Chapter 14 – Writing About Poetic Form
Forms can be divided into sound effects (rhythm/rhyme) and artistic manipulation of word order (syntax)
Rhythm and Rhyme
Sound effects – Organized repetition
Rhythm is produced by stressing and accenting syllables.
Rhythm – enforces meaning and tone of a poem
Rhyme
Recurring pattern of similar sounds
Used at regular intervals, usually at the end of the lines
Can be "slant" rhyme – which is not as precise (ex. lap and shape)
Internal rhyme – is inside the word. (ex. dreary and weary, napping and tapping)
Alliteration, Assonance, Consonance
Alliteration – repetition of consonant sounds at the beginning of words
Assonance – repetition of vowel sounds that are not followed by similar consonants. (ex. grave and gain, shine and bright)
Consonance – Consonants are parallel but the vowels change. (ex. blade, blood, flash, flesh)
Stanzas – Open and Closed
Closed form – poetry with lines of equal length arranged in fixed syllabic patterns.
Open form – lines vary in length, and vary from traditional rhyme/rhythm patterns.
Couplet – two rhymed lines, typically in equal length and meter
Quatrain – group of four lines with any number of rhyme schemes.
Sonnets
Fourteen lines, 10 syllables for each line.
Shakespearean has an a b a b, c d c d, e f e f, g g rhyme
Italian (Petrachan)
Fewer rhymes
Two groupings of lines: first 8 called "octave," next 6 "sestet"
Free Verse
No rhyme scheme or basic meter.
Modern.
Poetic Syntax:
Words can be written in reverse order, or carefully planned so they are staccato in sound.
Visual Poetry
Prose poem looks like a paragraph, but reads like a poem.
Concrete poetry makes use of line breaks and spatial arrangements to graphically produce the poem’s message.
Monday, April 5, 2010
Monday, March 29, 2010
Notes Chapter 13
Chapter 13 Poetic Language
Connotation and Denotation
Denotation – the definition you will find in a dictionary
Connotation – the emotional connection you make with certain words (such as: security, warmth, love)
Figures of Speech
Metaphor – imaginative comparison that uses the connotative values of words.
Ex. "Thy eternal summer will not fade.
The best metaphors, according to some critics, require an intellectual leap…the comparison is often shocking or puzzling.
Ex. "The ecstasy of fumbling" (with gas masks in "Dulce et Decorum Est."
Extended Metaphor
The comparison continues throughout the entire work.
Ex. "In the Long Hall" p. 522
Extended metaphor is comparing life to weaving a tapestry.
Simile
Comparison using "like" or "as."
It is technically correct to call both similes and metaphors – a metaphor.
Personification
Makes nonhuman things seem human.
"Daylight is nobody’s friend."
Imagery – allows something abstract to seem more concrete to readers.
Symbol
Image that is obviously suggesting more meaning than its descriptive value.
Paradox – words that seem contradictory, but make some kind of emotional sense.
Ex. Mary Queen of Scots, "In my end is my beginning."
Oxymoron
Extreme paradox when two words with opposite meanings are juxtaposed.
Ex. "elaborately simple"
Ex. "jumbo shrimp"
Connotation and Denotation
Denotation – the definition you will find in a dictionary
Connotation – the emotional connection you make with certain words (such as: security, warmth, love)
Figures of Speech
Metaphor – imaginative comparison that uses the connotative values of words.
Ex. "Thy eternal summer will not fade.
The best metaphors, according to some critics, require an intellectual leap…the comparison is often shocking or puzzling.
Ex. "The ecstasy of fumbling" (with gas masks in "Dulce et Decorum Est."
Extended Metaphor
The comparison continues throughout the entire work.
Ex. "In the Long Hall" p. 522
Extended metaphor is comparing life to weaving a tapestry.
Simile
Comparison using "like" or "as."
It is technically correct to call both similes and metaphors – a metaphor.
Personification
Makes nonhuman things seem human.
"Daylight is nobody’s friend."
Imagery – allows something abstract to seem more concrete to readers.
Symbol
Image that is obviously suggesting more meaning than its descriptive value.
Paradox – words that seem contradictory, but make some kind of emotional sense.
Ex. Mary Queen of Scots, "In my end is my beginning."
Oxymoron
Extreme paradox when two words with opposite meanings are juxtaposed.
Ex. "elaborately simple"
Ex. "jumbo shrimp"
Sunday, February 14, 2010
Research notes
The best topics are ones that originate out of your own reading of a work of literature, but here
are some common approaches to consider:
A discussion of a work's characters: are they realistic, symbolic, historically-based?
A comparison/contrast of the choices different authors or characters make in a work
A reading of a work based on an outside philosophical perspective (Ex. how would a Freudian read Hamlet?)
A study of the sources or historical events that occasioned a particular work (Ex. comparing G.B.
Shaw's Pygmalion with the original Greek myth of Pygmalion)
An analysis of a specific image occurring in several works (Ex. the use of moon imagery in certain
plays, poems, novels)
A "deconstruction" of a particular work (Ex. unfolding an underlying racist worldview in Joseph
Conrad's Heart of Darkness)
A reading from a political perspective (Ex. how would a Marxist read William Blake's "London"?)
A study of the social, political, or economic context in which a work was written — how does the context influence the work?
How do I start research?
The Internet
Once you have decided on an interesting topic and work (or works), the best place to start is probably the Internet. Here you can usually find basic biographical data on authors, brief summaries of works, possibly some rudimentary analyses, and even bibliographies of sources related to your topic.
The library
The Internet, however, rarely offers serious direct scholarship; you will have to use sources found in the library, sources like journal articles and scholarly books, to get information that you can use to build your own scholarship-your literary paper. Consult the library's on-line catalog and the MLA Periodical Index. Avoid citing dictionary or encyclopedic sources in your final paper.
How do I use the information I find?
The secondary sources you find are only to be used as an aid. Your thoughts should make up most of the essay. As you develop your thesis, you will bring in the ideas of the scholars to back up what you have already said.
For example, say you are arguing that Huck Finn is a Christ figure; that's your basic thesis. You give evidence from the novel that allows this reading, and then, at the right place, you might say the following, a paraphrase:
According to Susan Thomas, Huck sacrifices himself because he wants to set Jim free (129).
are some common approaches to consider:
A discussion of a work's characters: are they realistic, symbolic, historically-based?
A comparison/contrast of the choices different authors or characters make in a work
A reading of a work based on an outside philosophical perspective (Ex. how would a Freudian read Hamlet?)
A study of the sources or historical events that occasioned a particular work (Ex. comparing G.B.
Shaw's Pygmalion with the original Greek myth of Pygmalion)
An analysis of a specific image occurring in several works (Ex. the use of moon imagery in certain
plays, poems, novels)
A "deconstruction" of a particular work (Ex. unfolding an underlying racist worldview in Joseph
Conrad's Heart of Darkness)
A reading from a political perspective (Ex. how would a Marxist read William Blake's "London"?)
A study of the social, political, or economic context in which a work was written — how does the context influence the work?
How do I start research?
The Internet
Once you have decided on an interesting topic and work (or works), the best place to start is probably the Internet. Here you can usually find basic biographical data on authors, brief summaries of works, possibly some rudimentary analyses, and even bibliographies of sources related to your topic.
The library
The Internet, however, rarely offers serious direct scholarship; you will have to use sources found in the library, sources like journal articles and scholarly books, to get information that you can use to build your own scholarship-your literary paper. Consult the library's on-line catalog and the MLA Periodical Index. Avoid citing dictionary or encyclopedic sources in your final paper.
How do I use the information I find?
The secondary sources you find are only to be used as an aid. Your thoughts should make up most of the essay. As you develop your thesis, you will bring in the ideas of the scholars to back up what you have already said.
For example, say you are arguing that Huck Finn is a Christ figure; that's your basic thesis. You give evidence from the novel that allows this reading, and then, at the right place, you might say the following, a paraphrase:
According to Susan Thomas, Huck sacrifices himself because he wants to set Jim free (129).
Research notes
An argument
When you write an extended literary essay, often one requiring research, you are essentially making an argument. You are arguing that your perspective-an interpretation, an evaluative judgment, or a critical evaluation-is a valid one.
A debatable thesis statement
Like any argument paper you have ever written for a first-year composition course, you must have a specific, detailed thesis statement that reveals your perspective, and, like any good argument, your perspective must be one which is debatable.
Examples
You would not want to make an argument of this sort:
Shakespeare's Hamlet is a play about a young man who seeks revenge.
That doesn't say anything-it's basically just a summary and is hardly debatable.
A better thesis would be this:
Hamlet experiences internal conflict because he is in love with his mother.
That is debatable, controversial even. The rest of a paper with this argument as its thesis will be an attempt to show, using specific examples from the text and evidence from scholars, (1) how Hamlet is in love with his mother, (2) why he's in love with her, and (3) what implications there are for reading the play in this manner.
You also want to avoid a thesis statement like this:
Spirituality means different things to different people. King Lear, The Book of Romans, and Zen and the Art of Motorcycle Maintenance each view the spirit differently.
Again, that says nothing that's not already self-evident. Why bother writing a paper about that? You're not writing an essay to list works that have nothing in common other than a general topic like "spirituality." You want to find certain works or authors that, while they may have several differences, do have some specific, unifying point. That point is your thesis.
A better thesis would be this:
Lear, Romans, and Zen each view the soul as the center of human personality.
Then you prove it, using examples from the texts that show that the soul is the center of personality.
When you write an extended literary essay, often one requiring research, you are essentially making an argument. You are arguing that your perspective-an interpretation, an evaluative judgment, or a critical evaluation-is a valid one.
A debatable thesis statement
Like any argument paper you have ever written for a first-year composition course, you must have a specific, detailed thesis statement that reveals your perspective, and, like any good argument, your perspective must be one which is debatable.
Examples
You would not want to make an argument of this sort:
Shakespeare's Hamlet is a play about a young man who seeks revenge.
That doesn't say anything-it's basically just a summary and is hardly debatable.
A better thesis would be this:
Hamlet experiences internal conflict because he is in love with his mother.
That is debatable, controversial even. The rest of a paper with this argument as its thesis will be an attempt to show, using specific examples from the text and evidence from scholars, (1) how Hamlet is in love with his mother, (2) why he's in love with her, and (3) what implications there are for reading the play in this manner.
You also want to avoid a thesis statement like this:
Spirituality means different things to different people. King Lear, The Book of Romans, and Zen and the Art of Motorcycle Maintenance each view the spirit differently.
Again, that says nothing that's not already self-evident. Why bother writing a paper about that? You're not writing an essay to list works that have nothing in common other than a general topic like "spirituality." You want to find certain works or authors that, while they may have several differences, do have some specific, unifying point. That point is your thesis.
A better thesis would be this:
Lear, Romans, and Zen each view the soul as the center of human personality.
Then you prove it, using examples from the texts that show that the soul is the center of personality.
Thursday, February 11, 2010
Syllabus part two
English 1302 Syllabus Part Two
Mon. Feb. 15 C. 4 Quiz , discuss note-taking, paraphrasing p. 65
View library databases and discuss potential topics
HW: Choose one potential topic and make a topic outline
with a thesis.
Wed. Feb. 17 Outline practice, primary and secondary source discussion,
MLA practice
HW: Write down five potential research topics.
Mon. Feb. 22 Practice thesis statements, discuss appeals. Work on MLA
works cited form and prepare for a compare and contrast
paper.
HW: Read “Revolt of Mother” p. 229. Compose answers
to questions on p. 239-40.
Wed. Feb. 24 Read “Jury of Her Peers” p. 275-289. Compare and
contrast to “Trifles.”
HW: Answer questions p. 289. Write a draft of your
compare and contrast essay.
Mon. Mar.1 Peer and instructor conferences on draft. Discuss ways
to improve the paper.
HW: Make a draft 2 of the paper, read “Why I Live at
The PO” p. 480-488, answer questions p. 488
Wed. Mar. 3 Draft 2 due. Pick a research topic and make a plan
for your paper.
HW: Make a thesis and outline for your research paper .
Make a final draft of your compare and contrast paper.
March 8-14 Spring Break
Mon. Mar. 15 Thesis and outline due. Revise and prepare for researching.
HW: Prepare a rough draft of your research paper,
including documentation and a works cited.
Wed. Mar. 17 Revise drafts and prepare to finalize.
HW: Finalize paper, turn in all drafts, with
your works cited, and final outline.
Mon. Mar. 22 Research paper due
Debrief assignment, prepare for poetry unit.
HW: Read C. 11 and 12 p. 495-513, answer
Questions on pages 505 and 507
Wed. Mar. 24 Begin poetry unit. Discuss poems and thesis p. 506-
508. Practice writing p. 509-510.
HW: Choose one poem from p. 501-505 and write
a thesis and outline analyzing speaker and tone.
Mon. Mar. 29 Discuss poetry analysis.
HW: Read C. 13 p. 517-527. Choose one poem and
make notes on its use of imagery.
Wed. Mar. 31 Discuss poems, poetic language p. 517-520.
HW: Make a first draft for the imagery essay.
Mon. Apr. 5 Discuss C. 14 p. 535-554
HW: Read Casebook p. 555-575. Choose one poem
and find two pieces of literary criticism on it.
Wed. Apr. 7 Discuss and analyze Langston Hughes poetry.
HW: Respond to p. 575 #3. Write a one page
analysis.
Mon. Apr. 12 Read paired poems p. 683-702
HW: Choose one set of paired poems and write a one
page essay analyzing the connections between the two.
Wed. Apr. 14 Discuss paired poetry paper, write another draft.
HW: Write a final copy of the paired poem essay.
Mon. Apr. 19 Essay due. Read War Poetry p. 703-716. Choose one
and make a chart of the poetic devices for it.
HW: Complete chart..
Wed. Apr. 21 Discuss war poetry, and review for poetry test.
HW: Study for poetry test.
Mon. Apr. 26 Major Test Poetry
HW: Prepare journals for submission on Wed.
Wed. Apr. 28 Journals due, Final exam review
HW: Work on final review
NOTE: Friday, April 23 is the last day to drop a class with a “W.”
Mon. May 3 Review for final
Wed. May 5 FINAL EXAM
Mon. Feb. 15 C. 4 Quiz , discuss note-taking, paraphrasing p. 65
View library databases and discuss potential topics
HW: Choose one potential topic and make a topic outline
with a thesis.
Wed. Feb. 17 Outline practice, primary and secondary source discussion,
MLA practice
HW: Write down five potential research topics.
Mon. Feb. 22 Practice thesis statements, discuss appeals. Work on MLA
works cited form and prepare for a compare and contrast
paper.
HW: Read “Revolt of Mother” p. 229. Compose answers
to questions on p. 239-40.
Wed. Feb. 24 Read “Jury of Her Peers” p. 275-289. Compare and
contrast to “Trifles.”
HW: Answer questions p. 289. Write a draft of your
compare and contrast essay.
Mon. Mar.1 Peer and instructor conferences on draft. Discuss ways
to improve the paper.
HW: Make a draft 2 of the paper, read “Why I Live at
The PO” p. 480-488, answer questions p. 488
Wed. Mar. 3 Draft 2 due. Pick a research topic and make a plan
for your paper.
HW: Make a thesis and outline for your research paper .
Make a final draft of your compare and contrast paper.
March 8-14 Spring Break
Mon. Mar. 15 Thesis and outline due. Revise and prepare for researching.
HW: Prepare a rough draft of your research paper,
including documentation and a works cited.
Wed. Mar. 17 Revise drafts and prepare to finalize.
HW: Finalize paper, turn in all drafts, with
your works cited, and final outline.
Mon. Mar. 22 Research paper due
Debrief assignment, prepare for poetry unit.
HW: Read C. 11 and 12 p. 495-513, answer
Questions on pages 505 and 507
Wed. Mar. 24 Begin poetry unit. Discuss poems and thesis p. 506-
508. Practice writing p. 509-510.
HW: Choose one poem from p. 501-505 and write
a thesis and outline analyzing speaker and tone.
Mon. Mar. 29 Discuss poetry analysis.
HW: Read C. 13 p. 517-527. Choose one poem and
make notes on its use of imagery.
Wed. Mar. 31 Discuss poems, poetic language p. 517-520.
HW: Make a first draft for the imagery essay.
Mon. Apr. 5 Discuss C. 14 p. 535-554
HW: Read Casebook p. 555-575. Choose one poem
and find two pieces of literary criticism on it.
Wed. Apr. 7 Discuss and analyze Langston Hughes poetry.
HW: Respond to p. 575 #3. Write a one page
analysis.
Mon. Apr. 12 Read paired poems p. 683-702
HW: Choose one set of paired poems and write a one
page essay analyzing the connections between the two.
Wed. Apr. 14 Discuss paired poetry paper, write another draft.
HW: Write a final copy of the paired poem essay.
Mon. Apr. 19 Essay due. Read War Poetry p. 703-716. Choose one
and make a chart of the poetic devices for it.
HW: Complete chart..
Wed. Apr. 21 Discuss war poetry, and review for poetry test.
HW: Study for poetry test.
Mon. Apr. 26 Major Test Poetry
HW: Prepare journals for submission on Wed.
Wed. Apr. 28 Journals due, Final exam review
HW: Work on final review
NOTE: Friday, April 23 is the last day to drop a class with a “W.”
Mon. May 3 Review for final
Wed. May 5 FINAL EXAM
Wednesday, February 10, 2010
Research notes
Research – Chapter Four
Though not essential, the preference is for researchers to consult secondary sources before selecting a specific topic
Stay focused on your topic
Remember you are not writing a biography.
You need to find a topic such as the sample paper on p. 73
Make your thesis specific enough to make the paper manageable.
Ex. The use of color symbolism in F. Scott Fitzgerald’s The Great Gatsby not only enhances the meaning of the text, but allows additional insights to his complex characters.
Evaluate sources
Look for credentials. You do not want sources that would not be considered authoritative.
Think of .org or .edu if you wish to use sources that you googled.
Look at sponsorship of the site and any other motives that may be hidden in the web site.
Try not to go back farther than 5 years, 10 years at the most so your material will be relatively current.
Be sure to correctly cite any source. Get the bibliographic information as soon as you find the source as the internet can be fluid.
Reference Databases
You will want to use as many of these as possible.
Use the TJC library’s online databases for most of your material.
Historical societies for literary works/authors may be helpful too.
(Such as the Kate Chopin website we looked at recently)
Taking Notes
Note cards work for some people but are very time consuming.
Preference is to highlight items on copies and compose an outline and then your paper from there.
Summarizing
Condense the main part into your own words.
Do most of your writing like this.
Remember that you must still credit the original source for the material.
Think of one or two sentences of your words for each paragraph of the original text’s words.
Paraphrase
A paraphrase is as long as the original text material, but placed in your words.
Use this rarely – only when the material is so perfect for your argument that you must have it all!
Limit quotes, and use only one or two long quotes in the entire paper. (Four or more typed lines, indented an additional five spaces from the original margin)
Organize notes
Prepare a working outline before drafting.
Group ideas – remember you are using the research to prove YOUR point and YOUR argument, not someone else’s
Prepare a counter argument with sources to back up your ideas also.
Working Outline
Thesis:
Introduction
General symbolism in novel
Thematic connection to color
Use of seasons
Coordinating character association
Counterargument
A. Critics that do not support the idea
B. Counter anaylsis
V. Conclusion
A. Restate thesis
B. Project further analysis points
Integrating Sources
Use in text citations and be sure each one corresponds with your works cited list.
Blend the researched material with your words, and end with a parenthetical reference.
As the novel progresses to its close, the characters "learn the tragedy of insensitivity in the most dire conditions" (Charlton 22).
Document
At least once per paragraph (except the introduction and conclusion if they are entirely your words)
Immediately after any direct quote, whether it is short or long.
Material from your primary source also as you have done in recent papers. (page number following a sentence with embedded quotes utilizing the author’s name)
Avoid Plagiarism
Do not carelessly or deliberately use the author’s words as your own.
Make obvious changes please.
Quote if you cannot change the passage enough.
Try embedding short quotes with your words.
Format
Follow MLA style.
P. 71 and 72 in text for margins and spacing.
See sample paper p. 73-79.
Long quote set up p. 75-6 (note the author’s name is in the introductory sentence prior to the quote, so the page number only is included). If you don’t do that, cite with the author and page number in your parenthetical reference.
Works Cited
Alphabetize by the author’s last name and/or title of the unauthored text (other than a, an or the).
Pay attention to the hanging indent.
Though not essential, the preference is for researchers to consult secondary sources before selecting a specific topic
Stay focused on your topic
Remember you are not writing a biography.
You need to find a topic such as the sample paper on p. 73
Make your thesis specific enough to make the paper manageable.
Ex. The use of color symbolism in F. Scott Fitzgerald’s The Great Gatsby not only enhances the meaning of the text, but allows additional insights to his complex characters.
Evaluate sources
Look for credentials. You do not want sources that would not be considered authoritative.
Think of .org or .edu if you wish to use sources that you googled.
Look at sponsorship of the site and any other motives that may be hidden in the web site.
Try not to go back farther than 5 years, 10 years at the most so your material will be relatively current.
Be sure to correctly cite any source. Get the bibliographic information as soon as you find the source as the internet can be fluid.
Reference Databases
You will want to use as many of these as possible.
Use the TJC library’s online databases for most of your material.
Historical societies for literary works/authors may be helpful too.
(Such as the Kate Chopin website we looked at recently)
Taking Notes
Note cards work for some people but are very time consuming.
Preference is to highlight items on copies and compose an outline and then your paper from there.
Summarizing
Condense the main part into your own words.
Do most of your writing like this.
Remember that you must still credit the original source for the material.
Think of one or two sentences of your words for each paragraph of the original text’s words.
Paraphrase
A paraphrase is as long as the original text material, but placed in your words.
Use this rarely – only when the material is so perfect for your argument that you must have it all!
Limit quotes, and use only one or two long quotes in the entire paper. (Four or more typed lines, indented an additional five spaces from the original margin)
Organize notes
Prepare a working outline before drafting.
Group ideas – remember you are using the research to prove YOUR point and YOUR argument, not someone else’s
Prepare a counter argument with sources to back up your ideas also.
Working Outline
Thesis:
Introduction
General symbolism in novel
Thematic connection to color
Use of seasons
Coordinating character association
Counterargument
A. Critics that do not support the idea
B. Counter anaylsis
V. Conclusion
A. Restate thesis
B. Project further analysis points
Integrating Sources
Use in text citations and be sure each one corresponds with your works cited list.
Blend the researched material with your words, and end with a parenthetical reference.
As the novel progresses to its close, the characters "learn the tragedy of insensitivity in the most dire conditions" (Charlton 22).
Document
At least once per paragraph (except the introduction and conclusion if they are entirely your words)
Immediately after any direct quote, whether it is short or long.
Material from your primary source also as you have done in recent papers. (page number following a sentence with embedded quotes utilizing the author’s name)
Avoid Plagiarism
Do not carelessly or deliberately use the author’s words as your own.
Make obvious changes please.
Quote if you cannot change the passage enough.
Try embedding short quotes with your words.
Format
Follow MLA style.
P. 71 and 72 in text for margins and spacing.
See sample paper p. 73-79.
Long quote set up p. 75-6 (note the author’s name is in the introductory sentence prior to the quote, so the page number only is included). If you don’t do that, cite with the author and page number in your parenthetical reference.
Works Cited
Alphabetize by the author’s last name and/or title of the unauthored text (other than a, an or the).
Pay attention to the hanging indent.
Monday, February 8, 2010
Notes
“Spunk” by Zora Neale Hurston
Double meaning of title
Dialect
Gender roles
Gothic elements (ghosts can fight)
Bobcat = dead guy
Spunk died “too wicket-died cussin’ “
Traditions
Lamentations over the dead
Funeral feast
Gender Issues
Spunk and Lena
Woman as property and prize
“Spunk’s crazy ‘bout Lena..don’t want folks to keep on talkin’ ‘bout her”
Women wonder who would be Lena’s next man
Interpretation
Story can be interpreted as a cautionary tale against sins of a man like Spunk:
Lust, greed, pride, blasphemy, deceit, adultery, lying
Notice that as a ghost, Joe Kanty has “spunk” – feistiness, nerve
Story seems pretty realistic at first, but becomes a ghost story
“Hills Like White Elephants” Ernest Hemingway
Story seems to be mostly pointless dialogue
Understatement – underneath the chatter is the unnamed male speaker trying to get Jig, a woman, to get an abortion that she does not want.
Man manipulates the woman to get the procedure
“Hills”
Man – literal minded, irritable, unthinking of her feelings
Woman-sensitive, emotional, distances herself from him .
Woman’s choices are like the landscape – she can face a dry, sterile landscape or a peaceful fertile place.
Suggestiveness of symbolic images
Setting of a railroad junction reinforces the crossroads that the woman is facing
Paper Two
Remember to select one story from the ones that are on the syllabus.
Discuss how setting and point of view contribute to the theme of the story.
Remember that point of view can be tricky.
Be sure you are prepared to argue your interpretation and the details that you selected to explain it.
Double meaning of title
Dialect
Gender roles
Gothic elements (ghosts can fight)
Bobcat = dead guy
Spunk died “too wicket-died cussin’ “
Traditions
Lamentations over the dead
Funeral feast
Gender Issues
Spunk and Lena
Woman as property and prize
“Spunk’s crazy ‘bout Lena..don’t want folks to keep on talkin’ ‘bout her”
Women wonder who would be Lena’s next man
Interpretation
Story can be interpreted as a cautionary tale against sins of a man like Spunk:
Lust, greed, pride, blasphemy, deceit, adultery, lying
Notice that as a ghost, Joe Kanty has “spunk” – feistiness, nerve
Story seems pretty realistic at first, but becomes a ghost story
“Hills Like White Elephants” Ernest Hemingway
Story seems to be mostly pointless dialogue
Understatement – underneath the chatter is the unnamed male speaker trying to get Jig, a woman, to get an abortion that she does not want.
Man manipulates the woman to get the procedure
“Hills”
Man – literal minded, irritable, unthinking of her feelings
Woman-sensitive, emotional, distances herself from him .
Woman’s choices are like the landscape – she can face a dry, sterile landscape or a peaceful fertile place.
Suggestiveness of symbolic images
Setting of a railroad junction reinforces the crossroads that the woman is facing
Paper Two
Remember to select one story from the ones that are on the syllabus.
Discuss how setting and point of view contribute to the theme of the story.
Remember that point of view can be tricky.
Be sure you are prepared to argue your interpretation and the details that you selected to explain it.
Notes
“Spunk” by Zora Neale Hurston
Double meaning of title
Dialect
Gender roles
Gothic elements (ghosts can fight)
Bobcat = dead guy
Spunk died “too wicket-died cussin’ “
Traditions
Lamentations over the dead
Funeral feast
Gender Issues
Spunk and Lena
Woman as property and prize
“Spunk’s crazy ‘bout Lena..don’t want folks to keep on talkin’ ‘bout her”
Women wonder who would be Lena’s next man
Interpretation
Story can be interpreted as a cautionary tale against sins of a man like Spunk:
Lust, greed, pride, blasphemy, deceit, adultery, lying
Notice that as a ghost, Joe Kanty has “spunk” – feistiness, nerve
Story seems pretty realistic at first, but becomes a ghost story
“Hills Like White Elephants” Ernest Hemingway
Story seems to be mostly pointless dialogue
Understatement – underneath the chatter is the unnamed male speaker trying to get Jig, a woman, to get an abortion that she does not want.
Man manipulates the woman to get the procedure
“Hills”
Man – literal minded, irritable, unthinking of her feelings
Woman-sensitive, emotional, distances herself from him .
Woman’s choices are like the landscape – she can face a dry, sterile landscape or a peaceful fertile place.
Suggestiveness of symbolic images
Setting of a railroad junction reinforces the crossroads that the woman is facing
Paper Two
Remember to select one story from the ones that are on the syllabus.
Discuss how setting and point of view contribute to the theme of the story.
Remember that point of view can be tricky.
Be sure you are prepared to argue your interpretation and the details that you selected to explain it.
Double meaning of title
Dialect
Gender roles
Gothic elements (ghosts can fight)
Bobcat = dead guy
Spunk died “too wicket-died cussin’ “
Traditions
Lamentations over the dead
Funeral feast
Gender Issues
Spunk and Lena
Woman as property and prize
“Spunk’s crazy ‘bout Lena..don’t want folks to keep on talkin’ ‘bout her”
Women wonder who would be Lena’s next man
Interpretation
Story can be interpreted as a cautionary tale against sins of a man like Spunk:
Lust, greed, pride, blasphemy, deceit, adultery, lying
Notice that as a ghost, Joe Kanty has “spunk” – feistiness, nerve
Story seems pretty realistic at first, but becomes a ghost story
“Hills Like White Elephants” Ernest Hemingway
Story seems to be mostly pointless dialogue
Understatement – underneath the chatter is the unnamed male speaker trying to get Jig, a woman, to get an abortion that she does not want.
Man manipulates the woman to get the procedure
“Hills”
Man – literal minded, irritable, unthinking of her feelings
Woman-sensitive, emotional, distances herself from him .
Woman’s choices are like the landscape – she can face a dry, sterile landscape or a peaceful fertile place.
Suggestiveness of symbolic images
Setting of a railroad junction reinforces the crossroads that the woman is facing
Paper Two
Remember to select one story from the ones that are on the syllabus.
Discuss how setting and point of view contribute to the theme of the story.
Remember that point of view can be tricky.
Be sure you are prepared to argue your interpretation and the details that you selected to explain it.
Wednesday, February 3, 2010
Paper Topic
Please write one page about how setting and conflict (internal/external or both) contribute to the theme of one of the following short stories:
"Eveline"
"Trifles"
"Story of an Hour"
"Desiree's Baby"
"The Lottery"
"Everyday Use"
Bring your draft to class on Monday:)
"Eveline"
"Trifles"
"Story of an Hour"
"Desiree's Baby"
"The Lottery"
"Everyday Use"
Bring your draft to class on Monday:)
Monday, February 1, 2010
Monday Feb. 1 Assignments
Setting and Atmosphere
Setting
Setting-time, location of story’s action
Atmosphere-conveyed by setting – it is an emotional effect due to the setting and/or events
Atmosphere and mood are the same.
Make a statement about the relationship of setting to theme for every story you encounter.
Setting
Questions to ask:
Does the setting contribute to the overall effectiveness of the story? How?
Does the setting heighten the theme?
Does the setting provide a unique opportunity for the events?
Would a different setting change the story in important ways?
Think of stories we recently read:
“Eveline” – how does the setting contribute to the dreariness and hopelessness of the main character?
“The Things They Carried” – The setting and the events leading up to the company’s first casualty are pivotal to understanding the theme of this story. The setting, may be understood to be as hopeless, as the romantic feelings that the Lieutenant had toward Martha. Also notice that the actions of the men are rote, without meaning, as the war itself was to most of the American public back home, politicians, political junkies, historians.
Setting
How does setting contribute to the theme of these selections”
“Everyday Use”
“The Story of an Hour”
“Desiree’s Baby”
Ask yourself – what would the story be like if the setting was different? It will help you analyze the story you have selected for your paper.
Chapter 10 - Theme
Central idea
Thesis
Underlying meaning
Central truth
Dominating idea
NOT a plot summary
Writing about Theme
Choose supporting details from the plot to explain your thesis.
Do another close read of the work you have selected.
Examine your notes and take out repetitive information.
Place items in order (same order as the thesis states)
Setting
Setting-time, location of story’s action
Atmosphere-conveyed by setting – it is an emotional effect due to the setting and/or events
Atmosphere and mood are the same.
Make a statement about the relationship of setting to theme for every story you encounter.
Setting
Questions to ask:
Does the setting contribute to the overall effectiveness of the story? How?
Does the setting heighten the theme?
Does the setting provide a unique opportunity for the events?
Would a different setting change the story in important ways?
Think of stories we recently read:
“Eveline” – how does the setting contribute to the dreariness and hopelessness of the main character?
“The Things They Carried” – The setting and the events leading up to the company’s first casualty are pivotal to understanding the theme of this story. The setting, may be understood to be as hopeless, as the romantic feelings that the Lieutenant had toward Martha. Also notice that the actions of the men are rote, without meaning, as the war itself was to most of the American public back home, politicians, political junkies, historians.
Setting
How does setting contribute to the theme of these selections”
“Everyday Use”
“The Story of an Hour”
“Desiree’s Baby”
Ask yourself – what would the story be like if the setting was different? It will help you analyze the story you have selected for your paper.
Chapter 10 - Theme
Central idea
Thesis
Underlying meaning
Central truth
Dominating idea
NOT a plot summary
Writing about Theme
Choose supporting details from the plot to explain your thesis.
Do another close read of the work you have selected.
Examine your notes and take out repetitive information.
Place items in order (same order as the thesis states)
Wednesday, January 27, 2010
Notes C. 5-8
Short Fiction
Look for patterns in the structure of each short narrative.
Many of these are hidden.
Notice: flashbacks, space breaks, repetitive patterns of any type, contrasting details, beginnings and endings.
Pay attention to the story’s title also.
Chapter Five
Structure is very important.
Plot – action in the story.
Conflict
Usually involves the main character (protagonist)
Modern fiction:
Usually does not have a happy ending
May not have a clear beginning, or end.
Structure
Look for flashbacks (stopping the forward action to recount the past)
Subplots – reinforce theme, but can also be comic relief
Point of view –position from which the author tells the story
Setting-sometimes important, sometimes not
Characters
Look carefully at conversations between characters.
Notice what other characters say about each other.
Foils – minor characters who contrast a main character.
Other Literary Techniques
Irony – upsetting the expected.
Foreshadowing – hints for future outcomes.
Images – words and phrases that help the reader visualize the story.
Images are called “motifs” when they deliberately repeat and add to the theme of the selection.
Notice the title
May point toward the meaning
Has some relation to the theme in most fiction
Also, pay attention to the selection’s author and times. Historical context (as we discussed during the culture chapter) make a difference in context and possible motives for writing.
Chapter Six - Structure
Poems have lines and verses.
Novels have chapters.
Short fiction may have no visible structure.
Space breaks may indicate something.
Paragraphing is intentional.
Plot itself is the primary structure, usually.
Look at beginnings and endings.
“The Things They Carried” by Tim O’Brien
Uses things – tangible and intangible (emotional)
Conveys the burden of a senseless war
.
Central incident is the company’s first casualty.
Main character: Lt. Jimmy Cross – has a heavy burden of guilt bc he thinks his lovelorn musings made it impossible for his to protect his men properly.
At the end, he destroys the college girl’s letters and photos, and regains his focus on his duty to his squad and his country.
Company’s duty, however, is without purpose.
Events take place in two days-April 16 and 17
Lee goes into tunnel, while Ted Lavender goes away a bit to urinate.
Lavender gets shot, the men smoke Ted’s dope while waiting for copter to remove body.
Body is removed, soldiers burn Than Khe
Jimmy digs foxhole and weeps
Next day, Jimmy burns Martha’s letters and pictures
Characters
Jimmy Cross
Dave Jensen
Henry Dobbins
Ted Lavender
Norman Bowker
Rat Riley
Kiowa
Mitchell Sanders
Lee Strunk
Patterns
Objects and whether one character carries a unique object, or whether all “carry” an item (or emotion)
Repetitive pattern of the Martha theme.
The death of Ted
Psychological burdens
Memorable items from home
Idiosyncratic things
How they deal with stress and danger
Chapter Seven – Imagery and Symbolism
Images – words, phrases that appeal to the senses.
Visual – sight
Auditory – sound
Gustatory- taste
Kinetic – motion
Thermal – temperature
Tactile – feeling, touch
Symbol – a repeated image gathers meaning
Archetypal – symbols that convey the same meaning throughout cultures of all time periods.
Circle – symbol of wholeness, Sea = voyage through life
White as innocence, and black as evil are peculiar to Western culture
Water and dust are universal.
Phallic and Yonic Symbols
Phallic = potency of males, towers, fast cars, spurs, snakes, guns
Yonic = fertility and prolific nature of females. Caves, pots, rooms, full blown roses. Round or concave objects.
These are not always charged with sexual significance.
“The Lottery” by Shirley Jackson
Element of rituals
Precise meaning of the lottery, and when it began in ancient times is insignificant to the townspeople. What matters to them is the tradition of the ritual.
Note mindless nature of ritual; a question is asked and everyone knows the answer. Stylized question and response is typical of some religious actitivies.
“The Lottery”
Black box – symbol of the activity.
Black symbolizes evil in this icon (sacred or revered) object.
Stones mentioned at the story’s beginning are a foreshadowing of the end.
Outcasts supposedly violated the community’s laws, and serve as scapegoats.
Characters are not very well developed…notice very few have first names.
Look at student paper p. 129
Chapter 8 – Point of View
Decide who is telling the story.
Remember the narrator is not the author.
Types of point of view:
Omniscient: All knowing narrator tells the thoughts of every character.
Limited: Narrator tells all thoughts of only one character.
First person: The narrator is the major participant in the action. Presents one side of story. Some are completely honest, others try to deceive the reader as well as other characters.
Point of View
Unreliable narrator: misrepresents or misinterprets the facts. May be emotionally disturbed or imagining things.
Author does this so the subjectivity of the text or shallowness of the main character is evident.
Objective: There is no narrator and one must figure out the story through actions and dialogue. There is no insight into the minds of characters.
Look for patterns in the structure of each short narrative.
Many of these are hidden.
Notice: flashbacks, space breaks, repetitive patterns of any type, contrasting details, beginnings and endings.
Pay attention to the story’s title also.
Chapter Five
Structure is very important.
Plot – action in the story.
Conflict
Usually involves the main character (protagonist)
Modern fiction:
Usually does not have a happy ending
May not have a clear beginning, or end.
Structure
Look for flashbacks (stopping the forward action to recount the past)
Subplots – reinforce theme, but can also be comic relief
Point of view –position from which the author tells the story
Setting-sometimes important, sometimes not
Characters
Look carefully at conversations between characters.
Notice what other characters say about each other.
Foils – minor characters who contrast a main character.
Other Literary Techniques
Irony – upsetting the expected.
Foreshadowing – hints for future outcomes.
Images – words and phrases that help the reader visualize the story.
Images are called “motifs” when they deliberately repeat and add to the theme of the selection.
Notice the title
May point toward the meaning
Has some relation to the theme in most fiction
Also, pay attention to the selection’s author and times. Historical context (as we discussed during the culture chapter) make a difference in context and possible motives for writing.
Chapter Six - Structure
Poems have lines and verses.
Novels have chapters.
Short fiction may have no visible structure.
Space breaks may indicate something.
Paragraphing is intentional.
Plot itself is the primary structure, usually.
Look at beginnings and endings.
“The Things They Carried” by Tim O’Brien
Uses things – tangible and intangible (emotional)
Conveys the burden of a senseless war
.
Central incident is the company’s first casualty.
Main character: Lt. Jimmy Cross – has a heavy burden of guilt bc he thinks his lovelorn musings made it impossible for his to protect his men properly.
At the end, he destroys the college girl’s letters and photos, and regains his focus on his duty to his squad and his country.
Company’s duty, however, is without purpose.
Events take place in two days-April 16 and 17
Lee goes into tunnel, while Ted Lavender goes away a bit to urinate.
Lavender gets shot, the men smoke Ted’s dope while waiting for copter to remove body.
Body is removed, soldiers burn Than Khe
Jimmy digs foxhole and weeps
Next day, Jimmy burns Martha’s letters and pictures
Characters
Jimmy Cross
Dave Jensen
Henry Dobbins
Ted Lavender
Norman Bowker
Rat Riley
Kiowa
Mitchell Sanders
Lee Strunk
Patterns
Objects and whether one character carries a unique object, or whether all “carry” an item (or emotion)
Repetitive pattern of the Martha theme.
The death of Ted
Psychological burdens
Memorable items from home
Idiosyncratic things
How they deal with stress and danger
Chapter Seven – Imagery and Symbolism
Images – words, phrases that appeal to the senses.
Visual – sight
Auditory – sound
Gustatory- taste
Kinetic – motion
Thermal – temperature
Tactile – feeling, touch
Symbol – a repeated image gathers meaning
Archetypal – symbols that convey the same meaning throughout cultures of all time periods.
Circle – symbol of wholeness, Sea = voyage through life
White as innocence, and black as evil are peculiar to Western culture
Water and dust are universal.
Phallic and Yonic Symbols
Phallic = potency of males, towers, fast cars, spurs, snakes, guns
Yonic = fertility and prolific nature of females. Caves, pots, rooms, full blown roses. Round or concave objects.
These are not always charged with sexual significance.
“The Lottery” by Shirley Jackson
Element of rituals
Precise meaning of the lottery, and when it began in ancient times is insignificant to the townspeople. What matters to them is the tradition of the ritual.
Note mindless nature of ritual; a question is asked and everyone knows the answer. Stylized question and response is typical of some religious actitivies.
“The Lottery”
Black box – symbol of the activity.
Black symbolizes evil in this icon (sacred or revered) object.
Stones mentioned at the story’s beginning are a foreshadowing of the end.
Outcasts supposedly violated the community’s laws, and serve as scapegoats.
Characters are not very well developed…notice very few have first names.
Look at student paper p. 129
Chapter 8 – Point of View
Decide who is telling the story.
Remember the narrator is not the author.
Types of point of view:
Omniscient: All knowing narrator tells the thoughts of every character.
Limited: Narrator tells all thoughts of only one character.
First person: The narrator is the major participant in the action. Presents one side of story. Some are completely honest, others try to deceive the reader as well as other characters.
Point of View
Unreliable narrator: misrepresents or misinterprets the facts. May be emotionally disturbed or imagining things.
Author does this so the subjectivity of the text or shallowness of the main character is evident.
Objective: There is no narrator and one must figure out the story through actions and dialogue. There is no insight into the minds of characters.
Monday, January 25, 2010
Test Review for Wed. Jan. 27
English 1302 Test Review
For Wednesday Jan. 27
Please study the following for the test:
I. Writing Process and Reading to Write (C. 1-3)
II. Writing Purposes
a. Express
b. Inform
c. Entertain
d. Persuade
e. Sources
1. Primary
2. Secondary
III. Critical Thinking
a. Analysis
b. Inference
c. Synthesis
d. Evaluation
IV. Prewriting Techniques
a. Freewrite
b. Clustering
c. Problem solving
V. Dramatic Elements
a. Argument (Aristotle)
b. Protagonist
c. Antagonist
d. Point of attack
e. Exposition
f. Rising action
g. Climax
h. Falling action
i. Denouement
j. Hero
1. Classic tragic hero
2. Modern tragic hero
VI. Culture
a. Not just racial
b. Lifestyle
c. Socio economic
d. Gender issues
e. Stereotyping
VII. Selections
a. “Eveline”
b. Trifles
c. Fences
d. Madame Butterfly
For Wednesday Jan. 27
Please study the following for the test:
I. Writing Process and Reading to Write (C. 1-3)
II. Writing Purposes
a. Express
b. Inform
c. Entertain
d. Persuade
e. Sources
1. Primary
2. Secondary
III. Critical Thinking
a. Analysis
b. Inference
c. Synthesis
d. Evaluation
IV. Prewriting Techniques
a. Freewrite
b. Clustering
c. Problem solving
V. Dramatic Elements
a. Argument (Aristotle)
b. Protagonist
c. Antagonist
d. Point of attack
e. Exposition
f. Rising action
g. Climax
h. Falling action
i. Denouement
j. Hero
1. Classic tragic hero
2. Modern tragic hero
VI. Culture
a. Not just racial
b. Lifestyle
c. Socio economic
d. Gender issues
e. Stereotyping
VII. Selections
a. “Eveline”
b. Trifles
c. Fences
d. Madame Butterfly
Wednesday, January 20, 2010
Drama
Cultural Analysis
Culture means:
Habits of thoughts
Feelings, behavior created by humans and passed down to others.
It is not practiced in all human groups, however.
Connected to: racial identity, ethnic and geographical context.
Culture:
Historical context matters.
Chapter 18 – Cultural Analysis
Can be varied such as: American culture of the 1950’s, Greek culture, lifestyle cultures, gender issues.
Cultural approach to literature contends that every work is a part of its social context.
Madame Butterfly
Cultural stereotypes: submissive Oriental woman, diplomat, man pretending to be a woman.
Fantasy element in relationship.
Story of deceptions, time flashes back and forth
Play within play
Exploring cultural themes
Classify the characters: social class, education level, religion, ethnicity, sexual orientation.
Identify stereotypes that you may have and the ones that the characters exhibit.
Power and oppression are important in culture studies.
Cultural themes:
Remember human universals.
Use literary criticism and popular publications.
Google “stereotyping of various cultures”
Casebook - Fences
Complex story of deceptions (like Butterfly)
Racial issues, family problems, money concerns, symbols (fences, baseball, legal problems, sexual tension and indiscretion.
August Wilson wrote this with James Earl Jones in mind as “Troy.”
Viewed as the black version of Death of a Salesman by some critics.
Fences
Disturbing deceptions:
Cory not working at the A&P
Troy’s affair with Alberta
Troy’s claims of walking 200 miles to Mobile, his actual baseball skills.
Gabe’s WWII injury
Troy’s encounter with death (and devil)
Troy
Worsens his condition through bad choices.
Fits the concept of tragic heroism:
He cannot accept that times have changed and
destroys his relationship with his son.
Doesn’t listen to anyone but himself (tragic flaw).
Displacement because of his bad choices, past and present.
Critics view him as larger than life, crippled by what his dad did, values passed to the next generation and what that may mean.
Sport is a salvation and hope.
Gender critic p. 842
Shaped by his father
Struggles with identity
Sexuality drives him
Affairs, children by three different women
Evokes sympathy at times
Loner cut off from others
Trifles by Susan Glaspell
Play became a short story “Jury of Her Peers”
Remarkable feminist view (written 1916)
Differences between men and women in rural setting.
Insensitive men, women band together against injustice of law toward women (women could not vote or serve on juries at this time).
Culture means:
Habits of thoughts
Feelings, behavior created by humans and passed down to others.
It is not practiced in all human groups, however.
Connected to: racial identity, ethnic and geographical context.
Culture:
Historical context matters.
Chapter 18 – Cultural Analysis
Can be varied such as: American culture of the 1950’s, Greek culture, lifestyle cultures, gender issues.
Cultural approach to literature contends that every work is a part of its social context.
Madame Butterfly
Cultural stereotypes: submissive Oriental woman, diplomat, man pretending to be a woman.
Fantasy element in relationship.
Story of deceptions, time flashes back and forth
Play within play
Exploring cultural themes
Classify the characters: social class, education level, religion, ethnicity, sexual orientation.
Identify stereotypes that you may have and the ones that the characters exhibit.
Power and oppression are important in culture studies.
Cultural themes:
Remember human universals.
Use literary criticism and popular publications.
Google “stereotyping of various cultures”
Casebook - Fences
Complex story of deceptions (like Butterfly)
Racial issues, family problems, money concerns, symbols (fences, baseball, legal problems, sexual tension and indiscretion.
August Wilson wrote this with James Earl Jones in mind as “Troy.”
Viewed as the black version of Death of a Salesman by some critics.
Fences
Disturbing deceptions:
Cory not working at the A&P
Troy’s affair with Alberta
Troy’s claims of walking 200 miles to Mobile, his actual baseball skills.
Gabe’s WWII injury
Troy’s encounter with death (and devil)
Troy
Worsens his condition through bad choices.
Fits the concept of tragic heroism:
He cannot accept that times have changed and
destroys his relationship with his son.
Doesn’t listen to anyone but himself (tragic flaw).
Displacement because of his bad choices, past and present.
Critics view him as larger than life, crippled by what his dad did, values passed to the next generation and what that may mean.
Sport is a salvation and hope.
Gender critic p. 842
Shaped by his father
Struggles with identity
Sexuality drives him
Affairs, children by three different women
Evokes sympathy at times
Loner cut off from others
Trifles by Susan Glaspell
Play became a short story “Jury of Her Peers”
Remarkable feminist view (written 1916)
Differences between men and women in rural setting.
Insensitive men, women band together against injustice of law toward women (women could not vote or serve on juries at this time).
Monday, January 18, 2010
Notes for Chapters 1-3
Chapters 1-3 Literature and the Writing Process
Chapter One - Composing
Read to write
Make predictions
Note changes in characters’ behavior
Look for patterns (repetitive images)
Mark memorable passages
Note symbols, scenes, language oddities
Underline phrases that seem particularly meaningful
Read to write:
Compare the selection to other things you have read or seen on TV or in a movie
Look away from the text periodically
Jot down reactions in your journal
Describe the work to a friend or relative
Immerse yourself in the universality of the themes/characters/human condition
Prewriting Process
Reasons to write:
Express your feelings
Entertain your audience
Inform
Persuade (argument)
Reading Critically
Analyze – examine parts or elements of the text. Ask questions such as: What is the conflict? What are the subplots and how do they counterbalance the conflict/theme?
Inferences – conclusions you can draw from your own analysis. Implications of various elements such as: connecting threads, identifying patterns, drawing conclusions. Ask questions such as: Who is the main character? What changes, if any, does the character make? Why?
Reading Critically
Synthesis – Create a new why to understand the text based on your analysis and inferences.
Questions include: What is the central idea (theme) of the selection?
Evaluation- Make a judgment and defend your ideas about your analytical work. Questions such as: Is the main character a tragic character? Is the work classified as a tragedy or other type of literature?
Discovering and Developing Ideas
Use techniques such as:
Directed freewriting
Problem solving
Clustering
Prepare a thesis:
Relate some aspect of the work to the meaning overall.
What insight can you glean from reading the text?
Remember, a thesis is NOT a topic
Writing Process C. 2
Elements of a Good Argument
Claims-proposition, premise, hypothesis
Evidence-examples from text, and outside sources
Reasoning-explain how you arrived at your interpretaon
Refutation-address the opposition, counter their argument (or point) with authoritative facts
.
Effective Argument
Introduce your subject, with a context for your approach
State your main point or thesis.
Provide evidence and reasoning to support your claims.
Respond to opposing viewpoints, logically, authoritatively, reasonably.
Sum up the argument by solidifying the truth of your thesis.
Arrangement of ideas
Choose between these organizational strategies:
Logically (point by point)
Chronologically (if applicable)
It can be very effective to begin with your weakest point and end with the strongest.
Develop the details from the plot.
Embed quotes and include page numbers in parentheses as documentation.
Organization
Introduction (You do not have to write this yet)
Thesis
Your points
Opposing point (Some critics may contend….)
Counter opposition with logical points.
End with a relation to the theme of the story.
Write an emphatic final sentence (p.53)
Chapter Three - Rewriting
Revision means looking again at your work (not just mechanics such as: spelling)
Use peer review
Outline after the first draft
Rearrange, read it out loud and listen to the “sense” of your writing.
Look at sentence patterns
“Eveline” by James Joyce
Characters:
Eveline Hill- passive, helpless, selfless, prays to know what her duty is, wants to escape, but wants to keep her promise to her dying mother to keep home together.
Father – violent, drunkard, manipulative, threatens, money issues
Brothers – Ernest (dead), Harry (out of picture, decorating churches) – note Father does not threaten the brothers.
People from Eveline’s work – Miss Galvan (judgmental, rude)
Frank – boyfriend, she has not know him for a long time, sailor, want to take her out of the country and “marry” her.
Images in text
Images of the past: dust, words “used to” in story many times, yellowing photographs, references to long time ago, dead people (such as her mom who was a semi-pitiful creature, saying pleasure is pain, demanding, even in death)
Conflict? Theme?
Chapter One - Composing
Read to write
Make predictions
Note changes in characters’ behavior
Look for patterns (repetitive images)
Mark memorable passages
Note symbols, scenes, language oddities
Underline phrases that seem particularly meaningful
Read to write:
Compare the selection to other things you have read or seen on TV or in a movie
Look away from the text periodically
Jot down reactions in your journal
Describe the work to a friend or relative
Immerse yourself in the universality of the themes/characters/human condition
Prewriting Process
Reasons to write:
Express your feelings
Entertain your audience
Inform
Persuade (argument)
Reading Critically
Analyze – examine parts or elements of the text. Ask questions such as: What is the conflict? What are the subplots and how do they counterbalance the conflict/theme?
Inferences – conclusions you can draw from your own analysis. Implications of various elements such as: connecting threads, identifying patterns, drawing conclusions. Ask questions such as: Who is the main character? What changes, if any, does the character make? Why?
Reading Critically
Synthesis – Create a new why to understand the text based on your analysis and inferences.
Questions include: What is the central idea (theme) of the selection?
Evaluation- Make a judgment and defend your ideas about your analytical work. Questions such as: Is the main character a tragic character? Is the work classified as a tragedy or other type of literature?
Discovering and Developing Ideas
Use techniques such as:
Directed freewriting
Problem solving
Clustering
Prepare a thesis:
Relate some aspect of the work to the meaning overall.
What insight can you glean from reading the text?
Remember, a thesis is NOT a topic
Writing Process C. 2
Elements of a Good Argument
Claims-proposition, premise, hypothesis
Evidence-examples from text, and outside sources
Reasoning-explain how you arrived at your interpretaon
Refutation-address the opposition, counter their argument (or point) with authoritative facts
.
Effective Argument
Introduce your subject, with a context for your approach
State your main point or thesis.
Provide evidence and reasoning to support your claims.
Respond to opposing viewpoints, logically, authoritatively, reasonably.
Sum up the argument by solidifying the truth of your thesis.
Arrangement of ideas
Choose between these organizational strategies:
Logically (point by point)
Chronologically (if applicable)
It can be very effective to begin with your weakest point and end with the strongest.
Develop the details from the plot.
Embed quotes and include page numbers in parentheses as documentation.
Organization
Introduction (You do not have to write this yet)
Thesis
Your points
Opposing point (Some critics may contend….)
Counter opposition with logical points.
End with a relation to the theme of the story.
Write an emphatic final sentence (p.53)
Chapter Three - Rewriting
Revision means looking again at your work (not just mechanics such as: spelling)
Use peer review
Outline after the first draft
Rearrange, read it out loud and listen to the “sense” of your writing.
Look at sentence patterns
“Eveline” by James Joyce
Characters:
Eveline Hill- passive, helpless, selfless, prays to know what her duty is, wants to escape, but wants to keep her promise to her dying mother to keep home together.
Father – violent, drunkard, manipulative, threatens, money issues
Brothers – Ernest (dead), Harry (out of picture, decorating churches) – note Father does not threaten the brothers.
People from Eveline’s work – Miss Galvan (judgmental, rude)
Frank – boyfriend, she has not know him for a long time, sailor, want to take her out of the country and “marry” her.
Images in text
Images of the past: dust, words “used to” in story many times, yellowing photographs, references to long time ago, dead people (such as her mom who was a semi-pitiful creature, saying pleasure is pain, demanding, even in death)
Conflict? Theme?
Wednesday, January 13, 2010
Syllabus
English 1302 Syllabus
Instructor: Ms. Jean Smith
Phone: 903-530-3358
Email: adj-jsmi1@tjc.edu or smithj@whitehouseisd.org
Course Name: Composition and Rhetoric
Section: 61
Room: Jenkins 218
Meets: Monday and Wednesday 5:35 to 6:50 PM
Blog: http://english1302spring2010.blogspot.com
Course Description: This course amplifies writing principles by emphasizing critical and analytical thinking through the study of various genres of literature. Several analytical papers will be produced, along with a research paper utilizing outside sources.
Textbook: McMahan, Elizabeth et al. Literature and the Writing Process. 8th edition.
Upper Saddle River: Pearson, 2007.
Students are encouraged to use a college level dictionary and thesaurus also.
Grades:
Major grades through the semester will be several essays, essay tests, and the research project which will count as two major grades. An average of daily work including: quizzes, homework, and short writing assignments will also count as a major grade. All major grades will be averaged together and will comprise three-fourths of the semester average. The remaining one-fourth of the semester grade will be the comprehensive final exam.
Classroom Policies and Etiquette:
• Students are expected to be in class every day. Therefore, students must be present in order to participate in academic activities such as: collaborative work, quizzes, and lecture. Students are also to be in class on time for each class session and stay for the entire class period. Students with more than 3 absences may not be successful in this course.
• Students are expected to be attentive, polite, and cooperative. Please refrain from idle chatter or use of electronic devices during class time. Cell phones and other electronic devices, other than those needed because of a learning disability, must be turned OFF during class.
• I do not accept late work, so please keep up with deadlines as outlined on the syllabus. If a student needs to make up a quiz or test, please make arrangements to arrive early for the next class meeting so the work can be made up in a timely fashion. Students who are absent due to a school sponsored activity need to make arrangements to turn in work or makeup tests and quizzes prior to the absence.
• TJC’s English Department policies are posted on the TJC website also.
• The last day to drop this class is April 23rd.
• Please contact an academic advisor or the course instructor in an attempt to find a way to stay in the course if at all possible.
• Syllabus may be modified by the instructor if needed.
• Students are expected to complete all assignments prior to each class meeting.
Week One: Orientation
Wed. Jan. 13 Orientation, syllabus overview, review
Writing process, complete an in class essay.
Assignment: Read Chapters 1-3 p. 1-54.
Expect quizzes on this and all other reading
assignments.
Begin a reading journal with written
responses to questions on p.11. Use
complete sentences for all written work.
Complete the exercises on style on p.45,
46, and 47.
Set up Turnitin account before Tuesday’s
class meets (class ID 3068255 , password
apache2010).
Week Two: Drama
Monday, Jan. 18 Holiday – Martin Luther King, Jr. Day
Wed. Jan. 20 Quiz over readings, discuss assignments.
Set up reader response journal, first
section will be called “Drama.”
Review Handbook p. 1147-1175
Collaborative activity: C. 15 p. 731-35, C.16
p. 736-7, 774-83, C. 17 p. 786, 834-37.
Discuss argument (workable thesis p. 775-7)
Assignment: Read p. 839-844; compose
“Responses to the Critics” p. 843 in your
reading journal. Read C. 18 p. 845-94.
Compose responses to “Exploring Cultural
Themes” questions 1, 2, and 3 p. 894.
Select one “Idea for Responsive Writing,”
and one “Idea for Critical Writing” p. 896;
and complete prewriting and a first essay
draft for each. These will NOT be in the
reading journal.
Week Three:Drama
Mon., Jan. 25 Reading quizzes, peer and instructor review
of essay drafts. Collaborative activity
“Trifles” p. 1090-1100. Brainstorm potential
arguable paper topics from the play. Write
responses to questions p. 1099-1100 in
journal.
Assignment: Read “Tender Offer” p. 1126- 31. Respond to questions p. 1131-32. Read “The Cuban Swimmer” p. 1132-42, respond
to questions p. 1142-3. Complete a final
draft of one of your prewriting activities.
Submit in standard MLA style. Turn in all
drafts, as well as the final copy.
Study for test.
Wed. Jan. 27 Turn in papers (beginning of class). Debrief
assignment.
TEST-Drama, Writing Process, Handbook
Assignment: Read C 5-7, p. 91-137. Begin
a new section in journal for “Short Fiction.”
Respond to “Finding Patterns” p. 111, do
exercise on “Integrating Questions” p. 114.
Respond to “Responsive Writing” p. 125,
and questions 1 and 2 p. 125-6. Essay should
be a first draft. Read C. 8 p. 139-150.
Respond to questions 1-4 p. 148 “Ideas for
Responsive Writing.”
Week Four: Short Fiction
Monday Feb. 1 Quiz over readings, class discussion on
short fiction elements. Collaborative
activity “Desiree’s Baby” p. 223-7,
“Story of an Hour” p. 227-9.
Discuss “Critical Approaches” p. 1175-80.
Assignment: Read C. 9 and 10, p. 151-205.
Respond to “Responsive Writing” p. 164,
and question 1 and 2 “Critcal Writing” p.
164. Do sentence imitation p. 166-7. Journal
“Topics for Discussion” p. 204. Read “The
Revolt of Mother” p. 229-39, and complete
discussion questions p. 239-40 in journal.
Read “ Paul’s Case” p. 257-70, journal
questions p. 270.
Wed. Feb. 3 Reading quiz, discussion. Chart story
elements as a collaborative activity.
Compose responses to prewriting
activity p. 162-3.
Assignment: Make notes in your journal
about cultural conflicts, stereotypes, and
context in each of these seletions.
Read “Spunk” p. 310-14.
Respond to questions 1-4, p. 314. Read
“Hills Like White Elephants” p. 321-25,
Complete questions p. 325.
Week Five: Short Fiction
Mon., Feb. 8 Quiz and discussion. Read “Love in L.A.”
p. 432-4. Prepare a list of prewriting
analyzing point of view, setting, and theme
for each short story. Select one story other than “L.A.” and and prepare a thesis and outline for a major paper.
Assignment: Complete major paper, usual
format. Study stories from this unit for a
major test.
Wed., Feb. 10 Turn in papers and debrief assignment.
Major Test over short fiction.
Assignment: Read C. 4 p. 55-87. Read
critical analyses on three potential literary
works that you may want to select for
your research paper. Print the analyses,
and include a works cited entry for each.
Include your progress, questions, and
concerns in your journal. You may select
from any of the literary selections in the
text.
The rest of the semester assignments will be given to you at a later date.
Instructor: Ms. Jean Smith
Phone: 903-530-3358
Email: adj-jsmi1@tjc.edu or smithj@whitehouseisd.org
Course Name: Composition and Rhetoric
Section: 61
Room: Jenkins 218
Meets: Monday and Wednesday 5:35 to 6:50 PM
Blog: http://english1302spring2010.blogspot.com
Course Description: This course amplifies writing principles by emphasizing critical and analytical thinking through the study of various genres of literature. Several analytical papers will be produced, along with a research paper utilizing outside sources.
Textbook: McMahan, Elizabeth et al. Literature and the Writing Process. 8th edition.
Upper Saddle River: Pearson, 2007.
Students are encouraged to use a college level dictionary and thesaurus also.
Grades:
Major grades through the semester will be several essays, essay tests, and the research project which will count as two major grades. An average of daily work including: quizzes, homework, and short writing assignments will also count as a major grade. All major grades will be averaged together and will comprise three-fourths of the semester average. The remaining one-fourth of the semester grade will be the comprehensive final exam.
Classroom Policies and Etiquette:
• Students are expected to be in class every day. Therefore, students must be present in order to participate in academic activities such as: collaborative work, quizzes, and lecture. Students are also to be in class on time for each class session and stay for the entire class period. Students with more than 3 absences may not be successful in this course.
• Students are expected to be attentive, polite, and cooperative. Please refrain from idle chatter or use of electronic devices during class time. Cell phones and other electronic devices, other than those needed because of a learning disability, must be turned OFF during class.
• I do not accept late work, so please keep up with deadlines as outlined on the syllabus. If a student needs to make up a quiz or test, please make arrangements to arrive early for the next class meeting so the work can be made up in a timely fashion. Students who are absent due to a school sponsored activity need to make arrangements to turn in work or makeup tests and quizzes prior to the absence.
• TJC’s English Department policies are posted on the TJC website also.
• The last day to drop this class is April 23rd.
• Please contact an academic advisor or the course instructor in an attempt to find a way to stay in the course if at all possible.
• Syllabus may be modified by the instructor if needed.
• Students are expected to complete all assignments prior to each class meeting.
Week One: Orientation
Wed. Jan. 13 Orientation, syllabus overview, review
Writing process, complete an in class essay.
Assignment: Read Chapters 1-3 p. 1-54.
Expect quizzes on this and all other reading
assignments.
Begin a reading journal with written
responses to questions on p.11. Use
complete sentences for all written work.
Complete the exercises on style on p.45,
46, and 47.
Set up Turnitin account before Tuesday’s
class meets (class ID 3068255 , password
apache2010).
Week Two: Drama
Monday, Jan. 18 Holiday – Martin Luther King, Jr. Day
Wed. Jan. 20 Quiz over readings, discuss assignments.
Set up reader response journal, first
section will be called “Drama.”
Review Handbook p. 1147-1175
Collaborative activity: C. 15 p. 731-35, C.16
p. 736-7, 774-83, C. 17 p. 786, 834-37.
Discuss argument (workable thesis p. 775-7)
Assignment: Read p. 839-844; compose
“Responses to the Critics” p. 843 in your
reading journal. Read C. 18 p. 845-94.
Compose responses to “Exploring Cultural
Themes” questions 1, 2, and 3 p. 894.
Select one “Idea for Responsive Writing,”
and one “Idea for Critical Writing” p. 896;
and complete prewriting and a first essay
draft for each. These will NOT be in the
reading journal.
Week Three:Drama
Mon., Jan. 25 Reading quizzes, peer and instructor review
of essay drafts. Collaborative activity
“Trifles” p. 1090-1100. Brainstorm potential
arguable paper topics from the play. Write
responses to questions p. 1099-1100 in
journal.
Assignment: Read “Tender Offer” p. 1126- 31. Respond to questions p. 1131-32. Read “The Cuban Swimmer” p. 1132-42, respond
to questions p. 1142-3. Complete a final
draft of one of your prewriting activities.
Submit in standard MLA style. Turn in all
drafts, as well as the final copy.
Study for test.
Wed. Jan. 27 Turn in papers (beginning of class). Debrief
assignment.
TEST-Drama, Writing Process, Handbook
Assignment: Read C 5-7, p. 91-137. Begin
a new section in journal for “Short Fiction.”
Respond to “Finding Patterns” p. 111, do
exercise on “Integrating Questions” p. 114.
Respond to “Responsive Writing” p. 125,
and questions 1 and 2 p. 125-6. Essay should
be a first draft. Read C. 8 p. 139-150.
Respond to questions 1-4 p. 148 “Ideas for
Responsive Writing.”
Week Four: Short Fiction
Monday Feb. 1 Quiz over readings, class discussion on
short fiction elements. Collaborative
activity “Desiree’s Baby” p. 223-7,
“Story of an Hour” p. 227-9.
Discuss “Critical Approaches” p. 1175-80.
Assignment: Read C. 9 and 10, p. 151-205.
Respond to “Responsive Writing” p. 164,
and question 1 and 2 “Critcal Writing” p.
164. Do sentence imitation p. 166-7. Journal
“Topics for Discussion” p. 204. Read “The
Revolt of Mother” p. 229-39, and complete
discussion questions p. 239-40 in journal.
Read “ Paul’s Case” p. 257-70, journal
questions p. 270.
Wed. Feb. 3 Reading quiz, discussion. Chart story
elements as a collaborative activity.
Compose responses to prewriting
activity p. 162-3.
Assignment: Make notes in your journal
about cultural conflicts, stereotypes, and
context in each of these seletions.
Read “Spunk” p. 310-14.
Respond to questions 1-4, p. 314. Read
“Hills Like White Elephants” p. 321-25,
Complete questions p. 325.
Week Five: Short Fiction
Mon., Feb. 8 Quiz and discussion. Read “Love in L.A.”
p. 432-4. Prepare a list of prewriting
analyzing point of view, setting, and theme
for each short story. Select one story other than “L.A.” and and prepare a thesis and outline for a major paper.
Assignment: Complete major paper, usual
format. Study stories from this unit for a
major test.
Wed., Feb. 10 Turn in papers and debrief assignment.
Major Test over short fiction.
Assignment: Read C. 4 p. 55-87. Read
critical analyses on three potential literary
works that you may want to select for
your research paper. Print the analyses,
and include a works cited entry for each.
Include your progress, questions, and
concerns in your journal. You may select
from any of the literary selections in the
text.
The rest of the semester assignments will be given to you at a later date.
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