This document provides an agenda and instructions for an EWRT 211 class. It includes details about assigning house points, reviewing the requirements for Paper 4, and providing a sample student paper. It discusses choosing a character from Harry Potter and the Chamber of Secrets who has been marginalized, analyzing how they are marginalized using quotes, and comparing their experience to modern marginalization. Students are instructed to bring an outline for their Paper 4 to the next class, when they will work on writing it in class.
riting About LiteratureGenerally, the essays you write in litera.docxdaniely50
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
What did the author want to communicate in this work?
What does the work reveal about the author’s feelings, opinions, or psychology?
What does the work reveal about the society in which it was written?
What can we learn from this work about the issues or topics it deals with?
What motivates the characters in the work to behave as they do?
How are literary devices used in the work?
How does the work create emotional or intellectual experiences for its readers?
Is this work good or bad?
Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself.
Analyses which try to make statements about the work itself
is often called
formalist
criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. Almost all fict.
riting About LiteratureGenerally, the essays you write in lite.docxjoellemurphey
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
· What did the author want to communicate in this work?
· What does the work reveal about the author’s feelings, opinions, or psychology?
· What does the work reveal about the society in which it was written?
· What can we learn from this work about the issues or topics it deals with?
· What motivates the characters in the work to behave as they do?
· How are literary devices used in the work?
· How does the work create emotional or intellectual experiences for its readers?
· Is this work good or bad?
· Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself. Analyses which try to make statements about the work itself is often calledformalist criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. A ...
source: https://letterpile.com/writing/How-to-write-a-Philosophy-Dialogue
How to Write a Philosophy Dialogue
Updated on September 23, 2016
Davids writing more
Contact Author
Writing a dialogue
Writing philosophy essays doesn’t have to be boring. (Perhaps I’m not the best person to talk about this
because I never find philosophy essays boring!) The trick is to make it interesting for you. There are different
ways you can do this. In this hub I will illuminate one way in which you might achieve this. I will describe how
one would go about writing a dialogue between two or more characters. This is a legitimate way to write a
philosophy essay (some very good writing in philosophy is in dialogue form), but you have to ensure that you
cover everything that is asked of you in the essay question. Here is how.
What a Dialogue is About
A dialogue is a discussion between two or more people (or perhaps even one person and their conscience,
or a better self). It is written much like a stage play is written. So when you write a dialogue imagine that you
are writing a stage play. It requires some sort of narrative at the start to introduce the characters (and
perhaps the scenario) and then a discussion between the characters. For example:
Alan and Lady Lovelace are having a cup of tea in Alan’s parlour. As usual, their discussion becomes
somewhat philosophical.
Lady Lovelace: So what is it I hear about you and thinking machines, Alan?
Alan: Well, with the advances in modern technology and our advances in computer science, I think we are in
a good position to say that there is a possibility of a thinking machine.
Lady Lovelace: Are you quite serious, Alan!?
Alan: Certainly I am, my Lady…
This is the basic format of a dialogue. You can include more characters if you need to. Importantly, however,
you need to ensure that you answer the essay question in your discussion. This will include some
preparatory work before you go ahead and write your masterpiece. In particular, this will require analysing
the essay question and some initial planning.
Why Write a Dialogue?
There are plenty of reasons to write your philosophy essay in dialogue form. Here is a list:
• It is fun
• It is a different and creative way to write a philosophy essay
• It allows you to ask questions (by one of the characters) that you think the reader might be thinking
• A conversation between two people naturally brings out the reasons one holds a particular position,
which is very important in any philosophy essay
• Because it is naturally suited for outlying reasons for holding certain positions, it can help you in both
writing a good essay as well as getting further understanding of the topic
• It is a tried and true form of philosophical writing
source: https://letterpile.com/writing/How-to-write-a-Philosophy-Dialogue
Analyzing Stage
In the first stage it is very important to analyse the essay question. I have covered this in .
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
How to Create Map Views in the Odoo 17 ERPCeline George
The map views are useful for providing a geographical representation of data. They allow users to visualize and analyze the data in a more intuitive manner.
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
2. Agenda
House Points
Paper 4 assignment review
Sample Paper 4
Conclusion:
For your conclusion, try to answer these questions: Now that I’ve shown you
how this character is marginalized, its impact/result, and how this compares to
others, SO WHAT? What insights or questions do you want to leave the reader
still thinking about at the end of your essay?
P4 outline
What do you need for your P4 outline?
P4 workshop
There is still time to pick up House Points for sending me bitmoji!
https://www.bitmoji.com/
6. update: 10:00
House Previous
Points
New Points Total
Gryffindor
49
Attendance: 0 Essay Submission: 4x2=5=13
Homework 3x2=6 Writing Workshop 2x3=6
Bitmoji 0 Total =25
74
Hufflepuff G
47
Attendance: 1x2=2 Essay Submission: 4x2+5 =13
Homework 2x2=4 Writing Workshop: 3x3=9
Bitmoji Total =28
75
Hufflepuff R
37
Attendance: 0 Essay Submission: 4x2=8+5=13
Homework 2x2=4 Writing Workshop: 2x3=6
Bitmoji: Total = 23
60
Ravenclaw S
23
Attendance: 1x2=2 Essay Submission: 1x2=2
Homework 0x2=0 Writing Workshop: 1x3=3
Bitmoji Total = 7
30
Ravenclaw H
77
Attendance: 1x2 =2 Essay Submission 4x2=8
Homework 1x2=2 Writing Workshop: 3x3=9
Bitmoji: Total 21
98
Slytherin
86
Attendance: 4x2+5=13 Essay Submission 4x2=8+5=13
Homework 2x2=4 Writing Workshop 4x3+10=22
Bitmoji: Total 52
138
7. Paper 4 Assignment:
Write in class on Wednesday
Extend your insights to
contemporary society. How does
this character’s marginalization
compare to others you see who are
also marginalized?
REQUIRED:
3 quotes from the book
1 quote from another source
(could be a dictionary definition)
Bring your outline.
Don’t forget to bring a
Blue Book!
Choose a character from Chamber
of Secrets who has been
marginalized in some way.
Explain how the character is
marginalized and provide examples
of the marginalization using quotes
from the book (and maybe even
examples from the first movie).
Analyze 1) how the character
might be different if he or she
hadn’t suffered from being
marginalized; 2) ways in which the
character responds to the
marginalization that you see as
productive or unproductive and
why.
8. Introduction Paragraph: Presenting the subject
Introduce the novel and author; Name and describe the character; describe his or her role in the novel.
Thesis: Describe the marginalization that you see this character experiencing and the outcome of that
marginalization.
Body Paragraphs
Body paragraph 1: Use, cite, and discuss quotes to support your identification of the character’s
marginalization, the outcomes/results of marginalization, and ways in which the character responds to
the marginalization.
Body paragraph 2: Analyze 1) how the character might be different if he or she hadn’t suffered from
being marginalized; AND/OR 2) ways in which the character responds to the marginalization that you
see as productive or unproductive and why.
Body paragraph 3: Extend your insights to contemporary society; how does this character’s
marginalization compare to others you see who are also marginalized?
Conclusion: Re-emphasize your thesis. Answer the “so what?” question and/or make a call to action.
Essay Structure
9. Sample Paper 4
(Longer than yours needs to be)
Circle any words you don’t know or don’t
understand. (We’ll go over them.)
Label the following paragraphs:
1. The introduction
2. One (or two) body paragraphs that describe the
character’s marginalization.
3. The body paragraph that discusses the
character’s response to that marginalization.
4. The body paragraph that connects the
character’s marginalization to our own society.
5. The conclusion: So what?
10. Sample Paper 4
Bracket the following components
and label them:
1. The title.
2. Where the character is
introduced.
3. Where the book and author are
introduced.
4. A quote or quotes from an
outside source. Is there just one?
5. The thesis statement.
6. At least three quotes from the
book.
7. An MLA-style citation for a
quotation.
8. An MLA-style citation for a
summary that is NOT a quotation.
9. For each of the four body
paragraphs, bracket the sentence
that introduces the POINT of that
paragraph to the reader. (Called
the “topic sentence.”)
10. In the conclusion, mark three
different components:
--restatement of the thesis.
--why this matters (the answer to
“so what?”)
--a call to action
11. Your OUTLINE
You can bring a printed outline into the
essay with you.
Your outline should include:
Your thesis statement. (You can write it
out word-for-word.)
At least four quotations with appropriate
MLA-style citation. You can copy these
exactly
At least three quotes from the
book
At least one quote from an
outside source
12. What do you need to do today?
1. Choose your character.
2. Decide how that character is marginalized.
3. Think about how that character responds to
that marginalization and whether you think
that is productive.
4. Find three quotes from the book that you
can use.
5. Find one quote from another source to use.
6. Write your thesis statement.
7. Decide what you will say in each of your
body paragraphs. Make an outline of each
body paragraph: what is the POINT and
INFORMATION in each?
8. Think about your conclusion
9. Decide in which paragraphs all four of your
quotes go.
10. Start making your actual outline to use in
class.
Introduction Paragraph: Presenting the subject
Introduce the novel and author; Name and describe the character;
describe his or her role in the novel.
Thesis: Describe the marginalization that you see this character
experiencing and the outcome of that marginalization.
Body Paragraphs
Body paragraph 1: Use, cite, and discuss quotes to support your
identification of the character’s marginalization, the outcomes/results
of marginalization, and ways in which the character responds to the
marginalization.
Body paragraph 2: Analyze 1) how the character might be different if he
or she hadn’t suffered from being marginalized; AND/OR 2) ways in
which the character responds to the marginalization that you see as
productive or unproductive and why.
Body paragraph 3: Extend your insights to contemporary society; how
does this character’s marginalization compare to others you see who are
also marginalized?
Conclusion: Re-emphasize your thesis. Answer the “so what?” question
and/or make a call to action.
13. HW for Wednesday
Discussion 12: Post your
outline on Canvas by 6
AM.
Bring a Blue Book to
class.
Bring your printed outline
to class.
Don’t panic!