts. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792383.003.0004.
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Accounts of the enlightened philosophical principles of Fielding’s fiction have struggled to explain the performativity of his narrator and the miraculous implausibilities of his plot. This chapter shows, however, that just as performances with spectacular machines played a key role in establishing the epistemological authority of the new science in the eighteenth century, so Fielding’s narration in Tom Jones must be seen as a constitutive element in his effort to establish the philosophical utility of the modern novel. Eighteenth-century natural philosophers performed ‘boundary-work’ that distinguished their experimental apparatus from the devices exhibited by magicians and projectors. Similarly, Fielding sought to contrast the orderly principles of his clockwork plot with the supernatural machinery of older literary forms. But natural philosophers were also sometimes accused of exploiting the popular appetite for wonder, which explains why Fielding often ironically presents himself not as a philosopher but as an unscrupulous hack or projector.
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de Beauvoir, Simone, Janella D. Moy, and Joe Feigl. The Novel and the Theater. Translated by Marybeth Timmermann. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036347.003.0006.
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The novel and the theater are two forms of fiction: in both cases, it is a matter of creating an imaginary world, and making characters, whose story constitutes what is called the plot, enter into this world. In order for the impact of the work to surpass that of simple entertainment, the story must also have a signification. Through carefully constructed lies, the book, like the play, strives to communicate a general human truth, but they do not rely on the same devices, and they do not seek the same type of truth....
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Comparison of combinations of sighting devices and target objects for estabilshing circular plots in the field. United States Dept. of Agriculture, Forest Service, Rocky Mountain Research Station, 2006.
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14
Dostoevsky, Fyodor _. Devils. Edited by Michael R. Katz. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199540495.001.0001.
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abstract Devils, also known in English as The Possessed and The Demons, was first published in 1871–2. The third of Dostoevsky’s five major novels, it is at once a powerful political tract and a profound study of atheism, depicting the disarray which follows the appearance of a band of modish radicals in a small provincial town. Dostoevsky compares infectious radicalism to the devils that drove the Gadarene swine over the precipice in his vision of a society possessed by demonic creatures that produce devastating delusions of rationality. Dostoevsky is at his most imaginatively humorous in Devils: the novel is full of buffoonery and grotesque comedy. The plot is loosely based on the details of a notorious case of political murder, but Dostoevsky weaves suicide, rape, and a multiplicity of scandals into a compelling story of political evil. _ This new translation also includes the chapter ‘Stavrogin’s Confession’, which was initially considered to be too shocking to print. In this edition it appears where the author originally intended it.
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Pravadelli, Veronica. The Early Thirties. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038778.003.0002.
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This chapter examines the early sound period. From a formal perspective, the dominant film style has an affinity with silent cinema; it is filled with superimpositions, extended dissolves, elaborate optical effects, and a wide range of “attractions.” Consequently, the films of this period rely heavily on visual rather than verbal devices. The chapter then argues that between the end of the 1920s and the early 1930s, American cinema privileges plots of female emancipation and images of the New Woman. The figure of the New Woman, combined with the aesthetic of attractions, can be interpreted in light of the “modernity thesis.”
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Brown, Charles Brockden. Wieland; or The Transformation, and Memoirs of Carwin, The Biloquist. Edited by Emory Elliott. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199538775.001.0001.
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One of the earliest American novels, Wieland (1798) is a thrilling tale of suspense and intrigue set in rural Pennyslvania in the 1760s. Based on an actual case of a New York farmer who murdered his family, the novel employs Gothic devices and sensational elements such as spontaneous combustion, ventriloquism, and religious fanaticism. The plot turns on the charming but diabolical intruder Carwin, who exercises his power over the narrator, Clara Wieland, and her family, destroying the order and authority of the small community in which they live. Underlying the mystery and horror, however, is a profound examination of the human mind's capacity for rational judgement. The text also explores some of the most important issues vital to the survival of democracy in the new American republic. Brown further considers power and manipulation in his unfinished sequel, Memoirs of Carwin the Biloquist, which traces Carwin's career as a disciple of the utopist Ludloe.
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Tanasescu, Andreea. Dimensiuni ale gandirii coregrafice. Timp, spatiu, miscare - Volumul 1. Editura Universitara, 2020. http://dx.doi.org/10.5682/9786062812133.
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Dansul - arta vie, complexa - poate fi, cu greu, introdus in cutia limbajului scris ori vorbit; semnul plat (litera) nu poate reda vibratia dansanta a vietii, la fel cum marea n-ar putea fi inchisa intr-o camera. Dansul contemporan este jocul cu spatiul, timpul, emotia, este un domeniu al cercetarii continue, o cercetare libera, un dialog dinamic al fortelor interioare si exterioare ale omului pentru a se descoperi pe sine sau, mai departe - pentru a ajunge in inima universului. Miscarea contine dimensiuni infinite, a le pune in cuvinte inseamna a risca… Dar poate ca, pentru memoria dansului, merita riscul - gestul coregrafic trebuie uneori condensat, descris prin cuvinte pentru a putea sa traiasca mai departe, la fel de liber. In dans, metafora capata trup, emotia devine spatiu, timp. Scenele se succed, iar in urma lor, din miscarea trupurilor, ne ramane visul. Miscarea este gand, elan, zbatere si, adesea, ne aduce in lumina sufletul. Omul in miscare demonstreaza ca este mai mult decat ceea ce pare, iar dansul devine un instrument revelator de meta-realitati.
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Stallings, L. H. Sexuality as a Site of Memory and the Metaphysical Dilemma of Being a Colored Girl. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039591.003.0006.
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This chapter discusses partying as an alternative model of intimacy, black aesthetics, and art inclusive of nonhuman being. It studies eroticism and representations of sex work through the plays of Lynn Nottage and the films of feminist pornographer Shine Louise Houston as cultural recognitions of sex that is mediated through “demonic grounds.” Nottage and Houston devise fictional plots and women characters that confirm how and why sexuality exists as a site of memory for some black women. Women's bodies and sexualities are their canvases and creative tools. Although the end result may become representations for national ideology or products to be consumed, the process of creating out of the body and sexuality is in and of itself evidence of power that exceeds the human.
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Caps, John. The Curse of the Pink Panther. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0012.
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This chapter describes how one chance meeting on the beach with Blake Edwards brought about a sea change in his career and, as a direct result, a return to the famous world of the Pink Panther. Return of the Pink Panther was planned for distribution in 1975, and the public was so very ready to be amused all over again by the Sellers/Clouseau character that the success of that sequel was followed the very next year by The Pink Panther Strikes Again. For Mancini, the task of scoring a Pink Panther movie had changed, too—the first film scored with that sly, sneaking sax theme and a lot of beguiling, equally sly cocktail music; the second film scored a bit more like a cartoon where the clever, plodding, main mystery theme on that wavering pump organ represented Clouseau's dysfunctional focus on the case at hand. Now with large-scale visual jokes taking up more screen space than the character comedy of Clouseau, the scoring needed to serve two masters: it needed scene-setting background tunes for clubs, discos, and resorts, and, more than ever, it needed bigger descriptive music to bolster the increasingly unrealistic and aggressive plot devices.
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Conolly, Jez, and David Owain Bates. Dead of Night. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9780993238437.001.0001.
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Released a matter of days after the end of the Second World War and a dozen years ahead of the first full-blooded Hammer Horror, the Ealing Studios horror anthology film Dead of Night featured contributions from some of the finest directors, writers and technicians ever to work in British film. Since its release it has become ever more widely regarded as a keystone in the architecture of horror cinema, both nationally and internationally, yet for a film that packs such a reputation this is the first time a single book has been dedicated to its analysis. Beginning with a brief plot-precis ‘road map’ in order to aid navigation through the film's stories, there follows a discussion of Dead of Night's individual stories, including its frame tale (‘Linking Narrative’), a consideration of the potency of stillness and the suspension of time as devices for eliciting goose bumps, an appraisal of the film in relation to the very English tradition of the festive ghost story, and an analysis of the British post-war male gender crisis embodied by a number of the film's protagonists. The book includes a selection of rarely seen pre-production designs produced by the film's acclaimed production designer, Michael Relph.
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Brown, Pamela Allen. The Diva's Gift to the Shakespearean Stage. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198867838.001.0001.
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The Diva’s Gift to the Shakespearean Stage traces the transnational connections between Shakespeare’s all-male stage and the first female stars in the West. The book is the first to use Italian and English plays and other sources to explore this relationship, focusing on the gifted actress who radically altered female roles and expanded the horizons of drama just as the English were building their first paying theaters. By the time Shakespeare began to write plays, women had been acting professionally in Italian troupes for two decades, traveling across the Continent and acting in all genres, including tragicomedy and tragedy. Isabella Andreini, Vittoria Piissimi, and Barbara Flaminia became the first truly international stars, winning royal and noble patrons and literary admirers beyond Italy; their artistry enabled mixed companies to expand in foreign markets, especially in France and Spain. Elizabeth and her court caught wind of the Italians’ success, and soon troupes with actresses came to London to perform. Through contacts direct and indirect, English playwrights grew keenly aware of the mimetic revolution wrought by the skilled diva, who expanded the innamorata and made the type more engaging, outspoken, and autonomous. Some Englishmen pushed back, treating the actress as a whorish threat to the all-male stage, which had long minimized female roles. Others saw a vital new resource. Faced with rising demand for Italian-style plays, Lyly, Marlowe, Kyd, and Shakespeare used Italian models from scripted and improvised drama to turn out stellar female parts in the mode of the actress, altering them in significant ways while continuing to use boys to play them. Writers seized on the comici’s materials and methods to piece together pastoral, comic, and tragicomic plays from mobile theatergrams—plot elements, star scenes, roles, stories, and speeches, such as cross-dressing, mad scenes, and spoken and sung laments. Shakespeare and his peers gave new prominence to female characters, marked their passions as un-English, and devised plots that figured them as self-aware agents, not counters traded between men. Playing up the skills and charisma of the boy player, they produced stunning roles charged with the diva’s prodigious theatricality and alien glamour. Rightly perceived, the diva’s star persona and acclaimed performances constituted challenging and timely gifts that provoked English playwrights to break with the past in enormously generative ways.
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Githire, Njeri. Cannibal Love. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038785.003.0002.
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This chapter examines the juxtaposition of cannibalism and sexual appetites in Maryse Condé's Histoire de la femme cannibale (hereinafter referred to as Story, reflecting the 2007 English translation) and Andrea Levy's Small Island (2004). It argues that while the ideologically fraught figure of the cannibal has long offered a fertile ground on which to construct a counter-hegemonic aesthetic of Caribbean discourses, few if any writers explore the equation between two major constructs—the sexual and alimentary transgressions—that define the cannibal. Story and Small Island evidence that (post)imperial panics have consistently framed a range of (post)colonial conflicts in the vocabulary of alimentary and sexual deviance as a ploy to mask these very same appetites in the (neo)imperial venture. In Small Island, cannibalism is a hidden theme that lurks beneath the surface of seemingly mundane and insignificant moments of encounter. In Story, Condé deconstructs the presumed benevolence of France toward Guadeloupe through an astute critique of the dominant imagery of France as mother who nurtures and sustains her children.
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Hoffmann, George. Reforming French Culture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198808763.001.0001.
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Satire has recently re-emerged as a potent political tool, but it has played many different roles in the past. French reformers waged massive satire campaigns in the sixteenth century to little or no political effect and, even, to their own disadvantage. Satiric forms nevertheless flourished because they fulfilled a devotional purpose. By portraying themselves as lonely travelers passing through the strange and exotic lands of Catholic custom, French reformers found a way to flesh out imaginatively the Pauline injunction to live in the world but not as part of it. The spiritual alienation cultivated in satiric literature allowed reformers to fashion themselves, after Calvin’s recommendation, as pilgrims in this world and confessional foreigners in their home country. At the same time, these satires’ self-presentation and their modes of address implied a reformed audience constituted by those who “got the joke.” The new communion entailed in laughing at Catholic excesses, modeled upon the reformed theological concept of “communication,” imagined a pan-European community held together by a non-local sense of belonging. Thus, French reformers embraced a diasporic identity well in advance of their actual emigration to the New World. But, more surprising still, the attitude of looking at one’s own culture through the eyes of an estranged traveler spread beyond reformed milieus to become a staple of French culture more generally. Through Montaigne, the ploy of acting the outsider in one’s homeland would become one of the signature devices of the Enlightenment’s challenge to the world of the Old Regime.