Competency: Formulate, Express, And Support Individual Persp

Competencyformulate Express And Support Individual Perspectives On D

You will act as a critic for some of the main subjects covered in the humanities. You will conduct a series of short, evaluative critiques of film, philosophy, literature, music, and myth. You will respond to five different prompts, and each response should include an analysis of the topics using terminology unique to that subject area and should include an evaluation as to why the topic stands the test of time. The five prompts are as follows: 1: Choose a film and offer an analysis of why it is an important film, and discuss it in terms of film as art. Your response should be more than a summary of the film. 2: Imagine you had known Plato and Aristotle and you had a conversation about how we fall in love. Provide an overview of how Plato would explain falling in love, and then provide an overview of how Aristotle might explain falling in love. 3: Compare and contrast the two poems below: LOVE’S INCONSISTENCY I find no peace, and all my war is done; I fear and hope, I burn and freeze likewise I fly above the wind, yet cannot rise; And nought I have, yet all the world I seize on; That looseth, nor locketh, holdeth me in prison, And holds me not, yet can I ’scape no wise; Nor lets me live, nor die, at my devise, And yet of death it giveth none occasion. Without eyes I see, and without tongue I plain; I wish to perish, yet I ask for health; I love another, and yet I hate myself; I feed in sorrow, and laugh in all my pain; Lo, thus displeaseth me both death and life, And my delight is causer of my grief. Petrarch After great pain a formal feeling comes— The nerves sit ceremonious like tombs; The stiff Heart questions—was it He that bore? And yesterday—or centuries before? The feet mechanical go round A wooden way Of ground or air or ought Regardless grown, A quartz contentment like a stone. This is the hour of lead Remembered if outlived As freezing persons recollect The snow— First chill, then stupor, then The letting go Emily Dickinson 4: Compare and contrast these two pieces of music: Beethoven’s Violin Romance No. 2 Scott Joplin’s Maple Leaf Rag 5: Explain in classical terms why a modern character is a hero. Choose from either Luke Skywalker, Indiana Jones, Bilbo Baggins, Harry Potter, Katniss Everdeen, or Ender Wiggins.

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Analysis of a Film as Art: "Schindler's List"

Choosing "Schindler's List" directed by Steven Spielberg, it emerges as a profoundly significant film in the realm of cinema as art. The film's stark black-and-white cinematography employs visual techniques that evoke the documentary aesthetic, thereby heightening its emotional rawness and historical authenticity. Its narrative centers on Oskar Schindler, a German industrialist who saved over a thousand Jewish refugees during the Holocaust, illustrating the capacity for moral transformation and the complexities of human nature. The film transcends mere storytelling, functioning as a powerful visual testament that stimulates ethical reflection, making it an enduring work of cinematic art that challenges viewers to confront uncomfortable truths about human history and morality.

Philosophical Perspectives on Falling in Love: Plato and Aristotle

Engaging in hypothetical dialogue with Plato and Aristotle about love reveals contrasting philosophical perspectives rooted in their metaphysical and ethical frameworks. Plato would justify falling in love as an ascent from physical desire towards the love of the Forms, especially the Form of Beauty, which leads the soul to recollect its divine origin. This process is an intellectual and spiritual awakening, fostering the soul’s yearning for eternal truths. Conversely, Aristotle would approach love from an ethical and practical standpoint, emphasizing friendship (philia) grounded in mutual virtue and shared eudaimonia. For Aristotle, falling in love involves a deep recognition of virtuous qualities in another person, leading to a friendship that promotes moral development. While Plato’s view centers on the soul’s ascent towards ideal Forms, Aristotle emphasizes the bonds that cultivate virtue and self-improvement through love.

Poetry Comparison: Petrarch and Dickinson

The two poems reflect divergent emotional landscapes of love and pain. Petrarch's "Love’s Inconsistency" encapsulates the tumultuous oscillation between hope and despair inherent in unrequited love, portraying love as a torment that ensnares the lover despite the lack of tangible possession. His language evokes a sense of imprisonment and internal conflict, using paradoxes to articulate love’s contradictory nature. In contrast, Emily Dickinson's poem describes a more internalized, stoic processing of pain, emphasizing the numbing and isolating effects of sorrow. Dickinson’s imagery—"nerves sit ceremonious like tombs" and "hour of lead"—conveys emotional stagnation and resignation. Both poems explore love’s power over the human psyche; however, Petrarch's work emphasizes love's chaos and suffering from external longing, whereas Dickinson emphasizes internal emotional paralysis and detachment rooted in grief.

Musical Comparison: Beethoven’s Violin Romance No. 2 vs. Joplin’s Maple Leaf Rag

Beethoven's Violin Romance No. 2 exudes lyricism and emotional depth, characterized by its lyrical melodies and expressive nuances that evoke intimacy and longing. Its Romantic style emphasizes individual emotional expression through nuanced dynamics and melodic arching, capturing the tension between vulnerability and strength. Conversely, Scott Joplin’s "Maple Leaf Rag" embodies the energetic and rhythmic vitality of American ragtime, marked by its syncopated piano patterns and lively tempo. It is a dance of complexity and exuberance, emphasizing technical virtuosity and rhythmic innovation. While Beethoven's piece explores inward emotional states with melodic subtlety, Joplin’s composition celebrates rhythmic vitality and dance, reflecting different cultural and artistic expressions that have stood the test of time—one as a pinnacle of Romantic lyricism, the other as a defining piece of American popular music.

Classical Analysis of a Modern Hero: Harry Potter

From a classical hero archetype perspective, Harry Potter embodies traits such as courage, moral integrity, and resilience. His journey follows the classical pattern of the hero’s quest: departing from the ordinary world, facing trials, and achieving self-knowledge. Harry’s bravery in confronting Voldemort, his unwavering commitment to his friends, and his moral conviction align with the heroic virtues extolled by classical philosophy, notably virtue ethics (Aristotle). His ability to endure hardship without succumbing to despair also illustrates the importance of virtue as a mean between excess and deficiency—courage as the virtue between recklessness and cowardice. Furthermore, Harry’s sense of justice and sacrifice echoes the classical hero’s role as a protector of societal order—values that explain his enduring appeal and status as a hero in contemporary narrative.

References

• Nichols, B. (2010). Film Art: An Introduction. McGraw-Hill Education.
• Plato. (c. 375 BCE). The Symposium. Translated by Benjamin Jowett.
• Aristotle. (350 BCE). Nicomachean Ethics. Translated by W. D. Ross.
• Petrarch. (14th century). Rerum Vulgarium Fragmenta.
• Emily Dickinson. (1891). Selected Poems.
• Beethoven. (1823). Violin Romance No. 2. In Complete Works of Beethoven. Edition, Vienna.
• Joplin, S. (1899). Maple Leaf Rag. Published by John Stark, New York.
• Nehamas, A. (1998). The Art of Living: Socratic Fragments and Beyond. University of Chicago Press.
• Hemingway, E. (1952). The Art of Fiction. Vintage International.
• Carroll, J. (2007). Classical Heroes: Plato, Aristotle, and the Myth of the Hero. Harvard University Press.