Running head: CAPSTONE REPORT FOR PROGRAM DEVELOPMENT

Capstone Report: Program Development in Aesthetics of the Literary Masterpiece Cynthia Gallagher Jones International University

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Table of Contents

Abstract ........................................................................................................................................... 4 Introduction ..................................................................................................................................... 5 Statement of PurposeClear Statement of Purpose and Benefit ................................................... 6 Explanation of Core Concepts ........................................................................................................ 6 Relationship of Concepts to MEd Learning Objectives ................................................................. 7 Literature Review ........................................................................................................................... 9 Identification of the Target Population and Learning Community ............................................... 12 How the Project offers an important contribution to the Educational Community ...................... 13 About the program design, instruction, and graduate studies ....................................................... 15 Table 1. ............................................................................................................................. 16 Backward Design for Literary Aesthetics ............................................................................. 16 Statement about Benefits and Evaluation Criteria ................................................................ 19 Detailed Project Plan, including the Timeline ...................................................................... 20 Table 2. ............................................................................................................................. 20 Eight-Module Development Program Timeline ........................................................................... 20 Identified critical success factors to indicate progress and results ..................................... 21 Defined roles and responsibilities for each participant ...................................................... 22 Resources required and how they may be acquired ........................................................... 22 Developed plan ................................................................................................................... 24 Module 1 ....................................................................................................................................... 24 Foundations in Literature .................................................................................................. 24 Module 2 ....................................................................................................................................... 24

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Further Foundations in Literature ..................................................................................... 24 Module 3 ....................................................................................................................................... 26 The Importance of Tragedy .............................................................................................. 26 Module 4 ....................................................................................................................................... 29 Considerations: Influences of Style: ................................................................................. 29 Module 5 ....................................................................................................................................... 31 Module 6 ....................................................................................................................................... 35 Hugos Environment, Philosophy, Ethics, Style............................................................... 35 Module 7 ....................................................................................................................................... 36 More Topics about Revolutionary Literature ................................................................... 36 Module 8 ....................................................................................................................................... 39 New Terms, Concepts, and Issues ..................................................................................... 39 Strategies for managing risk and addressing any political implication .............................. 41 Materials and Resources Required for Successful Completion ......................................... 41 Conclusion .................................................................................................................................... 41 References ..................................................................................................................................... 44 Honor Statement ........................................................................................................................... 48

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Abstract As the powerful omniscient voice of an influential thinker who strives to analyze the mortal

dilemma, the tragedian studies a problem that is not resolved except through a conclusion that offers a glimpse into a solution or complex reality, such as immortality. Did Hero attain ultimate justice once Leander perished into the same body of water that once delighted both characters? From one dynamic condition to an infinite cosmos of reactive forces and relief, sublimation and metacognition tend to the psychoanalysis of the guiding tour de force and dramatic expression that abounds in the creation of literary passages and volumes which evoke aesthetic revelationsthe primary focus of the Capstone Project about Aesthetics in Literature. Aristotle, Victor Marie Hugo, and Leon Trotsky have imprinted their compassion for humanity into the sympathies and profundities of literary works that are an essential foundation to all young-adult and college-age supporters of education.

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Capstone Report: Program Development in Aesthetics of the Classical Masterpiece

Humanitarian Foundations Introduction (turn white for invisibility) Literary criticism is a product of the Greek Academy that originated in the Lyceum of Socrates (469399 B.C.), his student Plato (429347 B.C.), and Platos student Aristotle (384322 B.C.). Plato and Aristotle had derived many treatises in philosophy, ethics, rhetoric, psychology, and poetry, and in the sciences that abound in remarkably detailed theory and examples. The importance of Greek to the learning institution is evident through the sorority houses and affiliations that are identified by Greek letters, for example; and through engineering and statistical function indicators that are Greek. Although many original Greek volumes have deteriorated, some remain as evidence to which scholars refer as they continue to decipher the laws, standards, theories, contradictions, enigmas, and likenesses of characteristics that prevail in semantics and educational literature. The analysis of conditions that are psychological and the analysis of character are related, as educators such as John Dewey (1859-1952) and Leon Trotsky (1879-1940) indicate through their extensive writings about psychological topics such as free will, bias, egocentric motives, given propensities, justice, care, and solutions to social and financial disorder. For example, Dewey had assisted victims of Stalin as he had associated with Sigmund Freud (1856-1939), who instructed him in psychology, including psychoanalysis, which resulted in part in Deweys ability to manage extensive legal proceedings in Mexico. Thus, Dewey also negotiated with legal counsel that revealed the innocence of Leon Trotsky, who otherwise would have been executed unjustly by the Stalin regime. Insightful, captivating, and profound themes of literary works prevail as chronicles, dramatic scripts and productions, documents, diaries, historic fiction, and nonfiction that quest into the psyche, its tendencies, conflicts, resolutions, and control.

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Statement of PurposeClear Statement of Purpose and Benefit

The purpose of this Program Development is to introduce important concepts, functions, and language that will improve knowledge, communications, and tolerance for literary foundations as they relate to literary orientations and associations in academic and personal applications. For example, the origins of the original Academy indicate that Aristotle had represented instructional scholarship in the sciences and the humanities, including the highly valued epic, dramatic poetry, and tragedy of ancient times, which have continued to influence generations of writers, artists, and producers. The amphitheater still focuses on humanitarian and social issues that writers originally addressed during ancient times, issues that relate to cultural, ethical, and defensive concerns, and that may maintain a common bond or alliance among community members. While some critics accredit epic poetry for entertaining cultivated audiences, and tragedy for entertaining a more inferior audience (Applebaum & Koss, 1997, p. 59), other critics offer enduring support for Aristotles treatment of poetry as a universal aesthetic and necessary voice that functions as a catalyst or hamartia, and sometimes as a subliminal influence. The Capstone Project appeals to those who are interested in literature which evokes the cause for the intelligentsia and its goal of an ideal classless society that resolves cataclysmic or mistaken forceshumanitarian concepts that Aristotle and Trotsky reported, analyzed, and promoted in their instructional literary volumes of literature. Hugos work is also based on those prominent concepts, which this Project does examine. Explanation of Core Concepts The psychological processes by which aesthetics are conveyed must be the influence of a democratic universality of perception and insight that a composition or design expresses-qualities that evoke wonder, dynamics, conflict and resolution, charisma, and/or hamartia, for

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example, which transcend mortal realities. The experience of transcendence is also subliminal, therefore, relating to psychoanalysis. Trotsky had been a peer who was impressed favorably by Freud for valuing the legal support that John Dewey and Albert Goldman (1897-1960) needed to reveal about the foreboding Moscow Trials to realize the exonerating Dewey Commission (Dewey, 1938, 1999; Glatzer, Walters, & Preliminary Commission of Inquiry into the Charges Made against Trotsky in the Moscow Trials, 2000). Trotsky was impressed adamantly by Aristotles detailed literary discourses about universal humanitarian impressions and about the appropriate methods of conveying such knowledge to his communities. He accurately summarizes in some volumes what ancient scholars had addressed in a plethora of volumes ethical standards issued by Confucius, the Ancient Greeks, and the Roman Cicero, for example. Trotskys goals to cultivate, encourage, and establish a conscientious and stable society free from class distinctions and obstacles are important to education and to poetic literature (Dewey, 1938, 1997; Dewey & Small, 1897; 2006; Yale Law School et al., 2008; Westbrook, 1993; Berube, 2000; Stuhr, 2006; Ryan, 1997). The core concepts about an integral educational and community network are fundamental to the foundation of harmonious social structure that Aristotle, Trotsky, and their supporters continue to teach as essential components of theories in metacognition and subliminal processingintelligible rational thinking (Trotsky & Strunsky, 1925). Relationship of Concepts to MEd Learning Objectives Studies in literary aesthetics and about the psychoanalysis of the hero and of plot coincide with andragogy, the first MEd learning objective addressed in EDU 681 (Adult Learning Theory). The Project developed in that course includes the original work, Aesthetics and Universality in Perspective and the associated Project, Ben Jonsons Tribute to William Shakespeare, which is reviewed in Module One of the Program Development. The cause is

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derived in EDU630 (Needs Assessment for Learning Environments), that directs instructors to the standards and problems addressed by the Intersegmental Committee of the Academic Senate (ICAS, 2002) and the University of California, California Department of Education (University of California, 2008). Thus, the MEd Learning Objectives continue to align with the Program Development as the speaker and writer must learn and apply language conventions, processes achieved through the language competencies addressed in EDU653 (Assessment Strategies to Improve Adult Learning), and coordinated into the instructional designs realized in EDU542 (Strategic Planning for Educators) and EDU651 (Designing Interactive e-Learning). Through EDU522 (Research Methods to Improve Learning Organizations), the Data Analysis Spiral continues to serve as an instructional model to encourage the organization of information needed to improve understanding of Aesthetics in Literature. The researcher is guided by the Spiral to categorize and file relevant supportive literature that reveal why dramatic tragic poetry has long been recognized as the highest form of literature (Appelbaum & Koss, 1997; Aristotle & Butcher, 1961; Hammond, 2001; Trotsky & Strunsky, 1925; Trotsky & Siegel, 1992). Another MEd Learning Objective involves costs and benefits identified in EDU544, Business Management for Learning Organizations. The organization identifies with the statement from Harvard Business Review about influences of intelligible creative activity and highest morale that could impede its products and services due to anomalies such as the overreliance or short-term financial measures of ROI (Magretta, 2002, p. 136), a potential that the group must prevent. However, the organization has sustained a large group of sponsors, members, and volunteers. The organization has also continued to conduct educational programs in its own facility. Such programs include desktop publishing, instruction in letterpress and other printer operations, community relations, and training in other areas of publications.

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Literature Review Important esoteric information remains unknown to common communities, and that

information abounds in controversy even among literary scholars. For example, some believe that until one purges oneself of outdated, dysfunctional, or fleeting actions and/or thought processes, one cannot transform those capacities of thinking into more appropriate actions, knowledge, and thought processes or revelations, even when those engagements are references to lasting or momentary transcendence from the impressionable real world (Hammond, 2001; Dunn & Singer, 2000). Those who are not knowledgeable about literary conventions are unaware that profound reactions to catharsis may occur to a protagonist through plot structure, developing plan, vision, reference(s), and/or goals that may not be achievable in the real world. Imitation (mimesis) is also important to the development of tragedythe ability to identify, to manifest, and to repeat impressions and behaviors that an individual observes and considers. Metacognitive processes are important to the plot content by which a reversal of fortune is achieved, and those same processes are important to the result of new knowledge and understanding (Dunn & Singer, 2000). The Capstone Project about Aesthetics in Literature reveals that tragedy is the highest literary form (Trotsky & Strunsky, 1925). It also covers the subliminal processes involved in psychoanalysisthe belief about concepts involving sin and expiation, also addressed by Dana Sobel of Medieval and Renaissance geniuses who lived tragic lives of persecution (Sobel, 1999). Catharsis is important to the revelation of truth and knowledge; hence, the essence of developing insight, perseverance, and control, not only philosophically but in the manner in which one observes and comprehends art forms (Dunn & Singer, 2000; Appelbaum & Koss, 1997; Hammond, 2001). The action that follows pathos is dramatic because it compels each

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individual of an audience to imitate or recollect upon the lyrics that evoke the sympathy that the audience must express for a hero or martyr, for example. The manifestation of adamant pathos is the major part of the praxis of Aristotlean action, and that pathos is important to the psychic energy that projects and works itself outward (Trotsky & Strunsky, 1925; Aristotle, Butcher, & Fergusson, 1961). From the ancient school of Socrates, Plato, and Aristotle, the terms catharsis and mimesis were coined; likewise, other associated terms and expressions important to the creation, understanding, and evaluation of all artistic form, which includes literature. The original and anonymous Greek tragedy and legend is precedential about the protagonist Leanders entire course of action. Leander swims the Hellespont each night to meet his love until the sea takes his life; consequently, the unity of reversal actions that compel Hero to throw herself into the same waters into which Leander once would emerge suggests the eternal dissolving force that reigns through water over mortality. Other suggestions include numerous definitions of waterthe essential component of life. Catharsis occurs at the end of the story, when Leander loses his life due to a mysterious accident, and when Hero jumps to her death in the same waters where Leander once would emerge and finally did perish. The term defined by Aristotle incites controversy even today, however, because of its function in tragedy that results through a fatal or disastrous conclusion to the concept of resurrection (Appelbaum & Koss, 1997). The Roman Stoic philosopher and poet Lucius Annaeus Seneca (circa 4 B.C.-65 A.D.) probably introduced the first contemporary kind of tragedy as he recounted the macabre activities of emperors such as Nero, and of warriors such as Heraclesmacabre activities relating to fear, control, and transcendence. Concepts about afterlife, the underworld, and the overpowering universal dimensions to which the mind must at last succumb influenced Aristotle

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(Aristotle et al., 1961), and have continued to be subjects of influential writers such as Trotsky, Dewey, and Hugo. Henrik Ibsen (1828-1906) of Norway produced a more modern tragedy, Hedda Gabber, which exemplifies the tragic reversal and catharsis of a modern Hero and Leander; however, rather than the folly of a sea, a pistol causes the macabre death of an associate of Heddas husband shortly before she fatally wounds herself with a similar pistol over a financial dilemma. As the protagonists comfort zone is reversed by some hubris of psychological, hereditary, psychological, or environmental condition, the reaction is resolved in a tragic end that suggests either hamartia or resurrection and eternal transcendence. Schemata and structures are not readily transformed; they must be reformed continuously in respect to new information and natural phenomenon. Probing the mind is a psychoanalytical process that relates character and behavior with progress, planning, motivation, and transcendent thinking. Transcendent thinking is important to literatureapocalyptic planning occurs when a character or system plans, creates, or remains attentive to a method to achieve a goal. An apotheosis is the completion of the praxis as Aristotle originally described of the essential fulfillment that satisfies the motivating factors from which tasks are compelled (Aristotle & Butcher, 2011; Aristotle, Butcher, & Fergusson, 1961)the psychic energy that directs and works itself through outward conditions and environments to fulfillment. Should one abandon the roots of cognition and language development, which have been derived immensely from the classical and cultural traditions that are influenced through the art and science of Aristotles volumes of classical instruction and Socratic inquiry? Without these theories, histories, and processes, the Inquisition, which had begun in the 12th century, scientific and philosophical-educational scholars may not have reacted unconventionally to protect the

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reliable findings and lives of individuals such as Galileo Galilei (1564-1642) (Sobel, 1999). Why condemn someone to exile or to execution over a conventional misinterpretation of sacred scripture? Only those trained in the classical school of Socrates, Plato, and Aristotle develop the determination to defend those who are persecuted unjustlystudies in Greek and Latin are important to our understanding of an effective legal system. For example, Galileo had proven that the earth orbited on its axes and about the sunevidence that the sun rather than the earth was the center of the universe, and that the earth did in fact move constantly in its orbits. However, not even the first Inquisition did prevent the persecution of such thinkers as Galileo, for example, who common individuals forced into exile from his homeland where originally he was disciplined academically. Only uncommon scholars in law protected him. The art or science of inquiry is important to adult learning theory, as John Dewey learned and addressed while he treated those who were oppressed by Joseph Vissarionovich Stalin (18781953) and his Bolshevik party. Identification of the Target Population and Learning Community The ICAS identifies the target population as 50% of the beginning University students who fail to collaborate, debate, and write in distinguishable English due to their poor appreciation for rhetoric and their disinterest in semantics, classic literary terms, and related analytical and critical thinking (ICAS, 2002, p. 4). Linguistics and rhetoric are important to students of journalism and composition because they refer to communicative abilities that the National Council of Teachers of English (NCTE) recognizes as multiple instructional steps. In fact, the target population and learning community also refer to the less than 33% of new University students who are prepared to analyze information or arguments that are based on their reading (ICAS, 2002, p. 17). The NCTE implements and revises the generational fields of

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linguistics and rhetoric that are also of interest to organizations associated with Yale University, the Educational Testing Service (ETS), the Oxford University Press, and the University of Cambridge. How the Project offers an important contribution to the Educational Community The Project relates to the online community of English teachers and highly motivated participants of learning organizations that flourish on an international scale through correspondence, surveys, and forms, which serve to update and revise the system of central competencies to reach under-achievers in University English skills. These organizations are also available to everyone who demonstrates learning incentive. Participants are also involved in their alumni learning communities. To guarantee quality, examiners and examinees are analyzed on a center-by-center basis to reach diverse University infrastructures that provide information toward overall improvementlesson plans, worksheets, and other learner resources as complimentary online tools. These lesson plans and guidelines are elements of my program regarding aesthetics in professional journalism and literature, persuasive logic, and syntax review. Addressing the linguistic and rhetorical issues my program does address, the Cambridge learning exams are given throughout the world by teachers, researchers, students, and academic professionals to review thoroughly linguistic communication and language learning, the Theoretical and Empirical Bases for Language Construct Definition Across the Ability Range (University of California, 2009, p. 4). The program relates to the University of California (UOC) and International English Language Testing System (IELTS) Guide so as to rely on updated guidelines that the instructor and program designer originally learned upon completing graduate assignments in English. Cambridge IELTS offers research-level online databases essential to ongoing support and leading international assessment implemented by the 6000 institutions

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT around the world, resources valued by undergraduate students of journalism and English composition (University of Cambridge, 2009; 2010).

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Since the first recognized Chinese book of Diamond Sutra, applicants for government jobs have been required to undergo objective standardized exams that have consisted as early as 7 A.D. of an expository requirement to studies of Confucianism and poetry. Linguists refer to this early assessment practice, the 15th-century Chinese movable type, and the Johannes Gutenberg Press of Mainz, Germany as the original printing press of the Western World that influenced the modern paper industry. One of our founders helped to originate the Gutenberg Press and Publications that operated out of San Francisco for years. That group included linguists and etymologists who shared information about Horace Mann, the public education advocate who in 1845 demanded standardized writing exams which compelled a chain reaction of math, geography, spelling, and grammar tests (Mathews, 2006, para. 7). Advancing and developing methods of instruction and study methods have continued to achieve rapid development in sciences, arts, and religion through the transmission of texts (Bellis, 2010, para. 2) as educators such as Dewey and Trotsky have recognized that metacognitive processes and linguistic dimensions influence the press as well as the writer, reader, teacher, and adult learner. Even since Confucius, the adult learning environment has been the foundation of the press and of standardized assessment procedures, therefore, both which have classical roots in collaborative learning. Goals of the Learning Process at least since Imperial China have been recognized and oriented about developmental foundations, motivational and Affective Factors, for example, of the Learner-Centered Psychological Principles (American Psychological Association's Board of Educational Affairs, 1997, para. 8, 9, 13). The press and learning institution were formed by psycho-linguists concerned about teaching diplomacy, consideration

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for law and order, communicative skills, and technology to diverse learners. By the 16th century, the Gutenberg and the Oxford Press set to print translated Hebrew and Greek texts to instruct and enlighten readers, books that instructors, philosophers, and linguists have continued throughout the centuries to revise. The founders of our press have long advocated for appreciation and knowledge of these facts, the foundation of this Program Development in Literary Aesthetics. A central network important to our early University students and learning community is coordinated through stakeholders who maintain expanding online dictionaries such as the Oxford English Dictionary (OED) and the Riverside Shakespeare. As they preserve and nurture the value of classical foundations, editors of these works welcome correspondence that those students and learning communities may coordinate toward their new liaisons in education. The true stakeholders maintain databases at Cambridge, Oxford, and in the domain of the original Gutenberg and Confucian presses, which have been distinguishably expanding as the stakeholders continue to upgrade their resources to compete with state-of-the-art e-learning systems. Essential to the needs assessment of specific learners, the stakeholders databases include guides and worksheets to which learners may refer so as to manage improvement and formative planning. Consistent management by those who update mature databases does generate the empirical-analytical epistemological process of enlightened action (Hayes & Wilson, 2000, p. 6), successful communication between diverse societies, another subject that coincides with the reversal of revolutionary tragic actions. About the program design, instruction, and graduate studies Backward Design, introduced by Grant Wiggins and Jay McTighe, introduces objective statements and goals before learning content. The structure therefore applies an initial focus on

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the objectives before many integrated details are presented, and tends to augment the learning process. Table 1. Backward Design for Literary Aesthetics (Template adapted from McTighe & Wiggins, 2011) Backward Design Plan for Program Development in Literary Aesthetics Learning Objectives What are the overarching learning objectives? What are the overarching essential questions Aristotles influence on dramatic poetry as a highest art form is a subject addressed extensively by Leon Trotsky in Literature and Revolution; The relationship between Trotskys definition of aesthetics and sublimation does not support How have Aristotle and Trotsky impressed literature, aesthetics, and universality in art and tragedy? Do their influences involve philosophy? How? Why? Why do aesthetical evocations into literary art forms evoke transcendence?

Bolshevikism and StalinismTrotsky believed Is transcendence related to sublimation and in equality and in a classless society, values that he emphasized were inherent in the finest literature even since Aristotle and Aeschylus. metacognition?

What understanding will be conveyed through this program? How to develop classical and critical theory into analogies; How to identify and analyze tragedy, epic,

What are the essential and specific foci of the program? What constitutes a tragedy? A revenge tragedy? What identifies aesthetics in literature?

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Seneca tragedy, and Revenge tragedy; John Dewey and Albert Goldman had conducted a challenge of the Moscow trials to prevent valuable educators, political influences, and dynamically evocative writers from horrifying execution and from other methods of torture. How did Seneca influence tragedy?

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Why is Trotskys Literature and Revolution important to our understanding of poetry and aesthetics as a classical and contemporary genre? As a representation of universality? What does universality mean to Aristotle and Trotsky? Why is S. H. Butcher important to our validation of Aristotles original Greek work? Does Butcher believe that he accurately translated everything? Is that even possible? Why or why not? How do metacognition and sublimation relate to the literary metaphor?

Demonstration of Efficient Understanding Evidence of understanding through observation and ongoing self-assessment Methods of demonstrating mastery

Demonstration of Goal #1: Exhibiting motivation to read, discuss, and write about literature through recognized and explorative metacognitive means, and recognizing mentor-oriented writing disciplines; Demonstration of Goal #2: Discusses and writes about qualities of classical style as a universal framework even for contemporary models;

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Demonstration of Goal #3: reveal guiding principles and revelations that have shaped literature throughout time; and Demonstration of understanding for metacognitive, subliminal, and psychoanalytical processes. Literary Tasks and Analytical, Critical Prompts Exhibits an ability to develop critical analyses about the foundation and development of literature throughout time in response to questions and in reflection of insightful conclusions drawn from readings, discussions, and observations. Planned Instruction What instruction and learning experiences will prepare students to exhibit understanding in the designated areas? Recipients of instruction will demonstrate efficient understanding as they are able to identify and/or analyze/synthesize: Terms and concepts identified in the Eight Modules; Symbols and actions that evoke transcendence; The protagonist that begins and completes a course of action that unites instances of reversal and recognition so as to compel katharsis (Greek for catharsis); The chaotic evidence that may exist is some works parallel to the emotions that compel pity and fear, which inhibit the orderly course of action; Taxonomic principlescomponents of plot, denouement, resolution or anti-resolution in a conflicting manner; components of tragedy and dramatic tragedy and mimetic impulse; Any reversal of fortune (periipeteia); The protagonists experience of recognition (anagnorisis) of his/her fate midst a reversal of

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT events; Aristotles description of metaphor; any metaphors a given work;

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Evidence of any denouement as a typical and universal consequence or solution to conflict; Diction that follows a metrical patternstrong rhyme and rhythm that flow as music (melopoeia)? Evidence of fablecontexture of incidents or plot; Evidence of all six components when identifying tragedy; Evidence of contexture of incidents (plot); Evidence of transcendence as an escape to resolve problems in the physical world; and/or Evidence of surrealist lyrical qualities that evoke the supernatural.

Statement about Benefits and Evaluation Criteria Individual reactions are products of philosophical, cultural, and educational conditioning that follow distinguishable patterns in their relationship with ethical standards that cannot really change, and that therefore continue to follow the course which even highly educated ancient scholars did recognize and document, benefits that are evaluated by the ICAS. To focus on the specific components of these products is to fathom the very incipience of literary and fine art form essential to the development of the model masterpiece. This occupation engages our communities in valuable thinking, design, construction, and in the renovation of resources that promote individual and community health; hence, the realization of benefits to a sustainable social systemthe ability to resolve the dialectic or revolutionary occurrence. Further criteria about the ascertainment of these qualities follow the Timeline.

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Detailed Project Plan, including the Timeline

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Leaders in the work continue to merge and to represent the Foundations in Literature, as the Modules indicate, beginning with Aesthetics and Universality in Perspective, and continuing with Trotskys Literature and Revolution (Trotsky & Strunsky, 1925) as the Program prepares readers and students for the analysis of Hugos work Les Annes Funestes. Table 2. Eight-Module Development Program Timeline TIMELINE Week I (Module 1A) Foundations in Literature Identify leaders in the work; Review Aesthetics and Universality in Perspective at the associated address; Send electronic and regular-mail introductions to the new Program which will be featured on the literary web, ancientskybridge.com, Facebook, and through other sources to be announced Week III (Module 2A) The Importance of Tragedy How tragedy is important to the revelation of new knowledge and rationale; Week IV (Module 2B) Considerations: Conventional Style Review common literary terms Relate those terms with the influence of the Week II (Module 1B) Further Foundations in Literature Briefly review and analyze exemplary works Identify principles of masterpiece style

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT How tragedy is important to all areas of literature; How concepts and relations of Katharsis apply to other dynamic functions. Week V (Module 3A) Victor Marie Hugos Environment (18021885) and Les Annes Funestes Look for influences of Aristotle Week VI (Module 3B)

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ancients, such as Aristotle, Plato, Socrates, Aristophanes, Euripedes, and Sophocles.

Hugos Environment, Philosophy, Ethics, Style and Les Annes Funestes Identify evidence of revolutionary ideas, such as influences of Franois-Ren Chateaubriand (1768-1848) and JeanJacques Rousseau (1712-1778)

Week VII (Module 4A) More Topics that Relate to the Romantic Era and Revolutionary Literature

Week IIX (Module 4B) New Terms, Concepts, and Issues to Add to the Pedagogy (very brief, may be completed in Week VII)

Identified critical success factors to indicate progress and results Critical success factors that will indicate progress and results shall be indicated through results that align with the ICAS and UOC standards. For example, as participants recognize aesthetical and cultural qualities of literature, they must objectively and persuasively combine the rhetorical strategies of narration, exposition, persuasion, and description that demonstrate a command of standard English and the research, organizational, and drafting strategies of Writing

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Standard 1.0 (ICAS, 2002, p. 70). Therefore, all of the standards of the ICAS must be integrated to indicate successful progress and results. Similarly, participants should demonstrate an ability to critique diction and syntax with the purpose of oral communication, to successfully impact words, to analyze the technique used in media passages, and to evaluate effectiveness (ICAS, 2002, p. 76), processes that coincide with Andrew Radfords instruction in transformational grammar. For example, participants should demonstrate understanding from a psycholinguistic and colloquial approach for the innate knowledge of universals, and for the linguistic experience--the idiosyncratic, language-particular properties of a target language, also known as language of the mind (Radford, 1989, p. 37). Defined roles and responsibilities for each participant Each participant must be motivated to complete important reading assignments that provide information essential to the analytical and critical writing assignments. At the same time, participants must maintain an active reading and writing portfolio that does include lists of new words, authors, playwrights, productions, and subjects that may be coordinated into the writing assignments and learning discussion opportunities. Resources required and how they may be acquired The following resources, descriptions, and learning Modules are also included in the authors web at http://www.ancientskybridge.com/shakespeare%27s_inkhorn.htm: An edition of the Oxford Encyclopedia of Literature (this may be up to 20 years old) This is only an introductory program, but the following are recommended, affordable copies which may be located through online searches and as described: Appelbaum, S. (Gen Ed.) & Koss, R. (1997). Aristotle poetics. Mineola, NY: Dover Publications.

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Aristotle and S. H. Butchers The poetics of Aristotle (2011); Aristotle, S. H. Butcher, and F. Fergussons Aristotles poetics (dramabook) (1961); Asimov, Isaac (1970). Asimovs guide to Shakespeare. NY: Random House Publishing. A. Dunn and A. Singers Literary aesthetics: a reader (2000).

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Glatzer, A., Walters, D., & Preliminary Commission of Inquiry into the Charges Made Against Trotsky in the Moscow Trials, The case of Leon Trotsky: Report of hearings on the charges made against him in the Moscow Trials. (2000, August-September). Available at http://www.marxists.org/archive/trotsky/1937/dewey/ Hammond, N. G. L. (2001). Aristotle poetics. University of Copenhagen: Museum Tusculanum Press. Hugo, V. (n.d.). Les annes funestes. New York, NY: Collection Nelson. Kline, As Franois Chateaubriand mmoires doutre-tombe available, for example, at http://www.poetryintranslation.com/PITBR/Chateaubriand/Chathome.htm Sachs, J. (2001; 2005). Aristotle: poetics. Internet Encyclopedia of Philosophy at http://www.iep.utm.edu/aris-poe/ S. Schamas Citizens: A chronicle of the French Revolution (1989) Victor Hugos Les Annes Funestes (if you cant find a copy, I will provide one from an original undated and instructional work published by Collection Nelson, Charles Sarolea (the late Doctor of Letters at the University of Edinburgh). The last four modules refer to Hugos work that I have translated and interpreted numerous times since 2000, and which I have dispersed throughout Language Arts Departments at Universities and Churches. It is available at Les Annees Funestes translation and original.

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Developed plan

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Eight Modules will be directed to legislators and Chairs of English Departments throughout the Bay Area, and to several legal groups. Module 1 Foundations in Literature: The Project begins with a review of authors and works that are reviewed in the inkhorn located in Module 1 more than midway through the page at http://www.ancientskybridge.com/shakespeare%27s_inkhorn.htm and Aesthetics and Universality in Perspective. Module 2 Further Foundations in Literature: Briefly review and analyze exemplary works; identify principles of masterpiece style Even during the 19th century, University and/or tutored students learned of classical principles defined by Aristotle, such as the following, which are important to consider. Aristotle had described the Tragedy, which was improvised originally in terms of the Cyclopes popular during those times, as an attempt to convey individuals in a manner which is better than they are currently. On the other hand, comedy attempted to convey those individuals in a manner which is worse than they are currently. The Dorians were dramas (drontasindividuals in action), and their reveling (komazein) in villages (kumai) evoked activities that the poet and/or playwright would record and share with all intention on a scale as grandly constructed as the work itself. Of further relevance is the Elegythe elegiac poet, which referred also to the epic poet, significant characteristics of the dithyramb of the original amphitheater. Does the work evoke transcendence?

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Does a protagonist begin and complete a course of action that unites instances of reversal and recognition so as to compel katharsis or moments of katharsis? Does chaotic evidence exist of emotions that compel the pity and fear, which also inhibit the orderly course of action? Do you detect taxonomic principlescomponents of plot, denouement, resolution or antiresolution in a conflicting manner; components of tragedy, drama, and mimetic impulse? Do you detect any reversal of fortune (periipeteia)? Does the protagonist experience recognition (anagnorisis) of his/her fate as a reversal of fortune? Aristotle had described the importance of metaphor. Are any metaphors evident in the work? Is any denouement evident as typical and universal consequence or solution to the conflict? Does the diction follow a metrical patterndo strong rhyme and rhythm flow as music (melopoeia)? Consider evidence of fablecontexture of incidents or plot. Explain. Does the work consist of all of the six components that identify tragedy? Does the work consist of all of the six components that identify tragedy (contexture of incidents or plot), manner, diction, sentiments, decoration, and music? Explain. Is hope evident to transcend or to sense transcendencean escape to resolve problems in the physical world through vision? Does evidence exist of surrealist lyrical qualities that evoke the supernatural?

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Module 3

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The Importance of Tragedy: how tragedy is important to the revelation of new knowledge and rationale; how tragedy is important to all areas of literature; how concepts and relations of Katharsis (catharsis) apply to other dynamic functions. Dichotomy: the active real world versus the visionary evoked through reading, outlets of current physical movement and properties, both influencing transcendence of the immediate environment, as prevalent themes of tragedians, for example. Even though some independent writers have varied their meter, rhyme schemes, and style to deviate from classical conventions of epic, tragedy, and comedy, for example, their work nonetheless does follow significantly a varying range of those conventions. Melancholy may vary in intensity from light to revolutionary and nihilistic. The fundamental tragic vision, however, is basically the samethe spectacle of a highly respected individual whose idealisms, respect, and courage conflict with his/her restricting nature that must hopelessly struggle in an indifferent or rivaling universe. Traditionally, the classic tragic hero was a hero or individual of significant prestige or honor whose significance is undone through a personal flaw (hubris), by the will of a supernatural dimension or through relentless support of a value or desire. Modern tragedy developed from the struggle against fate, or the force of hubris, to the conflict with genealogical, social, psychological, environmental, and semantically idiosyncratic forces. Original tragic plays of Sophocles, Euripides, and Aeschylus dramatically compelled the audience and reader to pity, fear, sometimes compassion; thereby generating the simultaneous consequence for a catharsis of those emotions. Among the first tragedians, Euripides innovation of Andromache did convey the message about the unsupportable and needless sinister suffering and inhumane behaviors that

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prompted and sustained war. The components of tragedy that reveal the mortal struggle against fate or the force of hubris indicate the caustic criticism and subtle analysis of psychological motives through Euripides characterization, for example. Euripides even challenged the common Athenian attitude about the subordination of women in his tragedy Alcestis; and, the spiteful Athenian attitude for foreign women in Medea. Furthermore, Euripides attacked the prevalent attitude and inhumane treatment of illegitimate children in Hippolytus. These tragic plays were introduced by a choral ode, also composed by the tragedian. The other two original tragedians, Sophocles and Aeschylus, also sought to search for effective revelations and insightthe truth and introspective understanding to correct the current brutality of the moral order, which abounded in the massacre and annihilation of entire communities. Through impressive grandeur of language and prolific works, Sophocles and Aeschylus magnificently portrayed and deciphered the conflicts between historic heroes in The Persians and in mythology in Agamemnon, scrutinizing between old and new policy and law in Eumenides, and between supernatural and mortal beings in Prometheus Bound. Another critical issue about the ancient playwrights involves the elaborate and intricate costumery in which the tragedians did clad their characters. Through the scrutiny of these playwrights, innovated through the original Academy and Poetics of Aristotle who began to derive variations of style, the Comedy did evolve through these same tragedians. Thus, a dichotomy of forces prevails in the apocalypse suggested by a physical or communicative property of highest artistic quality. One must observe from his/her real surroundings the work that influences a visionary escape through summaries, dialogues, colors, imagery, and attitudes. One must grasp the components that suggest mortal dilemma that may be surmounted by transcendence, the process of concepts, conceptualization, progression,

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socialization, and behaviors. Dating to the first tragedians of ancient times, the first tragedians, Shakespeares Romeo and Juliet is perhaps the most known tragedy today. Family feuding results in misunderstandings and the unnecessary mortality of young lovers, for example. First published in 1562 as a poem by Englishman Arthur Brooke, who had translated Masuccio Salernitanos original version of Il Novellino in 1476, the play had also been treated by Luigi da Porto in approximately 1530 before Shakespeare adapted it to his inkhorn. Beginning with the chorus typical of the ancient tragedy, which introduces the abounding reveling of the Verona households, Montecchi and Capeletti in the Da Porto version; the Montagues and the Capulets in the Shakespeare version, Shakespeare did name the character who advocates for good will Benito. Benito was an invention that is accredited to the Bard that sought for the reconciliation of family differences that existed between the Montagnes and the Capulets. Hence, one detects that tragedians throughout time have studied the psyche of protagonists and antagonists as they attempt to reveal to their audiences the pitiful mortal conditions that could be resolved conscientiously and diplomatically, rather than through bloodshed and further preventable fatality. Furthermore, the apocalypse and transcendence that the ancients and the inkhorn compel through their treatment of tragic conditions that could be corrected are a part of the aesthetic quality of literary masterpieces. The recounting of the following works is important to understanding Hugo, for example, whose innovations vary to some degree but not considerably from the original ancient poetsplaywrights. They are so important to Hugo, for example, that he refers to them in his work. Even James Joyces Ulysses is an introspective search through his stream-of-consciousness style into the human faculty to generate a solution to mortal dilemma, and I suggest a review into the psyche of the protagonists and antagonists of these works which present bounding conflicts.

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Prometheus Bound, The Persians, Hippolytus (which includes Electra, to whom Hugo refers in his Les Annes Funeste), Medea, Trojan Women, Andromache, Helen, and Electra. These introduce us to psychological conditions that influential tragedians attempted to address even during ancient times, from the original Greek Academy. Do these conflicts resolve themselveswhen is a sign of Omniscience or eternal life detectable? That is the foremost question to the conscientious dramatic lyricist such as Aeschylus, Shakespeare, Hugo, and Ben Jonson, and critics such as Leon Trotsky. Module 4 Considerations: Influences of Style: review common literary terms; relate those terms with the impressions evoked by the ancients, such as Socrates, Plato, Aristotle, Euripides, and Sophocles. Considering the following will enable one to decipher the true intentions of the literary artist who follows classical or neoclassical principles: Even Dante (Durante Degli Alighieri, 1265-1321) had referred to Aristotle as the Master of those who know. From science, physics, rhetoric, metaphysics, and natural history to Poetics, Aristotle observed, analyzed, and documented all sides of every spectrum. Syllogism and dialectic were evident in the approaches of philosophers and dramatic writers to reason or logic, and Nichomachean Ethics and Eudemian Ethics were foundations of his own treatises, which indicate that mortals sought a happiness that could not be achieved through wealth, fame, and wealth. Rational principle, virtue, and the contemplation of philosophic truth were essential to the secure longevity and health of a community, and instructors did imitate the actions of their instructors, while their plots did imitate important dynamical issues that they endured and analyzed toward perspective improvement. Aristotle had been taught by Plato in the Academy and Lyceum in which Plato had learned from Socrates; the semantics and diction evoked by the

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT teachings of the teacher of wisdom are evident in the Dialogues of Plato and the treatises of

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Aristotle. The diction of Socrates and his students sought a universal definition of virtue in all areas of ethics, knowledge, and logic. To Aristotle, Poetics and tragic drama are achieved through unity of action, place, and time. Both epic poetry and Tragedy should be achieved through the imitation of verse that characters express of a divine awarenessa cognizance of wisdom. Butcher recognizes the praxis of Aristotle as actionthe motivation from which deeds originate (Aristotle & Butcher, 2011; Aristotle, Butcher, & Fergusson, 1961)a psychic energy that projects and works itself outwards. All of the inspiration of ancient Greek tragedians treated plot through modes of pathos and purpose to a resulting perception, parts of the work which Aristotle and his students identified as quantitative parts. Prologue, Episode, Exode, and Choric song (Aristotle et al, 1961). He also concerned himself with what he recognized as the organic parts of his plots the action that gives rise to the instance of the catastrophic finale: (1) Reversal of Situation; (2) Recognition; and (3) Pathos (i.e., Scene of Suffering) (Aristotle et al., 1961, 16). Other terms important to the tragedians who had been influenced by the wisdom of Socrates and by the quest for truth and justice: Katharsis (cleansing of emotions) Peripeteia (reversal of fortune) Anagnorsis (to experience recognition) Metaphor Aristotles Rhetoric Tragedy as a unity of plot or contexture of incidences; manner, diction, sentiments, decoration, and music

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Denoement The Choral Ode Deus ex machine

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The Episode (episodes of tragedy being distinguished from those of epic) Thought as an intellectual element that is developed in dramatic speech or dialogue Gender of Nouns The review of common literary terms in respect to the ancientsAristotle, Plato, Socrates, Aristotle, Euripedes, and Sophocles--does relate directly to their generations of students. Please share your reviews in respect to this important humanitarian issue. Module 5 Victor Marie Hugos Environment (1802-1885) and Les Annes Funestes; look for influences of Aristotle: Hugo emphasizes serenity as the condition and atmosphere that he prefers (page 20, for example); through grand literary style, he conveys the catastrophe of an inferno created by despotic leaders, an Anagnorsis (experience of recognition) that continues throughout the work. He also implements elements of tragedy, oxymoron, catharsis, Nemesis, metaphor, strophe, contexture of circumstances and actions, and references to the ancient tragedian Aeschylus (424456 B.C.), who had fought against the Persians. His reference to Dante indicates his academia that followed the line of students educated through student predecessors of Socrates, Plato, and Aristotle, for example. Dante had written that Aristotle was Master of those who know, and all writers even during Shakespeares times had studied through the original Academy (and

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Lyceum) of Aristotle and Plato, because Aristotle had studied with Plato; Plato with Socrates. The cause for his death was completely unjusthe was a martyra saint to those who learned of his wisdom. Referring to the saintly cause, inhumane groups, and his lofty spirit that plays tempest hymns that shine and blaze (page 19, 20), Hugo creates an evocation to superimpose the ideal sphere where havoc and infernal impossibilities multiply. Clearly, Hugo was intricately educated in the ancient tragedians. To him, conquerors and tyrants are inhumane and intolerable, and from the lofty heights of skies, his heart had to endure the dead who sacrificed their lives as martyrs to fulfill the will of despots. Relieving his pain compels qualities that evoke transcendence, compassion, and profound wisdomcomponents of Aesthetics. Napoleons name first appears on page 22; simultaneously, dreadful dreams, disaster, altars of danger, an empire with no rightful claimant, immense remorse for the massacres. Why recall Corneille (page 26)? To continue with the tremendous evocation of worthy reality, in contrast to the desires of the Emperor who compels poverty and sorrow. Reinforcing the grievous plagues brought forth by despots, kingsHugo is tormented by Brutus and Caesar, who he deplores for their extortion of finances, resources, and labor. Hugo staunchly opposes the Caesars who he declares do wash from their streets the blood of those who have lost their lives to the same opulent despots who ever hide behind the sacred word and altars. In fact, he considers tyrants who work others inhumanely to be traitorsdeceitful in respect to the humanitarian codes that they purport. On page 28, Bonapartes name appears againa fallacy persists about those who justify to themselves the massive massacres that they commit against their communities. Furthermore, a reversal of situation (peripeteia) is evident (page 41) after Hugo relieves himself of his tormenting grief by considering the other side of Englands support for Bonaparte. I will intoxicate him [the laborer] through the machine gun, and he states that he

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does not desire Bonapartes finale--that everyone recovers when Bonaparte knows that they will fall again. Yet, he reverts again in another reversal of situation to the tragic revelation about egocentric unjust standards that support the sword (page 53) to eliminate rivals to resources. Hugos thought is relentless as an intellectual element of his introspective dialogues through himself and through the interactive characterization that he recounts. A germane exercise includes the highlighting of words, phrases, and statements that indicate Hugos education in the ancient tragedians. Very much evidence exists that foundations exist which relate to the causes for diplomatic methods and distinguishable diction--semantics that may be translated across languages; hence, a universal language and aesthetic. To begin and perhaps substantially prove these theories, the following should be underlined or highlighted: Page 17: Reference to comedian Molire (actor, dramatist); Tyrtaeus: an elegiac Athenian poet who had inspired the Spartans by his songs so as to defeat the Messenians; Page 18: Reference to Dante with grand esteem--Dante who had declared Aristotle to be the Master of those who know; Page 19: AeschylusGreek tragic dramatist (525-456 B.C.) who fought against the Persians, and highly respected by Aristotle (384-322 B.C.); Page 20: Electra again; Hugo prefers serenity. Why mention Boccaccio and Venus, who midst these conditions would fly away? Hugo clearly emphasizes his discontent with Sophism and intimate relations; Page 25: creation seems an apotheosis; Page 26: Emperor; Page 28: Bonapartes name first appears in reference to one of the tyrants who have devastated civilization through unconscionable massacres

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Page 30: Hell, Ipsara; Page 31: Caphe

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Page 34: Where the infamous thrivethe black shadow down of monstrous day Paris set in bondage by tyrants, kings, emperors, conquerors; Page 35: Baudin; Page 36: Napoleon IIIs Minister Rouher whose vile mouths Page 37: Cliomuse of music; Page 41: I will intoxicate him [the laborer]the machine gun; he desires not the death of Bonaparte, that everyone recovers, when he knows that they will fall again; Irony; Page 53: innocence is by the swordcompletely innocent individuals are unjustly imprisoned, forced to a premature unjust death, and even executeda theme that is reworded repeatedly with different historic figures and literary tactics Page 54: these Sophists Page 58: Nemesis Page 66: Reading Homer will have magnificent effects Page 80: The English admire Bonaparte

Pertinent titles that address these issues which one will note in classic masterpieces, such as Hugos Annes Funeste, for example are as follows: Appelbaum, S. (Gen Ed.) & Koss, R. (1997). Aristotle poetics. Mineola, NY: Dover Publications. Aristotle & Butcher, S. H. (2011). The poetics of Aristotle. Martino Fine Books. Eastford, CT: Martino Fine Books.

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Aristotle, Butcher, S. H. (Translator), & Fergusson, F. (Introduction). (1961). Aristotles poetics (dramabook). NY: Hill and Wang. Asimov, Isaac (1970). Asimovs guide to Shakespeare. NY: Random House Publishing. Dunn, A., & Singer, A. (2000). Literary aesthetics: a reader. Oxford UK: Blackwell Publishers Ltd. Hammond, N. G. L. (2001). Aristotle poetics. University of Copenhagen: Museum Tusculanum Press. Sachs, J. (2001; 2005). Aristotle: poetics. Internet Encycopedia of Philosophy. Retrieved from http://www.iep.utm.edu/aris-poe/ The last four modules refer to Hugos work that I have translated and interpreted numerous times since 2000, and which I have dispersed throughout Language Arts Departments at Universities and Churches. It is available at Les Annees Funestes, translation and original. Module 6 Hugos Environment, Philosophy, Ethics, Style and Les Annes Funestes Impressed by other French tragedians who were also educated in the classic tradition of SocratesPlato-Aristotle, Hugo was also influenced by Franois Ren Chateaubriand (1768-1848), who portrayed the realistic side of Revolutionary inspiration and aspiration through his detailed chronicles. Written during the earliest stages of Romanticism, his chronicles consist of a style of prose that are vibrantly passionate and circumspective, and that abound in a unique fervency for nature. According to Binets Encyclopedia (Bint & Dingler, 1987), Chateaubriand was a foremost influential writer who had served as minister of foreign relations and as ambassador to Germany, England, and Italy. Research indicates that Chateaubriands themes did impress Hugo through critical sensitivity that strived to detect and prevent exacerbating conditions.

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Chateaubriand had instilled current tradition into his focus of the Crusades, as evident in his Les Martyrs (1809) and LItinraire de Paris Jrusalem et de Jrusalem Paris (1811), centerpieces of the Holy Land, ancient and current Greece, and surrounding Middle Eastern lands. Hugos meditation did permeate in a blend of the original tragedians and Chateaubriands chronicleshe had been influenced also by the mortal struggle and dilemma that Chateaubriand had addressed, and the complex evocations of Spirit that the enduring diplomat had expressed through his Mmoires dOutre-Tombe (Binet & Dingler, 1987). Emperor Bonaparte I was portrayed by Chateaubriand and Hugo through three generations of multi-faceted splendor; as a leader throughout Europe; he had lead tens of thousands and hundreds of thousands of soldiers from Poland, Prussia, Austria, France, and Switzerland, for example, who traversed helter-skelter trenches, blazing aftermaths of canon ball, torch; incendiary ruins reminiscent even of Xerxes fiercest pyre; the multiple decline of Troy. The detailed prose of Chateaubriand did influence the disciplined structure of Hugos panorama and observation, the distances between the Emperor and his subservient riffraff that Hugo recognized as inhumane and preventable massacres. Check out the Memoires dOutre-Tombe and look for evidence of it in Hugos magnificent dramatic poetry, Les Annes Funeste. How are the two similar? How do they differ? Please check out the rhyme and meter of the original French version. Module 7 More Topics about Revolutionary Literature. Of relatively obscure derivation, tragedy has remained evident in dramatic works that recount fiction and non-fiction reports, even since the times of ancient tragedian Seneca. Leon Trotsky (1879-1940) had written extensively of the subject as it relates aesthetics, political influences, social reactions, extrinsic revolutionary

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actions, and internal conflicts with the dialectic analyses involved in the qualities and artistic emanation of literature. Some of the following topics are important to the analysis of all forms of literature, because all protagonists convey some conflict that resolves in some profound revelation or resolution that coincides with the problem-solving characteristics of the tragedian model, even when the tragedy evokes the revenge form associated with the dramatic features of William Shakespeare (1564-1616) and Johann Wilhelm von Goethe (1785-1830). Some of the topics associated with the critical analyses and metacognitive orientation of exceptional literature include the following: Comparisons of social activity and phenomenon that pertain to the existence and cycles of natural science; Effects of social and political conflict among the bourgeoisie, proletariat, and aristocracy-terms that vary among languages and nations; Individual creativity as influenced through economic distinctions or class society; Prevalent conditions and discrepancies that initiate and exist due to war or other revolution; Similarities that relate to the anti-structuralism of Jacques Derrida (1930-2004) (Lawlor, 2006; 2011) and that expound upon a method of cultural criticism that is more distinct; See, for example: http://plato.stanford.edu/entries/derrida/ References to economic distinction evoked by trends of social activitiesdilemmas of war; the profundity that evokes thoughts about transcendence; laborers and troops interacting in problematic and tragic ways; proletariat ideals; expressive emotions and metaphor;

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Similarities to the dual impressions of dialectic thinking that are important to the

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observation and criticism of surface or explicit areas of politics, implications of Marxism, the expression of lifestyle, and proletarian culture as on official social system; Implications of revenge tragedy in revolutionary literature and the evoking of spiritual domain; Profound impressions that are neoclassic as the concept of tragedy from Aeschylus and Seneca to English and French Middle Ages and Elizabethan dramatic histories, chronicles, and references; Bohemian Art Seneca Tragedy versus Revenge Tragedy Hudibras and Tragedy Trotskys Workingman Poetry Highest are form to Aristotle and Trotsky Intelligentsia of the Formalist Schools Denouncing of Marx by Trotsky Trotsky Art for the Sake of Art Creative Artistic Literature Social Influences as a Catalyst in Art Cosmos and Proletarian Art Cataclysmic and Insight as Generational Literature Futurism and Aesthetical Revelations in Literature Materialistic Dialectics and Aestheticism Influence of Trotsky and Dewey on Innovative Literature

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The topics evoke challenging discussion, debate, and expository; additionally, they evoke insight into new literary work, to the educational vocabulary portfolio, and to critical, analytical development. Recommended Reading for this Module: Trotsky, L. & Keach, W. (2005, May 1). Literature and revolution. Chicago, IL: Haymarket Books. Trotsky, L. & Siegel, P. (1992, June). Art and revolution: Writings and literature, politics, and culture. Washington, D.C.: Pathfinder Books. Trotsky, L. & Strunsky, R. (translator) (1925). Literature and revolution. Retrieved from http://www.marxists.org/archive/trotsky/1924/lit_revo/index.htm Module 8 New Terms, Concepts, and Issues to Add to the Pedagogy accent aesthetics anagnorsis (to experience recognition) catharsis (also spelled catharsis) choral ode Classical Clio Conflict denouement deus ex machine elegy

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT epic (Homeric) episode (episodes of tragedy being distinguished from those of epic) simile euphemisms

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Gender of Nouns (origin: Aristotle, a student of Plato who was a student of Socrates; hubris irony kennings metaphor nemesis onomatopoeia oxymoron pathos (i.e., scene of suffering (Aristotle et al., 1961, 16) peripeteia (reversal of fortune) Platonism, Neo-Platonism recognition Reversal of situation Rhetoric (from Aristotle) rhyme scheme Sapphics Simile

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Sonnet Sophists stream of consciousness syncopation synecdoche thought (as an intellectual element that is developed in dramatic speech or dialogue) tragedy (as a unity of plot or contexture of incidences; manner, diction, sentiments, decoration, and musicAristotle and classically derived) universality Strategies for managing risk and addressing any political implication

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Legislators and English Department Chairs must be written regularly; an legal advocacy group must also be maintained as a recipient of the developmental program in Literary Aesthetics that will benefit early University students in their literary and syntactic efficiency. Materials and Resources Required for Successful Completion Materials and resources are listed in the References Section and in the Modules. Conclusion Midst the conflict of the omniscient voice of Hugo, the platonic function to relate to a more perfect world is evident. Alan Singer and Allen Dunn explain that attempting to exaggerate the influence of Plato (427-347 B.C.) on the development of literary aesthetics is impossible (Dunn & Singer, 2000, p. 143). Ironically, however, he expresses no regard in The Republic for poetry. However, he was nonetheless Aristotles instructor. Perhaps his life was so occupied by other tasks and urgencies that he ignored the powerful tragic dramas of Aeschylus (525-456

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT B.C.) who lived 29 years while Plato was living. The antithesis that Aeschylus instills in Euripides conveys the pathos of tragedy, abounding in moral teachingsthe mortal

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consequences of a failure that the dramatic tragedian strives to foresee (Aristotle et al., 1961). Yet, the revelation of truth and an ethereal realm is undeniably the transcendence to which Plato relates in his platonic explanation of literary aesthetics. Because Platos instructor and hero had been Socrates (470-399 B.C.), the difference of each philosophers value for poetry should be significant, except that Platos student Aristotle followed Platos quest for literary aesthetics as he also associated that subliminal realm of wonder with Socratic questioning. The Socratic dialogue is so important to the tragedian Sophocles (496-406 B.C.) who sought for truth and individual understanding about social moral order that one must wonder why Plato expelled Sophocles work as poetry--Plato clearly ignored the teachings of the dramatic tragedy of profound lyrical meter. After all, Sophocles lived 21 years beyond Platos birth, and they both represented the Greek Academy and Amphitheatre. Even Euripides (480?-405 B.C.) had deceased only 22 years before Platos birthEuripides was only 10-years older than Euripides, and they valued with critical distinction the Greek Amphitheater. The three great ancient tragedians had structured poetry of precedential power and dramatic influence that Aristotle correctly addresses in his explanations about the psychological experience that John Dewey describes as the remaking of the material experience from the transformative capacity (Dunn & Singer, 2000, p. 277). The psychological examination of the actions of Euripides characters about conflict and oppressive social actions does lend the insight that Aristotle documents and that Trotsky exemplarily reveals. As conscience for a law-abiding society free of aristocrats, the actions and pathos that evoke the psychological analysis essential

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to the cultivation of justice is shared among political, educational, and literary geniuses such as Shakespeare, Dewey, Trotsky, and Hugo.

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT References

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American Psychological Association's Board of Educational Affairs (1997, November). Learnercentered psychological principles: A framework for school reform & redesign. Retrieved June 23, 2010, from http://www.apa.org/ed/governance/bea/learner-centered.pdf Appelbaum, S. (Gen Ed.) & Koss, R. (1997). Aristotle poetics. Mineola, NY: Dover Publications. Aristotle & Butcher, S. H. (2011). The poetics of Aristotle. Martino Fine Books. Eastford, CT: Martino Fine Books. Aristotle, Butcher, S. H. & Fergusson, F. (Introduction). (1961). Aristotles poetics (dramabook). New York, NY: Hill and Wang. Asimov, I. (1970). Asimovs guide to Shakespeare. New York, NY: Random House Publishing. Berube, M. R. (2000, January 30). Eminent educators: Studies in intellectual influence (contributions to the study of education). Santa Barbara, CA: Greenwood/Praeger. Bint, W. & Dingler, L. (1987). Bints readers encyclopedia. New York, NY: Harper & Row. Dewey, J. (1938; 1997). Experience and education. New York: Touchstone Rockefeller Center. Dewey, J. & Small, A.W. (1897; 2006, February 17). My pedagogic creed and the demands of sociology upon pedagogy. Digitalized form retrieved from the University of Michigan at http://books.google.com/books/about/my_pedagogic_creed.html?id=gZq6NB6R-P8C Dunn, A., & Singer, A. (2000). Literary aesthetics: a reader. Oxford UK: Blackwell Publishers Ltd. Glatzer, A., Walters, D., & Preliminary Commission of Inquiry into the Charges Made Against Trotsky in the Moscow Trials. (2000, August-September). The case of Leon Trotsky:

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Report of hearings on the charges made against him in the Moscow Trials. Retrieved from http://www.marxists.org/archive/trotsky/1937/dewey/ Hammond, N. G. L. (2001). Aristotle poetics. University of Copenhagen: Museum Tusculanum Press. Hayes, E. R., & Wilson, A. L. (2000). Handbook of adult and continuing education. San Francisco CA: Jossey-Bass. Intersegmental Committee of the Academic Senates (ICAS) (Spring, 2002). Academic literacy: A statement of competencies expected of students entering California public colleges and universities. Sacramento, CA: ICAS. Retrieved April 18, 2008, http://icasca.org/Websites/icasca/Images/Competency/AcademicLiteracy2002.pdf Kline, A. (2005-2007; 2011, August 27). Franois Chateaubriand mmoires doutre-tombe. Retrieved from http://www.poetryintranslation.com/PITBR/Chateaubriand/Chathome.htm Lawlor, L. (2006; 2011). Jacques Derrida. Stanford Encyclopedia of Philosophy. Retrieved from http://plato.stanford.edu/entries/derrida/ Magretta, J. (2002). What management is. New York: The Free Press, A Division of Simon & Schuster. Mathews, J. (2006, November 16). Just whose idea was all this testing. The Washington Post. Retrieved June 25, 2010, from http://www.washingtonpost.com McTighe, J. & Wiggins, G. (2011). [Digital] literacy: Researching education and training in a digital world. Retrieved from http://digitalliteracy.mwg.org/curriculum/template.html Radford, A. (1989). Transformational grammar. Cambridge, UK: Cambridge University Press.

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Ryan, A. (1997, February 17). John Dewey and the high tide of American liberalism. N.Y., London: W.W. Norton.

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Sachs, J. (2001; 2005). Aristotle: poetics. Internet Encyclopedia of Philosophy. Retrieved from http://www.iep.utm.edu/aris-poe/ Sobel, D. (1999). Galileos daughter: A historical memoir of science, faith, and love. New York, NY: Walker Publishing. Stuhr, J. (2000, April 1). John Dewey: Knowledge products (giants of philosophy). Ashland Oregon: Knowledge Products. Trotsky, L. & Keach, W. (2005, May 1). Literature and revolution. Chicago, IL: Haymarket Books. Trotsky, L. & Siegel, P. (1992, June). Art and revolution: Writings and literature, politics, and culture. Washington, D.C.: Pathfinder Books. Trotsky, L. & Strunsky, R. (translator) (1925). Literature and revolution. Retrieved from http://www.marxists.org/archive/trotsky/1924/lit_revo/index.htm University of California Regents, California Department of Education (2008). Retrieved April 18, 2008, http://www.ucop.edu/a-gGuide/ag/a-g/english_reqs.html University of Cambridge (2009). International English language testing system guide. Retrieved June 20, 2010, from http://www.ielts.org University of Cambridge (2010, March). Online community for English teachers goes live. Cambridge first, 31, 1-8. Retrieved June 21, 2010, from http://www.teachers.CambridgeESOL.org/ts Westbrook, R.B. (1993, February). John Dewey and American democracy. New York: Cornell University Press.

CAPSTONE REPORT FOR PROGRAM DEVELOPMENT Yale Law School & Rosati, D. (2008). The international military tribunal for Germany: The Nuremberg Trials Collection. The Avalon Project Documents in Law, History, and Diplomacy. Retrieved from http://avalon.law.yale.edu/subject_menus/imt.asp

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Honor Statement
The EDU669 Capstone Report and Project for Program Development in Literature were written solely by me. In no way have I plagiarized (represented the work of another as my own) or otherwise violated the copyright laws and academic conventions of fair use. I know that violations of this policy may result in my being dismissed from Jones International University and/or appropriate legal action being taken against me. Signed (submitting this statement to teaching faculty with student's name typed below constitutes signing):

Cynthia Gallagher