Noh, the oldest surviving Japanese dramatic form, combines elements of dance, drama, music, and poetry into a highly stylized, aesthetic retelling of a well-known story from Japanese literature, such as The Tale of Genji or The Tale of the Heike. This lesson provides an introduction to the elements of Noh plays and to the text of two plays, and provides opportunities for students to compare the conventions of the Noh play with other dramatic forms with which they may already be familiar, such as the ancient Greek dramas of Sophocles. By reading classic examples of Noh plays, such as Atsumori, students will learn to identify the structure, characters, style, and stories typical to this form of drama. Students will expand their grasp of these conventions by using them to write the introduction to a Noh play of their own.
The essay is perhaps one of the most flexible genres: long or short, personal or analytical, exploring the extraordinary and the mundane. American essayists examine the political, the historical, and the literary; they investigate what it means to be an "American," ponder the means of creating independent and free citizens, discuss the nature of American literary form, and debate the place of religion in American society.
In this lesson, students will explore Dickinson’s poem “Safe in their Alabaster Chambers” both as it was published as well as how it developed through Dickinson’s correspondence with her sister-in-law Susan Huntington Gilbert Dickinson.
What is the most compelling evidence explaining why the U.S. entered World War I? After completing the lessons in this unit, students will be able to: Take a stand on a hypothesis for U.S. entry into World War I, supported by specific evidence.
In "The Sound and The Fury," Faulkner's presentation of time is unique and complex, as the Quentin chapter symbolically opens with a description of Quentin's watch, which was given to him by his father.
The third chapter of "The Sound and the Fury" is told from the perspective of Jason Compson, now the patriarchal head of the family, after his father's death, Quentin's suicide, and Caddy's abandonment of her own daughter (also named Quentin). His leadership does not bode well for keeping intact the remnants of the Compson family, ultimately indicating the passing of both the Old South at large and its one-time aristocratic families such as the Compsons.
