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Essay Instructions: Prompt: Structuralism is both a demystifying approach to filmic textual analysis and a rather closed and strictly analytical approach. Explain its demystifying strengths and then discuss its possible limitations. How would you chart the possible successes and/or failures of a Structuralist approach to specific films such as Walkabout and/or Mama Roma?

I will be sending in lecture notes - please look at tabs after including and after the one marked 4/1. there are voice recordings that would be useful!!

i will also be sending in some other documents with notes on them

i will also be sending in a sample paper, please do not write or use material form the sample, but that is how the finished paper is supposed to look like.

i will also be sending in some useful articles that you will need for the paper:

Metz, Christian. Film Theory and Criticism. Ed. Leo Braudy and Marshall Cohen. 7th ed. New York & London: Oxford UP, 2009. 65-77. Print.

The Cinema of Poetry by Pier Paolo Pasolini
Articulations of the Cinematic Code by Umberto Eco
S/Z and The Rules of The Game by Julia Lesage

PLEASE HAVE A CLEAR OUTLINED THESIS
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Essay Instructions: Requirements:
3 ? 5 pages.

Strictly follow MLA formatting guidelines, including page numbers, margins, font, and spacing. A works cited page is required.

Assignment:

For this first paper, you will advance and support an argument about Gilman "THE YELLOW WALLPAPER". In the course of your paper, you should also reference one of the theoretical or critical approaches we have explored in class (structuralism, formalism, New Criticism, new historicism, or poststructuralism/deconstruction) in a meaningful and substantive way.

Your paper?s grade will reflect the following criteria:

The paper advances a clear and defensible argument, not an observation or a summary. The argument is appropriate to the scope and length of this paper (since this paper is short, the argument should be very tightly focused, exploring, perhaps, a single passage or image), and it makes a claim that is textual, not speculative. In practice, this means that your evidence will be textual evidence (such as close reading), not speculation about the author?s intention, how most readers would likely interpret or react to a given passage, etc.
Your paper is clearly and thoughtfully organized. In particular, I will be looking for three clearly distinguished sections: one in which you make your argument and develop its implications, one in which you acknowledge (and provide support for) an anticipated counter-argument, and one in which you support your claim with evidence. (These sections will vary in length.)
Your ability to engage a theoretical or critical perspective in a meaningful way. You can either adopt a theoretical position, or you can challenge one. (You can write about the weaknesses or failings of a New Critical position on your primary text, for example, as your discussion of a counter-argument.) But you should do so in a way that demonstrates a clear understanding of the theoretical position. This will probably require that you quote from another text (probably Bressler, and possibly Saussure, Yousef, or the New History of Early English Drama selections).
Your paper should be well written. This means minimal errors and typos, of course, but it also means that you should turn in a paper you are proud of, something you would (and that I will) actually enjoy reading. Think of it not just as ?a verbal message,? but as something to enjoy in its own right.

Essay Instructions: APA style - 2 citations

Explain how each school of psychology is reaction to the previous schools. For example how did Functionalism grow out of Structuralism and so on. >>

Essay Instructions: Discuss the story of Aeneas, Iulus, Amulius and Numitor, Rhea, and Romulus and Remus from the point of view of STRUCTURALISM. What are the various bi-polar opposites you find in various parts of the story? How do they show that living too close to the edge can be dangerous?

Structuralism was interpretated by Claude Levi-Strauss as, the meaning in a traditional story not conveyed by the content, he maintained, but by the structural relations behind the content. The meaning of the myth is its pure form and uses a mystical thought always working from the awareness of oppositions toward the progressive mediation. He talks about how all myths use a binary perception, in which, the story has irreconcilable opposites. An example would be a myth that has life and death in it.