Final Written Art Project (500 words) carefully and creatively wri.docx
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Final Written Art Project (500 words) carefully and creatively written words and sentences. Artist Statement (250 words) WRITTEN ART PROJECT Create a disjunctive or non-narrative piece that engages all three aspects of reality that we have been discussing throughout the quarter: 1) larger political, social, and economic realities 2) personal or human dramatic situation and 3) detritus of existence. Make sure each of these are well represented and that they do not merely serve as a backdrop or props for other parts of your piece. In other words, make sure each of these aspects of reality is given its due as determining of your or others reality. Possible Strategies and Advice: Switch between first and third person perspectives. Make use of actual seeings—what you see. Describe and only occasionally explain or meditate. Meditate a great deal but be sure you are specific . Enact and don’t preach. Create a concept (a title for your piece) that gives the reader a sense of the intent of your work. This concept should serve to suggest complementary or conflictual relations between the different parts of your piece. Ultimately in placing all your parts together, in proximity to one another, you want the “whole” to be greater than the sum of the parts. ARTIST STATEMENT Please describe the intent of your piece and how you think its disjunctive form allows you to create a sense of reality that you wish to create. Please consider key words and concepts from the module syllabus as well as the ideas that have emerged from course discussions and thought challenges. You might also find these artist’s statements of use: Chekov Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there. Marguerite Duras Sometimes I realize that if writing isn’t, all things, all contraries confounded, a quest for vanity and void, it’s nothing. ( The Lover, 8) Leslie Scalapino I intended this writing to be the repetition of historically real events the writing of which punches a hole in reality. . . . There was when writing the work something else going interiorily besides what’s going on in segments. .
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Post 1Anedria Smith posted Sep 26, 2019 730 PMSubscribeMy k.docx
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Anedria Smith posted Sep 26, 2019 7:30 PM
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My knowledge has changed by understanding exactly what supporting details are. When filing supporting details, the sentences that start with words that are addition words. I believe it was beneficial because it made it simple and gave me more knowledge I didn't know. It also is a good way to help throughout my college courses what to look for when reading.
Post 2
Tomi Patterson posted Sep 23, 2019 6:56 PM
My prior knowledge about supporting details have changed after viewing the video. I now know a outline is made up of a main idea followed by a numbered list of the key supporting details. I have a better understanding of supporting details now. I do believe this chapter lesson was beneficial in increasing my knowledge because this video broke it down for better understanding. It gave examples to go by. This video helped me more.
Exploration of one or more characteristic(s) of an author's style and approach
Consider analyzing the author's use of imagery or setting:
Analyzing Setting
“Setting refers to the natural or artificial scenery or environment in which characters in literature live and move. Seeing also includes what in the theater would be called props or properties—the implements employed by the characters in various activities. Such things as the time of day and the consequent amount of light at which an event occurs, the flora and fauna, the sounds described, the smells, and the weather are also part of the setting. Paintbrushes, apples, pitchforks, rafts, six-shooters, watches, automobiles, horses and buggies, and innumerable other items belong to the setting. References to clothing, descriptions of physical appearance, and spatial relationships among the characters are also part of setting.” (Edgar V. Roberts, Writing Themes about Literature)
In order to create an argument about the function of the setting in a particular work, you need to identify the principal settings and to see how they work. Here are some steps you can take:
1) Read the story and mark references to setting. Start with the place and time of the action and then focus upon recurrent details and objects.
2) Think about what the story is about. What happens? What is its point? Is it a story about love, jealousy, gain, or loss? What is the main experience here?
3) Look through your setting notes and see if they fall into any pattern. What are the interesting shifts and contrasts?
4) Determine how the setting relates to either the main point of the story (step 2) or to some part of it. In other words what does the setting have to do with character or action? What are its effects? Whatever you decide here will be your thesis statement.
5) Make an outline, indicating what aspects of setting you will discuss and what you intend to say about them. Discard notes that are not central to your plan (you don’t have to discuss everything). Focus on the four or five key passages in the story that you wish to examine. ...
riting About LiteratureGenerally, the essays you write in lite.docx
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 ...
Exploration of one or more characteristic(s) of an authors style an.docx
Exploration of one or more characteristic(s) of an author's style and approach
Consider analyzing the author's use of imagery or setting:
Analyzing Setting
“Setting refers to the natural or artificial scenery or environment in which characters in literature live and move. Seeing also includes what in the theater would be called props or properties—the implements employed by the characters in various activities. Such things as the time of day and the consequent amount of light at which an event occurs, the flora and fauna, the sounds described, the smells, and the weather are also part of the setting. Paintbrushes, apples, pitchforks, rafts, six-shooters, watches, automobiles, horses and buggies, and innumerable other items belong to the setting. References to clothing, descriptions of physical appearance, and spatial relationships among the characters are also part of setting.” (Edgar V. Roberts, Writing Themes about Literature)
In order to create an argument about the function of the setting in a particular work, you need to identify the principal settings and to see how they work. Here are some steps you can take:
1) Read the story and mark references to setting. Start with the place and time of the action and then focus upon recurrent details and objects.
2) Think about what the story is about. What happens? What is its point? Is it a story about love, jealousy, gain, or loss? What is the main experience here?
3) Look through your setting notes and see if they fall into any pattern. What are the interesting shifts and contrasts?
4) Determine how the setting relates to either the main point of the story (step 2) or to some part of it. In other words what does the setting have to do with character or action? What are its effects? Whatever you decide here will be your thesis statement.
5) Make an outline, indicating what aspects of setting you will discuss and what you intend to say about them. Discard notes that are not central to your plan (you don’t have to discuss everything). Focus on the four or five key passages in the story that you wish to examine. List them in your outline in the order in which they occur.
Analyzing Imagery
As distinct from character, theme, and plot, imagery occurs primarily in language, in the metaphors (i.e. comparisons), similes (comparisons with “like” or “as”), or other forms of figurative (pictorial) language in a literary work. Sometimes setting, i.e., the locality or placing of scenes, or stage props (like swords, flowers, blood, winecups) can also be considered under the rubric of imagery. But whatever the expression, images primarily are visual and concrete, i.e., things which the reader sees or can imagine seeing. Some examples are flowers, tears, animals, the moon, sun, stars, diseases, floods, metals, darkness and light.
In order to create an argument about the significance of an image in a particular work, identify a principal image or image cluster and to see how it works by following the.
Writing Assignment 1 Formal Analysis PaperFor this assignment, .docx
Writing Assignment 1: Formal Analysis Paper
For this assignment, you must write a formal analysis the work of art you have chosen to research this semester. Formal analysis focuses not only on what you are seeing, but also on why it is there and how it is presented. Formal analysis is a way of explaining how the visual elements you describe work together to form a whole composition and convey meaning. Submit your paper on Moodle using the Writing Assignment 1 Turnitin link.
Your paper should be between 750 and 1000 words, not including your name, any footnotes, etc.
Your analysis will address the form of the work: line, shape, composition, color, texture, handling of the medium, etc.
Please use the writing assignment checklist, available on Moodle under Writing Assignment 1, as a guide when you write your paper. Review the checklist before writing your paper to make sure that you are following it correctly. The checklist has very specific rules and guidelines for how to write your paper, how long it should be, etc.
Please also use Barnet’s chapter on formal analysis as a guide (on Moodle).
Although you will be researching your object, for this paper, base your comments solely on what you see, rather than any research. This paper should not involve any research at all.
The following example is from a student paper on Kathe Kollwitz's lithograph, Death Reaches for a Child (1934).
“The placement of the figures in space plays an essential role in the picture. The three figures occupy the bulk of the framed area. The woman technically occupies the most drawn space; however, the figure of Death dominates and controls the space of the other figures. His head almost touches the uppermost border, but he does not strain against it. In a sense, the figure of Death becomes the top part of the frame. The vertical nature of Death's domination over the mother and child makes the compression of space all the more menacing. The woman strains against the borders that Death constricts. She attempts to break out of these confines with her extended elbow, which pushes against the right-hand edge of the picture, but resistance is futile. Her arm is necessarily attached to the arm of Death, as all three figures are inextricably bound both physically and symbolically.”
For this assignment, your paper should have:
A) an introduction that provides a clear thesis statement that you will support through observable details. The introduction should include a brief description of the work of art. Tell your reader what you will say in the paper.
· Exampleof an effectivethesis statement: “In Club Night, George Bellows uses high contrast, shape, and line to capture the energy of the athletes and provide an evocative and sensational interpretation of the club scene.”
·
B) a comprehensive description of the work. Pretend that your reader does not have the image available. Show me that you have looked closely at the work and really spent time with it.
C) a body of devel ...
Recommended
Post 1Anedria Smith posted Sep 26, 2019 730 PMSubscribeMy k.docx
Post 1
Anedria Smith posted Sep 26, 2019 7:30 PM
Subscribe
My knowledge has changed by understanding exactly what supporting details are. When filing supporting details, the sentences that start with words that are addition words. I believe it was beneficial because it made it simple and gave me more knowledge I didn't know. It also is a good way to help throughout my college courses what to look for when reading.
Post 2
Tomi Patterson posted Sep 23, 2019 6:56 PM
My prior knowledge about supporting details have changed after viewing the video. I now know a outline is made up of a main idea followed by a numbered list of the key supporting details. I have a better understanding of supporting details now. I do believe this chapter lesson was beneficial in increasing my knowledge because this video broke it down for better understanding. It gave examples to go by. This video helped me more.
Exploration of one or more characteristic(s) of an author's style and approach
Consider analyzing the author's use of imagery or setting:
Analyzing Setting
“Setting refers to the natural or artificial scenery or environment in which characters in literature live and move. Seeing also includes what in the theater would be called props or properties—the implements employed by the characters in various activities. Such things as the time of day and the consequent amount of light at which an event occurs, the flora and fauna, the sounds described, the smells, and the weather are also part of the setting. Paintbrushes, apples, pitchforks, rafts, six-shooters, watches, automobiles, horses and buggies, and innumerable other items belong to the setting. References to clothing, descriptions of physical appearance, and spatial relationships among the characters are also part of setting.” (Edgar V. Roberts, Writing Themes about Literature)
In order to create an argument about the function of the setting in a particular work, you need to identify the principal settings and to see how they work. Here are some steps you can take:
1) Read the story and mark references to setting. Start with the place and time of the action and then focus upon recurrent details and objects.
2) Think about what the story is about. What happens? What is its point? Is it a story about love, jealousy, gain, or loss? What is the main experience here?
3) Look through your setting notes and see if they fall into any pattern. What are the interesting shifts and contrasts?
4) Determine how the setting relates to either the main point of the story (step 2) or to some part of it. In other words what does the setting have to do with character or action? What are its effects? Whatever you decide here will be your thesis statement.
5) Make an outline, indicating what aspects of setting you will discuss and what you intend to say about them. Discard notes that are not central to your plan (you don’t have to discuss everything). Focus on the four or five key passages in the story that you wish to examine. ...
riting About LiteratureGenerally, the essays you write in lite.docx
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 ...
Exploration of one or more characteristic(s) of an authors style an.docx
Exploration of one or more characteristic(s) of an author's style and approach
Consider analyzing the author's use of imagery or setting:
Analyzing Setting
“Setting refers to the natural or artificial scenery or environment in which characters in literature live and move. Seeing also includes what in the theater would be called props or properties—the implements employed by the characters in various activities. Such things as the time of day and the consequent amount of light at which an event occurs, the flora and fauna, the sounds described, the smells, and the weather are also part of the setting. Paintbrushes, apples, pitchforks, rafts, six-shooters, watches, automobiles, horses and buggies, and innumerable other items belong to the setting. References to clothing, descriptions of physical appearance, and spatial relationships among the characters are also part of setting.” (Edgar V. Roberts, Writing Themes about Literature)
In order to create an argument about the function of the setting in a particular work, you need to identify the principal settings and to see how they work. Here are some steps you can take:
1) Read the story and mark references to setting. Start with the place and time of the action and then focus upon recurrent details and objects.
2) Think about what the story is about. What happens? What is its point? Is it a story about love, jealousy, gain, or loss? What is the main experience here?
3) Look through your setting notes and see if they fall into any pattern. What are the interesting shifts and contrasts?
4) Determine how the setting relates to either the main point of the story (step 2) or to some part of it. In other words what does the setting have to do with character or action? What are its effects? Whatever you decide here will be your thesis statement.
5) Make an outline, indicating what aspects of setting you will discuss and what you intend to say about them. Discard notes that are not central to your plan (you don’t have to discuss everything). Focus on the four or five key passages in the story that you wish to examine. List them in your outline in the order in which they occur.
Analyzing Imagery
As distinct from character, theme, and plot, imagery occurs primarily in language, in the metaphors (i.e. comparisons), similes (comparisons with “like” or “as”), or other forms of figurative (pictorial) language in a literary work. Sometimes setting, i.e., the locality or placing of scenes, or stage props (like swords, flowers, blood, winecups) can also be considered under the rubric of imagery. But whatever the expression, images primarily are visual and concrete, i.e., things which the reader sees or can imagine seeing. Some examples are flowers, tears, animals, the moon, sun, stars, diseases, floods, metals, darkness and light.
In order to create an argument about the significance of an image in a particular work, identify a principal image or image cluster and to see how it works by following the.
Writing Assignment 1 Formal Analysis PaperFor this assignment, .docx
Writing Assignment 1: Formal Analysis Paper
For this assignment, you must write a formal analysis the work of art you have chosen to research this semester. Formal analysis focuses not only on what you are seeing, but also on why it is there and how it is presented. Formal analysis is a way of explaining how the visual elements you describe work together to form a whole composition and convey meaning. Submit your paper on Moodle using the Writing Assignment 1 Turnitin link.
Your paper should be between 750 and 1000 words, not including your name, any footnotes, etc.
Your analysis will address the form of the work: line, shape, composition, color, texture, handling of the medium, etc.
Please use the writing assignment checklist, available on Moodle under Writing Assignment 1, as a guide when you write your paper. Review the checklist before writing your paper to make sure that you are following it correctly. The checklist has very specific rules and guidelines for how to write your paper, how long it should be, etc.
Please also use Barnet’s chapter on formal analysis as a guide (on Moodle).
Although you will be researching your object, for this paper, base your comments solely on what you see, rather than any research. This paper should not involve any research at all.
The following example is from a student paper on Kathe Kollwitz's lithograph, Death Reaches for a Child (1934).
“The placement of the figures in space plays an essential role in the picture. The three figures occupy the bulk of the framed area. The woman technically occupies the most drawn space; however, the figure of Death dominates and controls the space of the other figures. His head almost touches the uppermost border, but he does not strain against it. In a sense, the figure of Death becomes the top part of the frame. The vertical nature of Death's domination over the mother and child makes the compression of space all the more menacing. The woman strains against the borders that Death constricts. She attempts to break out of these confines with her extended elbow, which pushes against the right-hand edge of the picture, but resistance is futile. Her arm is necessarily attached to the arm of Death, as all three figures are inextricably bound both physically and symbolically.”
For this assignment, your paper should have:
A) an introduction that provides a clear thesis statement that you will support through observable details. The introduction should include a brief description of the work of art. Tell your reader what you will say in the paper.
· Exampleof an effectivethesis statement: “In Club Night, George Bellows uses high contrast, shape, and line to capture the energy of the athletes and provide an evocative and sensational interpretation of the club scene.”
·
B) a comprehensive description of the work. Pretend that your reader does not have the image available. Show me that you have looked closely at the work and really spent time with it.
C) a body of devel ...
riting About LiteratureGenerally, the essays you write in litera.docx
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.
i would like this one done as well..same pay $20.00 please read and.docx
i would like this one done as well..same pay $20.00 please read and follow all instructions below
Introduction:
“Knowledgeable interaction with works of art makes life better: We see more of what can be seen, and we hear more of what can be heard. Our entire existence grows richer and deeper.” (Sporre, 2009, p. 2).
From your studies, you have seen how culture, societal norms, belief systems, and past experiences affect the way people view the world. Learning about these differences in perspective helps us to have a better understanding of the overall human experience. Whether analytical skills are applied to a task at work, or a humanistic point of view enables us to grasp an issue from another angle, these methods of looking at the world help us become more aware of our perceptions and provide a deeper and more meaningful existence.
In this task, you will analyze and interpret
three
creative works from
three
separate disciplines of the humanities using methods of subjective and objective analysis. Objective statements are based on simple observations and concrete information. Subjective statements are based on personal opinions, judgments, and feelings. These standard methods of analysis will enable you to critically view and interpret works from the humanities. You will use analytical and critical thinking skills to assess how meaning is constructed and imparted to a viewer or audience and will communicate your thoughts in a multimedia presentation (e.g., PowerPoint, Keynote). While the content of your presentation will focus on analyzing, interpreting, comparing, and contrasting
three
creative works from separate disciplines, your overarching goal will be to explain how the
three
works you analyze demonstrate the value of the humanities in meaningful ways.
Background:
Develop a multimedia presentation in which you analyze
three
creative works from
three
separate disciplines in the humanities. You will need to select works that share a common theme. This theme must relate to a profession within your field of study at WGU. You will share with your audience how being knowledgeable about the humanities and your selected theme is valuable in regards to this profession.
First you must choose
one
literary work from the given list below. Choose a literary work that has a theme that resonates with you and consider how this theme connects with your chosen profession. Every profession within your field of study at WGU (Business, IT, Nursing or Teaching) will have humanistic considerations. For example, a civil rights lawyer may be concerned with the theme of freedom, a firefighter with determination, a social worker with compassion, or an engineer with integrity. It is the intent of this task to explore the major themes of the humanities and their relevance to our professional lives.
Once you have selected a literary work, you will need to select
two
non-literary works from separate disciplines that share the same theme as the li.
1 A Guide to the Literary-Analysis Essay INTRODU.docx
1
A Guide to the Literary-Analysis Essay
INTRODUCTION: the section in your essay. It begins creatively in order to catch your
reader’s interest, provides essential background about the literary work, and prepares the reader
for you major thesis. The introduction must include the author and title of the work as well
as an explanation of the theme to be discussed. Other essential background may include
setting, capsule plot summary, an introduction of main characters, and definition of terms.
The major thesis goes at the end. Because the major thesis sometimes sounds tacked on, use
a transition between the background information and the thesis of the essay.
CREATIVE OPENING: the beginning sentences of the introduction that catches the reader’s
interest. The types of introductions listed below are not the complete introductions. The
examples only represent a type of introduction. The introduction is more than you see here.
Ways of beginning creatively include the following:
1) A startling fact or bit of information
Ex. Nearly two citizens were arrested as witches during the Salem witch scare of 1692.
Eventually nineteen were hanged, and another was pressed to death (Marks 65).
2) A snatch of dialogue between two characters
Ex. “It is another thing. You [Frederic Henry] cannot know about it unless you have it.” “Well,”
I said. “If I ever get it I will tell you [priest].” (Hemingway 72). With these words, the priest in
Ernest Hemingway’s A Farewell to Arms sends the hero, Frederic, in search of the ambiguous
“it” in his life.
3) A meaningful quotation (from the work or another source)
Ex. “To be, or not to be, that is the question” {3.1.57}. This familiar statement expresses the
young prince’s moral dilemma in William Shakespeare’s tragedy Hamlet, Prince of Denmark.
4) A universal idea.
Ex. The terrifying scenes a soldier experiences on the front probably follow him throughout his
life—if he manages to survive the war.
5) A rich, vivid description of the setting
Ex. Sleepy Maycomb, like other Southern towns, suffers considerably during the Great
Depression. Poverty reaches from the privileged families, like the Finches, to the Negroes and
“white trash” Ewells, who live on the outskirts of town. Harper Lee paints a vivid picture of life
in this humid Alabama town where tempers and bigotry explode into conflict.
2
6) An analogy or metaphor
Ex. Life is like a box of chocolates: we never know what we’re going to get. This element of
uncertainty plays a major role in many dramas. For example, in Shakespeare’s play, Romeo and
Juliet have no idea what tragedies lie ahead when they fall so passionately and impetuously in
love.
7) MAJOR THESIS: a statement that provides the subject and overall opinion of your
essay. For a literary analysis your major thesis must (1) relate to the theme of the
work and (2) suggest how this theme is revealed by the author. A good thesis may ...
Literary Analysis Essay A good literary analysis essay will rete.docx
Literary Analysis Essay
A good literary analysis essay will retell the essential parts of a story for those that don't know it, explaining piece by piece the symbolism of the big events and smaller details. As far as symbolism goes, all events and details will be symbols of one message from the author.
In other words, your retelling will all be in support of one idea, your thesis, which states the main message of the author.
Below are
(1) a sample structure/how-to information for doing a literary analysis essay for my class -- including what I expect in the thesis;
(2) the score sheet I will use to score these papers, and you will use for peer editing; and
(3) three sample essays.
Literary Analysis Essay Sample Structure
Paragraph 1.
a. Grabber
b. Orient Reader to author, book and its context
c. Thesis
Body Paragraphs: In EVERY paragraph, include, in any order:
a. Evidence
(1) What happened (context)
(2) quotes
b. Commentary
(1) Connect evidence to thesis
Conclusion: End with a gift. Connect to something new and different.
Here’s what these terms mean, in more depth, along with a few other tips:
Grabber. Grab the reader’s attention with the first line. You can do this with action, a deep thought or question, vivid description, or dialogue.
Orient Reader. In 3-4 sentences, identify the title, author, and subject of the book. Don’t summarize the whole book in detail. But write just enough, as if to assume the reader knows nothing yet about the book.
Thesis. The thesis is your angle. It is what you will organize all your evidence around.
A thesis can’t be purely true; it has to be able to be argued one way or the other.
In a literary analysis essay, it should mention the author.
It should specifically identify what(specifically) the author is saying about a general subject, like life, relationships, gender, or class.
In other words, it should be a rewording of this formula: (Author’s name) is making a point about (general subject); the specific point s/he is making is that ____________.
It should suggest that the author is using the characters, setting, plot or voice to make that specific point about a general subject.
For example: “O’Neil uses the protagonist Sydney to argue that rich white men actually can find real happiness not in loving relationships, but in material possessions.”
(The general subject here is happiness.)
Evidence—on two levels: one, support your thesis with events that happened in the book (This is to show the context of your quotes). But stay focused: don’t summarize the book unless it’s as evidence for an idea of yours.
Two, use quotes (with page numbers) from the book. "Quotes" just means excerpts; they don't have to be dialogue. Try to incorporate them into your context, by having quotes and context share sentences. For example:
Not incorporated:
Janie’s images for romantic happiness come from nature. “Life should be more
like a pear tree in bloom, she thinks” (67). She thinks this when she is unhappy ...
Cartoon Analysis Guide Use this guide to identify the per.docx
Cartoon Analysis Guide
Use this guide to identify the persuasive techniques used in political cartoons.
Cartoonists’ Persuasive Techniques
Symbolism
Cartoonists use simple objects, or symbols, to stand for larger
concepts or ideas.
After you identify the symbols in a cartoon, think about what the
cartoonist means each symbol to stand for.
Exaggeration
Sometimes cartoonists overdo, or exaggerate, the physical
characteristics of people or things in order to make a point.
When you study a cartoon, look for any characteristics that seem
overdone or overblown. (Facial characteristics and clothing are
some of the most commonly exaggerated characteristics.) Then,
try to decide what point the cartoonist was trying to make by
exaggerating them.
Labeling
Cartoonists often label objects or people to make it clear exactly
what they stand for.
Watch out for the different labels that appear in a cartoon, and ask
yourself why the cartoonist chose to label that particular person or
object. Does the label make the meaning of the object more clear?
Analogy
An analogy is a comparison between two unlike things. By
comparing a complex issue or situation with a more familiar one,
cartoonists can help their readers see it in a different light.
After you’ve studied a cartoon for a while, try to decide what the
cartoon’s main analogy is. What two situations does the cartoon
compare? Once you understand the main analogy, decide if this
comparison makes the cartoonist’s point more clear to you.
Irony
Irony is the difference between the ways things are and the way
things should be, or the way things are expected to be. Cartoonists
often use irony to express their opinion on an issue.
When you look at a cartoon, see if you can find any irony in the
situation the cartoon depicts. If you can, think about what point the
irony might be intended to emphasize. Does the irony help the
cartoonist express his or her opinion more effectively?
Once you’ve identified the persuasive techniques that the cartoonist used, ask yourself
these questions:
What issue is this political cartoon about?
What do you think is the cartoonist’s opinion on this issue?
What other opinion can you imagine another person having on this issue?
Did you find this cartoon persuasive? Why or why not?
What other techniques could the cartoonist have used to make this cartoon more
persuasive?
WRITING YOUR ESSAY
STRUCTURE
SAMPLE ESSAY
QUESTION
The period of the 1950s and -60s represented the Cold War
and saw developments in the kind of objects made for
domestic use. Using examples from American and Soviet
design history, explore how these objects reflect the
respective ideologies and values that belonged to their
makers.
The period of the 1950s and -60s represented the Cold War
and saw developments in the kind of objects made for
domestic use. Using examples from American and So ...
209.20191.ENG11238A Assignments Essay 1 Final! Essay 1 .docx
209.20191.ENG11238A Assignments * Essay 1 Final!
* Essay 1 Final
* Essay 1 Final !
Upload Submission
You have no active papers in this assignment.
"
This assignment will also be used for a!endance.
This assignment will also be used for a!endance.
ENG 1123 Online Summer Thompson
Essay #1: UNIT 1 –
Stories:The Disappearance, The Story of an Hour, The Yellow
Wallpaper, and Suicide Note
Instruc!onsInstruc!ons:
Compose a cri!cal analysis essay on one of the topics below.
Your essay should be well developed, unified, coherent, and
gramma"cally correct. Refer to the Grading Criteria for MCC
English Classes in the First Day Handout for this course.
Required length: 1 ½ -2 typed pages
You will have a chance to earn 5 bonus points on this essay
by following the direc"ons for checking your graded essay
in Turn It In and looking over the correc"ons and comments
(a#er I have graded it). Turn It In will show me if you viewed
your document or not. The direc"ons (with pictures) are in
this week's module "tled "Instruc"ons for Seeing
Correc"ons in Turn It In."
Create a thesis statement, and back up your claim with
support/evidence from the text. Support should contain clear,
specific examples from the story or stories you are analyzing, as
well as documenta"on for all text references. Include at least
one quota!on from the story in each body paragraph of your
essay, for a total of 4 quota"ons from the story/poem. *See
handouts about how ci"ng poetry is different than stories. It
would be a good idea to do an outline before wri"ng the essay.
Follow MLA format: Use size 12, Times New Roman font and 1-
inch margins; double space.
Include a Work Cited page. It is not included in the two-page
length requirement; it should appear on a separate page at the
end of your paper. You will automa"cally lose 20 points for not
including a Works Cited page.
Topics:
1. Analyze a character in one of the short stoires and show
how he or she is a dynamic, round, flat, or sta!c character
by examining his or her development over the course of the
story.
2. Choose one work from Units 1 and discuss how in
the story/poem society plays a part in imprisoning/s"fling
the main character.
3. Discuss the importance of se%ng in 1 work from Units 1.
Analyze how the se%ng ("me and place) adds meaning,
conflict, and/or relevance to the characters. Do NOT just
describe the se%ng and tell me “in this story the se%ng is
this. In that story the se%ng is that.” That is not analysis,
nor is it interes"ng. I want to know how and why the
se%ng is significant, what thisreveals about the characters,
the "me period, and the conflict within the story
StepsSteps:
Before beginning your paper, read the wri"ng handouts; use
them as a guide while working on your essay as well.
Use the outline form on the next page to plan your paper.
You may write/type directly o.
Department of Philosophy Florida Atlantic University Rev.docx
Department of Philosophy
Florida Atlantic University
Rev. 7-17
1
Essay Writing for this Course
Classes in the Humanities all plan, in some way, to help you develop your writing skills. Many careers you might pursue are heavily
dependent upon your ability to argue your point of view.
We all know everyone has a point of view and has the right to express that view in a socially recognizable manner, and many important
issues on which we have an opinion require far more than 140 characters to be expressed effectively. That is why we still study the
essay form of writing in Humanities courses. The essay is a form of writing that reaches back to 1580, when French philosopher
Michele de Montaigne first published his Essays on topics such as “Of the Custom of Wearing Clothes,” “Of Cannibals,” and “Of the
Inconvenience of Greatness.” Montaigne’s object was to express himself to people he would never meet through his writing. When
you can express yourself in a way that any person who might pick up your paper will easily understand you, writing can make you
influential among colleagues and fellow members of your community.
We all ‘know how to write,’ but there is a mile of difference between being able to write a 5-sentence profile description of ourselves
and being able to write a 5-page paper that tells others whom we don’t know what we think on a particular topic. In other words,
writing is a skill with many levels, just like math. Immediately, we may think that higher level writing is a matter of knowing more
vocabulary words, as in the difference between (2 + 2 =4) and (9u – 4x = 14u + 6x). Higher level writing is more complex, but it is not
more advanced simply because of its complexity. Amazing sentences may be simple, such as: “I think that I shall never see a poem
lovely as a tree.” Likewise, think of how famous (2+2=4) is, as far as equations go!
Learning how to write essays at a higher level is not very difficult once you know the components of a basic 3-5-page essay. There are
10, which we can briefly describe right here, then it’s just a matter of practice! As you see below, each one of these components
counts for an even 10% of the final essay grade, so each one is important. They are color-coded to match the grading rubric below.
1) Thesis/Purpose: In the first paragraph of every academic essay you write, you need a thesis, which states the whole point of the
essay. A thesis must be something another reasonable person could disagree with. It is a point of view on an issue. The thesis is not
usually the first sentence because you need to give the reader a few sentences to get their bearing before you state your point. It is
like meeting a stranger for the first time: if you do not explain why you are approaching someone before laying into your point, they
Department of Philosophy
Florida Atlantic University
Rev. 7-17
2
might be confused. Alternatively, if you approached a stranger and to.
Reflection Essay 3Choose only ONE of the two topics below (.docx
Reflection Essay 3
:
Choose only ONE of the two topics below (doing both will not give you any additional points). Remember that Reflection Essays don't need to be any more than a single page long. And if you can get to the heart of the issue, a paragraph may be enough. Just make sure to address the topic as completely as you can within those constraints.
ESSAY A: Describe what “emic” and “etic” mean in terms of cultural interaction. Give an example of yourself as “emic” and of an experience in which you have felt “etic.” OR discuss the four basic instrument categories, and give examples of each one, identifying its subcategory within that larger category, and why it would be classified that way.
OR:
ESSAY B: Write a brief overview of totemism and animism; make sure to show how they differ and where they overlap. Describe (and provide examples if you can) of how these belief systems consider the reality of an unseen world being tied to the physical and visible world we share as humans.
Previous
Next
.
Lecture 03: A Gentle Introduction to Theory
Slideshow for the third lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Narrative Creative Writing Skills English Presentation in Charcoal Colourful ...
Narrative Creative Writing Skills English Presentation in Charcoal Colourful Fun Style
25 slides(not counting title and reference slide)APASOURCES10.docx
25 slides(not counting title and reference slide)
APA
SOURCES:10
“Knowledgeable interaction with works of art makes life better: We see more of what can be seen, and we hear more of what can be heard. Our entire existence grows richer and deeper.” (Sporre, 2009, p. 2).
From your studies, you have seen how culture, societal norms, belief systems, and past experiences affect the way people view the world. Learning about these differences in perspective helps us to have a better understanding of the overall human experience. Whether analytical skills are applied to a task at work, or a humanistic point of view enables us to grasp an issue from another angle, these methods of looking at the world help us become more aware of our perceptions and provide a deeper and more meaningful existence.
In this task, you will analyze and interpret three creative works from three separate disciplines of the humanities using methods of subjective and objective analysis. Objective statements are based on simple observations and concrete information. Subjective statements are based on personal opinions, judgments, and feelings. These standard methods of analysis will enable you to critically view and interpret works from the humanities. You will use analytical and critical thinking skills to assess how meaning is constructed and imparted to a viewer or audience and will communicate your thoughts in a multimedia presentation (e.g., PowerPoint, Keynote). While the content of your presentation will focus on analyzing, interpreting, comparing, and contrasting three creative works from separate disciplines, your overarching goal will be to explain how the three works you analyze demonstrate the value of the humanities in meaningful ways.
Background:
Develop a multimedia presentation in which you analyze three creative works from three separate disciplines in the humanities. You will need to select works that share a common theme. This theme must relate to a profession within your field of study at WGU. You will share with your audience how being knowledgeable about the humanities and your selected theme is valuable in regards to this profession.
First you must choose one literary work from the given list below. Choose a literary work that has a theme that resonates with you and consider how this theme connects with your chosen profession. Every profession within your field of study at WGU (Business, IT, Nursing or Teaching) will have humanistic considerations. For example, a civil rights lawyer may be concerned with the theme of freedom, a firefighter with determination, a social worker with compassion, or an engineer with integrity. It is the intent of this task to explore the major themes of the humanities and their relevance to our professional lives.
Once you have selected a literary work, you will need to select two non-literary works from separate disciplines that share the same theme as the literary work you have selected. Your presentation will show how all.
Find a recent merger or acquisition that has been announced in the.docx
Find a recent merger or acquisition that has been announced in the media. What are the implications for the merger or acquisition and plans for implementing the blending firms? Also, evaluate and describe two possible technological innovations that may have led to the merger or acquisition. Would you have obtained this new technology or innovation differently? Why? Include the reference information of the article. Respond substantively to at least two other learners.
.
Find an example of a document that misuses graphics. This can be a d.docx
Find an example of a document that misuses graphics. This can be a document that you have received (please blot out any sensitive information and names) or a document that you find on the Internet. Discuss how the graphics are misused and what could be done to better them. Address the three “Cs” of technical writing: Clarity, Conciseness, and Correctness. Add one or two personal experiences with this topic.
.
More Related Content
Similar to Final Written Art Project (500 words) carefully and creatively wri.docx
riting About LiteratureGenerally, the essays you write in litera.docx
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.
i would like this one done as well..same pay $20.00 please read and.docx
i would like this one done as well..same pay $20.00 please read and follow all instructions below
Introduction:
“Knowledgeable interaction with works of art makes life better: We see more of what can be seen, and we hear more of what can be heard. Our entire existence grows richer and deeper.” (Sporre, 2009, p. 2).
From your studies, you have seen how culture, societal norms, belief systems, and past experiences affect the way people view the world. Learning about these differences in perspective helps us to have a better understanding of the overall human experience. Whether analytical skills are applied to a task at work, or a humanistic point of view enables us to grasp an issue from another angle, these methods of looking at the world help us become more aware of our perceptions and provide a deeper and more meaningful existence.
In this task, you will analyze and interpret
three
creative works from
three
separate disciplines of the humanities using methods of subjective and objective analysis. Objective statements are based on simple observations and concrete information. Subjective statements are based on personal opinions, judgments, and feelings. These standard methods of analysis will enable you to critically view and interpret works from the humanities. You will use analytical and critical thinking skills to assess how meaning is constructed and imparted to a viewer or audience and will communicate your thoughts in a multimedia presentation (e.g., PowerPoint, Keynote). While the content of your presentation will focus on analyzing, interpreting, comparing, and contrasting
three
creative works from separate disciplines, your overarching goal will be to explain how the
three
works you analyze demonstrate the value of the humanities in meaningful ways.
Background:
Develop a multimedia presentation in which you analyze
three
creative works from
three
separate disciplines in the humanities. You will need to select works that share a common theme. This theme must relate to a profession within your field of study at WGU. You will share with your audience how being knowledgeable about the humanities and your selected theme is valuable in regards to this profession.
First you must choose
one
literary work from the given list below. Choose a literary work that has a theme that resonates with you and consider how this theme connects with your chosen profession. Every profession within your field of study at WGU (Business, IT, Nursing or Teaching) will have humanistic considerations. For example, a civil rights lawyer may be concerned with the theme of freedom, a firefighter with determination, a social worker with compassion, or an engineer with integrity. It is the intent of this task to explore the major themes of the humanities and their relevance to our professional lives.
Once you have selected a literary work, you will need to select
two
non-literary works from separate disciplines that share the same theme as the li.
1 A Guide to the Literary-Analysis Essay INTRODU.docx
1
A Guide to the Literary-Analysis Essay
INTRODUCTION: the section in your essay. It begins creatively in order to catch your
reader’s interest, provides essential background about the literary work, and prepares the reader
for you major thesis. The introduction must include the author and title of the work as well
as an explanation of the theme to be discussed. Other essential background may include
setting, capsule plot summary, an introduction of main characters, and definition of terms.
The major thesis goes at the end. Because the major thesis sometimes sounds tacked on, use
a transition between the background information and the thesis of the essay.
CREATIVE OPENING: the beginning sentences of the introduction that catches the reader’s
interest. The types of introductions listed below are not the complete introductions. The
examples only represent a type of introduction. The introduction is more than you see here.
Ways of beginning creatively include the following:
1) A startling fact or bit of information
Ex. Nearly two citizens were arrested as witches during the Salem witch scare of 1692.
Eventually nineteen were hanged, and another was pressed to death (Marks 65).
2) A snatch of dialogue between two characters
Ex. “It is another thing. You [Frederic Henry] cannot know about it unless you have it.” “Well,”
I said. “If I ever get it I will tell you [priest].” (Hemingway 72). With these words, the priest in
Ernest Hemingway’s A Farewell to Arms sends the hero, Frederic, in search of the ambiguous
“it” in his life.
3) A meaningful quotation (from the work or another source)
Ex. “To be, or not to be, that is the question” {3.1.57}. This familiar statement expresses the
young prince’s moral dilemma in William Shakespeare’s tragedy Hamlet, Prince of Denmark.
4) A universal idea.
Ex. The terrifying scenes a soldier experiences on the front probably follow him throughout his
life—if he manages to survive the war.
5) A rich, vivid description of the setting
Ex. Sleepy Maycomb, like other Southern towns, suffers considerably during the Great
Depression. Poverty reaches from the privileged families, like the Finches, to the Negroes and
“white trash” Ewells, who live on the outskirts of town. Harper Lee paints a vivid picture of life
in this humid Alabama town where tempers and bigotry explode into conflict.
2
6) An analogy or metaphor
Ex. Life is like a box of chocolates: we never know what we’re going to get. This element of
uncertainty plays a major role in many dramas. For example, in Shakespeare’s play, Romeo and
Juliet have no idea what tragedies lie ahead when they fall so passionately and impetuously in
love.
7) MAJOR THESIS: a statement that provides the subject and overall opinion of your
essay. For a literary analysis your major thesis must (1) relate to the theme of the
work and (2) suggest how this theme is revealed by the author. A good thesis may ...
Literary Analysis Essay A good literary analysis essay will rete.docx
Literary Analysis Essay
A good literary analysis essay will retell the essential parts of a story for those that don't know it, explaining piece by piece the symbolism of the big events and smaller details. As far as symbolism goes, all events and details will be symbols of one message from the author.
In other words, your retelling will all be in support of one idea, your thesis, which states the main message of the author.
Below are
(1) a sample structure/how-to information for doing a literary analysis essay for my class -- including what I expect in the thesis;
(2) the score sheet I will use to score these papers, and you will use for peer editing; and
(3) three sample essays.
Literary Analysis Essay Sample Structure
Paragraph 1.
a. Grabber
b. Orient Reader to author, book and its context
c. Thesis
Body Paragraphs: In EVERY paragraph, include, in any order:
a. Evidence
(1) What happened (context)
(2) quotes
b. Commentary
(1) Connect evidence to thesis
Conclusion: End with a gift. Connect to something new and different.
Here’s what these terms mean, in more depth, along with a few other tips:
Grabber. Grab the reader’s attention with the first line. You can do this with action, a deep thought or question, vivid description, or dialogue.
Orient Reader. In 3-4 sentences, identify the title, author, and subject of the book. Don’t summarize the whole book in detail. But write just enough, as if to assume the reader knows nothing yet about the book.
Thesis. The thesis is your angle. It is what you will organize all your evidence around.
A thesis can’t be purely true; it has to be able to be argued one way or the other.
In a literary analysis essay, it should mention the author.
It should specifically identify what(specifically) the author is saying about a general subject, like life, relationships, gender, or class.
In other words, it should be a rewording of this formula: (Author’s name) is making a point about (general subject); the specific point s/he is making is that ____________.
It should suggest that the author is using the characters, setting, plot or voice to make that specific point about a general subject.
For example: “O’Neil uses the protagonist Sydney to argue that rich white men actually can find real happiness not in loving relationships, but in material possessions.”
(The general subject here is happiness.)
Evidence—on two levels: one, support your thesis with events that happened in the book (This is to show the context of your quotes). But stay focused: don’t summarize the book unless it’s as evidence for an idea of yours.
Two, use quotes (with page numbers) from the book. "Quotes" just means excerpts; they don't have to be dialogue. Try to incorporate them into your context, by having quotes and context share sentences. For example:
Not incorporated:
Janie’s images for romantic happiness come from nature. “Life should be more
like a pear tree in bloom, she thinks” (67). She thinks this when she is unhappy ...
Cartoon Analysis Guide Use this guide to identify the per.docx
Cartoon Analysis Guide
Use this guide to identify the persuasive techniques used in political cartoons.
Cartoonists’ Persuasive Techniques
Symbolism
Cartoonists use simple objects, or symbols, to stand for larger
concepts or ideas.
After you identify the symbols in a cartoon, think about what the
cartoonist means each symbol to stand for.
Exaggeration
Sometimes cartoonists overdo, or exaggerate, the physical
characteristics of people or things in order to make a point.
When you study a cartoon, look for any characteristics that seem
overdone or overblown. (Facial characteristics and clothing are
some of the most commonly exaggerated characteristics.) Then,
try to decide what point the cartoonist was trying to make by
exaggerating them.
Labeling
Cartoonists often label objects or people to make it clear exactly
what they stand for.
Watch out for the different labels that appear in a cartoon, and ask
yourself why the cartoonist chose to label that particular person or
object. Does the label make the meaning of the object more clear?
Analogy
An analogy is a comparison between two unlike things. By
comparing a complex issue or situation with a more familiar one,
cartoonists can help their readers see it in a different light.
After you’ve studied a cartoon for a while, try to decide what the
cartoon’s main analogy is. What two situations does the cartoon
compare? Once you understand the main analogy, decide if this
comparison makes the cartoonist’s point more clear to you.
Irony
Irony is the difference between the ways things are and the way
things should be, or the way things are expected to be. Cartoonists
often use irony to express their opinion on an issue.
When you look at a cartoon, see if you can find any irony in the
situation the cartoon depicts. If you can, think about what point the
irony might be intended to emphasize. Does the irony help the
cartoonist express his or her opinion more effectively?
Once you’ve identified the persuasive techniques that the cartoonist used, ask yourself
these questions:
What issue is this political cartoon about?
What do you think is the cartoonist’s opinion on this issue?
What other opinion can you imagine another person having on this issue?
Did you find this cartoon persuasive? Why or why not?
What other techniques could the cartoonist have used to make this cartoon more
persuasive?
WRITING YOUR ESSAY
STRUCTURE
SAMPLE ESSAY
QUESTION
The period of the 1950s and -60s represented the Cold War
and saw developments in the kind of objects made for
domestic use. Using examples from American and Soviet
design history, explore how these objects reflect the
respective ideologies and values that belonged to their
makers.
The period of the 1950s and -60s represented the Cold War
and saw developments in the kind of objects made for
domestic use. Using examples from American and So ...
209.20191.ENG11238A Assignments Essay 1 Final! Essay 1 .docx
209.20191.ENG11238A Assignments * Essay 1 Final!
* Essay 1 Final
* Essay 1 Final !
Upload Submission
You have no active papers in this assignment.
"
This assignment will also be used for a!endance.
This assignment will also be used for a!endance.
ENG 1123 Online Summer Thompson
Essay #1: UNIT 1 –
Stories:The Disappearance, The Story of an Hour, The Yellow
Wallpaper, and Suicide Note
Instruc!onsInstruc!ons:
Compose a cri!cal analysis essay on one of the topics below.
Your essay should be well developed, unified, coherent, and
gramma"cally correct. Refer to the Grading Criteria for MCC
English Classes in the First Day Handout for this course.
Required length: 1 ½ -2 typed pages
You will have a chance to earn 5 bonus points on this essay
by following the direc"ons for checking your graded essay
in Turn It In and looking over the correc"ons and comments
(a#er I have graded it). Turn It In will show me if you viewed
your document or not. The direc"ons (with pictures) are in
this week's module "tled "Instruc"ons for Seeing
Correc"ons in Turn It In."
Create a thesis statement, and back up your claim with
support/evidence from the text. Support should contain clear,
specific examples from the story or stories you are analyzing, as
well as documenta"on for all text references. Include at least
one quota!on from the story in each body paragraph of your
essay, for a total of 4 quota"ons from the story/poem. *See
handouts about how ci"ng poetry is different than stories. It
would be a good idea to do an outline before wri"ng the essay.
Follow MLA format: Use size 12, Times New Roman font and 1-
inch margins; double space.
Include a Work Cited page. It is not included in the two-page
length requirement; it should appear on a separate page at the
end of your paper. You will automa"cally lose 20 points for not
including a Works Cited page.
Topics:
1. Analyze a character in one of the short stoires and show
how he or she is a dynamic, round, flat, or sta!c character
by examining his or her development over the course of the
story.
2. Choose one work from Units 1 and discuss how in
the story/poem society plays a part in imprisoning/s"fling
the main character.
3. Discuss the importance of se%ng in 1 work from Units 1.
Analyze how the se%ng ("me and place) adds meaning,
conflict, and/or relevance to the characters. Do NOT just
describe the se%ng and tell me “in this story the se%ng is
this. In that story the se%ng is that.” That is not analysis,
nor is it interes"ng. I want to know how and why the
se%ng is significant, what thisreveals about the characters,
the "me period, and the conflict within the story
StepsSteps:
Before beginning your paper, read the wri"ng handouts; use
them as a guide while working on your essay as well.
Use the outline form on the next page to plan your paper.
You may write/type directly o.
Department of Philosophy Florida Atlantic University Rev.docx
Department of Philosophy
Florida Atlantic University
Rev. 7-17
1
Essay Writing for this Course
Classes in the Humanities all plan, in some way, to help you develop your writing skills. Many careers you might pursue are heavily
dependent upon your ability to argue your point of view.
We all know everyone has a point of view and has the right to express that view in a socially recognizable manner, and many important
issues on which we have an opinion require far more than 140 characters to be expressed effectively. That is why we still study the
essay form of writing in Humanities courses. The essay is a form of writing that reaches back to 1580, when French philosopher
Michele de Montaigne first published his Essays on topics such as “Of the Custom of Wearing Clothes,” “Of Cannibals,” and “Of the
Inconvenience of Greatness.” Montaigne’s object was to express himself to people he would never meet through his writing. When
you can express yourself in a way that any person who might pick up your paper will easily understand you, writing can make you
influential among colleagues and fellow members of your community.
We all ‘know how to write,’ but there is a mile of difference between being able to write a 5-sentence profile description of ourselves
and being able to write a 5-page paper that tells others whom we don’t know what we think on a particular topic. In other words,
writing is a skill with many levels, just like math. Immediately, we may think that higher level writing is a matter of knowing more
vocabulary words, as in the difference between (2 + 2 =4) and (9u – 4x = 14u + 6x). Higher level writing is more complex, but it is not
more advanced simply because of its complexity. Amazing sentences may be simple, such as: “I think that I shall never see a poem
lovely as a tree.” Likewise, think of how famous (2+2=4) is, as far as equations go!
Learning how to write essays at a higher level is not very difficult once you know the components of a basic 3-5-page essay. There are
10, which we can briefly describe right here, then it’s just a matter of practice! As you see below, each one of these components
counts for an even 10% of the final essay grade, so each one is important. They are color-coded to match the grading rubric below.
1) Thesis/Purpose: In the first paragraph of every academic essay you write, you need a thesis, which states the whole point of the
essay. A thesis must be something another reasonable person could disagree with. It is a point of view on an issue. The thesis is not
usually the first sentence because you need to give the reader a few sentences to get their bearing before you state your point. It is
like meeting a stranger for the first time: if you do not explain why you are approaching someone before laying into your point, they
Department of Philosophy
Florida Atlantic University
Rev. 7-17
2
might be confused. Alternatively, if you approached a stranger and to.
Reflection Essay 3Choose only ONE of the two topics below (.docx
Reflection Essay 3
:
Choose only ONE of the two topics below (doing both will not give you any additional points). Remember that Reflection Essays don't need to be any more than a single page long. And if you can get to the heart of the issue, a paragraph may be enough. Just make sure to address the topic as completely as you can within those constraints.
ESSAY A: Describe what “emic” and “etic” mean in terms of cultural interaction. Give an example of yourself as “emic” and of an experience in which you have felt “etic.” OR discuss the four basic instrument categories, and give examples of each one, identifying its subcategory within that larger category, and why it would be classified that way.
OR:
ESSAY B: Write a brief overview of totemism and animism; make sure to show how they differ and where they overlap. Describe (and provide examples if you can) of how these belief systems consider the reality of an unseen world being tied to the physical and visible world we share as humans.
Previous
Next
.
Lecture 03: A Gentle Introduction to Theory
Slideshow for the third lecture in my summer course, English 10, "Introduction to Literary Studies: Deception, Dishonesty, Bullshit."
http://patrickbrianmooney.nfshost.com/~patrick/ta/m15/
Narrative Creative Writing Skills English Presentation in Charcoal Colourful ...
Narrative Creative Writing Skills English Presentation in Charcoal Colourful Fun Style
25 slides(not counting title and reference slide)APASOURCES10.docx
25 slides(not counting title and reference slide)
APA
SOURCES:10
“Knowledgeable interaction with works of art makes life better: We see more of what can be seen, and we hear more of what can be heard. Our entire existence grows richer and deeper.” (Sporre, 2009, p. 2).
From your studies, you have seen how culture, societal norms, belief systems, and past experiences affect the way people view the world. Learning about these differences in perspective helps us to have a better understanding of the overall human experience. Whether analytical skills are applied to a task at work, or a humanistic point of view enables us to grasp an issue from another angle, these methods of looking at the world help us become more aware of our perceptions and provide a deeper and more meaningful existence.
In this task, you will analyze and interpret three creative works from three separate disciplines of the humanities using methods of subjective and objective analysis. Objective statements are based on simple observations and concrete information. Subjective statements are based on personal opinions, judgments, and feelings. These standard methods of analysis will enable you to critically view and interpret works from the humanities. You will use analytical and critical thinking skills to assess how meaning is constructed and imparted to a viewer or audience and will communicate your thoughts in a multimedia presentation (e.g., PowerPoint, Keynote). While the content of your presentation will focus on analyzing, interpreting, comparing, and contrasting three creative works from separate disciplines, your overarching goal will be to explain how the three works you analyze demonstrate the value of the humanities in meaningful ways.
Background:
Develop a multimedia presentation in which you analyze three creative works from three separate disciplines in the humanities. You will need to select works that share a common theme. This theme must relate to a profession within your field of study at WGU. You will share with your audience how being knowledgeable about the humanities and your selected theme is valuable in regards to this profession.
First you must choose one literary work from the given list below. Choose a literary work that has a theme that resonates with you and consider how this theme connects with your chosen profession. Every profession within your field of study at WGU (Business, IT, Nursing or Teaching) will have humanistic considerations. For example, a civil rights lawyer may be concerned with the theme of freedom, a firefighter with determination, a social worker with compassion, or an engineer with integrity. It is the intent of this task to explore the major themes of the humanities and their relevance to our professional lives.
Once you have selected a literary work, you will need to select two non-literary works from separate disciplines that share the same theme as the literary work you have selected. Your presentation will show how all.
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Reflection Essay 3Choose only ONE of the two topics below (.docx
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Find a recent merger or acquisition that has been announced in the media. What are the implications for the merger or acquisition and plans for implementing the blending firms? Also, evaluate and describe two possible technological innovations that may have led to the merger or acquisition. Would you have obtained this new technology or innovation differently? Why? Include the reference information of the article. Respond substantively to at least two other learners.
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3) Population served (number and demographics)
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Read:
Chapter 4:
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Chapter 5:
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Examine the financial characteristics of health care delivery along with managing costs, revenues, and human resources.
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Making sure all research is relevant and that material used is pertinent to the area of study.
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Encyclopedias
Dictionaries
Wikipedia, other wikis, or blogs
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Describe the public health organizational structure.
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Student’s name
Course name and number
Instructor’s name
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Now it's your turn! Below is all the information given on a training program needed, called Effective Communication. You are a trainer in the given situation. Please submit the following:
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Powerpoint
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2-page paper
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Training Purchased from USA Training: Effective Communication
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Introduction
People in organizations typically spend over 75% of their time in an interpersonal situation; thus it is no surprise to find that at the root of a large number of organizational problems is poor communications. Effective communication is an essential component of organizational success whether it is at the interpersonal, inter-group, intra-group, organizational, or external levels.
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Thesis Statement for students diagnonsed withADHD.ppt
Presentation required for the master in Education.
The Roman Empire A Historical Colossus.pdf
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Overview on Edible Vaccine: Pros & Cons with Mechanism
This ppt include the description of the edible vaccine i.e. a new concept over the traditional vaccine administered by injection.
TESDA TM1 REVIEWER FOR NATIONAL ASSESSMENT WRITTEN AND ORAL QUESTIONS WITH A...
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Final Written Art Project (500 words) carefully and creatively wri.docx
- 1. Final Written Art Project (500 words) carefully and creatively written words and sentences. Artist Statement (250 words) WRITTEN ART PROJECT Create a disjunctive or non-narrative piece that engages all three aspects of reality that we have been discussing throughout the quarter: 1) larger political, social, and economic realities 2) personal or human dramatic situation and 3) detritus of existence. Make sure each of these are well represented and that they do not merely serve as a backdrop or props for other parts of your piece. In other words, make sure each of these aspects of reality is given its due as determining of your or others reality. Possible Strategies and Advice: Switch between first and third person perspectives. Make use of actual seeings—what you see. Describe and only occasionally explain or meditate. Meditate a great deal but be sure you are specific . Enact and don’t preach. Create a concept (a title for your piece) that gives the reader a sense of the intent of your work. This concept should serve to suggest complementary or conflictual relations between the different parts of your piece. Ultimately in placing all your parts together, in proximity to one another, you want the “whole” to be greater than the sum of the parts. ARTIST STATEMENT Please describe the intent of your piece and how you think its disjunctive form allows you to create a sense of reality that you wish to create. Please consider key words and concepts from the module syllabus as well as the ideas that have emerged from course discussions and thought challenges. You might also find these artist’s statements of use:
- 2. Chekov Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there. Marguerite Duras Sometimes I realize that if writing isn’t, all things, all contraries confounded, a quest for vanity and void, it’s nothing. ( The Lover, 8) Leslie Scalapino I intended this writing to be the repetition of historically real events the writing of which punches a hole in reality. . . . There was when writing the work something else going interiorily besides what’s going on in segments.