This document provides guidance on analyzing a scholarly article for a rhetorical analysis assignment. It begins with an explanation of how to integrate quotes from the text to support claims about the text. Then, it analyzes the exigence, motivations, and aims of Donald Murray's article "Response of a Laboratory Rat" through relevant quotes. The analysis of exigence discusses the context of writing process research at the time. For motivations, it examines quotes that explain Murray's willingness to participate. Finally, it identifies Murray's aims as helping readers understand writing processes and encouraging more humane research methods based on quotes from the article. The document concludes by advising the analysis of one element at a time using evidence from the text.
How to write a Literary Essay Introduction and Thesismissmaryah
Adapted Power Point for English 11 relating to essay writing for the short story Mirror Image by Lena Coakley
Credit to http://www.slideshare.net/Jennabates/how-to-write-a-literary-analysis-essay
How to write a Literary Essay Introduction and Thesismissmaryah
Adapted Power Point for English 11 relating to essay writing for the short story Mirror Image by Lena Coakley
Credit to http://www.slideshare.net/Jennabates/how-to-write-a-literary-analysis-essay
This presentation can become the first step in writing your Literary analysis essay. In addition to this, please read the article https://essay-academy.com/account/blog/literary-analysis-essay
A powerpoint guiding students through the IB English written commentary. Original content by Brent Rohol of Sprucecreek HS. Current design by Michelle Alspaugh, Mt. Vernon HS. Photos taken from www.flikr.com
Writing About PoetryWriting about poetry can be one of the most .docxbillylewis37150
Writing About Poetry
Writing about poetry can be one of the most demanding tasks that many students face in a literature class. Poetry, by its very nature, makes demands on a writer who attempts to analyze it that other forms of literature do not. So how can you write a clear, confident, well-supported essay about poetry? This handout offers answers to some common questions about writing about poetry.
What's the Point?
In order to write effectively about poetry, one needs a clear idea of what the point of writing about poetry is. When you are assigned an analytical essay about a poem in an English class, the goal of the assignment is usually to argue a specific thesis about the poem, using your analysis of specific elements in the poem and how those elements relate to each other to support your thesis.
So why would your teacher give you such an assignment? What are the benefits of learning to write analytic essays about poetry? Several important reasons suggest themselves:
· To help you learn to make a text-based argument. That is, to help you to defend ideas based on a text that is available to you and other readers. This sharpens your reasoning skills by forcing you to formulate an interpretation of something someone else has written and to support that interpretation by providing logically valid reasons why someone else who has read the poem should agree with your argument. This isn't a skill that is just important in academics, by the way. Lawyers, politicians, and journalists often find that they need to make use of similar skills.
· To help you to understand what you are reading more fully. Nothing causes a person to make an extra effort to understand difficult material like the task of writing about it. Also, writing has a way of helping you to see things that you may have otherwise missed simply by causing you to think about how to frame your own analysis.
· To help you enjoy poetry more! This may sound unlikely, but one of the real pleasures of poetry is the opportunity to wrestle with the text and co-create meaning with the author. When you put together a well-constructed analysis of the poem, you are not only showing that you understand what is there, you are also contributing to an ongoing conversation about the poem. If your reading is convincing enough, everyone who has read your essay will get a little more out of the poem because of your analysis.
What Should I Know about Writing about Poetry?
Most importantly, you should realize that a paper that you write about a poem or poems is an argument. Make sure that you have something specific that you want to say about the poem that you are discussing. This specific argument that you want to make about the poem will be your thesis. You will support this thesis by drawing examples and evidence from the poem itself. In order to make a credible argument about the poem, you will want to analyze how the poem works—what genre the poem fits into, what its themes are, and what poetic t.
Writing About PoetryWriting about poetry can be one of the most .docxodiliagilby
Writing About Poetry
Writing about poetry can be one of the most demanding tasks that many students face in a literature class. Poetry, by its very nature, makes demands on a writer who attempts to analyze it that other forms of literature do not. So how can you write a clear, confident, well-supported essay about poetry? This handout offers answers to some common questions about writing about poetry.
What's the Point?
In order to write effectively about poetry, one needs a clear idea of what the point of writing about poetry is. When you are assigned an analytical essay about a poem in an English class, the goal of the assignment is usually to argue a specific thesis about the poem, using your analysis of specific elements in the poem and how those elements relate to each other to support your thesis.
So why would your teacher give you such an assignment? What are the benefits of learning to write analytic essays about poetry? Several important reasons suggest themselves:
· To help you learn to make a text-based argument. That is, to help you to defend ideas based on a text that is available to you and other readers. This sharpens your reasoning skills by forcing you to formulate an interpretation of something someone else has written and to support that interpretation by providing logically valid reasons why someone else who has read the poem should agree with your argument. This isn't a skill that is just important in academics, by the way. Lawyers, politicians, and journalists often find that they need to make use of similar skills.
· To help you to understand what you are reading more fully. Nothing causes a person to make an extra effort to understand difficult material like the task of writing about it. Also, writing has a way of helping you to see things that you may have otherwise missed simply by causing you to think about how to frame your own analysis.
· To help you enjoy poetry more! This may sound unlikely, but one of the real pleasures of poetry is the opportunity to wrestle with the text and co-create meaning with the author. When you put together a well-constructed analysis of the poem, you are not only showing that you understand what is there, you are also contributing to an ongoing conversation about the poem. If your reading is convincing enough, everyone who has read your essay will get a little more out of the poem because of your analysis.
What Should I Know about Writing about Poetry?
Most importantly, you should realize that a paper that you write about a poem or poems is an argument. Make sure that you have something specific that you want to say about the poem that you are discussing. This specific argument that you want to make about the poem will be your thesis. You will support this thesis by drawing examples and evidence from the poem itself. In order to make a credible argument about the poem, you will want to analyze how the poem works—what genre the poem fits into, what its themes are, and what poetic t ...
This presentation can become the first step in writing your Literary analysis essay. In addition to this, please read the article https://essay-academy.com/account/blog/literary-analysis-essay
A powerpoint guiding students through the IB English written commentary. Original content by Brent Rohol of Sprucecreek HS. Current design by Michelle Alspaugh, Mt. Vernon HS. Photos taken from www.flikr.com
Writing About PoetryWriting about poetry can be one of the most .docxbillylewis37150
Writing About Poetry
Writing about poetry can be one of the most demanding tasks that many students face in a literature class. Poetry, by its very nature, makes demands on a writer who attempts to analyze it that other forms of literature do not. So how can you write a clear, confident, well-supported essay about poetry? This handout offers answers to some common questions about writing about poetry.
What's the Point?
In order to write effectively about poetry, one needs a clear idea of what the point of writing about poetry is. When you are assigned an analytical essay about a poem in an English class, the goal of the assignment is usually to argue a specific thesis about the poem, using your analysis of specific elements in the poem and how those elements relate to each other to support your thesis.
So why would your teacher give you such an assignment? What are the benefits of learning to write analytic essays about poetry? Several important reasons suggest themselves:
· To help you learn to make a text-based argument. That is, to help you to defend ideas based on a text that is available to you and other readers. This sharpens your reasoning skills by forcing you to formulate an interpretation of something someone else has written and to support that interpretation by providing logically valid reasons why someone else who has read the poem should agree with your argument. This isn't a skill that is just important in academics, by the way. Lawyers, politicians, and journalists often find that they need to make use of similar skills.
· To help you to understand what you are reading more fully. Nothing causes a person to make an extra effort to understand difficult material like the task of writing about it. Also, writing has a way of helping you to see things that you may have otherwise missed simply by causing you to think about how to frame your own analysis.
· To help you enjoy poetry more! This may sound unlikely, but one of the real pleasures of poetry is the opportunity to wrestle with the text and co-create meaning with the author. When you put together a well-constructed analysis of the poem, you are not only showing that you understand what is there, you are also contributing to an ongoing conversation about the poem. If your reading is convincing enough, everyone who has read your essay will get a little more out of the poem because of your analysis.
What Should I Know about Writing about Poetry?
Most importantly, you should realize that a paper that you write about a poem or poems is an argument. Make sure that you have something specific that you want to say about the poem that you are discussing. This specific argument that you want to make about the poem will be your thesis. You will support this thesis by drawing examples and evidence from the poem itself. In order to make a credible argument about the poem, you will want to analyze how the poem works—what genre the poem fits into, what its themes are, and what poetic t.
Writing About PoetryWriting about poetry can be one of the most .docxodiliagilby
Writing About Poetry
Writing about poetry can be one of the most demanding tasks that many students face in a literature class. Poetry, by its very nature, makes demands on a writer who attempts to analyze it that other forms of literature do not. So how can you write a clear, confident, well-supported essay about poetry? This handout offers answers to some common questions about writing about poetry.
What's the Point?
In order to write effectively about poetry, one needs a clear idea of what the point of writing about poetry is. When you are assigned an analytical essay about a poem in an English class, the goal of the assignment is usually to argue a specific thesis about the poem, using your analysis of specific elements in the poem and how those elements relate to each other to support your thesis.
So why would your teacher give you such an assignment? What are the benefits of learning to write analytic essays about poetry? Several important reasons suggest themselves:
· To help you learn to make a text-based argument. That is, to help you to defend ideas based on a text that is available to you and other readers. This sharpens your reasoning skills by forcing you to formulate an interpretation of something someone else has written and to support that interpretation by providing logically valid reasons why someone else who has read the poem should agree with your argument. This isn't a skill that is just important in academics, by the way. Lawyers, politicians, and journalists often find that they need to make use of similar skills.
· To help you to understand what you are reading more fully. Nothing causes a person to make an extra effort to understand difficult material like the task of writing about it. Also, writing has a way of helping you to see things that you may have otherwise missed simply by causing you to think about how to frame your own analysis.
· To help you enjoy poetry more! This may sound unlikely, but one of the real pleasures of poetry is the opportunity to wrestle with the text and co-create meaning with the author. When you put together a well-constructed analysis of the poem, you are not only showing that you understand what is there, you are also contributing to an ongoing conversation about the poem. If your reading is convincing enough, everyone who has read your essay will get a little more out of the poem because of your analysis.
What Should I Know about Writing about Poetry?
Most importantly, you should realize that a paper that you write about a poem or poems is an argument. Make sure that you have something specific that you want to say about the poem that you are discussing. This specific argument that you want to make about the poem will be your thesis. You will support this thesis by drawing examples and evidence from the poem itself. In order to make a credible argument about the poem, you will want to analyze how the poem works—what genre the poem fits into, what its themes are, and what poetic t ...
Literary AnalysisWhat distinguishes literature from other forms o.docxSHIVA101531
Literary Analysis
“What distinguishes literature from other forms of knowledge is that it cannot be understood unless we understand what it means to be human.” (J. Bronowski)
There are many ways to interpret, analyze, and evaluate literature. Perhaps you’ve already been asked to make an observation or take a position about a work of literature (whether a poem, short story, novel, play, or film) and examine such elements as plot, characters, theme, setting, conflict, structure, point of view, imagery, or symbolism. When you are asked by a teacher to write an interpretation, a critique, or a literary analysis, you are being asked to figure out what is going on in a work of literature. Much more complicated than merely summarizing a piece or writing a personal reaction to it, literary analysis requires that you read between the lines of a text and discover something meaningful there. Why does a specific image recur throughout a poem? How does a novel relate to a social issue facing the author at the time it was written? Do you recognize a pattern or perceive a problem with a character’s behavior in a play? How is the role of women significant in a movie? Answers to all of these questions can be determined only through critical thinking and the synthesis of your ideas.
· An interpretation—explains a text’s overall meaning or significance, explaining your reasoning for this interpretation with supporting evidence from the text.
· A critique—also called a critical response or a review, it provides your personal judgment about a text, supported by reasons and references to the work of art and often secondary sources.· A formal analysis—different from a critique in that examines a work of art by breaking it down into various elements to discover how the parts interrelate to create meaning of effect.
· A cultural analysis—examines a work of art by relating it to the historical, social, cultural, or political situations in which it was written to show how the author was influenced by personal experiences, events, prevailing attitudes, or contemporary values.
How can I persuade readers that my view or interpretation is reasonable?
First, be sure that your view or interpretation asserts a debatable claim.
For instance, if you were to say that “Antigone is a play about a young woman who questions authority,” you wouldn’t be saying much beyond a summary. But if you said that, “Antigone’s punishment is well-deserved because she violates the laws of the king,” that is debatable. Another student could just as easily argue that Antigone’s punishment is not well-deserved and that she should be commended for respecting the higher laws of the gods over the laws of the king.
Because you are essentially arguing that your perspective is a valid one, you have to support it effectively with reasons, evidence from the piece (direct references to specific quotations, lines, passages, scenes, etc.), and—if required—secondary sources (articles and bo ...
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 ...
The Proposal In a paper proposal, your job is to answer t.docxssusera34210
The Proposal
In a paper proposal, your job is to answer the what, how, and why of your essay topic so that
your audience understands the basic parameters of your argument.
For this proposal, you will write me (your professor) a letter that contains the following:
1) Capture the reader’s interest with your introduction, which should be a brief explanation
of your topic as a whole. This is where you explain the exigency (show why this is a
problem/idea worth considering and why?)
2) Write your working thesis statement. Formulate the question that will govern your
research, and then answer it with a strong statement/claim that your paper intends to
prove.
3) Supply background/context on your topic along with the purpose and relevance of your
thesis. Explain what you hope to prove or uncover. Provide concrete examples of the
issues you will be exploring, and explain why the research you will conduct is important.
This is where you will branch away from the primary source (the novel) to explain why
the theme or idea you are exploring is relevant beyond the page.
4) Discuss preliminary research on your topic while developing your proposal; explain how
this research fits into your argument and plans for the paper. How are you going to use
your sources? (make sure to include primary and secondary sources).
Project Text: The Road
In this project we will explore the post-apocalyptic genre and how texts of this genre reflect issues
and anxieties coursing through everyday life.
You will begin this Project by reading and analyzing Cormac McCarthy’s The Road. During this
time, we will pay close attention to themes being built within the text that provide insight on
“real-world” issues. You will then conduct research of your own (using the CSUN databases) in
order to find evidence that supports your theme in that “real-world” context.
The essay itself will be an argument made by you with an explicit thesis that is proven with
evidence from our primary text: The Road, and at least three resources you have found on the
CSUN databases.
Basic Requirements:
- 6 page minimum with Works Cited (not included in page count)
- Standard MLA Format
- A completed essay packet.
- Essay needs to be posted to your Class Website AND turned in at the beginning of class.
- Minimum of 3 secondary sources. You may use the articles I have provided for you, but
these will not count towards the minimum requirement.
- Proof of visit to the LRC.
- Completion of all lead-up exercises.
Exercise 1: The Review
For this assignment, you will be required to write a scholarly review of Cormac McCarthy’s The
Road. In this review, you will be required to interpret The Road within a larger conversation (based
on the themes you have been developing throughout the past few weeks). Your review will need
to include supplemental information from two of our previous texts.
750 Word Minimum. Posted to your Class Websit ...
ENGL 102 College Composition IILength 4 – 6 pages +.docxkhanpaulita
ENGL 102
College Composition II Length: 4 – 6 pages + work cited list
Essay 3 –
Researched Argument
Description: This essay expands your analytical and writing skills. You will write an essay that expands on an idea suggested by the prompts for reading selection “THE ROAD NOT TAKEN”. Although this analysis is your analysis you will inform is by researching academic secondary sources for deeper connections to lead new insight into the author, setting (both historical and situational), and theme. As your understanding deepens, you will present a thesis that argues your idea and you will support it with details from your own analysis research, and connections.
Robert Frost- Author of the Road Not Taken
Robert Frost (1874–1963) was born in California. After his father’s death in 1885, Frost’s mother took the family to New England, where she taught in high schools in Massachusetts and New Hampshire. Frost studied for part of one term at Dartmouth College in New Hampshire, then did various jobs (including teaching), and from 1897 to 1899 was enrolled as a special student at Harvard. He later farmed in New Hampshire, published a few poems in local newspapers, left the farm and taught again, and in 1912 left for England, where he hoped to achieve more popular success as a writer. By 1915, he had won a considerable reputation, and he returned to the United States, settling on a farm in New Hampshire and cultivating the image of the country-wise farmer-poet. In fact, he was well read in the classics, in the Bible, and in English and American literature. Among Frost’s many comments about literature, here are three: “Writing is unboring to the extent that it is dramatic”; “Every poem is... a figure of the will braving alien entanglements”; and, finally, a poem “begins in delight and ends in wisdom.... It runs a course of lucky events, and ends in a clarification of life—not necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay against confusion.”
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay in leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh somewhere ages and ages hence:
Requirements:
· Four - six pages double-spaced, 12 pt font, excluding work cited list
· Topic is THE ROAD NOT TAKEN
· You will begin your essay with an introductory paragraph that includes the name of the selection and author, your topic, and a thesis statement.
· You should employ principles of argum.
Philosophy 7 Asian Philosophy (Fall 2019) Paper Guidelines .docxssuser562afc1
Philosophy 7: Asian Philosophy (Fall 2019)
Paper Guidelines
1
Paper #3: Chinese Philosophy
You may choose to write about either Confucianism (A) or Daoism (B).
(A) Confucianism: Kongzi (Confucius) or Mengzi (Mencius)
Choose a passage from one of the primary Confucian texts that we read: The Analects or
The Mengzi. Whatever you choose, you must confine your essay to one of our authors’
texts: either Confucius’ Analects or Mencius’ Mengzi. You may choose any passage you
like but you may only write within the context of one of the two thinkers.
and
Analyze and explain it as thoroughly and precisely as you can, staying close to the text
of the author you choose (using its terminology, following its reasoning, etc.). This point
is important: refer to, quote, paraphrase, and cite Confucius’ or Mencius’ text—his words, his
terms, his explanations, his examples, etc.—to aid your explanation of the idea. The closer you
stay to the text, the clearer your explanation will be.
(B) Daoism: Laozi or Zhuangzi
Choose a passage from one of the primary Daoist texts that we read: The Daodejing or
The Zhuangzi. Whatever you choose, you must confine your essay to one of our authors’
texts: either Laozi’s Daodejing or Zhuangzi’s Zhuangzi. You may choose any passage you
like but you may only write within the context of one of the two thinkers.
and
Analyze and explain it as thoroughly and precisely as you can, staying close to the text
of the author you choose (using its terminology, following its reasoning, etc.). This point
is important: refer to, quote, paraphrase, and cite Laozi’s or Zhuangzi’s text—his words, his
terms, his explanations, his examples, etc.—to aid your explanation of the idea. The closer you
stay to the text, the clearer your explanation will be.
Note on Daoism: Remember that these specific texts are notoriously opaque and
mysterious, and their purpose seems to be, quite explicitly in some cases, to effect an
experiential change in thinking on the part of the reader. So, if you choose this option, give
yourself time to let the text affect you and wash over you. It is common that the sense of
particular passages vacillates and shifts as one reads them again and again. So try—
without trying, of course (i.e., in a wu wei fashion)—to give yourself ample room to
maneuver within the text’s mysterious spaces, as Zhuangzi’s butcher’s blade
maneuver’s freely within the heavenly contours of the ox’s carcass.
Philosophy 7: Asian Philosophy (Fall 2019)
Paper Guidelines
2
In these papers, I want you to try to capture the essence of what you choose. You might
imagine that what you are trying to do is teach someone what passage means within the
context of Confucianism or Daoism.
I am looking for in-depth and detailed analysis/explanation.
Paper Details
Due Date
SUNDAY, May 3rd on Canvas by MIDNIGHT
Paper Length
At least 3 full pages of text (“full” beginning.
Philosophy 7 Asian Philosophy (Fall 2019) Paper Guidelines .docxkarlhennesey
Philosophy 7: Asian Philosophy (Fall 2019)
Paper Guidelines
1
Paper #3: Chinese Philosophy
You may choose to write about either Confucianism (A) or Daoism (B).
(A) Confucianism: Kongzi (Confucius) or Mengzi (Mencius)
Choose a passage from one of the primary Confucian texts that we read: The Analects or
The Mengzi. Whatever you choose, you must confine your essay to one of our authors’
texts: either Confucius’ Analects or Mencius’ Mengzi. You may choose any passage you
like but you may only write within the context of one of the two thinkers.
and
Analyze and explain it as thoroughly and precisely as you can, staying close to the text
of the author you choose (using its terminology, following its reasoning, etc.). This point
is important: refer to, quote, paraphrase, and cite Confucius’ or Mencius’ text—his words, his
terms, his explanations, his examples, etc.—to aid your explanation of the idea. The closer you
stay to the text, the clearer your explanation will be.
(B) Daoism: Laozi or Zhuangzi
Choose a passage from one of the primary Daoist texts that we read: The Daodejing or
The Zhuangzi. Whatever you choose, you must confine your essay to one of our authors’
texts: either Laozi’s Daodejing or Zhuangzi’s Zhuangzi. You may choose any passage you
like but you may only write within the context of one of the two thinkers.
and
Analyze and explain it as thoroughly and precisely as you can, staying close to the text
of the author you choose (using its terminology, following its reasoning, etc.). This point
is important: refer to, quote, paraphrase, and cite Laozi’s or Zhuangzi’s text—his words, his
terms, his explanations, his examples, etc.—to aid your explanation of the idea. The closer you
stay to the text, the clearer your explanation will be.
Note on Daoism: Remember that these specific texts are notoriously opaque and
mysterious, and their purpose seems to be, quite explicitly in some cases, to effect an
experiential change in thinking on the part of the reader. So, if you choose this option, give
yourself time to let the text affect you and wash over you. It is common that the sense of
particular passages vacillates and shifts as one reads them again and again. So try—
without trying, of course (i.e., in a wu wei fashion)—to give yourself ample room to
maneuver within the text’s mysterious spaces, as Zhuangzi’s butcher’s blade
maneuver’s freely within the heavenly contours of the ox’s carcass.
Philosophy 7: Asian Philosophy (Fall 2019)
Paper Guidelines
2
In these papers, I want you to try to capture the essence of what you choose. You might
imagine that what you are trying to do is teach someone what passage means within the
context of Confucianism or Daoism.
I am looking for in-depth and detailed analysis/explanation.
Paper Details
Due Date
SUNDAY, May 3rd on Canvas by MIDNIGHT
Paper Length
At least 3 full pages of text (“full” beginning ...
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2. CONTENTS
• In this lecture, you will find:
• An explanation of how to integrate a quote from a text to
support a claim about a text
• My brief analysis of my source text’s exigence,
motivations, and aims
• A doggo
3. HOW TO INTEGRATE A QUOTE
• When you’re performing textual analysis (including rhetorical reading), you’re
basically saying, “I think the text means this based on this part of the text itself.”
• In other words, you’re giving the reader your interpretation of the text itself. Here’s
an example from an essay I wrote about David Ferry’s remarkable poem “That Now
Are Wild and Do Not Remember.”
4. HOW TO INTEGRATE A QUOTE (EXAMPLE)
Here is the text of the poem, for reference.
Where did you go to, when you went away?
It is as if you step by step were going
Someplace elsewhere into some other range
Of speaking, that I had no gift for speaking,
Knowing nothing of the language of that place
To which you went with naked foot at night
Into the wilderness there elsewhere in the bed,
Elsewhere somewhere in the house beyond my seeking.
I have been so dislanguaged by what happened
I cannot speak the words that somewhere you
Maybe were speaking to others where you went.
Maybe they talk together where they are,
Restlessly wandering, along the shore,
Waiting for a way to cross the river.
5. HOW TO INTEGRATE A QUOTE (EXAMPLE)
• In my analysis for a graduate school class on literature and trauma, I claimed that
this poem, because the speaker (this is literary-scholar-speak for the narrator) uses
so few specific words but relies so often on “someplace” and “elsewhere,” had
experienced a traumatic response to some event having to do with the “you” in the
poem.
• When you’re using part of a text to back up a claim about that text, the general
structure is to make the claim, then insert the quote, then provide an interpretation
of the quote and how it relates to your claim. I’ll show you what this looks like on
the next slide.
6. HOW TO INTEGRATE A QUOTE (EXAMPLE)
• “From its first line, Ferry’s poem presents the reader with a crisis not only of language but of
knowledge (claim): “Where did you go, when you went away?” (1) (quote—the numbers in the
parenthetical citations refer to the lines of the poem). The speaker, and therefore the reader,
lacks a fundamental understanding (interpreting quote, proving that a lack of knowledge exists
and is expressed in this line), and this uncertainty, which pervades the entire poem, catalyzes
the speaker’s inability to articulate an experience (interpretation of quote, proving that a lack
of language is expressed in this poem). His statement of this problem is quite overt: ‘I have
been so dislanguaged by what happened/I cannot speak the words that somewhere you/Maybe
were speaking to others where you went’ (9-11) (another quote). The problem of speaking is
bound up in the problem of knowing (interpreting the quote, connecting the problem of
knowing with the problem of language): we don’t know where ‘you’ went, but s/he is central to
the speaker’s break with language—it is the words s/he might be speaking that the speaker is
unable to utter (interpreting the quote; pointing out that the speaker could potentially have
had trouble speaking any words, but it’s the words that the poem’s ‘you’ might be speaking,
specifically, that are the problem here)
7. HOW TO INTEGRATE A QUOTE (EXAMPLE)
• This, then, is what you guys will be doing. It’s a different kind of integration of
quotes than you might be used to, since the kinds of quotes you deal with normally
back up an assertion about a topic that’s related to the text rather than the text
itself.
• I recognize that this kind of analysis can seem tricky. How do you spend an entire
paragraph interpreting one quote? The trick is to look for a lot of different quotes in
the text that support your idea, and then insert them between your interpretation of
them.
• So: In the next several slides, I’m going to show you some quotes from my article,
and I’ll label them with which part of the analysis I think they fit with: exigence,
motivation, or aims (see lecture one for an explanation of these).
8. ARTICLE ANALYSIS: MOTIVATIONS
“I have long felt the academic world is too closed.
We have an ethical obligation to write and to
reveal our writing to our students if we are
asking them to share their writing with us. . . . I
have also been fascinated by protocol analysis
research. It did seem a fruitful way . . . To study
the writing process. . . . In the absence of more
proper academic resources, I have made a career
of studying myself while writing. I was already
without shame. When Carol Berkenkotter asked
me to run in her maze I gulped, but I did not
think I could refuse” (137)
Here, the writer is explaining his
motivations. He’s telling us that he agreed
to do the experiment with Berkenkotter
(and, presumably, to write about it as well)
because of three things: he believes
teachers have an ethical obligation to share
their writing; he’s fascinated by protocol
research; and he already was the subject of
self-study. If I were writing an analysis of
Murray’s motivations, I would probably
start here, explaining that his motivations
were threefold, then explaining each one.
9. ARTICLE ANALYSIS: MOTIVATIONS
• The analysis of motivations doesn’t have to begin and end with the text. Since I
know some things about Donald Murray from my earlier research—for example,
that he is a writing teacher, a professional writer, a writing coach, etc.—I could (and
should!) include that information in my explanation of his motivations.
• That’s the rhetorical reading part. I can look at the text and understand the
motivations Murray articulates, but I can also bring in my knowledge of Murray as
a teacher of writing and extrapolate from there.
10. DOGGO BREAK!
This is Mercedes, my brother-in-
law’s other doggo. She’s getting on
in years, but she’s the sweetest lil’
Boxer girl you ever did meet.
11. READING BETWEEN THE LINES
• “When Carol Berkenkotter asked me to
run in her maze I gulped, but I did not
think I could refuse” (137).
• Here’s another trick to textual analysis:
subtext. Reading between the lines.
Notice that Murray talks about himself
using the language of lab rats. The very
title of the piece is “Response of a
Laboratory Rat.” He refers to rats
several times throughout the essay.
What does this suggest to you?
12. READING BETWEEN THE LINES
• Well, think about what a lab rat is. It’s something that gets acted upon; gets studied;
does what it’s asked; is physically incapable of complaining. A lab rat has no agency;
it has no ideas of its own; its entire existence depends on other people and their
needs. But, ultimately, a lab rat is a necessary part of knowledge-making. Does this
suggest that Murray thinks highly of his own ideas/agenda in this process? Not
really. But it does suggest that he understood the importance of this kind of research
and was willing to do some uncomfortable things in order to contribute to it.
• This would definitely go in my analysis of Murray’s motivations. I would find every
single instance in the text of this lab-rat language and tell the reader about it to
help them understand my interpretation.
13. ARTICLE ANALYSIS: EXIGENCE
• Because Murray himself doesn’t talk much about the
exigence (beyond “Berkenkotter asked me to run in
her maze”), I have to go back to Berkenkotter’s
article. There, I found this: “I met Mr. Murray at the
Conference on College Composition and
Communication meeting in Dallas, 1981. He
appeared at the speaker’s rostrum after my session
and introduced himself, and we began to talk about
the limitations of taking protocols in an experimental
situation. On the spur of the moment, I asked him if
he would be willing to be the subject of a naturalistic
study. He hesitated, took a deep breath, then said he
was very interested in understanding his own
composing process, and would like to learn more”
(124)
• Before this quote appears, Berkenkotter talks about
how the field of writing process (they call it protocol)
study had been limited to laboratory settings, and
that research had not yet been conducted on writers
in natural settings, like classrooms or their homes.
Berkenkotter suggested, citing other researchers,
that laboratory settings might be have a serious
affect on a person’s writing process (aha—a
theoretical framework!).
• So, that’s the exigence. Carol Berkenkotter wanted to
try a naturalistic writing study because none had yet
been conducted; she asked Murray if he would
participate; he said yes, for all the reasons listed in
the “motivations” slide.
14. ARTICLE ANALYSIS: EXIGENCE
• Remember that when you talk about exigence, you should refer to some of the
“historicizing the text” questions, such as when the text was published and what kinds of
conversations were going on in the field at the time. Since writing process studies were a
big thing in the late seventies and early eighties, I would, when talking about the
exigence of this article, explain that. I might even go out and find some external sources
that talked about the prevalence of this kind of research in order to help the reader
understand what Berkenkotter was responding to—that is, that there was a bunch of
writing process research, but all of it was in lab settings.
• Moreover, I would also talk about how the exigence for Murray’s article was the
existence of Berkenkotter’s experiment and his experience in it. In explaining that, I’d
probably use a combination of quotes from Murray and Berkenkotter.
15. ARTICLE ANALYSIS: AIMS
• I suspect that, of all the parts of the analysis, this one is going to be the trickiest to
figure out. The aim, remember, is what the author wants the article to do, the real
impact they want to have on the reader. Do they want the reader to understand
something? To adopt a new method of doing things? To view something in a different
way?
• In Murray’s case, his aim seems to be twofold: to help himself—and therefore the
reader—understand that people may not understand their own writing processes as
well as they think they do, and to help teachers understand that they need to do
different things when they teach writing. How can I tell that?
16. ARTICLE ANALYSIS: AIMS
• “I was far more aware of audience than I
thought I was during some of the writing.
My sense of audience is so strong that I
have to suppress my conscious awareness
of audience to hear what the text
demands” (139)
• Here, Murray is describing what he learned
about his own writing process that he didn’t
know before. This tells me that, because Murray
is a professional writer, he probably uses
writing as a way of making knowledge, or of
helping himself understand something. He also
clearly has some reason for publishing the
writing, which suggests that he also wants
other people to understand what surprised him
about his writing process. This suggests,
further, that he also wants others to understand
that they may not have as good an
understanding of their writing processes as they
thought.
17. ARTICLE ANALYSIS: AIMS
• “Finally, I started this process with a
researcher and have ended it with a
colleague. I am grateful for the humane
way the research was conducted. I have
learned a great deal about research and
about what we have researched. It has
helped me in my thinking, my teaching,
and my writing. I am grateful to Dr. Carol
Berkenkotter for this opportunity” (141)
• This is the last paragraph of Murray’s article.
What does he mean when he says this?
Obviously, he just wants to thank Berkenkotter,
which makes sense—she came up with these
ideas. But look at what he says about humanity:
“I am grateful for the humane way the research
was conducted.” Does this suggest that he
thinks other kinds of research might not be
humane? The fact that he brings it up, plus the
fact that he used inhumane language earlier in
the article (remember: lab rats), suggests that
one of his aims is to get people thinking about
the importance of humanity when conducting
research about the writing process.
18. ARTICLE ANALYSIS: AIMS
• What I said before, then, about his aims being twofold might have been wrong—they
seem, in fact, to be threefold, the third aim being to get other researchers thinking
about the humanity or inhumanity of their methods.
• Ah—I said that one of Murray’s aims was to tell teachers that they might rethink
the way they teach writing. I didn’t address how I knew that.
19. ARTICLE ANALYSIS: AIMS
• “We have an ethical obligation to write
and to reveal our writing to our students
if we are asking them to share their
writing with us. I have felt writers
should, instead of public readings, give
public workshops in which they write in
public, allowing the search for meaning to
be seen. I’ve done this and found the
process insightful—and fun” (137)
• Here, he actually states it outright: “we
have an ethical obligation.” But it’s not
enough, here, to understand the thing he
says, but what that implies, which is that
it isn’t enough for teachers simply to
understand that they have an ethical
obligation, but rather to act on that
obligation and enact these different
methods (i.e. workshops) in their own
classes. If he didn’t want teachers to do
these things, he would not have gone to
the trouble of writing it down.
20. ARTICLE ANALYSIS: BRINGING IT ALL
TOGETHER
• My suggestion, then, is to go through the article and look for one thing at a time: the
exigence, then the motivation, then the aims. Which parts of the text—which
particular words or sentences—demonstrate to you what these are? You may have to
read between the lines, as sometimes these things are not explicitly stated.
• In the next lecture, we’ll go a little more in-depth about the integration of quotes,
but remember: claim, quote, interpretation/elaboration.
21. WHAT’S NEXT?
• In the next lecture, I’ll cover more about the practical mechanics of quote integration
using MLA format.