For her honors project, Rachel followed the narrative transformation of the plot of The Adventures of Pinocchio by Carlo Collodi from text to film as well as cross-cultural modifications. The narrative maintained its basic structure and story in each version (Italian, English, Russian), while still including significant changes that make the tale relevant and important for the pertinent culture.
Fairy tales at once confront prominent sociocultural issues while simultaneously performing a didactic function. In Pinocchio, each incarnation includes an ideological message, whether it's to be a moral and good little boy in the Italian text or in the American Walt Disney movie, or to be an ideal Soviet citizen, as depicted in the Russian text and film.
Rachel received a Phi Beta Kappa Liberal Arts Scholar Award for her paper. She is a graduate teaching fellow and Ph.D. student in comparative literature at the University of Oregon.
The University encourages qualified students to pursue projects of original research under the guidance of a faculty member. Students should discuss their interest in Research Honors with their academic advisor in order to determine whether they qualify.
一道本不卡免费高清Students may seek Research Honors in their major field (or in another field in which six course units will have been completed prior to beginning the Honors Project) provided that a cumulative grade average of at least 3.25 overall and 3.50 in the field in which honors are sought has been maintained.
A student's intention to attempt Honors Research must be declared to the Associate Provost by October 1 of the student's senior year. Independent study credit may be earned for work associated with the completion of an Honors Research project. The assent of a faculty member willing to serve as project advisor is required for participation.
A project hearing committee made up of faculty appointed with the consultation and consent of the student will review the completed project and determine whether or not honors shall be granted.
The Student Honors Papers collection一道本不卡免费高清 represents exemplary work in English at Illinois Wesleyan University. The Ames Library is proud to archive many of these and other honors projects in , the University's online archive of student, faculty and staff scholarship and creative activity.
by Kathryn Halford
Poetry is often a space for exploration and transgression. The poetic project In the Ripe and Ruin seeks to both question and transgress, targeting the difficult nature of bodies and their complications through maturation and tragedy. Bodies are conflicted spaces, sites of gendered experience, decay, and growth. The critical preface and 23 poems serve as an exploration of identity as a woman, as a writer, and as a person with an increasingly fragmented sense of home and belonging. This project attempts an experimentation with poetic forms, utilizing typographical and generic convergence as a standard practice. The divergent poems work to destabilize linear narrative, creating a simultaneity of progression and regression throughout the collection.
by Abigail Kauerauf
一道本不卡免费高清In We Need To Talk: A New Method for Evaluating Poetry (2018), Michael Theune and Bob Broad present a study that employs a version of their âPoetry Dynamic Criteria Mappingâ (PDCM) methodology to empirically and inductively investigate the implicit criteria that went into the selection of poems. I employ a version of PDCM in my study. I coded and analyzed 752 poems from the past three yearsâ issues of nine creative arts journals from liberal arts institutions in the same academic conference. Two important patterns emerged: (1) the vast majority of the poems are outgrowths of confessional poetry: free verse, serious, introspective, and focused on emotion, and (2) few poems seem aligned with other values, including those espoused by avant-garde, slam, and socially and politically engaged poetry.
by Eva Kossmann
This novella is a way to relieve the guilt. My grandfather, whom I barely knew, passed away my freshman year of college. Through writing this novella, I have attempted to reconcile the guilt of never reaching out to understand this manâmy fatherâs father. This novella is a fictionalization of the relationship between my father and his father, a Swiss-German man with bipolar disorder, and how these characteristics impacted their relationship. I explored the facets of memory in order to create the story I wrote, relying on my own memories and the memories of others close to my grandfather. By writing about this father-son relationship, I sought to understand who my grandfather was in attempt to rid myself of the guilt of essentially abandoning him in his final years. This novella is also to examine the preciousness of memory and to understand its importance to our understanding of who we are as individuals in this world.
by Ross Hettinger
To what extent is the world around us an extension of our mind? Conversely, how much a part of the world is our mind? These are complex questions to begin a critical preface with, especially a preface that is focused not on the issues of Theory of Mind, consciousness, or questions of body and mind, but rather fiction, genre and the ramifications of point of view. These are precisely the questions, however, that need to be considered at the very onset of an inquiry of this type. The connection between mind and world is at the heart of any question relating to narrative. Given to the author in creating a work is the monumental task of creating a world and all of the characters in it. Authors must constantly balance the realities of their world with the demands of their characters, and a chief way a writer communicates with the reader is through the point of view, which is the only conduit into the authorial world. The choice of point of view, therefore, is a supremely important one, and one in which there can be both convention and subversion, depending on numerous factors, including whether a story is considered genre or literary.
by Paxton Johnson
一道本不卡免费高清The project consists of a compilation of secrets, ranging from strange to unexceptional, in the form of poetry and short, poetic, prose pieces. Even our most public figures have private lives, and even within those lives, there are private thoughts unheard by even the most trusted ear. There is a constant struggle over how much privacy should be allowed, and people often advocate to spotlight everyone but themselves. Although everyone lives with shadows, it is still difficult to avoid passing judgement on others for their secrets and receiving similar responses upon revealing oneâs own. This project examines what it is that people are so intent on keeping hidden, and why we feel, even under such similar pressures as others, that we must keep information so desperately shrouded. This project aims to consider the multifaceted nature of human secrecy and the humanity it provides.
by Jamie Kreppein
[Archives staff derived this excerpt from the authorâs Preface.] Iâve heard the question âyour dadâs a cop?â more times than I can countâ¦.So, this play is about the police. Itâs about my family; for me, the two are hopelessly intertwined. I draw from my memories; Iâve written about moments with my family from the slightly foggy past and from the very real present. My family talks a lotâabout politics, and race, and the police. My father is fixated on current events and issues, to the point of unhappiness, and the apple doesnât fall far from the treeâ¦.Many arguments in this piece unfolded as I was writing it, so all I had to do was record. I realized that I didnât need to consciously tackle the big questions, like what it means to be a police officer in a society filled with opinions on the police, because my father is constantly monologuingâ¦.Fully fleshed monologues with arcs and movement and anecdotes. Maybe heâs always been like this. Or maybe Iâm the first person to listen to him.
by Grace McGovern
[Archives staff derived this excerpt from the authorâs Introduction.] To be queer is to be continually silenced and sanitized, both by yourself and others. Through my poetic project, âi pull the trigger and lilies fly out,â I am reclaiming those aspects of myself and forming my own expression of the self. There is a quietness to my work, a continual movement into a lyrical, ethereal space, a suspension of time where the contemplation of a possible action is emphasized, rather than the action. This stillness, this self-awareness, and constant feeling of âwhat-ifâ embodies the extent to which I contemplate my place as a queer woman in every space I occupy. By creating work centered on this self, and not needing a disclaimer for my queerness but also note needing to make it shout, I was able to craft my own queer identity. I have often felt on the margins in this respect; I was too gay for my straight friends and too âstraightâ in mannerisms and dress for my gay friends. By holding my identity in my own hands, I was finally able to mold something that is me, and that I am proud to embody. When you are queer, you often have to create your own space and your own identity. In this project, I have finally formed my own.
by Savanna Steck
[Archives staff derived this excerpt from the authorâs Introduction.] My novel takes place in a multi-national, magical worldâ¦ The story focuses on the opposing forces working in Alveraâ¦The plot is shaped by the actions taken by the different characters to achieve their goals, and how these actions are motivated by the fictional worldâ¦Plot and world-building are not direct substitutes for each other. Rather, I began to think that the plot and world-building are complimentary support structures in a story that work together to create the foundation for a complex narrative. The plot is the super structure of the novel. It is the device that reveals how the character live and interact with the fictional world. The world is the base for the story, the physical setting that the action of the plot is rooted in. But the world functions in more than one way. It is the physical setting of the novel, a base for the story to grow out of, but it is also an active participant in the story. In fact, so active was my world that I began to think of it as a character. Just as characters in a novel have motivations and intentions fueled by their backstory that is shown through the plot. The characters in a work of fiction often interact with the world as they do with each other. This means that when the characters and world interact, details and events are aligning to create the plot of the novel. The fictional world helps to create parameters that give the events of the plot meaning, while the plot provides the overall structure to release the plethora of information that world-building and character development generates. The fictional world, thought of as a character, is another element in a world of fiction to help create charactersâ intentions and motivations that furthers the plot of the story.
by Anastasia Lowenthal
I am no expert in black masculinity. As a white female from a small, predominantly white town, I cannot claim to understand what it is like to grow up as a black man in America. However, I believe that I, and many others, can come closer to understanding some of today's complex black masculine identities through the history of constructions and conscious (re)constructions of images of black masculinity. There are countless routes that could have been taken, and admittedly, so much more that could be said about countless images of black masculinity, including those I have represented. The few constructions that I have chosen I believe are representative of the most popularly white-consumed images of masculinity of the nineteenth through the twenty-first centuries. An entire book could be written on the representations of black masculinity, and it still may never be defined. But that is what makes it interesting - the ways in which it has transformed over time, sometimes in compliance with and sometimes in reaction to white perceptions of black men. In studying selected instances of restrictive, white-constructed representations of black masculinity such as the "Uncle Tom" and the "minstrel," the "Real Nigga" who rejects white society and retaliates by expressing his power and prowess can be more deeply understood. Looking at Staples's and Lamar's criticisms of gangsta rap reveals some of the downfalls of N.W.A's "Real Nigga" identity, which, although revolutionary, was in many ways a performance of minstrelsy that satiated the American fantasy of the young black "gangsta" as the brute. The more self-aware identities that Staples and Lamar represent provide an insight to the ways that black men are viewed by modern society. They demonstrate the ways in which their ever-shifting identities influence and are influenced by the communities in which they live and the outside world's perceptions of them.
by Kristina Dehlin
一道本不卡免费高清While writing these poems, I thought critically about my existence and the existence of others in ways that were both difficult and enlightening for me. I was definitely altered, but to have such an effect on anyone else is a large undertaking. It feels a bit like a one-sided relationship that the world I have interacted with for this project (that is, the specific poets and locations I studied) will likely never interact with me. My hope with this collection, however, is that I can draw the attention of my readers to some of the issues that concerned me and inspired my writing. I want them to question their own place in the world-- how they got here, how stuck they are in it, how they do and should feel about it--and furthermore their ability, willingness, or necessity to empathize. I want to alter their thoughts for as long as I have their eyes on my work. If I am right about this collection's theory on the unbreakable connection between the world and the individual, then that will be enough to start changing our small place in the world.