The document provides guidance on writing a character analysis essay, including defining different types of characterization, terminology used to describe characters, and how to structure the essay. It discusses direct and indirect characterization, terminology like foils and stock characters, as well as flat and round, static and dynamic characters. It offers tips on finding a focus, developing a thesis, organizing the essay into an introduction with thesis, body paragraphs with examples, and a conclusion that ties back to the overall analysis without stating it directly.
How to Write an Objective Summary- PowerPoint PresentationDominiqueMarshall3
This 15 slide presentation defines a summary, provides tips and suggestions for writing an objective summary, and shows a 5-step process for writing a summary with complete examples.
Screenshots of reading and essays include accessibility-friendly alt texts.
Explaining how to create an effective Narrative Piece...
Included with animations and attractive photos...
perfect for Grade 6 and upwards...
Also includes Homework at the end of PPT...
How to Write an Objective Summary- PowerPoint PresentationDominiqueMarshall3
This 15 slide presentation defines a summary, provides tips and suggestions for writing an objective summary, and shows a 5-step process for writing a summary with complete examples.
Screenshots of reading and essays include accessibility-friendly alt texts.
Explaining how to create an effective Narrative Piece...
Included with animations and attractive photos...
perfect for Grade 6 and upwards...
Also includes Homework at the end of PPT...
NARRATIVE WRITING relates a clear sequence of events that occurs over time. Both what happens and the order in which the events occur are communicated to the reader. Effective narration requires a writer to give a clear sequence of events (fictional or non-fictional) and to provide elaboration.
NARRATIVE WRITING relates a clear sequence of events that occurs over time. Both what happens and the order in which the events occur are communicated to the reader. Effective narration requires a writer to give a clear sequence of events (fictional or non-fictional) and to provide elaboration.
riting About LiteratureGenerally, the essays you write in litera.docxdaniely50
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
What did the author want to communicate in this work?
What does the work reveal about the author’s feelings, opinions, or psychology?
What does the work reveal about the society in which it was written?
What can we learn from this work about the issues or topics it deals with?
What motivates the characters in the work to behave as they do?
How are literary devices used in the work?
How does the work create emotional or intellectual experiences for its readers?
Is this work good or bad?
Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself.
Analyses which try to make statements about the work itself
is often called
formalist
criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. Almost all fict.
riting About LiteratureGenerally, the essays you write in lite.docxjoellemurphey
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
· What did the author want to communicate in this work?
· What does the work reveal about the author’s feelings, opinions, or psychology?
· What does the work reveal about the society in which it was written?
· What can we learn from this work about the issues or topics it deals with?
· What motivates the characters in the work to behave as they do?
· How are literary devices used in the work?
· How does the work create emotional or intellectual experiences for its readers?
· Is this work good or bad?
· Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself. Analyses which try to make statements about the work itself is often calledformalist criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. A ...
209.20191.ENG11238A Assignments * Essay 1 Final!
* Essay 1 Final
* Essay 1 Final !
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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.
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