Pay attention to information presented in popular media sources, such as newspapers, magazines, TV programs, and the internet. You are looking for an article/story that discusses some recent scientific finding on a psychological topic. NOTE: For the purpose of this assignment, the popular press source must provide at least some discussion of aspects of the original research (i.e., its methods, participants, and findings). A very brief press release (e.g., “Researchers find that exotic Chinese herb may lessen depression symptoms”) will not be sufficient. In addition, the popular press article must provide enough information (i.e., author, article title, journal name) that you can find the original scientific article that first published the scientific study discussed in the popular press article.
STEP #1: Select ONE popular press/mainstream media source (i.e., newspaper or magazine article,
online article, TV program) that discusses recent research on a psychological topic. Read this article, noting the general conclusions/impressions the average reader would make about the research findings based on that article.
STEP #2: Next, locate the scientific source (i.e., peer-reviewed journal article) that originally published
the research findings discussed in the popular press article. Read the original source, paying particular attention to how it may differ from the first in terms of language, tone and/or content when discussing the research findings.
STEP #3: After noting the similarities and differences between the two sources, write a critical review
that compares/contrasts the coverage provided by each (see Criteria below).
By contrast, where tragedy has multiple deaths, the comedy plays usually offer multiple marriages – this is one of their most characteristic features. Confusion and misinterpretations are resolved not in duels or deaths but in reconciliation and the restoration of characters to their proper social roles. At the end of Twelfth Night, Orsino responds to the revelation of Sebastian and Viola’s identities with the following lines: “If this be so, as yet the glass seems true, I shall have share in this most happy wrack” (V.i) Although “wrack” suggests the potential for catastrophe, it has found its proper romantic conclusion and the love-plot is untangled. Viola is released from her disguise as the boy Cesaro and restored to her proper female role, and everyone’s identity revealed. Social reconciliation usually takes this form in Shakespeare’s comedies as lovers are united in marriage, usually in groups of two or three pairs whose plots are followed together throughout the play. Multiple narratives are drawn together often in the final scene. The ability to resolve complex plots in such a way is one of the features that make Shakespeare such a great dramatist. Shakespeare’s construction of love, though often seemingly simplistic in its conclusion, is sophisticated in being able to question each character’s ability to make the right decisions for themselves, and the different layers of narrative serve as comments upon the other plots that work alongside them. In the complex reversals of affection in A Midsummer Night’s Dream, one of Shakespeare’s most popular romantic comedies, the proper order of the lovers is disrupted and then restored by Oberon and his servant Puck: “When they next awake, all this derision, Shall seem a dream and fruitless vision” (III.ii.370-1) A popular theme running throughout the plays is disguise and the complication of identity which in the case of gender roles enables Shakespeare to further entangle the male-female tensions which are at the centre of marriage plots. Famous heroines who dress up as boys include Viola in Twelfth Night and Rosaline in As You Like It, who are able under the cover of their male identities to act out courtship activities, Viola acting on behalf of Orsino in carrying his suit to Olivia and Rosaline teaching Orlando to woo in the guise of Ganymede. In Twelfth Night this then creates comic confusion (and sometimes pain) in a typical love triangle: “My master loves her dearly, And I (poor monster) fond as much on him, And she (mistaken) seems to dote on me” (II.ii) Viola is a “monster” in the play because she is not in her proper position as a woman, and cannot express her feelings to the Duke. It is only when she is restored to her female role that the plot can be properly concluded. In speeches such as this one, the audience’s ability to see which way love is really directed in the play create a distance of dramatic irony that reduces the damaging effect of characters who are experiencing pain. Also, the passionate language that Shakespeare is sometimes so flowery that it enables him to generate comedy from expressions of passion: “O when mine eyes did see Olivia first, / Methought she purged the air of pestilence” (I.i). Unlike in tragedy, when Gertrude “protests too much” in Hamlet and is then horribly implicated in the crimes which have so upset her son, this kind of exaggeration in comedies creates the effect of laughter, because the audience realise that they have more knowledge than the characters in the play. One of the reasons often given for Shakespeare’s enduring popularity is his “universal” appeal: his stories cross many genres and different places and periods in history and thus they always seem relevant to a particular society at a particular moment in time, or can be adapted to seem relevant (and they have been adapted into many languages around the world). Sometimes this pr>