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Thursday, December 16, 2010

Analytical Essay Guidelines

Analysis begins with a whole object, such as a poem, novel, short story or play. The analyst (or you, as the writer of the analytical essay) tries to take things apart to examine the individual pieces that make up the whole. The goal is to examine the literature and speak to your own view in regard to what it is about. Another place of focus for the essay might be your view on what the author was trying to say by writing the piece.

An analytical essay (often referred to as a five-paragraph essay though there's nothing special about the number five, and in fact, applies to longer papers in the 3 to 6 page range) will attempt to explain the significance of a portion of a literary work, BY PROVING SOME SORT OF POINT. The point you are trying to make may have to do with characterization, plot, theme, motifs, metaphor and imagery, style, comparison or other literary concerns.

Before writing your analytical essay, you must focus in on what you wish to convey to the reader about the literary work. Once you have a focus, you must attempt to make some kind of point about the literary work in your essay. The point you are trying to make is often the answer to a question (or prompt) which a teacher has given you or that you have determined that your paper is about.

The answer to your prompt, or the point you are trying to make, should be the main idea of your essay. This is called a THESIS STATEMENT. Your thesis statement is your opinion; remember, it is not a fact. The thesis is what you will spend the rest of your essay trying to prove. Your job as the writer of an analytical essay is to convince the reader that your opinion is correct; you must prove that your thesis statement is true based on evidence from the text or with your well-crafted argument.

YOUR THESIS STATEMENT (main idea, focus, opinion) MUST BE CLEARLY STATED IN YOUR INTRODUCTORY PARAGRAPH. The thesis should be fairly broad. Stay away from narrow statements of facts that can be easily proven or disproven. Give yourself a challenge--and the reader will be engaged. Usually (but not always), the thesis statement is the sentence that ends your introduction.

In the paragraphs that follow the introduction, called the body of the paper, you must provide evidence (examples) to prove your point. You must be very specific about how the evidence you are offering supports your opinion. You cannot prove your thesis (which is an opinion) by offering other opinions. You must draw your evidence from the text. You should quote passages from the text to prove your point; just remember that you must explain their significance, explain how they relate to your thesis. When you incorporate evidence into your essay, you must be sure to explain it adequately. You must always bring it back to your thesis statement. You must continually explain HOW and WHY it means what you say it means.

Everything in the MAIN BODY of the essay (generally, but not limited to, three paragraphs) must relate to the main point you are trying to make--YOUR THESIS. If you write something that has little to do with your thesis, you have two options: expand and modify your thesis to accommodate that information, or do not include it and find other evidence that does support your thesis.

Finally, you must write a CONCLUSION (a final paragraph or page), which ties everything together. The conclusion is essentially a mirror of your introduction. Just as your introduction lead the reader in to the thesis, the conclusion leads out from it. Often, the arguments presented in the body are summarized and the thesis is restated as proved. Somehow you should make your paper sound complete. It is a lot like the closing statement lawyers make at the end of a trial--a summary of all the evidence presented and a restatement that all the evidence points to the logical conclusion that what they said at the beginning (their thesis that the defendant was either guilty or innocent) is true. Try leaving the reader with something additional to think about (but still something that is related to thesis of the paper). Let the conclusion inspire new questions and possibilities as well which are built on your point of view.

INTRODUCTION (1 paragraph OR page if complex): Tell the reader what your paper is about NOT necessarily in this order. You need to include the following:

  • a way to draw the reader in

  • the author

  • title (underlined or italicized)

  • general statement about the literary work (sometimes)

  • necessary background information about the story (very little)

  • thesis statement (your opinion, main idea or focus) - this may be controversial - should be fairly broad - has a point to prove

MAIN BODY (approx. three paragraphs or pages): these paragraphs should answer the question, "why?" Not necessarily in this order, you need to include the following:

  • specific examples to prove your point

  • quotations - passages - descriptions - comparisons

  • explanation of the significance of your examples in terms of your thesis statement ( in other words, analyze your examples. How do they fit in with your main point?)

  • explanation of how your analysis relates to your thesis statement.

CONCLUSION (1 paragraph or page): Tell the reader what you told him/her and leave him/her with something to think about. Not necessarily in this order, you need to include the following:

  • your thesis, restated to emphasize that you have proven your point

  • a summary of your main points

  • a way to leave the reader thinking about the marvelous ideas in your essay.

FINALLY: For the sake of this assignment in advising, your paper should be from 2-4 typed pages, 12-point font, Times New Roman, with a title and your name, making sure you spell the name of the book and the author correctly, and all of the above elements.



OBB: Applying Paradigm Practice

    1. Explain the following as it specifically applies to Moby Dick and Heart of Darkness:

    Both the telling and the tale are symbolic representations of each other.

2. Explain Romantic, Modernist or transitional significance of all the following:

a) "I came upon a boiler wallowing in the grass, then found a path leading up the hill. It turned aside for the boulders, and also for an undersized railway-truck lying there on its back with its wheels in the air. one was off. The thing looked as dead as the carcass of some animal. I came upon more pieces of decaying machinery, a stack of rusty rails. To the left a clump of trees made a shady spot, where dark things seemed to stir feebly. I blinked, the path was steep. A horn tooted to the right, and I saw the black people run. A heavy and dull detonation shook the ground, a puff of smoke came out of the cliff, and that was all. No change appeared on the face of the rock. They were building a railway. The cliff was not in the way or anything; but this objectless blasting was all the work going on.”

b) The sea had jeeringly kept his finite body up, but drowned the infinite of his soul. Not drowned entirely, though. Rather carried down alive to wondrous depths, where strange shapes on the unwarped primal world glided to and fro before his passive eyes; and the miser-merman, Wisdom, revealed his hoarded heaps; and among the joyous, heartless, ever- juvenile eternities, Pip saw the multitudinous, God-omnipresent, coral insects, that out of the firmament of waters heaved the colossal orbs. He saw God's foot upon the treadle of the loom, and spoke it; and his shipmates called him mad.


    c) The earth seemed unearthly. We are accustomed to look upon the shackled form of a conquered monster, but there -- there you could look at a thing monstrous and free. It was unearthly, and the men were-----No, they were not inhuman. Well, you know, that was the worst part of it—this suspicion of their not being inhuman. It would come slowly to one. They howled, and leaped, and spun, and made horrid faces; but what thrilled you was just the thought of their inhumanity—like yours—the thought of your remote kinship with this wild and passionate uproar. Ugly.


d) ...he loses his identity; takes the mystic ocean at his feet for the visible image of that deep, blue bottomless soul, pervading mankind and nature; and every strange, half-seen, gliding, beautiful thing that eludes him; every dimly discovered, uprising fin of some indiscernible form...”


OBB Art Project

Due MONDAY, JANUARY 24th, 2010

Create a series of three works of “art” that must present/deal/question/struggle with concepts of Romanticism and/or Modernism (or the transition between the two) as we have seen presented in the texts that we have studied and discussed in class.

1. For each of the three works that make up your series you must have a minor essay in paragraph form, explaining the subject matter, imagery, and what concept with which you are presenting/dealing/questioning/struggling. Also explain what inspired you to create it, and your own opinion/judgment of the particular work.

2. One meta essay in which you discuss at least ALL of the following in paragraph form:

What is your entire series presenting/dealing/questioning/struggling with and how does your art convey this?

How does each work connect to the other pieces and create a whole “text?”

What do you feel are your strengths and weakness of your series as a whole?

What is your own creative process? What were your inspirations, false starts, problems, successes and struggles? Describe it in detail as best you can.

How would you describe your own artistic style?

3. Your Series MUST include the following pieces.

One poem of at least 50 words.

One piece of visual art. (painting, collage, drawing, photo, sculpture, etc.)

One “other” piece: This piece can be anything from a short film, original musical performance, interpretive dance to another poem or piece of visual art

In addition, you must designate one piece as your “lead” piece. This piece should be BOTH your best/favorite artistic response to the assignment and have the best short essay explanation. The lead piece will be worth 10 points of the total 25 point Art Project.


Note: This project is EXTREMELY important and represents an entire 25% of your final grade. This absolutely must represent your best work. Poor effort and poor writing will be penalized severely. I will read and help edit drafts of the minor and major essays for content and style only. DO NOT EXPECT ME TO EDIT YOUR WRITING FOR BASIC SPELLING AND GRAMMAR ERRORS. A complete grading rubric will be available after Winter Break.

OBB Paper #2

Make sure to read the syllabus for general expectations/requirements


3-5 pages, MLA formatting, standard margins and fonts, double spaced


A Very Important Thing that your paper MUST include:

AFTER YOUR CONCLUSION PARAGRAPH YOU MUST PUT YOUR THESIS STATEMENT AT THE VERY END OF YOUR ESSAY, LABELED AND PRINTED BELOW YOU CONCLUSION PARAGRAPH.

    1. Your own topic comparing and contrasting elements of Moby Dick and Heart of Darkness. This must be approved by Kurt far in advance of the due date. This approval occurs (or is denied) when you present a written thesis statement to me.



  1. Compare and contrast issues and themes relating to truth and meaning from Moby Dick and Heart of Darkness.


  1. Compare and contrast issues and themes relating to Modernism and Romanticism from Moby Dick and Heart of Darkness.


  1. Kurtz, Moby Dick! Moby Dick, Kurtz! Discuss similarities and differences in terms of what each symbolizes and how the paradigms of Romanticism and Modernism affect/effect this symbolism.

Tuesday, October 12, 2010

Moby Dick Paper Assignment #1

DUE Wednesday OCT. 20

Make sure to read the syllabus for general expectations/requirements


3 pages, MLA formatting, standard margins and fonts, double spaced


A Very Important Thing that your paper MUST include:

AFTER YOUR CONCLUSION PARAGRAPH YOU MUST PUT YOUR THESIS STATEMENT AT THE VERY END OF YOUR ESSAY, LABELED AND PRINTED AS A SEPARATE PARAGRAPH.



    1. Your own topic that has been approved by me in advance of the due date. This approval occurs (or is denied) when you present a written thesis statement to me.



  1. Explain how the painting in the Spouter Inn and the sermon delivered by Father Mapple can be considered both Romantic and Modernist in overall style/philosophy.

Monday, September 20, 2010

Age of Reason, Romanticism, Modernism

Age of Reason c. 1700-1800

-Part of the “Enlightenment”

-Emphasis on finely crafted detail and order

-An ideal of the perfection of the individual and of society and vice-versa

-Materialistic instead of spiritual

natural laws govern human behavior

-Either it “is” or it “isn’t”

-American and French Revolutions

Age of Reason con’t.

Reason frees people from ignorance and superstition; thus they become enlightened, and enlightened people can perfect themselves as well as their community at large.


Romanticism late c. 1700’s-1900

Artistic/Literary paradigm valuing:

feeling > reason

art > science

extremism > moderation

nature > man made world

Christian” themes as allegory


Therefore, the language is often color centered, poetic, and emotional


Originally a reaction to the Enlightenment’s/Age of Reason’s emphasis on the rationalization of nature, in art and literature. It legitimized the individual imagination as a critical authority rather than State, Church, or Scientist.


Modernism: c. Early to mid 20th Cent.

Precise and concise

Topical references

Belief in science and technology

Breaking with traditions

Minimalist prose

Sunday, May 23, 2010

Film Class Paper #3

3-5 pages, double spaced, typed, MLA formatting

DUE: Wednesday, June 2nd 2010 AT THE START OF CLASS.


A Very Important Thing that your paper MUST include:

AFTER YOUR CONCLUSION PARAGRAPH YOU MUST PUT YOUR THESIS STATEMENT AT THE VERY END OF YOUR ESSAY, LABELED AND PRINTED AS A SEPARATE PARAGRAPH.


  1. It has been said that the Coen Brothers always make the same film. Which film (that we have seen in class) do you think is the Coen Brothers' best one in terms of how well they present the CBAP (Coen Brothers' Artistic Paradigm)? You must present a coherent criteria to judge the films and still develop an excellent and detailed thesis statement that goes far beyond something lame like: “Fargo is the Coen Brothers' best film because it presents the CBAP most effectively.”



  1. Because of its constant white, snowy backgrounds and scenes, Fargo has been called a White film noir. This obviously contradictory statement accurately sums up a film that doesn't have the dark look or expressionistic camera angles normally associated with film noir (think Down by Law). Yet, in spite of this, the white-ness of the film is oppressive and sinister as anything else we have viewed. Keeping the contradictory nature of Fargo in mind, explain the ways (and whys!) that the Coen Brothers invoke a stereotype and then undercut it.


  1. Your own topic that has been approved by me in advance of the due date. This approval occurs (or is denied) when you present a written thesis statement to me.