Reading Responses Assignment What is a reading response .docx
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This document provides guidance for students on writing reading responses for their class assignments. It explains that a reading response should be a focused analysis of one element of an assigned reading in 1-1.5 pages. Students should describe and analyze the selected element, using specific examples and explaining their significance. Responses should have a clear thesis statement and be organized in paragraphs with a topic sentence and evidence to support the point being made. The document also provides examples of successful student responses and evaluates them based on a three-point rubric.
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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 ...
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.
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 ...
HOW TO WRITE A LITERARY ANALYSIS ESSAYThe purpose of a literary .docx
HOW TO WRITE A LITERARY ANALYSIS ESSAY
The purpose of a literary analysis essay is to carefully examine and sometimes evaluate a work of literature or an aspect of a work of literature. As with any analysis, this requires you to break the subject down into its component parts. Examining the different elements of a piece of literature is not an end in itself but rather a process to help you better appreciate and understand the work of literature as a whole. For instance, an analysis of a poem might deal with the different types of images in a poem or with the relationship between the form and content of the work. If you were to analyze (discuss and explain) a play, you might analyze the relationship between a subplot and the main plot, or you might analyze the character flaw of the tragic hero by tracing how it is revealed through the acts of the play. Analyzing a short story might include identifying a particular theme (like the difficulty of making the transition from adolescence to adulthood) and showing how the writer suggests that theme through the point of view from which the story is told; or you might also explain how the main character's attitude toward women is revealed through his dialogue and/or actions.
REMEMBER: Writing is the sharpened, focused expression of thought and study. As you develop your writing skills, you will also improve your perceptions and increase your critical abilities. Writing ultimately boils down to the development of an idea. Your objective in writing a literary analysis essay is to convince the person reading your essay that you have supported the idea you are developing. Unlike ordinary conversation and classroom discussion, writing must stick with great determination to the specific point of development. This kind of writing demands tight organization and control. Therefore, your essay must have a central idea (thesis), it must have several paragraphs that grow systematically out of the central idea, and everything in it must be directly related to the central idea and must contribute to the reader’s understanding of that central idea. These three principles are listed again below:
1. Your essay must cover the topic you are writing about.
2. Your essay must have a central idea (stated in your thesis) that governs its development.
3. Your essay must be organized so that every part contributes something to the reader’s understanding of the central idea.
THE ELEMENTS OF A SOLID ESSAY
The Thesis Statement The thesis statement tells your reader what to expect: it is a restricted, precisely worded declarative sentence that states the purpose of your essay -- the point you are trying to make. Without a carefully conceived thesis, an essay has no chance of success. The following are thesis statements which would work for a 500-750 word literary analysis essay:
Gwendolyn Brooks‟s 1960 poem “The Ballad of Rudolph Reed” demonstrates how the poet uses the conventional poetic form of the ballad to treat the un ...
HOW TO WRITE A LITERARY ANALYSIS ESSAYThe purpose of a literary
HOW TO WRITE A LITERARY ANALYSIS ESSAY
The purpose of a literary analysis essay is to carefully examine and sometimes evaluate a work of literature or an aspect of a work of literature. As with any analysis, this requires you to break the subject down into its component parts. Examining the different elements of a piece of literature is not an end in itself but rather a process to help you better appreciate and understand the work of literature as a whole. For instance, an analysis of a poem might deal with the different types of images in a poem or with the relationship between the form and content of the work. If you were to analyze (discuss and explain) a play, you might analyze the relationship between a subplot and the main plot, or you might analyze the character flaw of the tragic hero by tracing how it is revealed through the acts of the play. Analyzing a short story might include identifying a particular theme (like the difficulty of making the transition from adolescence to adulthood) and showing how the writer suggests that theme through the point of view from which the story is told; or you might also explain how the main character‟s attitude toward women is revealed through his dialogue and/or actions.
REMEMBER: Writing is the sharpened, focused expression of thought and study. As you develop your writing skills, you will also improve your perceptions and increase your critical abilities. Writing ultimately boils down to the development of an idea. Your objective in writing a literary analysis essay is to convince the person reading your essay that you have supported the idea you are developing. Unlike ordinary conversation and classroom discussion, writing must stick with great determination to the specific point of development. This kind of writing demands tight organization and control. Therefore, your essay must have a central idea (thesis), it must have several paragraphs that grow systematically out of the central idea, and everything in it must be directly related to the central idea and must contribute to the reader’s understanding of that central idea. These three principles are listed again below:
1. Your essay must cover the topic you are writing about.
2. Your essay must have a central idea (stated in your thesis) that governs its development.
3. Your essay must be organized so that every part contributes something to the reader’s understanding of the central idea.
THE ELEMENTS OF A SOLID ESSAY
The Thesis Statement
The thesis statement tells your reader what to expect: it is a restricted, precisely worded declarative sentence that states the purpose of your essay -- the point you are trying to make. Without a carefully conceived thesis, an essay has no chance of success. The following are thesis statements which would work for a 500-750 word literary analysis essay:
Gwendolyn Brooks‟s 1960 poem “The Ballad of Rudolph Reed” demonstrates how the poet uses the conventional poetic form of the ballad to treat the un ...
Recommended
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 ...
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.
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 ...
HOW TO WRITE A LITERARY ANALYSIS ESSAYThe purpose of a literary .docx
HOW TO WRITE A LITERARY ANALYSIS ESSAY
The purpose of a literary analysis essay is to carefully examine and sometimes evaluate a work of literature or an aspect of a work of literature. As with any analysis, this requires you to break the subject down into its component parts. Examining the different elements of a piece of literature is not an end in itself but rather a process to help you better appreciate and understand the work of literature as a whole. For instance, an analysis of a poem might deal with the different types of images in a poem or with the relationship between the form and content of the work. If you were to analyze (discuss and explain) a play, you might analyze the relationship between a subplot and the main plot, or you might analyze the character flaw of the tragic hero by tracing how it is revealed through the acts of the play. Analyzing a short story might include identifying a particular theme (like the difficulty of making the transition from adolescence to adulthood) and showing how the writer suggests that theme through the point of view from which the story is told; or you might also explain how the main character's attitude toward women is revealed through his dialogue and/or actions.
REMEMBER: Writing is the sharpened, focused expression of thought and study. As you develop your writing skills, you will also improve your perceptions and increase your critical abilities. Writing ultimately boils down to the development of an idea. Your objective in writing a literary analysis essay is to convince the person reading your essay that you have supported the idea you are developing. Unlike ordinary conversation and classroom discussion, writing must stick with great determination to the specific point of development. This kind of writing demands tight organization and control. Therefore, your essay must have a central idea (thesis), it must have several paragraphs that grow systematically out of the central idea, and everything in it must be directly related to the central idea and must contribute to the reader’s understanding of that central idea. These three principles are listed again below:
1. Your essay must cover the topic you are writing about.
2. Your essay must have a central idea (stated in your thesis) that governs its development.
3. Your essay must be organized so that every part contributes something to the reader’s understanding of the central idea.
THE ELEMENTS OF A SOLID ESSAY
The Thesis Statement The thesis statement tells your reader what to expect: it is a restricted, precisely worded declarative sentence that states the purpose of your essay -- the point you are trying to make. Without a carefully conceived thesis, an essay has no chance of success. The following are thesis statements which would work for a 500-750 word literary analysis essay:
Gwendolyn Brooks‟s 1960 poem “The Ballad of Rudolph Reed” demonstrates how the poet uses the conventional poetic form of the ballad to treat the un ...
HOW TO WRITE A LITERARY ANALYSIS ESSAYThe purpose of a literary
HOW TO WRITE A LITERARY ANALYSIS ESSAY
The purpose of a literary analysis essay is to carefully examine and sometimes evaluate a work of literature or an aspect of a work of literature. As with any analysis, this requires you to break the subject down into its component parts. Examining the different elements of a piece of literature is not an end in itself but rather a process to help you better appreciate and understand the work of literature as a whole. For instance, an analysis of a poem might deal with the different types of images in a poem or with the relationship between the form and content of the work. If you were to analyze (discuss and explain) a play, you might analyze the relationship between a subplot and the main plot, or you might analyze the character flaw of the tragic hero by tracing how it is revealed through the acts of the play. Analyzing a short story might include identifying a particular theme (like the difficulty of making the transition from adolescence to adulthood) and showing how the writer suggests that theme through the point of view from which the story is told; or you might also explain how the main character‟s attitude toward women is revealed through his dialogue and/or actions.
REMEMBER: Writing is the sharpened, focused expression of thought and study. As you develop your writing skills, you will also improve your perceptions and increase your critical abilities. Writing ultimately boils down to the development of an idea. Your objective in writing a literary analysis essay is to convince the person reading your essay that you have supported the idea you are developing. Unlike ordinary conversation and classroom discussion, writing must stick with great determination to the specific point of development. This kind of writing demands tight organization and control. Therefore, your essay must have a central idea (thesis), it must have several paragraphs that grow systematically out of the central idea, and everything in it must be directly related to the central idea and must contribute to the reader’s understanding of that central idea. These three principles are listed again below:
1. Your essay must cover the topic you are writing about.
2. Your essay must have a central idea (stated in your thesis) that governs its development.
3. Your essay must be organized so that every part contributes something to the reader’s understanding of the central idea.
THE ELEMENTS OF A SOLID ESSAY
The Thesis Statement
The thesis statement tells your reader what to expect: it is a restricted, precisely worded declarative sentence that states the purpose of your essay -- the point you are trying to make. Without a carefully conceived thesis, an essay has no chance of success. The following are thesis statements which would work for a 500-750 word literary analysis essay:
Gwendolyn Brooks‟s 1960 poem “The Ballad of Rudolph Reed” demonstrates how the poet uses the conventional poetic form of the ballad to treat the un ...
Core 168 LITERARY ANALYSIS ESSAYYour first essay for the c.docx
Core 168: LITERARY ANALYSIS ESSAY
Your first essay for the course will be a literary analysis essay. You will choose one primary text (one of the poems, stories, speeches, or memoirs) from our class reading so far and then focus your essay analyzing the text.
Your analysis must have:
· a worthwhile, interesting introduction leading to your thesis sentence (stating the focus/main point of the essay);
· a substantial body of paragraphs to support your analysis (at least 2-3 paragraphs);
· an interesting, relevant conclusion.
You will follow these steps of the writing process to write your essay. Each step will also earn you assignment credit. Your assignments will provide guidance for how to approach and perform a literary analysis. Also, included below are specific directions for HOW TO WRITE A LITERARY ANALYSIS ESSAY:
1. Read “How to Write a Literary Analysis Essay” (below in this document);
2. Choose a primary text of literature as your focus for the essay; (9/25/18)
3. Brainstorm regarding two different aspect of the text—the content (WHAT THE TEXT SAYS) and the literary devices (HOW THE TEXT SAYS WHAT IT SAYS). If you would like to use a recommended topic, you may do so, but you are also free to explore your own topic (9/27/18)
4. Determine WHAT is interesting and important about what happens in the text and make a statement about it. That statement is your thesis statement. (9/27/18)
5. Write an essay to support your thesis statement, using textual evidence (quotes from the primary text) to illustrate and provide examples of your thesis. (10/2/18)
6. Revise your essay for content and organization. (10/4/18)
7. Edit your essay for clarity and correctness.
8. Visit the Writing Center and do a peer review of your essay.
9. Proofread your essay before submitting it.
10. Submit your essay by the deadline of 10/10/18.
SUGGESTED/EXAMPLE TOPICS
· Examine Sherman Alexie’s poem “Grief Calls Us to the Things of This World”
· Examine how Nora Naranjo-Morse uses the legend/tradition of the coyote trickster in her poem “A Well Traveled Coyote”
· Analyze the coyote figure in any of the coyote texts from Native American Coyote Mythology
· Analyze Red Jacket’s rhetorical strategies he used in his speeches
· Examine how Black Elk uses descriptive details to evoke empathy for his people in Black Elk Speaks
· Analyze Lame Deers use of one or more of the following literary devices: simile/metaphor; circular storytelling; humor
· Analyze E. Pauline Johnson’s short story (fiction) “As It Was in the Beginning,” focusing on one or more of the following:
· 1st person point of view;
· the focus on skin color and how race is characterized in the text;
· the focus on womanhood, particularly Ester’s connection with her mother and how Ester uses the wisdom passed from her mother;
· the circularity of the story in terms of the beginning and end of the text and Ester’s return home;
· the significance of the snake;
· how Christian ideas of heaven and hell a.
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 ...
Conventions for Writing about LiteratureIntegrating Quotatio.docx
Conventions for Writing about Literature
Integrating Quotations:
Quotation with Signal Phrase:
If you are quoting dialogue (the spoken words of a character) in a work of literature, you should introduce the character who is speaking and provide a context for the spoken words. Use a signal phrase which names the speaker to incorporate the quotation.
For example: When Josephine begs Louise to open the door, Louise says, “Go away. I am not making myself ill” (8).
Or: Louise says, “Go away. I am not making myself ill” (8).
Introduced Quotation:
If you are quoting prose (non-spoken words) rather than dialogue (spoken words of a character) in a work of literature, there are also ways to smoothly incorporate quotations. One way to do this is to use an introduced quotation. To do this, first introduce the quote with a complete statement in your own words. Then, use a colon (:) in order to show that quotation which follows the colon is an example or further explanation of your statement.
For example: Louise Mallard’s outer appearance clearly reveals her inner qualities: “She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength” (7).
Blended Quotation:
Another way to quote prose is to use a blended quotation. This is when you blend a quotation into your own sentence. Sometimes, this means that you blend only a part of the original sentence into your own sentence. Also make sure that your blended sentence is grammatically correct.
For example: “The patches of blue sky” (7) represent hope in Louise Mallard’s bleak life.
Other Literary Conventions to Keep in Mind:
· In writing about literature, it is a convention to write in the present tense.
· Put titles of self-contained works (like novels) in italics, and put titles of works that are published as part of a larger whole (like the readings from Signs of Life ) in quotation marks.
· Put quotes within quotes in single quotation marks. (see WRP p.197).
· Put brackets around anything that you need to change within the quote. (see WRP p.206).
· Use ellipses to indicate omitted material from the quote. (see WRP p.202-205).
· Indent (10 spaces) quotations of more than four lines. These long quotations are double-spaced and the parenthetical citations are placed after the end punctuation. Do not include quotation marks for long quotations. (see WRP p.198).
Discuss: Asimov and Chiang
2 2 unread replies. 2 2 replies.
Please read Isaac Asimov’s short story “Reason” p.160-176 and Ted Chiang's short story "Exhalation" p.742-756 in The Wesleyan Anthology of Science Fiction. Then choose one of these short stories for your initial post.
Please make sure you post the initial response by Tuesday of Week 2. Here are the instructions for the initial discussion post:
1) Write a CLAIM (in essence, a working thesis) in a sentence or two about what the the story reveals about the underlying social message of what it means to be human. In other words, how.
Literary analysisppt
A compilation run through of basic literary analysis techniques intended for use with freshman composition students. Sources include the Bedford Guide for College Writers (Lottery examples).
Essay 750 words count, double-spaced and MLA format. The short
Essay: 750 words count, double-spaced and MLA format. The short story “Bloodchild” will be attached.
Instruction for Paper 1:
What is the significance of the literary element (plot, setting, characterization/character, diction, theme) you have chosen as the focus for your paper? You will develop a paper that answers this question and demonstrates the following outcomes for writing and literature:
Analyze literature for a purpose
Distinguish digital or print materials through annotation to demonstrate reading and summary skills
Identify a literary element--such as plot, setting, character, diction, or theme--in a short story
Identify one to three examples in the story that support the thesis
Write a thesis that clearly states your interpretation of the "meaning" (significance) the story based upon evidence related to the literary element you have selected to examine in the story
Write clear topic sentences for paragraphs that let the reader know what each paragraph of the body of the paper will discuss
Write paragraphs that explain how the examples from the story support the thesis
Arrange a paper by presenting paragraphs in a coherent, purposeful manner
Write sentences in standard American English that clearly express ideas
Demonstrate the MLA style of formatting in the layout of a paper
Demonstrate the MLA style of formatting by documenting material from the story within the paper and on a Works Cited page
Explain in a clear and logical fashion what you have learned about your writing
*Hints:
Remember that your reader has read the story and is familiar with it; extensive summary is not useful. Rather, explain and analyze how "meaning" is derived from the story by the author's implementation of a literary element. Note that the paper is to be about the story, not the author, so repeated references to the author are unnecessary and ill advised.
*Special Hint about Plot:
Be aware that a paper analyzing a piece of literature is NOT a plot summary. Summary, if you must have it, should provide only details necessary to identify parts of the story required to develop the paper, no longer than three to four sentences.
Select one from the literary elements listed below:
Plot
- the arrangement of ideas and/or incidents that make up a story
Foreshadowing
- When the writer clues the reader in to something that will eventually occur in the story; it may be explicit (obvious) or implied (disguised).
Suspense
- The tension that the author uses to create a feeling of discomfort about the unknown
Conflict
- Struggle between opposing forces.
Exposition
- Background information regarding the setting, characters, plot.
Rising Action
- The process the story follows as it builds to its main conflict
Crisis
- A significant turning point in the story that determines how it must end
Resolution/Denouement
- The way the story turns out.
Character
-
representation of a person, place, or ...
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
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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.
ENG125 Introduction to Literature List of Literary T.docx
ENG125: Introduction to Literature
List of Literary Techniques
Technique Description
Allusion
A reference to a recognized literary work, person, historic
event, artistic achievement, etc. that enhances the
meaning of a detail in a literary work.
Climax
The crisis or high point of tension that becomes the story’s
turning point—the point at which the outcome of the
conflict is determined.
Conflict The struggle that shapes the plot in a story.
Dramatic irony
When the reader or audience knows more about the
action than the character involved.
Epiphany
A profound and sudden personal discovery.
Exposition
Setting and essential background information presented at
the beginning of a story or play.
Falling action
A reduction in intensity following the climax in a story or
play, allowing the various complications to be worked out.
Fate
An outside source that determines human events.
Figurative language
Language used in a non-literal way to convey images and
ideas.
Figures of speech
The main tools of figurative language; include similes and
metaphors..
First-person point of view
Occurs when the narrator is a character in the story and
tells the story from his or her perspective.
Flashback
The description of an event that occurred prior to the
action in the story.
Foreshadowing
A technique a writer uses to hint or suggest what the
outcome of an important conflict or situation in a narrative
ENG125: Introduction to Literature
will be.
Imagery
A distinct representation of something that can be
experienced and understood through the senses (sight,
hearing, touch, smell, and taste), or the representation of
an idea.
Irony
A contradiction in words or actions. There are three types
of irony: verbal, situational, and dramatic.
Limited omniscient point of
view
Occurs when a narrator has access to the thoughts and
feelings of only one character in a story.
Metaphor
A figure of speech in which an implied comparison is made
between one object and another that is different from it.
Objective point of view
A detached point of view, evident when an external
narrator does not enter into the mind of any character in a
story but takes an objective stance, often to create a
dramatic effect.
Omniscient point of view
An all-knowing point of view, evident when an external
narrator has access to the thoughts and feelings of all the
characters in a story.
Persona
Literally, in Latin, “a mask.”
Plot
A connecting element in fiction; a sequence of interrelated,
conflicting actions and events that typically build to a
climax and bring about a resolution
Point of view
The perspective of the narrator who will present the action
to the reader.
Resolution The outcome of the action in a story or play.
Rising action
Conflicts and circumstances that build to a high point of
tension in a story or pl ...
Short Story Critical Paper Assignment Page count 3-4.docx
Short Story Critical Paper Assignment
Page count
: 3-4 pages
Format:
MLA, double-spaced, 12-point font
Required sources
: The short stories we’ve read to date
Now that we have nearly completed the short fiction unit of this course, it’s time to get to work on your critical papers.
The goal of a “lens analysis” essay or critical paper is
not
to simply compare and contrast two or three works of literature, but to put them in conversation with one another. We aren’t necessarily interested in how two or three particular stories contrast (because
every
story is different in a myriad of ways). We’re interested in looking at the ways the stories and their writers illuminate one another, how elements of craft and author intention are evident across multiple works of literature, and we’re interested in seeing how these elements of craft work to create different effects and create meaning in many works of literature.
Start your paper by formulating a two or three-sentence thesis statement or
argument
. You must then pull no less than
two quotes
from each story or text, passages of the story that serve as evidence to your thesis/argument.
You may choose one of the following essay topics (or another idea altogether) to address in your paper:
Character:
Choose protagonists (main characters) from two or three of the stories we’ve read. What does the protagonist most want? Make an argument. Who or what is in his/her way (antagonist)? Why is this a source of conflict or tension for him/her? What is the crisis? How does the climax or ending give you more insight into the meaning of the character’s desires and the overall theme(s) of the story? How do those desires change throughout the story?
Detail & Description and Imagery:
What sensory details make the world of the characters in these stories come alive? How is description working to affect meaning? What does the imagery add to the sensory in terms of emotional associations it brings to the text? Does the image recur (i.e. “the things they carried”)? If so, how does this repetition work to create meaning or enhance theme? Do you notice any
objective correlatives, metaphors
or examples of
personification
that enhance or affect meaning? Pick two different passages in each story you choose, and discuss how the writer’s choice of details and imagery helps characterize a place or a person, suggesting something that goes unstated (subtext) in the themes.
Subtext:
What goes unsaid in the dialogue and how does the writer give us hints to this subtext? Choose
at least
two passages of description of action or dialogue from two different stories and “read between the lines.” How are character gestures, imagery and/or metaphor working to help you “read between the lines” or uncover the subtext and Hemingway’s
Iceberg Theory.
What do you think is the purpose of subtext? What effect does subtext have on the reader?
Point of View and Voice:
How does the author’s use of sty.
COMMONALITY AND DIVERSITY OF OPERATING SYSTEMS .docx
COMMONALITY AND DIVERSITY OF OPERATING SYSTEMS 2
Maintaining a strong security system in the networking environment to prevent any form of attack and compromise information has been a formidable problem in recent times. There is fairly a small number of operating systems compared to the vast number of computer systems that are in operation. This situation has created a leeway for cyber attackers to target the systems easily (Palmer, 2010). Cyber attackers have formulated diverse techniques to exploit the homogeneity of the network environment. This article will explore the benefits related to diversity and commonality in the event of a malicious attack.
The purpose of any security strategy is to completely eliminate or at least limit the impact of damage to a successful attack on a particular system. At some point, any computer can be vulnerable to malware attacks, and the most important aspect in a case like this is to achieve an optimum level of preparedness. Diversity of the operating systems is beneficial in several ways, though an organization could incur an extra operational cost. Moving some groups of users to various different operating systems helps avert the overall damage caused by the SQL Slammer and MSBlast worms. Malicious-code attacks directed towards the commonly used operating system, windows, have been so rampant, thereby necessitating the need for improved security procedures of the computers (Anderson & Anderson, 2010).
Significant operational damages have been incurred before by businesses and enterprise to extensive downtime, brought about by malware attacks. Adopting diversity in operating systems comes along with several security benefits;
· Helps contain malicious-code attacks- Virus and worm attacks target and exploit the flaws in windows operating systems. In a case like this, availing an alternative operating system would be critical in helping to contain the spread to other PCs owned by the business. The impact of the attack is leveled down since some core business can be carried out in the event of an attack.
· Directing some pressure towards Microsoft- Health competition among service and commodity provider is beneficial for the consumers. Being diversified in terms of operating systems pushes dominant companies like Microsoft to try so hard to meet the security needs of their customers.
· It helps speed up innovations in the sense that other operating system developers will work towards improving their operating systems to match that of the windows. Such innovations include stable security systems that prevent malware from instilling too much damage to the computer system.
Exercising commonality in the usage of operating systems comes with its own benefits, too, especially when dealing with a malicious attack. The business would not incur too much cost, in the event of a .
Common Mistakes I see on this paper are1. Using summaries and .docx
Common Mistakes I see on this paper are
1. Using summaries and reviews written by other authors rather than using the actual IOM report and viewing each section, or viewing the IOM's summaries of it's report.
2. Forgetting to include information on how the IOM report will or has impacted one's practice. This is worth a high percentage of points
3. Not formatting the paper in APA, citing sources or using current sources like those supplied in our course resources for the week (since I am supplying a template APA should be flawless)
4. Going over the allowed length (papers that are over the criteria for length will be returned for revision)
5. Including background information, losing focus - remember the goal is to discuss the recommendations for education, practice, leadership and discuss how they can be achieved.
6. Ineffective introduction, too long, does not introduce the topic briefly, does not include a summary of what the paper will cover
LINKS TO THE IOM REPORT AND IOM SUMMARIES OF THE REPORT (These should be your main references for the report, don’t use a summary written about the report, use the IOMs summaries)
Download whole report as guest
Report Brief
Summary of Report on Education
Summary of Report on Practice
Summary of recommendations
Great infograph that highlights IOM recommendations. Here is the link. This link gives an outline of the IOM's recommendations. Both offer an option that provides quick access to needed information in a brief and easy to follow format. Hope these are helpful.
How to Reference and Cite the IOM Report
IOM will each have the same author (the Institute of Medicine is the author) and year you will differentiate them by adding a small case letter after the year of publication in both your reference and citation. The reference would be listed in alphabetical order using the title. I have posted examples below.
Institute of Medicine [IOM]. (2010). Future of nursing: Focus on education. Retrieved from www.nationalacademies.org/hmd/~/media/Files/Report%20Files/2010/The-Future-of-Nursing/Nursing%20Education%202010%20Brief.pdf
Research Article
The Cross-Category Effect
Mere Social Categorization Is Sufficient to Elicit an
Own-Group Bias in Face Recognition
Michael J. Bernstein, Steven G. Young, and Kurt Hugenberg
Miami University
ABSTRACT—Although the cross-race effect (CRE) is a well-
established phenomenon, both perceptual-expertise and
social-categorization models have been proposed to ex-
plain the effect. The two studies reported here investigated
the extent to which categorizing other people as in-group
versus out-group members is sufficient to elicit a pattern of
face recognition analogous to that of the CRE, even when
perceptual expertise with the stimuli is held constant. In
Study 1, targets were categorized as members of real-life
in-groups and out-groups (based on university affiliation),
whereas in Study 2, targets were categorized into experi-
mentally created .
More Related Content
Similar to Reading Responses Assignment What is a reading response .docx
Core 168 LITERARY ANALYSIS ESSAYYour first essay for the c.docx
Core 168: LITERARY ANALYSIS ESSAY
Your first essay for the course will be a literary analysis essay. You will choose one primary text (one of the poems, stories, speeches, or memoirs) from our class reading so far and then focus your essay analyzing the text.
Your analysis must have:
· a worthwhile, interesting introduction leading to your thesis sentence (stating the focus/main point of the essay);
· a substantial body of paragraphs to support your analysis (at least 2-3 paragraphs);
· an interesting, relevant conclusion.
You will follow these steps of the writing process to write your essay. Each step will also earn you assignment credit. Your assignments will provide guidance for how to approach and perform a literary analysis. Also, included below are specific directions for HOW TO WRITE A LITERARY ANALYSIS ESSAY:
1. Read “How to Write a Literary Analysis Essay” (below in this document);
2. Choose a primary text of literature as your focus for the essay; (9/25/18)
3. Brainstorm regarding two different aspect of the text—the content (WHAT THE TEXT SAYS) and the literary devices (HOW THE TEXT SAYS WHAT IT SAYS). If you would like to use a recommended topic, you may do so, but you are also free to explore your own topic (9/27/18)
4. Determine WHAT is interesting and important about what happens in the text and make a statement about it. That statement is your thesis statement. (9/27/18)
5. Write an essay to support your thesis statement, using textual evidence (quotes from the primary text) to illustrate and provide examples of your thesis. (10/2/18)
6. Revise your essay for content and organization. (10/4/18)
7. Edit your essay for clarity and correctness.
8. Visit the Writing Center and do a peer review of your essay.
9. Proofread your essay before submitting it.
10. Submit your essay by the deadline of 10/10/18.
SUGGESTED/EXAMPLE TOPICS
· Examine Sherman Alexie’s poem “Grief Calls Us to the Things of This World”
· Examine how Nora Naranjo-Morse uses the legend/tradition of the coyote trickster in her poem “A Well Traveled Coyote”
· Analyze the coyote figure in any of the coyote texts from Native American Coyote Mythology
· Analyze Red Jacket’s rhetorical strategies he used in his speeches
· Examine how Black Elk uses descriptive details to evoke empathy for his people in Black Elk Speaks
· Analyze Lame Deers use of one or more of the following literary devices: simile/metaphor; circular storytelling; humor
· Analyze E. Pauline Johnson’s short story (fiction) “As It Was in the Beginning,” focusing on one or more of the following:
· 1st person point of view;
· the focus on skin color and how race is characterized in the text;
· the focus on womanhood, particularly Ester’s connection with her mother and how Ester uses the wisdom passed from her mother;
· the circularity of the story in terms of the beginning and end of the text and Ester’s return home;
· the significance of the snake;
· how Christian ideas of heaven and hell a.
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 ...
Conventions for Writing about LiteratureIntegrating Quotatio.docx
Conventions for Writing about Literature
Integrating Quotations:
Quotation with Signal Phrase:
If you are quoting dialogue (the spoken words of a character) in a work of literature, you should introduce the character who is speaking and provide a context for the spoken words. Use a signal phrase which names the speaker to incorporate the quotation.
For example: When Josephine begs Louise to open the door, Louise says, “Go away. I am not making myself ill” (8).
Or: Louise says, “Go away. I am not making myself ill” (8).
Introduced Quotation:
If you are quoting prose (non-spoken words) rather than dialogue (spoken words of a character) in a work of literature, there are also ways to smoothly incorporate quotations. One way to do this is to use an introduced quotation. To do this, first introduce the quote with a complete statement in your own words. Then, use a colon (:) in order to show that quotation which follows the colon is an example or further explanation of your statement.
For example: Louise Mallard’s outer appearance clearly reveals her inner qualities: “She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength” (7).
Blended Quotation:
Another way to quote prose is to use a blended quotation. This is when you blend a quotation into your own sentence. Sometimes, this means that you blend only a part of the original sentence into your own sentence. Also make sure that your blended sentence is grammatically correct.
For example: “The patches of blue sky” (7) represent hope in Louise Mallard’s bleak life.
Other Literary Conventions to Keep in Mind:
· In writing about literature, it is a convention to write in the present tense.
· Put titles of self-contained works (like novels) in italics, and put titles of works that are published as part of a larger whole (like the readings from Signs of Life ) in quotation marks.
· Put quotes within quotes in single quotation marks. (see WRP p.197).
· Put brackets around anything that you need to change within the quote. (see WRP p.206).
· Use ellipses to indicate omitted material from the quote. (see WRP p.202-205).
· Indent (10 spaces) quotations of more than four lines. These long quotations are double-spaced and the parenthetical citations are placed after the end punctuation. Do not include quotation marks for long quotations. (see WRP p.198).
Discuss: Asimov and Chiang
2 2 unread replies. 2 2 replies.
Please read Isaac Asimov’s short story “Reason” p.160-176 and Ted Chiang's short story "Exhalation" p.742-756 in The Wesleyan Anthology of Science Fiction. Then choose one of these short stories for your initial post.
Please make sure you post the initial response by Tuesday of Week 2. Here are the instructions for the initial discussion post:
1) Write a CLAIM (in essence, a working thesis) in a sentence or two about what the the story reveals about the underlying social message of what it means to be human. In other words, how.
Literary analysisppt
A compilation run through of basic literary analysis techniques intended for use with freshman composition students. Sources include the Bedford Guide for College Writers (Lottery examples).
Essay 750 words count, double-spaced and MLA format. The short
Essay: 750 words count, double-spaced and MLA format. The short story “Bloodchild” will be attached.
Instruction for Paper 1:
What is the significance of the literary element (plot, setting, characterization/character, diction, theme) you have chosen as the focus for your paper? You will develop a paper that answers this question and demonstrates the following outcomes for writing and literature:
Analyze literature for a purpose
Distinguish digital or print materials through annotation to demonstrate reading and summary skills
Identify a literary element--such as plot, setting, character, diction, or theme--in a short story
Identify one to three examples in the story that support the thesis
Write a thesis that clearly states your interpretation of the "meaning" (significance) the story based upon evidence related to the literary element you have selected to examine in the story
Write clear topic sentences for paragraphs that let the reader know what each paragraph of the body of the paper will discuss
Write paragraphs that explain how the examples from the story support the thesis
Arrange a paper by presenting paragraphs in a coherent, purposeful manner
Write sentences in standard American English that clearly express ideas
Demonstrate the MLA style of formatting in the layout of a paper
Demonstrate the MLA style of formatting by documenting material from the story within the paper and on a Works Cited page
Explain in a clear and logical fashion what you have learned about your writing
*Hints:
Remember that your reader has read the story and is familiar with it; extensive summary is not useful. Rather, explain and analyze how "meaning" is derived from the story by the author's implementation of a literary element. Note that the paper is to be about the story, not the author, so repeated references to the author are unnecessary and ill advised.
*Special Hint about Plot:
Be aware that a paper analyzing a piece of literature is NOT a plot summary. Summary, if you must have it, should provide only details necessary to identify parts of the story required to develop the paper, no longer than three to four sentences.
Select one from the literary elements listed below:
Plot
- the arrangement of ideas and/or incidents that make up a story
Foreshadowing
- When the writer clues the reader in to something that will eventually occur in the story; it may be explicit (obvious) or implied (disguised).
Suspense
- The tension that the author uses to create a feeling of discomfort about the unknown
Conflict
- Struggle between opposing forces.
Exposition
- Background information regarding the setting, characters, plot.
Rising Action
- The process the story follows as it builds to its main conflict
Crisis
- A significant turning point in the story that determines how it must end
Resolution/Denouement
- The way the story turns out.
Character
-
representation of a person, place, or ...
209.20191.ENG11238A Assignments Essay 1 Final! Essay 1 .docx
209.20191.ENG11238A Assignments * Essay 1 Final!
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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.
ENG125 Introduction to Literature List of Literary T.docx
ENG125: Introduction to Literature
List of Literary Techniques
Technique Description
Allusion
A reference to a recognized literary work, person, historic
event, artistic achievement, etc. that enhances the
meaning of a detail in a literary work.
Climax
The crisis or high point of tension that becomes the story’s
turning point—the point at which the outcome of the
conflict is determined.
Conflict The struggle that shapes the plot in a story.
Dramatic irony
When the reader or audience knows more about the
action than the character involved.
Epiphany
A profound and sudden personal discovery.
Exposition
Setting and essential background information presented at
the beginning of a story or play.
Falling action
A reduction in intensity following the climax in a story or
play, allowing the various complications to be worked out.
Fate
An outside source that determines human events.
Figurative language
Language used in a non-literal way to convey images and
ideas.
Figures of speech
The main tools of figurative language; include similes and
metaphors..
First-person point of view
Occurs when the narrator is a character in the story and
tells the story from his or her perspective.
Flashback
The description of an event that occurred prior to the
action in the story.
Foreshadowing
A technique a writer uses to hint or suggest what the
outcome of an important conflict or situation in a narrative
ENG125: Introduction to Literature
will be.
Imagery
A distinct representation of something that can be
experienced and understood through the senses (sight,
hearing, touch, smell, and taste), or the representation of
an idea.
Irony
A contradiction in words or actions. There are three types
of irony: verbal, situational, and dramatic.
Limited omniscient point of
view
Occurs when a narrator has access to the thoughts and
feelings of only one character in a story.
Metaphor
A figure of speech in which an implied comparison is made
between one object and another that is different from it.
Objective point of view
A detached point of view, evident when an external
narrator does not enter into the mind of any character in a
story but takes an objective stance, often to create a
dramatic effect.
Omniscient point of view
An all-knowing point of view, evident when an external
narrator has access to the thoughts and feelings of all the
characters in a story.
Persona
Literally, in Latin, “a mask.”
Plot
A connecting element in fiction; a sequence of interrelated,
conflicting actions and events that typically build to a
climax and bring about a resolution
Point of view
The perspective of the narrator who will present the action
to the reader.
Resolution The outcome of the action in a story or play.
Rising action
Conflicts and circumstances that build to a high point of
tension in a story or pl ...
Short Story Critical Paper Assignment Page count 3-4.docx
Short Story Critical Paper Assignment
Page count
: 3-4 pages
Format:
MLA, double-spaced, 12-point font
Required sources
: The short stories we’ve read to date
Now that we have nearly completed the short fiction unit of this course, it’s time to get to work on your critical papers.
The goal of a “lens analysis” essay or critical paper is
not
to simply compare and contrast two or three works of literature, but to put them in conversation with one another. We aren’t necessarily interested in how two or three particular stories contrast (because
every
story is different in a myriad of ways). We’re interested in looking at the ways the stories and their writers illuminate one another, how elements of craft and author intention are evident across multiple works of literature, and we’re interested in seeing how these elements of craft work to create different effects and create meaning in many works of literature.
Start your paper by formulating a two or three-sentence thesis statement or
argument
. You must then pull no less than
two quotes
from each story or text, passages of the story that serve as evidence to your thesis/argument.
You may choose one of the following essay topics (or another idea altogether) to address in your paper:
Character:
Choose protagonists (main characters) from two or three of the stories we’ve read. What does the protagonist most want? Make an argument. Who or what is in his/her way (antagonist)? Why is this a source of conflict or tension for him/her? What is the crisis? How does the climax or ending give you more insight into the meaning of the character’s desires and the overall theme(s) of the story? How do those desires change throughout the story?
Detail & Description and Imagery:
What sensory details make the world of the characters in these stories come alive? How is description working to affect meaning? What does the imagery add to the sensory in terms of emotional associations it brings to the text? Does the image recur (i.e. “the things they carried”)? If so, how does this repetition work to create meaning or enhance theme? Do you notice any
objective correlatives, metaphors
or examples of
personification
that enhance or affect meaning? Pick two different passages in each story you choose, and discuss how the writer’s choice of details and imagery helps characterize a place or a person, suggesting something that goes unstated (subtext) in the themes.
Subtext:
What goes unsaid in the dialogue and how does the writer give us hints to this subtext? Choose
at least
two passages of description of action or dialogue from two different stories and “read between the lines.” How are character gestures, imagery and/or metaphor working to help you “read between the lines” or uncover the subtext and Hemingway’s
Iceberg Theory.
What do you think is the purpose of subtext? What effect does subtext have on the reader?
Point of View and Voice:
How does the author’s use of sty.
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COMMONALITY AND DIVERSITY OF OPERATING SYSTEMS .docx
COMMONALITY AND DIVERSITY OF OPERATING SYSTEMS 2
Maintaining a strong security system in the networking environment to prevent any form of attack and compromise information has been a formidable problem in recent times. There is fairly a small number of operating systems compared to the vast number of computer systems that are in operation. This situation has created a leeway for cyber attackers to target the systems easily (Palmer, 2010). Cyber attackers have formulated diverse techniques to exploit the homogeneity of the network environment. This article will explore the benefits related to diversity and commonality in the event of a malicious attack.
The purpose of any security strategy is to completely eliminate or at least limit the impact of damage to a successful attack on a particular system. At some point, any computer can be vulnerable to malware attacks, and the most important aspect in a case like this is to achieve an optimum level of preparedness. Diversity of the operating systems is beneficial in several ways, though an organization could incur an extra operational cost. Moving some groups of users to various different operating systems helps avert the overall damage caused by the SQL Slammer and MSBlast worms. Malicious-code attacks directed towards the commonly used operating system, windows, have been so rampant, thereby necessitating the need for improved security procedures of the computers (Anderson & Anderson, 2010).
Significant operational damages have been incurred before by businesses and enterprise to extensive downtime, brought about by malware attacks. Adopting diversity in operating systems comes along with several security benefits;
· Helps contain malicious-code attacks- Virus and worm attacks target and exploit the flaws in windows operating systems. In a case like this, availing an alternative operating system would be critical in helping to contain the spread to other PCs owned by the business. The impact of the attack is leveled down since some core business can be carried out in the event of an attack.
· Directing some pressure towards Microsoft- Health competition among service and commodity provider is beneficial for the consumers. Being diversified in terms of operating systems pushes dominant companies like Microsoft to try so hard to meet the security needs of their customers.
· It helps speed up innovations in the sense that other operating system developers will work towards improving their operating systems to match that of the windows. Such innovations include stable security systems that prevent malware from instilling too much damage to the computer system.
Exercising commonality in the usage of operating systems comes with its own benefits, too, especially when dealing with a malicious attack. The business would not incur too much cost, in the event of a .
Common Mistakes I see on this paper are1. Using summaries and .docx
Common Mistakes I see on this paper are
1. Using summaries and reviews written by other authors rather than using the actual IOM report and viewing each section, or viewing the IOM's summaries of it's report.
2. Forgetting to include information on how the IOM report will or has impacted one's practice. This is worth a high percentage of points
3. Not formatting the paper in APA, citing sources or using current sources like those supplied in our course resources for the week (since I am supplying a template APA should be flawless)
4. Going over the allowed length (papers that are over the criteria for length will be returned for revision)
5. Including background information, losing focus - remember the goal is to discuss the recommendations for education, practice, leadership and discuss how they can be achieved.
6. Ineffective introduction, too long, does not introduce the topic briefly, does not include a summary of what the paper will cover
LINKS TO THE IOM REPORT AND IOM SUMMARIES OF THE REPORT (These should be your main references for the report, don’t use a summary written about the report, use the IOMs summaries)
Download whole report as guest
Report Brief
Summary of Report on Education
Summary of Report on Practice
Summary of recommendations
Great infograph that highlights IOM recommendations. Here is the link. This link gives an outline of the IOM's recommendations. Both offer an option that provides quick access to needed information in a brief and easy to follow format. Hope these are helpful.
How to Reference and Cite the IOM Report
IOM will each have the same author (the Institute of Medicine is the author) and year you will differentiate them by adding a small case letter after the year of publication in both your reference and citation. The reference would be listed in alphabetical order using the title. I have posted examples below.
Institute of Medicine [IOM]. (2010). Future of nursing: Focus on education. Retrieved from www.nationalacademies.org/hmd/~/media/Files/Report%20Files/2010/The-Future-of-Nursing/Nursing%20Education%202010%20Brief.pdf
Research Article
The Cross-Category Effect
Mere Social Categorization Is Sufficient to Elicit an
Own-Group Bias in Face Recognition
Michael J. Bernstein, Steven G. Young, and Kurt Hugenberg
Miami University
ABSTRACT—Although the cross-race effect (CRE) is a well-
established phenomenon, both perceptual-expertise and
social-categorization models have been proposed to ex-
plain the effect. The two studies reported here investigated
the extent to which categorizing other people as in-group
versus out-group members is sufficient to elicit a pattern of
face recognition analogous to that of the CRE, even when
perceptual expertise with the stimuli is held constant. In
Study 1, targets were categorized as members of real-life
in-groups and out-groups (based on university affiliation),
whereas in Study 2, targets were categorized into experi-
mentally created .
Common symptoms of memory changes during the lifetime in healthy.docx
Common symptoms of memory changes during the lifetime in healthy people generally start gradually beginning with those associated with episodic memory i.e. forgetting names of people or details of personally experienced events. While semantic memory does not decline in the same way and can in fact be equal to those of younger people, aging adults typically access general knowledge and information more slowly (Dixon et al., 2006).This is a sign of declining working memory which encompasses processing speed, attentional capability/distractibility and problem solving (Dixon et al., 2006; Richmond et al., 2011). Another type of memory change may stem from a decline in sensory acuity. For example, loss of vision, hearing, taste and smell would all impact how stimuli are encoded and will contribute to additional attentional interference (Wolfe & Horowitz, 2004)
Compared with expected changes in memory functioning over the lifespan, pathological conditions such as anterograde amnesia and loss of semantic memory are much more debilitating. Since typically developing memory decline is gradual and centers around past experiences rather than general knowledge, people are often able to adapt to their “forgetfulness” with the assistance of formal and informal compensatory strategies such as more effortful attention, associative learning of new information, making to-do lists, keeping a journal and/or relying on another close individual to fill in missing pieces of stories and events (Dixon et al., 2006)
While typically aging adults may make a to-do list but have to spend time trying to find where they left it, in the case of anterograde amnesia, this sort of strategy would be ineffective. This is because these individuals would have no memory of even making a list since they have lost the ability to form new memories (Squire & Wixted, 2011). People with this condition are likely to become easily confused in social situations involving unfamiliar people since they will not retain any introductory information provided.
Loss of semantic memory would also be more negatively impactful than loss of episodic memory because an individual would lose the ability to make sense of objects in their everyday environment. For example, they make not be able to identify what a television or a toilet is or what each item is used for. As is the case with anterograde amnesia, compensatory strategies that are effective for typical aging memory decline could not be used for semantic memory loss since the individuals would not be able to engage in metamemory cognitions that would enable them to identify their areas of deficit and the most appropriate strategies to address these (Squire & Wixted, 2011). In addition, in both conditions, the individual would require a high level of external support to live safely.
References
Dixon, R. A., Rust, T. B., Feltmate, S. E., & See, S. K. (2007). Memor.
Common Surface-Level Issues for the Informative Essay(Note Thes.docx
Common Surface-Level Issues for the Informative Essay
(Note: These Surface-Level Issues will be the only grammar/mechanics issues that I will look for in this paper. I will add more in subsequent papers.)
· Have a title! Every written work has a title; yours should be no exception. (The title should be something interesting, and NOT Assignment 1 or Informative Essay!)
· Neither authors nor articles SAY anything (same thing with TALKS ABOUT) – it’s a text. “Anderson argues…” or “Jones believes…” or “Brown states…”
· Always write about the article (or any source you are use) in the present tense. It is a text, which means it always exists in the present. Even if the author is dead, the text is not. This means “Smith notes…” not “Smith noted…”
· The titles of articles belong in quotations marks. Italics are for books and movies.
· Make sure your writing is more formal than your speech – there should be no “I was so freaked out” or “I was totally bummed.” This is a formal essay, so even though it is personal, your writing should reflect formality. Don’t use slang.
· Do not use the word “you” (the second person) in a formal essay. People use it a lot to try to generalize. “You think the Internet is safe, but it’s not.” Instead, you can write, “Many people think the Internet is safe, but it’s not.”
· Avoid using too many rhetorical questions in your essay. A few are fine for effect, but be careful how and why you use them. It is generally not considered a good idea to begin paragraphs with a rhetorical question either.
· Notice how I changed it to, “MANY people think…” rather than, “EVERYONE thinks…” Be careful that you don’t assume too much about what people in general think.
· Introduce all quotes. They should not be their own sentences. (Also a reminder that the first time you introduce a source you need to give that source credibility so it is clear that the source has expert knowledge.)
Grammar/Mechanics Issues:
· Make sure all of the punctuation is correct. One thing to remember is that the quotation marks go right after the quote, not after the in-text citations parentheses.
· Make sure everything is spelled correctly. One thing to look for: there/their/they’re issues as well as to/too/two. Those are the most common, but there are others, of course.
· Subject/verb agreement. This is pretty-straightforward, and means looking for things like, “There is some more of those in the other room.” And, “My brother receive the prize for the best haircut.”
· Sentence fragments/run-on sentences. Make sure that all your sentences. Have a complete thought! Also, make sure they do not have too many thoughts in them because that means that it is a run-on sentence and that means that it can be too confusing for your readers if you include too much in one sentence, so you will want to be sure to break it up. (
Formatting/Documentation Issues
· Make sure the paper is written in 12 point Times New Roman font with 1 inch margins on all sides. .
Commercial Space TravelThere are about a half dozen commercial s.docx
Commercial Space Travel
There are about a half dozen commercial space entrepreneurs globally today. Pick one of those companies, and then provide a short history of their company, outline their current projects, and describe their future plans for space travel. Describe the biggest obstacles that they will have to overcome to achieve their goals.
Your initial discussion post should be succinct (only about 200–300 words) and include references to your sources.
.
Common sports-relatedshoulder injuriesShoulder pain is.docx
Common sports-related
shoulder injuries
S
houlder pain is commonly treated in general practice; its causes are often
multi-factorial. The focus of this article is on sports-related shoulder injuries
likely to be seen in the community. This article aims to overview the presen-
tation, assessment and management of these conditions in general practice.
The GP curriculum and common sports-related shoulder injuries
Clinical module 3.20: Care of people with musculoskeletal problems lists the learning objectives required
for a GP to manage common sports-related shoulder injuries in the community or refer for specialist management. In
particular, GPs are expected to be able to:
. Communicate health information effectively to promote better outcomes
. Explore the perceptions, ideas or beliefs the patient has about the condition and whether these may be acting as
barriers to recovery
. Use simple techniques and consistent advice to promote activity in the presence of pain and stiffness
. Agree treatment goals and facilitate supported self-management, particularly around pain, function and physical
activity
. Assess the importance and meaning of the following presenting features:
. pain: nature, location, severity, history of trauma
. variation of symptoms over time
. loss of function – weakness, restricted movement, deformity and disability, ability to perform usual work or
occupation
. Understand that reducing pain and disability rather than achieving a complete cure could be the goal of
treatment
. Understand indications and limitations of plain radiography, ultrasound, and magnetic resonance scans
. Diagnose common, regional soft-tissue problems that can be managed in primary care
. Understand the challenge that many musculoskeletal conditions might be better and more confidently managed
by other healthcare personnel rather than GPs, because most GPs do not gain the necessary treatment skills
during their training
. Refer those conditions which may benefit from early referral to an orthopaedic surgeon
The four most common categories of shoulder pain
seen in primary care are (Mitchell, Adebajo, Hay, &
Carr, 2005):
. Rotator cuff disorders (85% tendinopathy)
. Glenohumeral disorders
. Acromioclavicular joint disease, and
. Referred neck pain.
There are many different types of sports that can cause
acute or chronic shoulder injuries. In professional English
Rugby Union, for example, the most common match
injury is of the acromioclavicular joint (32% overall) and
the most severe injury requiring the longest time off
(mean of 81 days) is shoulder dislocation (Headey,
Brooks, & Kemp, 2007).
Shoulder injuries can also occur in non-contact sports,
such as golf, tennis, swimming and weightlifting.
Although shoulder injuries may be more common in con-
tact sports, the injury may have a larger impact on the
performance of individuals playing non-contact sports.
For example, golfers require very precise manoeuvres
of their dominant.
Common Product Yields VEGETABLES Acorn Squash.docx
Common Product Yields
VEGETABLES
Acorn Squash Flesh Raw 74% Eggplant Trim, Pared, and Sliced 81%
Artichoke Edible Leaves and Base 40% Endive Trimmed and Cored 86%
Asparagus Trimmed Ends 80% Fennel Trimmed and Cored 86%
Beets Peeled and Diced 91% Garlic Peeled Cloves 87%
Broccoli Cored. Florets Only 47% Ginger Root Peeled Root 83-90%
Brussel Sprouts Trim and Ready To Cook 90% Iceberg Lettuce 62%
Butternut Squash 84% Leek Bulb and Flower Leaves 44%
Red & Green
Cabbage Trimmed Without Core 64% Mushrooms
90%
Carrots 68% Onions 63%
Cauliflower Cored. Florets Only. 53% Peppers 59%
Celery 60% Potatoes Skinned By Hand and Raw 63%
Cilantro 90% Romaine 86%
Corn Raw Kernals Cut Off Cob 36% Spinach Trimmed Leaves 72%
Cucumber Pared and Sliced 84% Zucchini 78%
FRUITS
Apples Peeled and Cored 40% Mango Without Pit and Skin 69%
Avocado Skin and Seeded 63% Oranges Pared, Flesh 44%
Banana 66% Papayas 65%
Blackberries 96% Peaches Without Pit and Skin 76%
Cantaloupe Rind and Seeded 43% Pears Without Pit and Skin 78%
Cherries Flesh 62% Pineapple Peeled and Cored 38%
Coconut Meat 48% Plantains Fully Ripe 65%
Figs Without Stem 97% Plums Pitted 94%
Grapefruit
Segments Without
Membrane 52% Pomegranates Seeded 44%
Grapes Stems Removed 96% Prickle Pear Pulp 44%
Honeydew Rind and Seeded 48% Strawberries Good Quality, No Stem 90%
Lemons Juiced and Strained 36% Tomato Stem and Base 90%
Lime/Lemon Zest 16% Watermelon Rind and Seeded 52%
Limes Juiced and Strained 47%
Common Product Yields
MEAT
Beef Chuck 85% Lamb Breast And Flank 89%
Flank 90% Chop 75%
Flap Meat 80% Foreleg 70%
Inside Round 65% Loin 89%
Neck 75% Rib 81%
Rib Chop 83% Shoulder 86%
Rump 79% Pork Bacon 93%
Shank Hind 43% Butt Boneless 85%
Shank Fore 61% Chop 75%
Shoulder Clod 75% Ham 85%
Short Ribs 68% Picnic 81%
Sirloin Butt 70% Shoulder 84%
Sirloin Top Full Cut 71% Tender 95%
Steak Club 83% Veal Chuck 80%
Steak Porterhouse 91% Flank 99%
Steak T-Bone 88% Fore Shank 52%
Tender PSMO 75% Leg, Boned and Trimmed 68%
Cut Steak Ribeye Steak Lip Off 72% Loin 83%
Ribeye Steak Lip On 78% Plate 79%
Strip Steak Center Cut 50% Rib 77%
Strip Steak End Cut 63% Round 77%
Top Butt Steak Cap On 52%
Top Butt Steak Center Cut 38%
Peeled Tenderloin 52%
Peeled Tenderloin c/c 38%
Common Product Yields
POULTRY AND FISH
Game Hen With Neck and Giblets 91% Bass Without Skin Filet 59%
Breast Skin On 74% Clams Edible Portion 15%
Chicken
Broiler/Fryer Without
Neck/Giblets 89% Cod Filet Without Skin 30%
Drum 63% Crab Blue From Shell 17%
Thighs 70% Dungeness From Shell 27%
Wings 50% King From Shell 25%
Breast 87% Crawfish Tail 12%
Breast Quarter 75% Back 23%
Drum 69% Flounder Filet Without Skin 41%
Leg 75% Frog Legs Flesh 65%
Leg Quarter 71% Halibut Filet Without Skin 59%
Thigh 82% Trout Fil.
Common Law Strict Liability Introduction Strict liabilit.docx
Common Law Strict Liability
Introduction: Strict liability, or liability without fault, is a category of unintentional torts
in which the wrongdoer may be held liable for harm to others even when exercising
utmost care and being as careful as possible. Strict liability applies to (1) abnormally
dangerous activities. Abnormally dangerous activities are those that involve a high risk
of serious harm to persons or property that cannot be completely eliminated even with
reasonable care, such as using and storing explosives, stunt flying, keeping wild
animals, and trespassing livestock.
Product Liability**
Introduction: Product liability, sometimes called strict product liability refers to cases in
which a person is injured by a product, or use of a product because the product is
defective in some way. When a product is defective it may become abnormally
dangerous although the product, when not defective, may be safe.
Please also see Instructor Notes link in week 2 for further details and explanation of
product liability.
**Strict product liability is often confused with the separate common law tort of strict
liability, sometimes referred to as “liability without fault”. Strict liability applies only to a
small category of abnormally dangerous activities, such as use of explosives, fireworks,
and stunt flying. Please see section above.
Warranties and Product Liability
Introduction: A warranty is a promise, or guarantee, by a seller or lessor that certain
facts are true of the goods being sold or leased. Types of warranties include (1)
warranties of title guaranteeing that the goods have clear and valid title, (2) express
warranties promising specific facts about the goods, and (3) implied warranties of
merchantability, or fitness for a particular purpose. A warranty creates a legal duty for
the seller or lessor; a non-breaching party can recover damages for breach of
warranty(ies). Because warranties are associated with the sale or lease of products,
breach of warranty claims are a part of product liability claims and manufacturers and
sellers of goods can be held liable for breach of warranty for defective products.
Warranties are subject to regulation under the UCC, product liability tort law, contract
law, and the Magnuson-Moss Warranty Act.
Product Liability**
Product liability, sometimes called strict product liability refers to cases in which a
person is injured by a product, or use of a product because the product is
defective in some way. When a product is defective it may become abnormally
dangerous although the product, when not defective, may be safe.
Definitions of a Defective Product in Product Liability
Products may become defective because of:
1) defective manufacture (so the product is "broken", not perfectly made, i.e., a product
is manufactured so that the electric wiring is improperly made/attached, etc. and may
cause a fire or cause elect.
Common Core .docx
Common Core 2
Common Core Comment by Author: this should not be bold
Casey Berry
English / 200
September 5, 2018
Ms. Gaby Maruri
Introduction Comment by Author: this needs to be centered and not in bold; it needs to be the title of your paper Comment by Author:
Common core is a standardized education tool that is being used in almost 43 states of America. It is like an outline that has various benchmarks which need to be completed at the end of each grade so that students can successfully learn. It is like having a check and balance on what the students should learn. The primary aim is to prepare learners of America for college and make sure that they are acquiring various skills. Although some people believe that Common Core has been a great model and useful for education, it is an unnecessary program to have in schools and needs to be eliminated for several reasons. Comment by Author: plural needed
However, this practice is disadvantageous for students as well as teachers because no other material knows better than the teachers about the needs, wants, and goals of the students. Teachers can easily teach their students after analyzing their needs and previous knowledge. Moreover, this tool is unconstitutional as it has been created by the National Governors Association Center for Best Practices and the Council of Chief State Officers with help from the Bill and Melissa Gates Foundation not the Department of Education. Comment by Author: choose a different phrase---“outer” is a bit awkward Comment by Author: Comment by Author: Comment by Author: rephrase this---“…can know about the needs, wants, and goals of students better than the classroom teacher.” Comment by Author: missing comma
Common core unconstitutional Comment by Author: needs to be centered; titles should not be complete sentences—think of newspaper titles…they’re fragments
The step to create a tool of education has not been taken by the Department of Education. Instead, it has been established by the National Governors Association and Council of Chief State School Officers with no input from the Department of Education. It means that they have taken the responsibility of making crucial decisions regarding policies of education and the standardized testing system from the authorities of states (Robins, 2013). Comment by Author: article missing---a
what do you mean by “the step to create a tool of education”?? Did the department of education hire the private company who created The Common Core?? Comment by Author: of Comment by Author: the standardized
Common Core not embraced by teachers
After this program was introduced, many teachers, who had been using their styles and methodologies of teaching for many years, had to adapt their methods and had to bring enormous changes to their lesso.
common core state stanDarDs For english Language arts & .docx
common core state stanDarDs For
english Language arts
&
Literacy in
History/social studies,
science, and technical subjects
appendix B: text exemplars and
sample Performance tasks
Common Core State StandardS for engliSh language artS & literaCy in hiStory/SoCial StudieS, SCienCe, and teChniCal SubjeCtS
a
p
p
e
n
d
ix
b
| 2
exemplars of reading text complexity, Quality, and range
& sample Performance tasks related to core standards
Selecting Text Exemplars
The following text samples primarily serve to exemplify the level of complexity and quality that the Standards require
all students in a given grade band to engage with. Additionally, they are suggestive of the breadth of texts that stu-
dents should encounter in the text types required by the Standards. The choices should serve as useful guideposts in
helping educators select texts of similar complexity, quality, and range for their own classrooms. They expressly do
not represent a partial or complete reading list.
The process of text selection was guided by the following criteria:
• Complexity. Appendix A describes in detail a three-part model of measuring text complexity based on quali-
tative and quantitative indices of inherent text difficulty balanced with educators’ professional judgment in
matching readers and texts in light of particular tasks. In selecting texts to serve as exemplars, the work group
began by soliciting contributions from teachers, educational leaders, and researchers who have experience
working with students in the grades for which the texts have been selected. These contributors were asked to
recommend texts that they or their colleagues have used successfully with students in a given grade band. The
work group made final selections based in part on whether qualitative and quantitative measures indicated
that the recommended texts were of sufficient complexity for the grade band. For those types of texts—par-
ticularly poetry and multimedia sources—for which these measures are not as well suited, professional judg-
ment necessarily played a greater role in selection.
• Quality. While it is possible to have high-complexity texts of low inherent quality, the work group solicited only
texts of recognized value. From the pool of submissions gathered from outside contributors, the work group
selected classic or historically significant texts as well as contemporary works of comparable literary merit,
cultural significance, and rich content.
• Range. After identifying texts of appropriate complexity and quality, the work group applied other criteria to
ensure that the samples presented in each band represented as broad a range of sufficiently complex, high-
quality texts as possible. Among the factors considered were initial publication date, authorship, and subject
matter.
Copyright and Permissions
For those exemplar texts not in the public domain, we secured permissions and in some cases employed a conser-
vative interp.
COMMON ETHICAL PROBLEMS OF INDIVIDUALSBA 354COLLEG.docx
COMMON ETHICAL PROBLEMS OF INDIVIDUALS
BA 354
COLLEGE OF BUSINESS
1
ASSUMPTIONS OF THE “GIVING VOICE TO VALUES” APPROACH:
Ethical dilemmas at work are common, not rare.
You have values that you want to live up to.
There are many ways that you can voice your values.
Practicing ahead of time will help you to be more effective.
2
THE POWER OF FAIRNESS
The example of grades
Equity
Reciprocity
Impartiality
3
Discrimination
Unequal treatment based on one’s race, gender, ethnicity, national origin, religion, age, disability, etc.
Standard for hiring, promotions, etc., should be the ability to do a job
+
4
Have you ever experienced discrimination?
What could you have done about it?
Why is discrimination an ethical issue?
DISCRIMINATION
5
CONFLICTS OF INTEREST
Objectivity is compromised by possibility of financial or other gains.
Gifts or bribes
Access to resources such as privileged information
Relationships or Influence
6
CONFLICTS OF INTEREST
7
Conflict of Interest
Your daughter is applying to a prestigious university. Since admission to the school is difficult, your daughter has planned the process carefully. She has consistently achieved high marks, taken preparatory courses for entrance exams, and has participated in various extracurricular activities. When you tell one of your best customers about her activities, he offers to write her a letter of recommendation. He's an alumnus of the school and is one of its most active fund raisers. Although he's a customer, you also regularly play golf together and your families have socialized together on occasion.
8
CUSTOMER CONFIDENCE
Includes such issues as
Confidentiality
Product safety
Truth in advertising
Fiduciary responsibilities
9
Confidentiality
You work for a consulting company in Atlanta. Your team has recently completed an analysis of Big Co. including sales projections for the next five years. You're working late one night when you receive a call from an executive vice president at Big Co. in Los Angeles, who asks you to immediately fax her a summary of your team's report. When you locate the report, you discover that your team leader has stamped "For internal use only" on the report cover. Your team leader is on a hiking vacation and you know it would be impossible to locate him. Big Co. has a long-standing relationship with your company and has paid substantial fees for your company's services.
10
Product Safety
You’re the head of marketing for a small pharmaceutical company that has just discovered a very promising drug for the treatment of Alzheimer’s disease. You have spent months designing a marketing campaign which contains printed materials and medication sample kits for distribution to almost every family physician and gerontologist in the country. As the materials are being loaded into cartons for delivery to your company’s representatives, your assistant tells you that .
Common CoreCasey BerryEnglish 200August .docx
Common Core
Casey Berry
English / 200
August 29, 2018
Ms. Gaby Maruri
Common Core
I) Introduction
A. Common Core is an educational tool that should not be used in our public schools.
B. Common Core is unconstitutional and is a disadvantage for teachers as well as students and their parents.
C. Although some people believe that Common Core has been a great model and useful for education, it is an unnecessary program to have in schools and needs to be eliminated for several reasons.
II) Body
A. Common core is unconstitutional.
· Common Core was not a concept done by the Department of Education (DOE).
· It was created by a company named Achieve, Inc. and released under two private associations, the National Governors Association (NGA) and the Council of Chief State School Officers (CCSSO).
· Educational responsibility has been taken away from the states and local districts.
B. Common Core has not been embraced by teachers very well.
· Many teachers have had to adapt their style of teaching to accommodate the Common Core curriculum.
· It only focuses on three specific subjects such as Mathematics.
· Focuses more on “critical thinking” rather than knowledge.
C. It is not beneficial for students and their parents.
· Parents have a difficult time helping their children with homework because they do not understand the methods used to solve the problems.
· Prepares students more for the workforce, rather than college.
III) Refuting Opponents Arguments Comment by Author: You list opposing arguments, but you did not provide refutations.
D. States win more money
· States that implement Common Core have the chance to compete for Race to the Top money and a better chance at a No Child Left Behind Waiver.
E. Prepares students more efficiently
· Students who are taught Common Core are more prepared for college than others.
F. Statewide standards benefit students from other states
· Statewide based school standards allow teachers to assist better students who move frequently and are constantly changing schools.
IV) Conclusion
G. While for some Common Core is a success, it is still a nuisance that needs to be eliminated. It takes rights away from teachers, parents and schools.
H. A Disaster For Libraries, a disaster for Language Arts, a Disaster for American Education. Comment by Author: Not sure how this will play out, but just be sure that this does not present itself as new information. Comment by Author: Comment by Author:
I. Finally, there is no evidence that having national standards and increasing testing have improved student learning in the past.
References
Shanahan, T. (2015). COMMON CORE STATE STANDARDS. Elementary School Journal, 115(4), 464-479.
I believe that this reference is justified and appropriate because the entire book covers the standards and meat of the common core curriculum. It is broad and general to help readers with little to no knowledge on the topic.
Robbins, J. (2013). Uncommonly bad. Ac.
Common Holy Days in Jewish Religious TraditionsComplete th.docx
Common Holy Days in Jewish Religious Traditions
Complete
the table below with information about Jewish holy days. Identify at least seven Jewish religious holy days and place each holy day in the correct season (time of year). Provide a brief explanation of each holy day you identified.
Note
: An example has been provided. You may add additional rows or move the text fields to different locations within the table as needed.
Fall
(September – November)
Winter
(December – February)
Spring
(March – May)
Summer
(June – August)
Enter text.
Example:
Hanukkah
Hanukkah is an 8 day-long Festival of Lights. It is a celebration of the victory of the Maccabees over the armies of Syria, as well as the rededication of the Temple in Jerusalem.
Enter text.
Enter text.
Enter text.
Enter text.
Enter text.
Enter text.
Part 2: Major Sects of Judaism
Select
three major sects of Judaism to compare and contrast. Identify them in the table below.
Sect of Judaism
Enter text.
Sect of Judaism
Enter text.
Sect of Judaism
Enter text.
In the table below,
list
at least two similarities and two differences among the sects of Judaism you selected.
Similarities
Differences
Enter text.
Enter text.
Part 3: Summary
Write
a 525- to 700-word summary that includes the following:
· A description of the life and importance of one key person in Jewish history
· An explanation of one key event in the history of Judaism that is connected to that person
· A description of any rituals, symbols, or sacred texts in Judaism associated with this event or person
· Brief explanation of Jewish ethics
Summary
Enter text.
Include
references formatted according to APA guidelines.
References
Enter text.
.
Common Hacking Techniques You Should Know AboutHacking is th.docx
Common Hacking Techniques You Should Know About
Hacking
is the process of gaining unauthorized access into a computer system, or group of computer systems. This is done through cracking of passwords and codes which gives access to the systems.
Discussion/Research Questions
What are the best ways to guard against hacking attacks?
List one of the biggest (known) hacks of all time and provide a few details related to this incident
.
Common Pool Resource ManagementKim Townsend SUS 350 Sustai.docx
Common Pool Resource Management
Kim Townsend
SUS 350 Sustainable Communities
Key Features of Common Pool Resources
Goods that are difficult or costly to exclude users from
Subtractability-use of a resource by one person means it is not available to another
Core resource-a measure of the stock which must be retained to provide non-declining future stock
Fringe units-extractable units where availability is a function of the relative productivity of the core resource and rate of harvest
Marine Fisheries CPR Example
Used by multiple individuals through time and at the same time.
Subtractable—over-fishing reduces availability of stock for other users.
Core—total number of fish in a specific population required to sustain the population through time.
Fringe—number of fish that can be harvested without reducing the ability of the population to sustain itself through time.
Water
Subtractability-use of a resource by one person means it is not available to another
Core?
Fringe?
We must consider both quantity and quality of water in a system
Why is water quantity/quality important?
The Tragedy of the Commons
https://www.youtube.com/watch?v=WYA1y405JW0
Narrative created by Garrett Harden, a renowned ecologist, in a 1968 Nature paper
Is this model too simplistic? Which assumptions can be questioned?
Elinor Ostrom: Sustainable Development
and the Tragedy of the Commons
https://www.youtube.com/watch?v=ByXM47Ri1Kc
Elinor "Lin" Ostrom (born Elinor Claire Awan;[2] August 7, 1933 – June 12, 2012) was an American political economist[3][4][5] whose work was associated with the New Institutional Economics and the resurgence of political economy.[6] In 2009, she shared the Nobel Memorial Prize in Economic Sciences with Oliver E. Williamson for "her analysis of economic governance, especially the commons".[7] To date, she remains the only woman to win The Prize in Economics.
7
Elinor Ostrom’s Cooperative Management Conditions
Dr. Ostrom studied thousands of locally self-governed CPR systems all around the world
to determine what the sustainable systems had in common, and what the failures had in common.
Ostrom developed a set of design principles associated with sustainable local community governance of small-scale CPRs.
Ostrom’s Cooperative Management Conditions (1/2)
Clearly defined boundaries
Who gets access, who doesn’t
Resource boundaries
Congruence
Costs ≈ Benefits of cooperating
Appropriation rules are fair and sensible, locale-specific
Argues against “one rule system fits all” approach.
Collective-choice arrangements
Most individuals affected have a voice in changing the rules
Monitoring
Monitors are the cooperative members
Ostrom’s Cooperative Management Conditions (2/2)
Graduated sanctions
Punishment scaled to the offence
Sanctions administered by the cooperative
Conflict-resolution mechanisms
Access to low-cost, rapid, local way to resolve conflicts
Recognition of Rights to Organize
Community’s right t.
Common Assignment Prepare a written analysis of the impact of the.docx
Common Assignment:
Prepare a written analysis of the impact of the 4th, 5th, 6
th
8
th
and the 14th Amendments to the US Constitution in processing offenders through the criminal justice system. Explain the concept of due process as applied to the U.S. Constitution.
What due process rights are contained in the US Constitution? Give examples.
What is procedural due process and why does it exist?
Do you think any of these rights should be revoked at any time? Which ones?
What made you choose those?
To what extent does procedural due process hinders or strengthens the criminal justice system?
.
Common Assignment Essay Objective of this Assignment.docx
Common Assignment Essay
Objective of this Assignment: This assignment will be used to evaluate student progress on the
course learning objectives. The assignment will be uploaded as a file on Blackboard.
Instructions: Students will follow the process outlined below to guide them in the development of a
comparative essay. The essay should be approximately 700-1000 words, and should include
footnotes.
➢ Step One: Essay Purpose / Relevance / The Task of a Historian
o Purpose: Students should consider why the topic of memorializing the Mexican
American War is a contemporary problem facing historians.
o Task of a Historian: Your work should clearly communicate the purpose of public history
sites (museums / battlegrounds / memorials), the current struggle between art and truth,
the reasons why this event has been ignored by previous generations / administrations,
and the societal impact of neglecting a major historic event.
o Relevance: Your work should consider the current facilities and public history sites
dedicated to honoring this event and its participants, as well as the funding and
supporters associated with those sites. (At a minimum you should examine the facilities
in Texas, however, there are links provided to steer you to other state /federal facilities).
Furthermore, you should consider the message provided at those sites / exhibits and
whether this message is satisfactory given the mission of public historians.
o You may copy and paste sections of your source analysis from the previous essay, just
pay attention to flow and be sure to utilize footnotes.
➢ Step Two: You must use these two sources. Read these first so you can understand the war,
and how it has or has not been remembered.
o REQUIRED SOURCE--"1848/1898: Memorial Day, Places of Memory, and Imperial
Amnesia" by Amy Greenberg in JSTOR
o REQUIRED SOURCE--"The Annexation of Texas and the Mexican War" by Z.T.
Fulmore in JSTOR
➢ Step Three: Study the information on current Mexican American War exhibits, battlegrounds,
monuments, dedications, etc. I have organized the suggested resources, emphasizing Texas
sites in the highly suggested category.
o Highly Suggested Sources:
▪ Palo Alto Battlegrounds: https://www.nps.gov/paal/learn/historyculture/places.htm
▪ Brazos Veteran’s Park: http://www.bvvm.org/photos/
▪ Mexican American War Exhibit for BVVM: https://www.theeagle.com/news/local/new-
memorial-at-veterans-park-honors-marines-valor-at-the/article_7b08cdbb-5899-5a12-
bdcd-014ebd3514fc.html
▪ Capitol 360 View of Mexican American War acknowledgement:
https://tspb.texas.gov/prop/tc/tc-spaces/spaces09.html
▪ Capitol Monuments: https://tspb.texas.gov/prop/tcg/tcg-monuments/index.html
o Potentially Useful Sources:
https://www.nps.gov/paal/learn/historyculture/places.htm
http://www.bvvm.org/photos/
https://www.theeagle.com/news/local/new-memorial-at-veterans-park-honors-marines-va.
Committee on Enhancing Federal Healthcare Quality ProgramsJa.docx
Committee on Enhancing Federal Healthcare Quality Programs
Janet M. Corrigan, Jill Eden, and Barbara M. Smith, Editors
THE NATIONAL ACADEMIES PRESS
Washington, D.C.
ww.nap.edu
Enhancing, Federal Healthcare Quality Programs Committee. Leadership by Example : Coordinating Government Roles in
Improving Health Care Quality, edited by Jill Eden, and Barbara M. Smith, National Academies Press, 2003. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ncent-ebooks/detail.action?docID=3375805.
Created from ncent-ebooks on 2019-04-24 06:50:39.
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.
THE NATIONAL ACADEMIES PRESS 500 Fifth Street, N.W Washington, DC 20001
NOTICE: The project that is the subject of this report was approved by the Gov-
erning Board of the National Research Council, whose members are drawn from
the councils of the National Academy of Sciences, the National Academy of Engi-
neering, and the Institute of Medicine. The members of the committee responsible
for the report were chosen for their special competences and with regard for ap-
propriate balance.
Support for this project was provided by the Department of Health and Human
Services, the Commonwealth Fund, and the California Healthcare Foundation.
The views presented in this report are those of the Institute of Medicine Commit-
tee on Enhancing Federal Health Care Quality Programs, and are not necessarily
those of the funding agencies.
Library of Congress Cataloging-in-Publication Data
Institute of Medicine (U.S.). Committee on Enhancing Federal Healthcare
Quality Programs.
Leadership by example : coordinating government roles in improving
healthcare quality / Committee on Enhancing Federal Healthcare Quality
Programs ; Janet M. Corrigan, Jill Eden, and Barbara M. Smith, Editors.
p. ; cm.
Includes bibliographical references and index.
ISBN 0-309-08618-3 (pbk.)
1. Medical policy—United States. 2. National health services—United
States.
[DNLM: 1. Health Care Reform—United States. 2. Government
Programs—United States. 3. Quality Assurance, Health Care—United
States. WA 540 AA1 I455L 2003] I. Corrigan, Janet. II. Eden, Jill.
III. Smith, Barbara M. IV. Title.
RA395.A3I4935 2003
362.1’0973—dc21
2003001324
ISBN 0-309-51693-5 (pdf)
Additional copies of this report are available from the National Academies Press,
500 Fifth Street, N.W., Lockbox 285, Washington, DC 20055; (800) 624-6242 or (202)
334-3313 (in the Washington metropolitan area); Internet, http://www.nap.edu.
For more information about the Institute of Medicine, visit the IOM home page at:
www.iom.edu.
Copyright 2003 by the National Academy of Sciences. All rights reserved.
Printed in the United States of America.
The serpent has been a symbol of long life, healing, and knowledge among almost
all cultures and religions since the beginning of reco.
Committees1. To provide for greater transparency in the HU.docx
Committees
1. To provide for greater transparency in the HUD–VASH supported housing program for homeless
veterans, and for other purposes.
2. Representative Scott H. Peters. House and Senate committees: Energy and Commerce, Ways and
Means, Judiciary, Oversight and Government Reform, Education and the Workforce, Senate Committee,
Homeland Security and Governmental Affairs, Veterans' Affairs, Health, Education, Labor, and Pensions,
Banking, Housing, and Urban Affairs, Energy and Natural Resources.
3. N/A no committee report
4. H.R.7022 — 115th Congress (2017-2018)
Homes for Our Heroes Act of 2018
Sponsor: Representative Scott H. Peters Committees: House - Financial Services, Veterans' Affairs
Committee Reports: N/A
Latest Action: House 10/02/2018: Referred to the Committee on Financial Services, and in addition to
the Committee on Veterans' Affairs, for a period to be subsequently determined by the Speaker, in each
case for consideration of such provisions as fall within the jurisdiction of the committee concerned.
Tracker: introduced
Here are the steps for Status of Legislation:
1. Introduced
Members
1. To authorize the Department of Energy to conduct collaborative research with the Department of
Veterans Affairs in order to improve healthcare services for veterans in the United States, and for other
purposes.
2. Representative Ralph Norman. Both House and senate committees: Judiciary, Ways and Means,
Energy and Commerce, Education and the Workforce, Oversight and Government Reform, Financial
Services, Foreign Affairs, Natural Resources, Rules, Armed Services, Science, Space, and Technology,
Transportation and, Infrastructure, Agriculture, Budget, House Administration, Homeland Security, Small
Business, Veterans' Affairs, Appropriations, Intelligence, Ethics, Senate Committee, Judiciary, Banking,
Housing, and Urban Affairs, Energy and Natural Resources, Homeland Security and Governmental
Affairs, Agriculture, Nutrition, and Forestry, Armed Services, Commerce, Science, and Transportation,
Environment and Public Works, Finance, Foreign Relations, Small Business and Entrepreneurship, and
Veterans' Affairs.
3. The committee’s favorability is to recommend that the bill as amended do pass.
4. H.R.6398 — 115th Congress (2017-2018)
Department of Energy Veterans' Health Initiative Act
Sponsor: Rep. Norman, Ralph [R-SC-5]
Committees: House - Science, Space, and Technology, Veterans' Affairs | Senate - Energy and Natural
Resources
Committee Reports: https://www.congress.gov/congressional-report/115th-congress/house-
report/974/1?q=%7B%22search%22%3A%5B%22H.R.6398%22%5D%7D&r=1
Latest Action: Senate - 09/26/2018 Received in the Senate and Read twice and referred to the
Committee on Energy and Natural Resources.
Tracker: Passed House.
Here are the steps for Status of Legislation:
1. Introduced
2. Passed House
CLASS EXERCISE #2
THE STATUS OF BILLS IN CONGRESS
Go to: http://thomas.loc.gov/ and become familiar.
Commitment to ProfessionalismCommitment to Professionalism..docx
Commitment to Professionalism
Commitment to Professionalism.
Due by Day 7
. As leaders in early childhood education we are in the unique position of creating partnerships with the community, organizations, and local government in an effort to promote the needs of the children we are serving. Through a program’s daily operation, we are witnesses to the specific issues that are facing the children, families, and community in which we work. When we highlight and broadcast these issues and advocate for a community’s needs, we are also advocating for increased awareness of the value and professionalism of the field of early childhood education. When we participate in advocating in our field we are further demonstrating that we are professionals that deserve to be valued and respected.
After reading the week’s text, write a reflection in two parts:
Part I
Identify the focus of your advocacy efforts and give an example of an issue you would like to address as an advocate.
Identify one individual or group (local policy maker, state-level legislator, corporate leader, etc.) that you can contact for support of your issue and provide a rationale for choosing this individual/group.
Describe the strategies you would use to gain the support needed for this issue through individual advocacy.
Describe the strategies you would use to attract the support needed for this issue through collective advocacy.
Create two talking points (as discussed in Chapter 13) using one
concrete example
(refer to key term in chapter reading for precise definition) for each point to demonstrate the importance of the issue.
These talking points should be appropriate to use when talking to legislators or the media about the issue for which you are advocating.
Part II
Create a Commitment to the Profession Statement. Remember, this is a draft that will continually be revised and modified as new information is acquired. Address the following:
Describe how you will advocate on behalf of young children, their families, and the profession.
Describe how you will support the development of future practitioners and leaders in the field.
Refer to Figure 13.1 “A Professional Continuum” and describe how your efforts will support the field away from
unskilled workers
and toward
paradigm professionals
.
The Commitment to Professionalism paper
Must be at least two double-spaced pages in length (not including title and references pages) and formatted according to APA style as outlined in the
Ashford Writing Center (Links to an external site.)
.
Must include a separate title page with the following:
Title of paper
Student’s name
Course name and number
Instructor’s name
Date submitted
Use the text and two outside sources to support your responses.
The
Scholarly, Peer Reviewed, and Other Credible Sources (Links to an external site.)
table offers additional guidance on appropriate source types. If you have questions about whether a specific so.
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- 1. Reading Responses Assignment What is a reading response? A reading response is a focused response to assigned reading before it is discussed in class. It is an opportunity for you to explore and formulate your interpretation of one aspect of the reading. It is not an essay, but should be written in structured, developed paragraphs. It is not a freewrite and should have focus, organized thoughts, support (e.g. textual evidence), and an adequate degree of correctness. Ideally, these responses will provide you with foundations upon which to build your longer, formal essays. What should a reading response do? Analyze a singular element of the literature by discussing the WHAT, HOW, and possibly WHY of this element. In other words, if you choose to write about the point of view in a story, you will need to describe what the point of view is, explain how it functions to contribute to the overall effect (intellectual or emotional upon reader) or meaning (theme, concept, or question raised by story) of the text, and perhaps consider why this perspective is successful (or not) in creating this effect/meaning, usually in relation to a particular theme of the work (Theme = the larger issues, ideas, questions or arguments with which a text grapples.) Or you may choose to discuss a particular theme as developed in a reading assignment. For
- 2. example, if you choose to write about identity conflict in a section of a novel, you would present what you think the author is saying in this section about this topic (the what). You might expand by describing one or two key scenes or perhaps point to a couple of key passages that illustrate this theme. Then you would do a close reading of the scene(s) or passage(s) to explain what you think each reveals about how the author is creating this impression, message, or argument in the text. Finally, you might speculate as to why this is important in the larger scheme of the work. So to recap, you need to DESCRIBE (often pointing to specific instances or passages or details from the text will be helpful) and ANALYZE (explain the significance of the piece in relation to the whole). A reading response is: - NOT a summary of plot - NOT an opinion -NOT a review -NOT a freewrite - NOT about personal experience What should a reading response look like? For each response you would select only one element. Your first paragraph should be only one or two sentences in which you state a thesis, the single focus of your response and the overall idea or argument you will pursue related to it. This should be followed by 2-3 fully developed paragraphs in which you explore this topic in an organized way, with specific examples analyzed. Paragraphs should include a topic sentence (identifies main idea of paragraph), remain focused on the idea
- 3. of the topic sentence, and provide sufficient specific evidence and support from the text analyzed in such a way as to explain what and how you think it helps us to understand your point about the reading. (Do not exceed length limits!) You need not include a concluding paragraph or sentence. Your response should be no shorter than one page typed or two handwritten, and no longer than 1 ½ pages typed or three handwritten. What are some possible topics for reading responses? Elements you may discuss include: ∙ Point of View ∙ Characterization ∙ Tone or mood ∙ Setting ∙ Conflict ∙ Structure ∙ Turning points ∙ Symbolism ∙ Language/Diction ∙ Use of figurative language (simile, metaphor, etc) ∙ Imagery ∙ Motifs ∙ Use of dialogue
- 4. ∙ Style See attached samples of student reading responses as models for both format and content. How will reading responses be evaluated? Responses will be evaluated according to the below rubric with a three-point scale. Three: Response goes beyond the obvious and superficial in its observations and insights about the reading. Response identifies and adheres to single, interesting focus stated at start of response; well-chosen and specific support is presented to discuss this focus; support is analyzed through close reading that interprets the significance of the support and draws meaning from it in relation to the topic of the response. Writing is well organized in unified, fully developed paragraphs, i.e. paragraphs have clearly identifiable topic sentences and remain on topic with sufficient development. Writing contains few grammatical/language errors. Two: Response identifies and adheres to a single, clearly identifiable focus; support is presented to discuss this focus, but may be general or not fully analyzed in its significant details or rely too heavily on quotations that are not sufficiently addressed. Paragraph structure is apparent. Paragraphs have topic sentences though there may be some digressions or jumps of logic. Paragraphs may not be fully developed. Organization makes it relatively easy to follow flow of
- 5. ideas. Writing is clear and correct enough to read without difficulty though there may be some errors. One: Response includes unnecessary plot summary and/or personal opinion/experience; focus may be stated but writing strays significantly from focus; and/or focus is unsupported or support is irrelevant or unanalyzed; and/or there is no identifiable focus. The writing may difficult to follow due to lack of connections between ideas and/or weak paragraph structure. And/or grammatical/language errors interferes with readability of the writing. And/or response falls greatly below length requirement. Note: Responses Not Handed In (or not handed in on time and therefore not accepted) Will Earn a Score of Zero. Example #1 of Student Reading Response: How the Garcia Girls Lost Their Accents In the final chapter “The Drum” Alvarez uses the symbolic image of the cat, and of the man to explain how Yolanda became a short story writer. The black cat in this chapter has multiple meanings. First the cat represents the
- 6. supernatural. The cat is connected to Pila and her “story devils and story ghosts”. It was through Pila that a new world was open to Yolanda, the wonderful world of story telling, a world were reality and fantasy intertwine. At the same time, the cat symbolizes a new beginning or change. This can also be directly related to Pila. In Spanish the word Pila means baptismal font. Just as a child is presented to God in Baptism and begins a new life in Christ, it can be said that Yolanda was presented or introduced to storytelling by Pila and therefore, her life as a writer began. In addition, Yolanda’s nightmares with the cat can be associated with the cat as being a watchful guardian over the power of illusion and of the underworld. The mysterious appearances of the cat can be interpreted as a constant remainder of Yolanda’s talent as a writer and of the violation committed against the kitten, which can only be forgiven by recreating or giving new life to the kitten through the power of story telling. On the other hand, the man with the “goatee” represents the famous Russian short story
- 7. writer Anton Chekhov, creator of the short story Kashtanka. In his short story Kashtanka is a dog owned by a drunken master, who one day takes Kashtanka for a walk and loses her. A kind man rescues Kashtanka, and later trains her as an animal performer. One day as she is performing her old master recognizes her and she immediately goes back with him. Kashtanka’s story can be associated with Yolanda in two ways. First, Kashtanka represents Yolanda. Even though Kashtanka found a master that treated her nicely she decided to go back with her old master. In the same way Yolanda decides to go back to her old life through the power of story telling. Secondly, the incorporation of Chechov by Alvarez represents the influence of Chechov’s style in Yolanda writing.
- 8. Example #2 of Student Reading Response: “A&P” by John Updike In the story “A&P” by John Updike, A&P is a real place where the story develops, but also a symbolic place where the narrator creates a fantasy. A&P is a supermarket where the narrator, Sammy is working for nothing except for money. In fact, he hates the A&P supermarket: “I bet you could set off dynamite in an A&P…” (380) because it is so boring and there is no meaning until the three girls in bathing suits appear. The A&P suddenly turns into a magical place since he sees the third girl: “She was the queen” (379). Now Sammy sees himself as a knight to protect the queen. Whoever interrupts what Sammy is doing, such as a customer, he or she must be an adversary or a witch in his imagination: “If she’d been born at the right time they would have burned her over in Salem” (378). Eventually, he meets the queen at his checkout slot. The queen puts down a jar and the
- 9. name is also suitable for his fantasy: “King fish Fancy Herring Snacks” (381). When Sammy holds the jar, he feels more like a knight and the jar symbolizes his loyalty to the queen and he is proud of taking the jar: “I thought that was so cute” (381). However, Sammy faces the real world as soon as the manager of A&P appears. The manager jolts people including the queen in the A&P that the A&P is not a beach, but it is a real supermarket. A&P is no longer a magical place and it has a policy which both the staff and customers have to follow to keep order of the real world over the magical world. The conflict between the queen and the manager results in the victory of the real world. However, Sammy is still eager for his fantasy and wants to connect with the queen. Thus, Sammy quits and exits of the real world. He describes the people in the A&P as “like scared pigs” (383) to justify his fantasy. He pursues the queen as soon as he comes out of the A&P, but he can’t find her. In fact, he faces the real world without any
- 10. fantasy: “I felt how hard the world was going to be to me hereafter” (384). Example #3 of Student Reading Response: “The Lesson” by Toni Cade Bambara Sylvia’s narrative is written in a street-wise, callow, and matter-of-fact tone, which plays a major role in the reader’s understanding of Sylvia and the change she undergoes. The tone in Toni Cade Bambara’s 1972 story The Lesson distinct from the start when Sylvia begins by saying, “Back in the days when everyone was old and stupid or young and foolish and me and Sugar were the only ones just right.” This introduction gives readers a clear impression of Sylvia’s pre-adolescent mentality at the beginning of the story, and while it indicates that Sylvia’s impressions have since grown, it sets a tone that
- 11. remains in her pre adolescent mindset. In doing this, the reader is provided with the opportunity to truly get in to little Sylvia’s head, and understand her motivations and the changes that take place in her attitudes by the end of her story. When Sylvia introduces her relationship with Miss Moore, she talks about Miss Moore’s “always planning these boring-ass things for us to do.” Miss Moore’s enthusiasm isn’t well received; when Miss Moore plans to take them on a trip on one hot summer day, Sylvia talks about “really hating this nappy-head bitch and her goddamn college degree.” Miss Moore wants to teach the children an important life lesson, but children being children, they only want to go out and play—Sylvia’s attitudes reveal the frustrations that children experience in their lack of control. Despite this lack of control, she presents herself as street-wise, and somewhat devious. She talks about her desires to “snatch Sugar and go to the Sunset terrorize the West Indian kids and take their hair ribbons and their money too,” and later, the desire to jump out of the cab with
- 12. Miss Moore’s money. These schemes are never followed through, because Sylvia’s tough attitude, heard in her tone, appears to be a result of her vulnerability and pride. After the children see the toy sailboat in the window at F.A.O. Schwartz, Sylvia begins to lose the haughty, delinquent confidence that had characterized her so profoundly leading up to that moment. Before they set off on their journey, Sylvia disagreed with Miss Moore when she said that they were “all poor and lived in the slums.” Standing in front of the toy sailboat crushes her inner confidence and sense of entitlement. Despite her usual resentment towards Miss Moore and unwillingness to speak to her, she can’t help but participate in the discussion about the sailboat. Everything that Sylvia says and thinks after seeing the tag on the sailboat is in some way a response to that moment; she is so disrupted internally, that she has to make a serious effort to maintain her tone, but it all comes from a defensive place.