24 August 2015

English and Literature
Essays Link:

Didion:



Rodriguez:



Birkerts:






You know of course, that all of these essays have something to do with the concept of the self. But that concept alone—the self—is not an idea. Rather, each of these writers has expressed his/her ideas in the context of a conversation about the self in relation to other concepts: ethics, language, poetry, technology. And so these authors have articulated ideas that are not merely abstract but truly significant, i.e., that have broad implications for the world in which we live. Such ideas present windows into the larger world beyond ourselves and our own limited visions. Recall Goulish’s metaphorical thoughts about windows:

…[W]e will treat the [essay] … not as an object in this world but as a window into another world. If we can articulate one window’s particular exhilaration, we may open a way to inspire a change in ourselves, so that we may value and work from these recognitions…
But can we recognize windows to other worlds without some formal, historical, or theoretical understanding of what we are looking at? If we deepen our understanding, might we increase our chances of locating these moments? How do we deepen our understanding? (559)


Deepening our understanding of an idea is the primary business of this progression.


1.)   providing evidence from essays;
2.)   establishing a context for what you have seen and are now trying to convey;
3.)   providing thoughtful explanations about the connections and their general (and perhaps far-reaching) implications

Now it is time to think more clearly and directly about how you are connected to your chosen idea, why it is important to you, why it excited you in the first place.

Select a moment from your own experience that is most clearly associated with this relationship between you and the idea. Recreate that moment without feeling obligated to include your own essay work in the recreated experience or to explain what the relationship is. Your task for this exercise is simply to recall the moment and recreate it as a scene.
Think of this moment of experience as a dramatic scene. Recreate the moment so that your reader can step into it, or stand back from it and watch the action. Recreate the moment so that it has drawing power. Do not write as if you are a reporter telling a story from a distance. Aim for something suggestive and nuanced. 


Now, step back from that preliminary work and consider how you might write a more thoughtful essay. Take that idea from the essay you read and chose to work with during this progression, and analyze it in light of these questions:
1.)   What are the larger implications of the idea?
2.)   How do other texts you have read in the course or in other courses, change the way you think about the idea?
3.)   How does your own experience influence your thinking?


What do you actually think about the borrowed idea? That is ultimately what readers should learn from your essay. We want you to deepen our understanding of the idea as you pass it through the filter of your own mind. To do that well you will have to play out your idea against the backdrop of the selected essay that set this whole process in motion. That essay must provide the foundation for your ruminations, so your reader will have to understand that essay. But the deepening will come through your own thinking, aided by the connections you make between the idea you borrowed from the initial essay and one or two other written texts—and connections between the evolving idea and your recreated experiences (if you choose to use them).

Good beginnings do several things:

o   they pull readers in;
o   they establish the central inquiry or “problem” the writer is thinking through in the essay;
o   they establish key terms and concepts – the “vocabulary” of the essay, but do not announce or hit us over the head with this “vocabulary” (see the Mercer Street essays for examples of not announcing or hitting us over the head);
o   they indicate the kind of essay that will follow;
o   they indicate or gesture toward the idea of the essay.


The middle of your draft.  (Recall: you cannot write the ending until you know the middle, and you cannot write the beginning until you know the end.)  The middle of the draft is the part that takes up specific, particular pieces of evidence (written texts, scenes from your own experience) and then thinks-in-writing about that evidence — analyzing, interpreting, questioning, reflecting on that evidence.  You are writing the middle of the draft with the aim of developing your own idea – something you, and only you, can say, given the evidence you have presented, and the work you have done thinking-in-writing about that evidence.
For this middle, you should think-in-writing about at least two written texts.  You must make use of your first, chosen text, and at least one other, “ancillary” written text from Occasions.  You may also use other written texts, not in Occasions, but these should be in addition, not a substitute for the texts from Occasions.

Remember that you are – always – assuming that your reader has no knowledge of the texts you are using.  This means you will need to represent the texts as a whole and in part – working with specific quotes from the text. 

You may also use scenes from your own experience, but remember that you are using those scenes in service of the development of your idea.


Your final draft should have a beginning that pulls readers in, introduces us to and establishes the central inquiry of the essay and the key conceptual terms (the “vocabulary” of the essay), and indicate the kind of essay that will follow – all the while considering how to make these things clear to us without “announcing” them to us.

In the middle of the essay, your draft should engage evidence as a way of developing and complicating our understanding of your inquiry.  For this essay, you are aiming to create a conversation among the texts you are using from Occasions and the texts you are using to present a current, public issue – something reasonable people are arguing about and trying to resolve, out there in the world today.
Remember the mantra, that each piece of evidence, and your thinking about that evidence, needs to bring us to some new, deeper insight: essays work in series, not in parallel.

In the ending of your essay, your draft should show us what you have discovered, through your engagement with the evidence presented – the ideayou have come to understand, through the writing and construction of the essay.









Notes:
      This essay should be 5-7 pages long, typed and double-spaced [the essay must not exceed 7 pages!].
      This essay calls for documentation: when you quote key phrases from the essay, parenthetical documentation is required; a “Works Cited List” should be included at the end of the essay [it does not need to be on a separate sheet of paper]. During this progression, we will have discussed documentation in class, but you should dig out the essential information on your own. There is nothing mysterious or complicated about MLA documentation. Familiarity and consistency remain the key. Consult the LBH pgs 147-191. 
      Submit this essay in your portfolio binder; the essay, along with all of your drafts should be on top of the exercises that you have already put in the portfolio. [I will NOT accept a loose leaf portfolio; NOR will I accept plastic covers. The portfolio must lie flat when assembled so that I can carry it around without losing pages].
      KEEP COPIES OF EVERYTHING YOU SUBMIT TO ME.








24 August 2015,
 0

English and Literature Essays Link: Didion: http://profacero.wordpress.com/2010/11/29/joan-didion-on-self-respect/ Rodriguez: https://sjsucompprogram.pbworks.com/w/file/fetch/47456714/1A%20richard%20rodriguez%20reading.pdf Birkerts: http://new.bostonreview.net/BR16.5/birkerts.html You know of course, that all of these essays have something to do […]


24 August 2015

English and Literature
Essays Link:

Didion:



Rodriguez:



Birkerts:






You know of course, that all of these essays have something to do with the concept of the self. But that concept alone—the self—is not an idea. Rather, each of these writers has expressed his/her ideas in the context of a conversation about the self in relation to other concepts: ethics, language, poetry, technology. And so these authors have articulated ideas that are not merely abstract but truly significant, i.e., that have broad implications for the world in which we live. Such ideas present windows into the larger world beyond ourselves and our own limited visions. Recall Goulish’s metaphorical thoughts about windows:

…[W]e will treat the [essay] … not as an object in this world but as a window into another world. If we can articulate one window’s particular exhilaration, we may open a way to inspire a change in ourselves, so that we may value and work from these recognitions…
But can we recognize windows to other worlds without some formal, historical, or theoretical understanding of what we are looking at? If we deepen our understanding, might we increase our chances of locating these moments? How do we deepen our understanding? (559)


Deepening our understanding of an idea is the primary business of this progression.


1.)   providing evidence from essays;
2.)   establishing a context for what you have seen and are now trying to convey;
3.)   providing thoughtful explanations about the connections and their general (and perhaps far-reaching) implications

Now it is time to think more clearly and directly about how you are connected to your chosen idea, why it is important to you, why it excited you in the first place.

Select a moment from your own experience that is most clearly associated with this relationship between you and the idea. Recreate that moment without feeling obligated to include your own essay work in the recreated experience or to explain what the relationship is. Your task for this exercise is simply to recall the moment and recreate it as a scene.
Think of this moment of experience as a dramatic scene. Recreate the moment so that your reader can step into it, or stand back from it and watch the action. Recreate the moment so that it has drawing power. Do not write as if you are a reporter telling a story from a distance. Aim for something suggestive and nuanced. 


Now, step back from that preliminary work and consider how you might write a more thoughtful essay. Take that idea from the essay you read and chose to work with during this progression, and analyze it in light of these questions:
1.)   What are the larger implications of the idea?
2.)   How do other texts you have read in the course or in other courses, change the way you think about the idea?
3.)   How does your own experience influence your thinking?


What do you actually think about the borrowed idea? That is ultimately what readers should learn from your essay. We want you to deepen our understanding of the idea as you pass it through the filter of your own mind. To do that well you will have to play out your idea against the backdrop of the selected essay that set this whole process in motion. That essay must provide the foundation for your ruminations, so your reader will have to understand that essay. But the deepening will come through your own thinking, aided by the connections you make between the idea you borrowed from the initial essay and one or two other written texts—and connections between the evolving idea and your recreated experiences (if you choose to use them).

Good beginnings do several things:

o   they pull readers in;
o   they establish the central inquiry or “problem” the writer is thinking through in the essay;
o   they establish key terms and concepts – the “vocabulary” of the essay, but do not announce or hit us over the head with this “vocabulary” (see the Mercer Street essays for examples of not announcing or hitting us over the head);
o   they indicate the kind of essay that will follow;
o   they indicate or gesture toward the idea of the essay.


The middle of your draft.  (Recall: you cannot write the ending until you know the middle, and you cannot write the beginning until you know the end.)  The middle of the draft is the part that takes up specific, particular pieces of evidence (written texts, scenes from your own experience) and then thinks-in-writing about that evidence — analyzing, interpreting, questioning, reflecting on that evidence.  You are writing the middle of the draft with the aim of developing your own idea – something you, and only you, can say, given the evidence you have presented, and the work you have done thinking-in-writing about that evidence.
For this middle, you should think-in-writing about at least two written texts.  You must make use of your first, chosen text, and at least one other, “ancillary” written text from Occasions.  You may also use other written texts, not in Occasions, but these should be in addition, not a substitute for the texts from Occasions.

Remember that you are – always – assuming that your reader has no knowledge of the texts you are using.  This means you will need to represent the texts as a whole and in part – working with specific quotes from the text. 

You may also use scenes from your own experience, but remember that you are using those scenes in service of the development of your idea.


Your final draft should have a beginning that pulls readers in, introduces us to and establishes the central inquiry of the essay and the key conceptual terms (the “vocabulary” of the essay), and indicate the kind of essay that will follow – all the while considering how to make these things clear to us without “announcing” them to us.

In the middle of the essay, your draft should engage evidence as a way of developing and complicating our understanding of your inquiry.  For this essay, you are aiming to create a conversation among the texts you are using from Occasions and the texts you are using to present a current, public issue – something reasonable people are arguing about and trying to resolve, out there in the world today.
Remember the mantra, that each piece of evidence, and your thinking about that evidence, needs to bring us to some new, deeper insight: essays work in series, not in parallel.

In the ending of your essay, your draft should show us what you have discovered, through your engagement with the evidence presented – the ideayou have come to understand, through the writing and construction of the essay.









Notes:
      This essay should be 5-7 pages long, typed and double-spaced [the essay must not exceed 7 pages!].
      This essay calls for documentation: when you quote key phrases from the essay, parenthetical documentation is required; a “Works Cited List” should be included at the end of the essay [it does not need to be on a separate sheet of paper]. During this progression, we will have discussed documentation in class, but you should dig out the essential information on your own. There is nothing mysterious or complicated about MLA documentation. Familiarity and consistency remain the key. Consult the LBH pgs 147-191. 
      Submit this essay in your portfolio binder; the essay, along with all of your drafts should be on top of the exercises that you have already put in the portfolio. [I will NOT accept a loose leaf portfolio; NOR will I accept plastic covers. The portfolio must lie flat when assembled so that I can carry it around without losing pages].
      KEEP COPIES OF EVERYTHING YOU SUBMIT TO ME.








24 August 2015,
 0

English and Literature Essays Link: Didion: http://profacero.wordpress.com/2010/11/29/joan-didion-on-self-respect/ Rodriguez: https://sjsucompprogram.pbworks.com/w/file/fetch/47456714/1A%20richard%20rodriguez%20reading.pdf Birkerts: http://new.bostonreview.net/BR16.5/birkerts.html You know of course, that all of these essays have something to do […]


24 August 2015

English and Literature
Essays Link:

Didion:



Rodriguez:



Birkerts:






You know of course, that all of these essays have something to do with the concept of the self. But that concept alone—the self—is not an idea. Rather, each of these writers has expressed his/her ideas in the context of a conversation about the self in relation to other concepts: ethics, language, poetry, technology. And so these authors have articulated ideas that are not merely abstract but truly significant, i.e., that have broad implications for the world in which we live. Such ideas present windows into the larger world beyond ourselves and our own limited visions. Recall Goulish’s metaphorical thoughts about windows:

…[W]e will treat the [essay] … not as an object in this world but as a window into another world. If we can articulate one window’s particular exhilaration, we may open a way to inspire a change in ourselves, so that we may value and work from these recognitions…
But can we recognize windows to other worlds without some formal, historical, or theoretical understanding of what we are looking at? If we deepen our understanding, might we increase our chances of locating these moments? How do we deepen our understanding? (559)


Deepening our understanding of an idea is the primary business of this progression.


1.)   providing evidence from essays;
2.)   establishing a context for what you have seen and are now trying to convey;
3.)   providing thoughtful explanations about the connections and their general (and perhaps far-reaching) implications

Now it is time to think more clearly and directly about how you are connected to your chosen idea, why it is important to you, why it excited you in the first place.

Select a moment from your own experience that is most clearly associated with this relationship between you and the idea. Recreate that moment without feeling obligated to include your own essay work in the recreated experience or to explain what the relationship is. Your task for this exercise is simply to recall the moment and recreate it as a scene.
Think of this moment of experience as a dramatic scene. Recreate the moment so that your reader can step into it, or stand back from it and watch the action. Recreate the moment so that it has drawing power. Do not write as if you are a reporter telling a story from a distance. Aim for something suggestive and nuanced. 


Now, step back from that preliminary work and consider how you might write a more thoughtful essay. Take that idea from the essay you read and chose to work with during this progression, and analyze it in light of these questions:
1.)   What are the larger implications of the idea?
2.)   How do other texts you have read in the course or in other courses, change the way you think about the idea?
3.)   How does your own experience influence your thinking?


What do you actually think about the borrowed idea? That is ultimately what readers should learn from your essay. We want you to deepen our understanding of the idea as you pass it through the filter of your own mind. To do that well you will have to play out your idea against the backdrop of the selected essay that set this whole process in motion. That essay must provide the foundation for your ruminations, so your reader will have to understand that essay. But the deepening will come through your own thinking, aided by the connections you make between the idea you borrowed from the initial essay and one or two other written texts—and connections between the evolving idea and your recreated experiences (if you choose to use them).

Good beginnings do several things:

o   they pull readers in;
o   they establish the central inquiry or “problem” the writer is thinking through in the essay;
o   they establish key terms and concepts – the “vocabulary” of the essay, but do not announce or hit us over the head with this “vocabulary” (see the Mercer Street essays for examples of not announcing or hitting us over the head);
o   they indicate the kind of essay that will follow;
o   they indicate or gesture toward the idea of the essay.


The middle of your draft.  (Recall: you cannot write the ending until you know the middle, and you cannot write the beginning until you know the end.)  The middle of the draft is the part that takes up specific, particular pieces of evidence (written texts, scenes from your own experience) and then thinks-in-writing about that evidence — analyzing, interpreting, questioning, reflecting on that evidence.  You are writing the middle of the draft with the aim of developing your own idea – something you, and only you, can say, given the evidence you have presented, and the work you have done thinking-in-writing about that evidence.
For this middle, you should think-in-writing about at least two written texts.  You must make use of your first, chosen text, and at least one other, “ancillary” written text from Occasions.  You may also use other written texts, not in Occasions, but these should be in addition, not a substitute for the texts from Occasions.

Remember that you are – always – assuming that your reader has no knowledge of the texts you are using.  This means you will need to represent the texts as a whole and in part – working with specific quotes from the text. 

You may also use scenes from your own experience, but remember that you are using those scenes in service of the development of your idea.


Your final draft should have a beginning that pulls readers in, introduces us to and establishes the central inquiry of the essay and the key conceptual terms (the “vocabulary” of the essay), and indicate the kind of essay that will follow – all the while considering how to make these things clear to us without “announcing” them to us.

In the middle of the essay, your draft should engage evidence as a way of developing and complicating our understanding of your inquiry.  For this essay, you are aiming to create a conversation among the texts you are using from Occasions and the texts you are using to present a current, public issue – something reasonable people are arguing about and trying to resolve, out there in the world today.
Remember the mantra, that each piece of evidence, and your thinking about that evidence, needs to bring us to some new, deeper insight: essays work in series, not in parallel.

In the ending of your essay, your draft should show us what you have discovered, through your engagement with the evidence presented – the ideayou have come to understand, through the writing and construction of the essay.









Notes:
      This essay should be 5-7 pages long, typed and double-spaced [the essay must not exceed 7 pages!].
      This essay calls for documentation: when you quote key phrases from the essay, parenthetical documentation is required; a “Works Cited List” should be included at the end of the essay [it does not need to be on a separate sheet of paper]. During this progression, we will have discussed documentation in class, but you should dig out the essential information on your own. There is nothing mysterious or complicated about MLA documentation. Familiarity and consistency remain the key. Consult the LBH pgs 147-191. 
      Submit this essay in your portfolio binder; the essay, along with all of your drafts should be on top of the exercises that you have already put in the portfolio. [I will NOT accept a loose leaf portfolio; NOR will I accept plastic covers. The portfolio must lie flat when assembled so that I can carry it around without losing pages].
      KEEP COPIES OF EVERYTHING YOU SUBMIT TO ME.








24 August 2015,
 0

English and Literature Essays Link: Didion: http://profacero.wordpress.com/2010/11/29/joan-didion-on-self-respect/ Rodriguez: https://sjsucompprogram.pbworks.com/w/file/fetch/47456714/1A%20richard%20rodriguez%20reading.pdf Birkerts: http://new.bostonreview.net/BR16.5/birkerts.html You know of course, that all of these essays have something to do […]


24 August 2015

English and Literature
Essays Link:

Didion:



Rodriguez:



Birkerts:






You know of course, that all of these essays have something to do with the concept of the self. But that concept alone—the self—is not an idea. Rather, each of these writers has expressed his/her ideas in the context of a conversation about the self in relation to other concepts: ethics, language, poetry, technology. And so these authors have articulated ideas that are not merely abstract but truly significant, i.e., that have broad implications for the world in which we live. Such ideas present windows into the larger world beyond ourselves and our own limited visions. Recall Goulish’s metaphorical thoughts about windows:

…[W]e will treat the [essay] … not as an object in this world but as a window into another world. If we can articulate one window’s particular exhilaration, we may open a way to inspire a change in ourselves, so that we may value and work from these recognitions…
But can we recognize windows to other worlds without some formal, historical, or theoretical understanding of what we are looking at? If we deepen our understanding, might we increase our chances of locating these moments? How do we deepen our understanding? (559)


Deepening our understanding of an idea is the primary business of this progression.


1.)   providing evidence from essays;
2.)   establishing a context for what you have seen and are now trying to convey;
3.)   providing thoughtful explanations about the connections and their general (and perhaps far-reaching) implications

Now it is time to think more clearly and directly about how you are connected to your chosen idea, why it is important to you, why it excited you in the first place.

Select a moment from your own experience that is most clearly associated with this relationship between you and the idea. Recreate that moment without feeling obligated to include your own essay work in the recreated experience or to explain what the relationship is. Your task for this exercise is simply to recall the moment and recreate it as a scene.
Think of this moment of experience as a dramatic scene. Recreate the moment so that your reader can step into it, or stand back from it and watch the action. Recreate the moment so that it has drawing power. Do not write as if you are a reporter telling a story from a distance. Aim for something suggestive and nuanced. 


Now, step back from that preliminary work and consider how you might write a more thoughtful essay. Take that idea from the essay you read and chose to work with during this progression, and analyze it in light of these questions:
1.)   What are the larger implications of the idea?
2.)   How do other texts you have read in the course or in other courses, change the way you think about the idea?
3.)   How does your own experience influence your thinking?


What do you actually think about the borrowed idea? That is ultimately what readers should learn from your essay. We want you to deepen our understanding of the idea as you pass it through the filter of your own mind. To do that well you will have to play out your idea against the backdrop of the selected essay that set this whole process in motion. That essay must provide the foundation for your ruminations, so your reader will have to understand that essay. But the deepening will come through your own thinking, aided by the connections you make between the idea you borrowed from the initial essay and one or two other written texts—and connections between the evolving idea and your recreated experiences (if you choose to use them).

Good beginnings do several things:

o   they pull readers in;
o   they establish the central inquiry or “problem” the writer is thinking through in the essay;
o   they establish key terms and concepts – the “vocabulary” of the essay, but do not announce or hit us over the head with this “vocabulary” (see the Mercer Street essays for examples of not announcing or hitting us over the head);
o   they indicate the kind of essay that will follow;
o   they indicate or gesture toward the idea of the essay.


The middle of your draft.  (Recall: you cannot write the ending until you know the middle, and you cannot write the beginning until you know the end.)  The middle of the draft is the part that takes up specific, particular pieces of evidence (written texts, scenes from your own experience) and then thinks-in-writing about that evidence — analyzing, interpreting, questioning, reflecting on that evidence.  You are writing the middle of the draft with the aim of developing your own idea – something you, and only you, can say, given the evidence you have presented, and the work you have done thinking-in-writing about that evidence.
For this middle, you should think-in-writing about at least two written texts.  You must make use of your first, chosen text, and at least one other, “ancillary” written text from Occasions.  You may also use other written texts, not in Occasions, but these should be in addition, not a substitute for the texts from Occasions.

Remember that you are – always – assuming that your reader has no knowledge of the texts you are using.  This means you will need to represent the texts as a whole and in part – working with specific quotes from the text. 

You may also use scenes from your own experience, but remember that you are using those scenes in service of the development of your idea.


Your final draft should have a beginning that pulls readers in, introduces us to and establishes the central inquiry of the essay and the key conceptual terms (the “vocabulary” of the essay), and indicate the kind of essay that will follow – all the while considering how to make these things clear to us without “announcing” them to us.

In the middle of the essay, your draft should engage evidence as a way of developing and complicating our understanding of your inquiry.  For this essay, you are aiming to create a conversation among the texts you are using from Occasions and the texts you are using to present a current, public issue – something reasonable people are arguing about and trying to resolve, out there in the world today.
Remember the mantra, that each piece of evidence, and your thinking about that evidence, needs to bring us to some new, deeper insight: essays work in series, not in parallel.

In the ending of your essay, your draft should show us what you have discovered, through your engagement with the evidence presented – the ideayou have come to understand, through the writing and construction of the essay.









Notes:
      This essay should be 5-7 pages long, typed and double-spaced [the essay must not exceed 7 pages!].
      This essay calls for documentation: when you quote key phrases from the essay, parenthetical documentation is required; a “Works Cited List” should be included at the end of the essay [it does not need to be on a separate sheet of paper]. During this progression, we will have discussed documentation in class, but you should dig out the essential information on your own. There is nothing mysterious or complicated about MLA documentation. Familiarity and consistency remain the key. Consult the LBH pgs 147-191. 
      Submit this essay in your portfolio binder; the essay, along with all of your drafts should be on top of the exercises that you have already put in the portfolio. [I will NOT accept a loose leaf portfolio; NOR will I accept plastic covers. The portfolio must lie flat when assembled so that I can carry it around without losing pages].
      KEEP COPIES OF EVERYTHING YOU SUBMIT TO ME.








24 August 2015,
 0

English and Literature Essays Link: Didion: http://profacero.wordpress.com/2010/11/29/joan-didion-on-self-respect/ Rodriguez: https://sjsucompprogram.pbworks.com/w/file/fetch/47456714/1A%20richard%20rodriguez%20reading.pdf Birkerts: http://new.bostonreview.net/BR16.5/birkerts.html You know of course, that all of these essays have something to do […]


24 August 2015

English and Literature
Your research paper will be divided into two separate parts. You will submit each part to separate turnitin submission boxes, which will appear in the Research Paper Folder at a later date. The first page of each part must contain a heading, header, and title. See page 502 inThe Everyday Writer for an example of an essay's format and placement of its title. Both parts must be typed in 12 point, Times New Roman font. (Please view the example page I posted in the Research Paper Folder).
You must choose two stories written by the same author. Doing so will really help you develop your research paper, as writers often write using the same theme.

Ernest Hemingway: Quite the outdoorsman, many of his short stories include adventure with a masculine, stoic undertone.
William Faulkner: He is a classic southern writer. Consider A Rose for Emily and “Barn Burning.”
Flannery O Connor: One my favorite Catholic, southern writers. See p. 540 in The Norton Introduction to Literature for several stories and more information about her and her writing. Consider the Christian symbolism in the stories and the redemption of grotesque characters. Consider A Good Man is Hard to Find and Good Country People.
Edgar Allen Poe: He has so many short stories that can easily be explored and connected. Consider revenge or concealment. Consider The Tell-Tale Heart, The Cask of Amontillado, and The Black Cat. Do not choose a poem he wrote (do not choose “The Raven,” as it is a poem).
Kate Chopin: My favorite writer. A beautiful writer who is often considered rebellious. See p. 648 in The Norton Introduction to Literature for an introduction to women in her era. Consider her The Story of an Hour, The Storm, and Desiree s Baby.
James Baldwin: He wrote about race and class distinctions. He is an African American writer. See Sonny s Blues. If you research him, you will find his Going to Meet the Man short story. This is a very graphic tale of violence.
Jack London (this one is for those who want to be challenged, as you will have to read a novel): Many of his works have a theme of Man vs. Nature and are set in a cold, deserted region. Unfortunately, his works do not appear in the course textbook. Consider To Build a Fire and either The Call of the Wild or White Fang (both of these works are novels). I realize that I told you to choose two short stories, but London did not write many short stories, so if you want to discuss him, you will have to pair a short story with a novel.


Part 1:
Length: 500 words maximum—no more than 3 typed pages total. Do not include a works cited page.

Title: Title this part of your paper as follows: Summary of  Short Story Title  
(You should, of course, use the titles of the works you are discussing)

Instructions: For Part 1, you will develop a brief summary of both primary sources. Summarize one work of literature, and then summarize the second work of literature. You can write one summary beneath the other summary. Begin each summary with the title of the work of literature. Use the literary present tense as you summarize each work. You can use quoted passages in the summary, but doing so is not a requirement.
Part 2:
Length: 1,500 words minimum, excluding the text on the works cited page. There is no maximum word or page count.  

Title: The title you choose for this part cannot be the title of either primary source or Research Paper. Any other title is acceptable.

Sources: This part of the assignment will exhibit a familiarity with research methods and MLA format for including outside information alongside your own text. Your essay must include a works cited page stapled behind the final page of your essay. The essay and works cited page must contain a minimum of 7 entries: 2 primary sources AND 5 secondary sources. List the sources in alphabetical order on the works cited page. Do not number the entries.

DO NOT choose plot as one of the terms. You will, of course, need to state what happens in the story, but DO NOT discuss it as in depth as you did for the fiction essay. Meaning, do not point out the story's exposition to its denouement.
Any essay that does not contain cited evidence from each of the seven sources will be severely penalized. Any essay that does not contain a works cited page will be deducted 10 points.

Instructions: For Part 2, you will discuss the common theme in the two works of literature (you must work with the same two sources you summarized) and discuss/analyze how three or four literary concepts (style, setting, character, irony, symbolism, point of view, etc.) help  show  this theme throughout each story. You cannot simply discuss each literary term; you must connect it to the overall theme of the story. Do not simply compare and contrast the works of literature.

For example: select two works of literature that have a similar theme. Then, decide which literary concepts in each work help “show” this theme. You might find that character, setting, and symbol all help show this theme. You can then find library research to help support your ideas. In your essay, you can write a section of your paper about how the characters help show the theme in each work, another section about how the setting helps show the theme in each work, and a final section about how the symbols help show the theme.
First Primary Source: must be a short story published in the course textbook

Second Primary Source: may be a second short story (published in the course textbook or not), a novel, or a play.

Note: The two sources may be written by the same author.

All of your ideas need to be backed up with evidence from the primary and secondary sources.

You are required to use evidence from both primary sources AND each of the five secondary sources in your paper. Your paper should have an average of two to three documented quoted passages (primary and/or secondary) per typed page. Your paper should exhibit a 60:40 balance of documented support passages—favoring the PRIMARY texts.

If you need help selecting a theme or finding two works with the same theme, please view the information onon this page from Blinn College Library.First, select Literature & Literary Criticism, and then select Bloom's Literary Reference Online. At the top of the screen, select More. Then, underneath More, select Theme. You will see a list of themes for SOME works of literature. (I also posted this paragraph and link in the Week 2 folder).


24 August 2015,
 0

English and Literature Your research paper will be divided into two separate parts. You will submit each part to separate turnitin submission boxes, which […]


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