week 3

1.Symbol- a person, place, thing, or event ,

A symbol is a mark, sign, or word that indicates, signifies, or is understood as representing an idea, object, or relationship. Symbols allow people to go beyond what is known or seen by creating linkages between otherwise very different concepts and experiences. All communication (and data processing) is achieved through the use of symbols. Symbols take the form of words, sounds, 

gestures, ideas or visual images and are used to convey other ideas and beliefs. 

For example, a red octagon may be a symbol for "STOP". On a map, a blue line might represent a river. Numerals are symbols for numbers. Alphabetic letters may be symbols for sounds.

 Personal names are symbols representing individuals. A red rose may symbolize love and compassion. The variable 'x', in a mathematical equation, may symbolize the position of a particle in space.

2.The Scarlet Letter- 

A Romance is an 1850 work of fiction in a historical setting, written by American author Nathaniel Hawthorne. The book is considered to be his "masterwork" Set in 17th-century Puritan Massachusetts Bay Colony

during the years 1642 to 1649, it tells the story of Hester Prynne, who conceives a daughter through an affair and struggles to create a new life of repentance and dignity. Throughout the book, Hawthorne explores themes of legalism, sin, and guilt.



Plot

Lee Ki-hoon is an alpha male homicide detective; intelligent and with animal instincts. His wife, classical cellist Han Soo-hyun, is submissive and seemingly perfect. Meanwhile, he is carrying on a passionate affair with his mistress Choi Ga-hee, a sultry jazz singer at a nightclub


Ki-hoon lives a double life by moving back and forth between these two women, who also happen to be schoolmates from high school. One day Ki-hoon goes to a murder scene and there he meets Ji Kyung-hee, a woman accused of murdering her husband.

The Scarlet Letter is a 2004 South Korean film about a police detective who investigates a murder case while struggling to hang onto his relationships with his wife and mistress. It is the second film by La Femis-graduate and academic Byun Hyuk (Daniel H. Byun), and starred Han Suk-kyu, Lee Eun-ju, Sung Hyun-ah and Uhm Ji-won.[The film debuted as the closing film of the Pusan International Film Festival in 2004. The film is based on novelist Kim Young-ha's short stories A Meditation On Mirror and Photo ShopMurder.

Despite Lee Eun-ju's prior experience with depicting sex and nudity in Virgin Stripped Bare by Her Bachelors (2000), she came under the scrutiny of Korean press and netizens, for the highly emotional sex scenes and the notorious "trunk scene" in The Scarlet Letter which is regarded as "one of the most shocking and intense scenes in the history of Korean film. It is speculated her demanding role and its public scrutiny, had compounded and overlapped with an existing variety of family, financial, career, and insomnia issues.

Director Kim Ki-duk, no stranger to controversy over his own films, is quoted by Chinese film magazine "Movie Watch" (看電影) in singling out The Scarlet Letter as among the key Korean dramas from recent years. He subsequently cast Sung Hyun-ah, who rose to prominence with her role in The Scarlet Letter, as the heroine in his Time.

At the film's premiere in Japan, veteran actress Kumiko Akiyoshi praised the lead performances and likened the film to a landmark in erotic thrillers after Basic Instinct and Fatal Attraction.

3.Motif
Motif is an innovative trading and investing platform. We simplify complex investment products and make them universally accessible.

4.Prefix and Suffix:

Prefixs are added to the beginning of a word to make a new word, eg mis+take. Some common prefixes are 'mis', 'dis', 're', 'for', 'anti', 'ante', 'sub', 'un' and 'in'. New words are made by placing a prefix in front of a word. It is helpful to know the meanings of prefixes. Prefix 're' means again, therefore reappear means to appear again.
Common prefix meanings
pre - before
mis - bad(ly)
sub - under
inter - between
semi - half

The following prefixes of 'im', 'ir', 'il', 'in' and 'un' can be added to the beginning of words to make them into a negative.

Examples
im + possible = impossible
ir + responsible = irresponsible
il + legal = illegal
in + active = inactive\

un + happy = unhappy
Suffixes
Letters added to the end of a main word are called suffixes. Common suffixes are: 'ed', 'ful', 'ly', 'ing', 'able', 'ance', 'ence', 'ness'.
Example
harm + less = harmless
When 'full' is added to a word you drop the final 'l'. If you add 'ly' to any word ending with 'ful' you keep the existing 'l'.
Example
hand + full = handful
rest + full = restful
restful + ly = restfully



5.Mimesis"Mimetic" redirects here. For the mimetic muscles, see Facial muscles. For other uses of the word Mimesis, see Mimesis (disambiguation).
Not to be confused with Memetics.
In ancient Greece, mimesis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative. After Plato, the meaning of mimesis eventually shifted toward a specifically literary function in ancient Greek society, and its use has changed and been reinterpreted many times since.

6.Beauty’s truth
A defense of scientific elegance.
By Jim Holt
Thomas Kuhn, who died last month, was famous for accusing science of "irrationalism." He argued that scientific change occurs by revolution--one "paradigm" overthrows another--but he was never too clear about what triggers these revolutions, beyond a sort of mob psychology among scientists. Nor could he make up his mind as to whether there were absolute standards of evidence that would permit one to judge.

In other words, Kuhn's ideas were woolly. This probably enhanced his stature among the ruck of intellectuals, but few philosophers of science take him very seriously. If scientists were utterly rational, they would invariably plump for the theory most consistent with the evidence, the one that yielded the most accurate predictions, the one with maximum explanatory power. They would pursue only empirical truth.

He was not trying to account for celestial observations that were anomalous from the Newtonian point of view. His motives were aesthetic. He was troubled by the fact that, in Newton's theory of gravity, an object's resistance to force (it's inertial mass) just happened to be the same as its power of attraction (its gravitational mass). Newtonian physics offered no explanation for this; it was fortuitous and, to Einstein, ugly. So he worked up a theory that, by identifying gravity with the curvature of space-time, merged these two masses into one. It was a construction of unexampled elegance, simplicity, and symmetry. It captured the gross workings of the cosmos in a tensor equation that takes up less than a line of text.

Relativity theory is not only beautiful; it also happens to be empirically true (although its predictive success is too meager to account for the theory's widespread acceptance). Einstein does not appear to have been irrationally subordinating truth to beauty. But consider his reaction to quantum theory, the other great achievement of 20th-century physics.

Other notable physicists have been even more cavalier about letting truth and beauty diverge. "My work always tried to unite the true with the beautiful," remarked Hermann Weyl, the perfecter of both relativity theory and quantum mechanics, "but when I had to choose one or the other, I usually chose the beautiful."

Today the religion of beauty is confessed almost universally among theoretical physicists. "You can recognize truth by its beauty and simplicity. When you get it right, it is obvious that it is right," said Richard Feynman, one of physics' most intuitive geniuses. I have always thought that the sentiment on Keats' urn, "Beauty is truth, truth beauty" refuted itself: It is beautiful but untrue. But is it really so preposterous? Suppose your aesthetic creed were Renaissance classicism, and you believed that a human creation was beautiful insofar as it was a just representation of a noble subject. Then you would have to say that the scientist, in seeking to depict nature's harmonies through mathematics, was after beauty by definition. Even if you rejected this mimetic view of beauty and opted instead for the Uniformity in variety is precisely what Kepler found when he subsumed the vast and meticulous observations of Tycho Brahe under three concise laws of planetary motion. It is what the Nobel laureate Leon Lederman had in mind when he said that the goal of physics was "to explain the entire universe in a single, simple formula that you can wear on your T-shirt.


Does this mean the end of science? John Horgan has recently suggested as much in a book of that title. Horgan is unimpressed by superstring theory, currently the only plausible candidate for a Theory of Everything. But it generates no testable prediction, so Horgan dismisses it as "ironic science": It cannot be literally true.In his forthcoming Beauty and Revolution in Science, the philosopher James W. McAllister argues that all revolutionary episodes in science have really been of the aesthetic variety. Consistency with evidence, predictive success, explanatory power--these criteria for scientific truth have survived revolutions unscathed. It is an idea of beauty, even of simplicity itself

This is no whim of intellectual fashion. Scientists fancy some aesthetic feature of a theory to the extent that it is linked with empirical success at the time. hearkening back to Renaissance magic, he appealed to gravitational "action at a distance." This was at first a serious blemish in a theory that was eventually viewed as the soul of beauty

Looking back through the history of science, it is plain that beauty is a harbinger of probability only in retrospect. Most aesthetic convictions held by scientists--like the Aristotelian notion that uniform circular motion is the loveliest of all--ended up impeding the advance of knowledge. Innovations like Kepler's ellipses or quantum mechanics usually come surrounded by an aura of ugliness, which predictive success replaces with the splendor of truth. The great exception is Einstein's relativity theory, a singularly heroic discovery that set the tone for the rest of the century. The beautiful Final Theory will be the true one, not because it accords with the empirical evidence, but because it reflects the mind of God--a God who geometrizes or arithmetizes, depending on your taste.

7.Catharsis  洗滌,淨化
is the purification and purgation of emotions—especially pity and fear—through art  or any extreme change in emotion that results in renewal and restoration. It is a metaphor originally used by Aristotle in the Poetics, comparing the effects of tragedy on the mind of a spectator to the effect of a cathartic on the body.


8.Poetry is higher than history

“Poetry, therefore, is a more philosophical and a higher thing than history: for poetry tends to express the universal, history the particular,” (Aristotle).      Published byNorma Foster

Poetry and History
Since life is not a plot, it is not sufficient for a poet simply to record events as they happen. Such a chronicle is history, but not poetry. Even if history were cast into the same kind of meter as is used in tragedy, Aristotle argues, it would only be history in verse. 

A poet "should the maker of plots rather than verses" (54), for plots, more than merely organizing events into a coherent structure, serve to represent the universal laws of probability. The true difference between historians and poets, Aristotle states, is that the former records what has happened, while the latter represents what may happen.

Poetry is more "philosophical" than history, according to Aristotle, because in order to unfold a plot in a manner that is convincing to the audience, the poet must grasp and represent the internal logic, the necessity, of the outcome of those events.

Aristotle condemns poets that simply string episodes together, and reminds his readers that tragic plots must not only be coherent but also inspire "fear or pity" in the audience

 He concludes this chapter with a suggestive analysis of surprise in drama: a surprising development in a tragedy is most effective when it does not merely produce shock at an unexpected occurance, but rather has an "air of design" (54) and seems to be the necessary, inevitable (but still frightening) outcome of a chain of actions.


9.Genre
Genre is any form or type of communication in any mode (written, spoken, digital, artistic, etc.) with socially-agreed upon conventions developed over time.
the genre of epic poetry; the genre of symphonic music.


10.MLA v. s. APA documentation

APA

The American Psychological Association (APA) style is, originally, a set of rules that authors use when submitting papers for publications in the journals of the APA. Established in 1929, the style has since been used to guide research writers and help them achieve – through the use of established standards for language, the construction of correct reference citations, the avoidance of plagiarism, the proper use of headers, among many others – "minimum distraction and maximum precision".

As a complete style and guideline for writing, the APA is a valuable tool for writing scientific papers, laboratory reports, and papers covering topics in the field of psychology, education, and other social sciences. The APA style allows for in-text citations, direct quotations, and endnotes and footnotes. It is also enables the author to use the past tense of verbs in the reportage.

MLA

The Modern Language Association (MLA) style is the leading style of documentation for literary research, as well as academic papers in the humanities field. It follows a specific set of rules for formatting manuscripts, and is considered, along with the APA style, a standardized reference format in college. Compared to the APA style, however, the MLA style focuses on the citation of books, anthologies, literary works, audio-visual material, multimedia, and similar works with much more detail.Also, unlike the APA style, the present tense of verbs is most commonly used in the MLA style. 

11. Roman Fever

Plot summary

A plot summary lists the various turning points of a story: the hook, the inciding incident, the midpoint shift, the moment of darkness that incites the final battle, and then the outcome. This follows roughly the story physics of Larry Brooks. You could be more detailed by using one of the hero’s journey outlines.

Is the summary for a teacher? A prospective agent? An editor? A publisher?

You may want to ask for more specifics, which should be listed on websites for all except the teacher, whom you could ask in person or via email/chat.

You may want to include the growth of the main character, based on the needs of your audience.