4 -- Rhetorical Strategies

Frequently, tales of Rapunzel include typical characters or archetypes such as the distressed damsel, the wicked captor, and the gallant savior striving for freedom. These familiar archetypes add to the genre's essence and lay a basis for investigating dynamics between characters.

4 -- Rhetorical Strategies

Rapunzel as a type of literature often incorporates opposing elements to generate a sense of unease and emphasize important messages. This is shown through the juxtaposition of the cramped tower and the vastness of the world outside, the purity of Rapunzel in contrast with the wickedness of her captor, or even in how her vulnerability transforms into resilience. Vulnerability becoming resilience is perfectly portrayed in this portion here and in many other retellings where Rapunzel's tears are used to heal the prince.

4 -- Rhetorical Structure

The storytelling framework for Rapunzel narratives is often predictable, with a standard narrative structure comprising of an initial period of imprisonment followed by the appearance of either a prince or another character seeking liberation. The climax comes with overcoming obstacles to achieve ultimate victory. This model offers an overarching design for the genre and its characteristic rhetorical effects.

4 -- Analyze Rhetoric

An indispensable aspect of fairy tale storytelling is the conspicuous tower in which Rapunzel is held captive. Its iconography and allegorical significance- evoking separation, desire, and an unwavering aspiration towards autonomy-remains specific to the story and genre of Rapunzel.

1 -- Moral Lessons

All retellings pf Rapunzel focuses on restricting children and keeping them from growing up exposed to the world. Literally, Rapunzel is always locked away in a tower at Gothel's wishes. Ultimately, they all end with Gothel banishing or losing Rapunzel to those she's found from the "outside world." Though it's true that Gothel kidnapped Rapunzel as a baby, it also makes her akin to a surrogate mother. As a surrogate mother, she lost Rapunzel when Rapunzel finds that theres more to life and love than her tower and her fake mother.

1 -- Occurrence of magic/magical beings

In the versions where Rapunzel has powers, it is usually shown through her tears at the end to heal her love interest. It is is only in the Disney retelling that she has magic in her hair from the start.

1 -- Narrative Patterns

Almost every retelling of Rapunzel has these lines, except for the Disney story book, but the pictures still show that Gothel used her hair to climb to the top.

1 -- occurance of magical beings/magic existing in the world

This is also shown in almost all other renditions of Rapunzel, even though Gothel can sometimes be called an enchantress, a witch or a fairy. The modern Disney rendition is the only one that states Gothel is just a normal evil woman.

Genre

Kayo Hatta talks about the genre types she intended to create and why a dramatic film is important in reaching broad audiences.

Ha. Annotation Kalir/Garcia positions annotation as genre, and as (distributed) conversation. [[Annotatie als genre of als middel 20220515112227]], [[Annotation by Remi Kalir Antero Garcia]] and [[Gedistribueerde conversatie 20180418144327]]

The human condition in its entirety is an infinite conversation I suspect.

This phrase indicates that Moonstone is probably an epistolary novel, a type of genre that presents the story as a compilation of letters, diary entries, or in Moonstone 'family paper' as opposed to the direct narration of a single narrator. Here are links to information about epistolary novels from Oregon State University and Wikipedia. https://liberalarts.oregonstate.edu/wlf/what-epistolary-novel https://en.wikipedia.org/wiki/Epistolary_novel

Macbeth has occult content, but every high school reads it! gothic literature has supernatural elements, too! How can a literary element be praised within one genre and criticized within another?

The term "Romance" is distinct from "Novel" in the 19th C, and their generic differences were thoughtfully debated by writers like Hawthorne, Cooper, and Simm (McCall 115). The former genre is fantastic and latter realistic. Therefore, when we try to solve the mystery of The Moonstone, we may need to look to the fantastical, not logical/plausible.

The genre: Science fiction

Two of Shakespeare's more fanciful plays, The Tempest and A Midsummer Night's Dream explore the limits of the human form through its characters: the grotesque monster-human hybrid Caliban in The Tempest and the comical Bottom from Midsummer, a human with the head of an ass.

Shelley is conscious of Frankenstein's play with generic convention, and the role genre has in its agreement with representation of reality. In his review of the first edition in 1818 for Edinburgh Magaizine, Sir Walter Scott seems cognizant of the shift in consciousness. He notes: "The real events of the world have, in our day, too, been of so wondrous and gigantic a kind--the shiftings of the scenes in our stupendous drama have been so rapid and various, that Shakespeare himself, in his wildest flights, has been completely distanced by the eccentricities of actual existence."

Despite the comparison of these Shakespeare plays to Greek tragic poetry, The Tempest and A Midsummer Night's Dream are romances, not tragedies. Nonetheless, both romance and tragedy are genres to which this novel is deeply indebted.

Why didn't this generate a 655?

italian sonnet

‘Bean an tSeanduine’ features all of the conventions of the malmariée genre we have previously encountered in ‘An Seanduine Cam’. Also, it is a good example of the speaker blaming her parents for her plight, which is another regular feature of this song type.

As well as being one of the finest examples of the genre, it is perhaps the most well-known and commonly sung, owing in large part to the simplicity and catchiness of its monosyllable end-rhymes.

As well as Ó Tuama, Meidhbhín Ní Úrdail has written about the common features of the chanson de la malmariée. Her article ‘The Representation of the Feminine: Some evidence from Irish language sources’ in Eighteenth-Century Ireland/Iris an Dá Chultúr is a rich source of information on the topic. In ‘Bean an tSeanduine’, we have a fine example of what Ní Úrdail calls the description of ‘the plight of a beautiful young woman, trapped in an unhappy marriage to an impotent elderly spouse who is ignorant of her mental and physical frustration’. However, when we consider the particular humour of this song, we can identify how it serves to empower the female speaker.

‘Bean an tSeanduine’ differs from ‘An Seanduine Cam’ in that there is no third-person narrator. Like ‘An Seanduine Cam’, the humour of the song relies on a ridiculing of the old man, although here the young woman herself is his detractor. Each of his brags meet a witty riposte. When he claims wealth, she calls him a miser, and when he wonders what would become of his if he died during the night, she jokes that death is an immanent danger. When mockery of this kind is voiced by the female speaker, it serves to empower her, and inspire in the listener a sense of sympathy and respect.

The song’s first two verses are spoken by a third-person narrator. In its humorous exaggeration, the first verse caricatures recognized conventions of arranged marriage. This narrative consciously situates itself in a genre whose familiarity to the listener is a necessary part of the humour. It addresses the economic incentives which were the major precipitating factors of marriage arrangements in rural Ireland during the eighteenth century. It also invokes the misery which such marriages often visited upon young women.

In his essay ‘Love in Irish Folksong’, Seán Ó Tuama identifies among typical features of the malmariée genre that ‘a young woman speaks (in the first person) of her anguish,’ that ‘the description of the husband can be unbelievably grotesque and ribald: he is humped, crippled; he coughs, grunts, whines at night; most of all, he is cold as lead, important, and completely fails to satisfy her desires’, and that ‘she discloses that she is going to leave him for a young man’ (149). ‘An Seanduine Cam’ provides clear examples of all of these traits.

Moreover, because these tendencies find expression in a debate form, and are redoubled in response to the unfeeling man, the resistant character of the put-upon young woman is strongly emphasized.

This question seems like it should be more specific to disciplines. What is annotation in the legal world? How about for scientists? For beginning readers?

If I'm annotating a text to make meaning, that's different than if I'm a prof annotating a historical text to provide relevant background. The two notes have only their "noteness" in common, I'd say.

Scholarly definition of "situation comedy."

Genre is central to this argument. Why? see p. 197 re: definition and social function of sitcom genre.

Greyson and Lois establish the pervasive and deeply ingrained pejorative attitude toward the popular romance novel. Admit their own assumptions about the genre mirrored that of our culture.

annotation test 1

Annotation test