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Transcript of COMM 180
How Do We Analyze a Text?
1. Map the action, or plot of a story; map the narrative arc of a poem.
2. Create mini character sketches of the narrator or poet, and all characters involved.
3. Identify all rhetorical/poetic strategies (i.e. narrative strategies) an author uses to communicate the main themes of a story or poem.
4. Illustrate how plot, characterization and narrative strategies shape the way we respond to the main theme/message of the story or poem.
As you watch the following spoken word performance, try to do the following actions:
1. Map the sequence of the poem.
2. Create sketches/back stories for the two characters you see. What are their interests? Education? Class? Politics? History? Race?
3. Try to identify different strategies the poets are using to communicate to you: Are you seeing images? What is the feeling/tone of the piece? What sort of language is being used? Is there music/rhythm/rhyme in the language?
4. Based on what you have set down in 1, 2 & 3, what do you think this spoken word piece is about?
Break: 10 Minutes
1. All documents for the course are in the content section on Ecentennial.
2. Oral presentations are in groups (10%).
3. We write 3 essays this semester:
The mid term essay (20%);
research essay (30%);
final essay (20%).
4. There will be two "prep" assignments: Introduction of the mid term essay (10%);
abstract and references for the research essay (10%)
What We Do
Read literary works from a variety of genres.
Analyze these works for weaker and finer aspects.
Identify the overt and covert messages of the texts.
Articulate an individual response to a text based on critical evaluation, research, and analysis.
"Lost Voices" by Darius Simpson and Scout Bostley
Let's watch this again, with the "text."
How does the experience of the poem change?
In the remaining time, write a paragraph outlining your
response to "Lost Voices" by Darius Simpson and Scout Baytley.
Please include your name, student number, and our section code in your response.
Have a great week!
Kendrick Lamar "i"
Aretha Franklin "Respect"
Even the ego, the "I", is a story that each one of us has inherited.
An example of the mirror stage (Lacan, 1953) in cognitive development.
"Fear" by Lydia Davis
Nearly every morning, a certain woman in our community comes running out of her house with her face white and her overcoat flapping wildly. She cries out, “Emergency, emergency,” and one of us runs to her and holds her until her fears are calmed. We know she is making it up; nothing has really happened to her. But we understand, because there is hardly one of us who has not been moved at some time to do just what she has done, and every time, it has taken all our strength, and even the strength of our friends and families too, to quiet us. (Davis, 1995)
Stories invite us into worlds that are simultaneously familiar and completely strange...
They stretch our boundaries of self definition.
The Coup Feat. Lakeith Stanfield "OYAHYTT"