ulysses3_de: (McShep Headpoke)
Ok, so today I've learned a valueable lesson for University. The only problem with that is, that it's too late! I should have known that at the beginning of my studies not the end.

I got back my second paper today and I passed. Yay for that. It's a 3.0. Not too good, but better than I had expected. Apparently it could have been a 2.0 had it not been for the fact that I combined two theories which, according to my prof do not work that good together. The fun part is, that I did use them to show the contrast. Now the only thing I have to do is correct all the spelling and grammar mistakes and hand it in again (never had to do that *crazy*).

So the lesson I've learned (and that means I know why I've failed the other paper):
Never write about something controverse or "new" if you want to have a pass on a literature paper. Professors tend to like the simple, repetative, itemized version.
Whatever. If they want that, they can have it.

I'm just glad my political science professors want just the contrary, which is good, because my Magister's thesis will be about something relatively new *g*.


Apr. 19th, 2007 05:46 pm
ulysses3_de: (McShep Headpoke)
I hate unformated texts.
You would think, that when reading a novel everything is nicely formated so that you can read the story easily.
Far from it.

I'm currently reading "The Casle of Otranto" by Horace Walpole for my Gothic and Neo-Gothic seminar and it's strenuous.

You have 10 to 15 pages with one pragraph and there's no difference between normal text and direct speech - not even in single quotation marks.

I think I'm going crazy. I've never had so much to read for University and I'm still looking for Mark Twain's "How to write a stroy short" and E.A. Poe's Short Story Theory - I can't find the review of Hawthorne's "Twice Told Tales" by Poe. I should've just typed it into Google. *shakes head* I'm too tired for this.

ulysses3_de: (fantasy)
Got this from my 'Short Stories and Short Stories Theory' class this afternoon:

Once upon a time, suddenly, while it still could, the story began.
For the hero, setting forth, there was of course nothing sudden about it, neither about the setting forth, which he'd spent his entire lifetime anticipating, nor about any conceivable endings, which seemed, like the horizon, to be always somewhere else.
For the dragon, however, who was stupid, everything was sudden.
He was suddenly hungry and then he was suddenly eating something.
Always, it was like the first time.
Then, all of a sudden, he'd remember having eaten something like that before: a certain familiar sourness ... And, just as suddenly, he'd forget.
The hero, coming suddenly upon the dragon (he'd been trekking for years through entchanted forests, endless deserts, cities carbonized by dragonbreath, for him suddenly was not exactly the word), found himself envying, as he drew his sword (a possible ending has just loomed up before him, as though the horizon has, with the desperate illusion of suddenness, tipped) the dragon's tenseless freedom.
The dragon might have asked has he not been so stupid, chewing over meanwhile the sudden familiar sourness (a memory ... ?) on his breath.
From what? (Forgotten.)

Robert Cover, A Sudden Story (in: Sudden Ficiton, 1986)

... some info and interpretation ... )


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