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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.

Monday, April 19, 2010

Visions of America: Culminating Art Project

ART PROJECT: DUE MONDAY MAY 24TH, 2010


This project is EXTREMELY important and represents an entire 25% of your final grade. This absolutely must represent your best work. Late projects WILL NOT BE ACCEPETD FOR CREDIT! In addition, poor effort and poor writing (misspellings, typos, grammar mistakes, etc.) will be severely penalized.


Using the films and discussions and assignments that we have covered in class as inspiration you will create a pairing of TWO works of art that exemplifies and/or questions the artistic paradigms of both Jarmusch and the Coen Brothers.


ONE WORK OF ART MUST exemplify and/or question THE ARTISIC PARADIGM OF THE COEN BROTHERS AND ONE MUST exemplify and/or question THE ARTISIC PARADIGM OF JIM JARMUSCH. Works could potentially each exemplify/question both paradigms at once.

  1. For each of the two works that make up your pairing you must have a minor essay in paragraph form, explaining the subject matter, imagery, and WHAT IT IS AND HOW YOU ARE EXPRESSING IT. (i.e. “This work exemplifies the Artistic paradigm of the Coen Brothers by.... and by...... and further shown with the color and angle of.......juxtaposed with the expression and of......and the package of Huggies.”) 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 the artistic paradigm of Jim Jarmusch and the Coen Brothers? Give examples from the films we have seen to prove your points. What about them do you wish to exemplify and/or question and why?

What do you feel are your strengths and weakness of your two pieces.

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 pairing of pieces MUST include the following:

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

One “other” piece: This piece can be anything from a poem, short story, short film, original musical performance, interpretive dance or piece of visual art of a different style/type than the other part of your pair.


Friday, April 9, 2010

Visions of America Course Syllabus

Second Semester 2009/2010

Block A3, Mon. and Wed. 12:15-1:45

FILMS:

Down By Law, Jarmusch

Mystery Train, Jarmusch

Night on Earth, Jarmusch

Dead Man, Jarmusch

Ghost Dog, Jarmusch

Blood Simple, Coen Bros.

Raising Arizona, Coen Bros.

Miller's Crossing, Coen Bros.

Fargo, Coen Bros.

The Big Lebowski, Coen Bros.

O Brother, Where Art Thou?, Coen Bros.


ATTENDANCE: You are expected to attend every single class and view every film shown, be on time and be prepared (having done any readings, homework, have the necessary materials). Obviously, “Life Happens” and some of you will end up missing a day or two. If you miss a day, it is up to YOU to talk to your classmates and get notes, assignments, etc. YOU MUST BE ABLE TO RENT/BUY AND WATCH (ON YOUR OWN TIME) ANY FILM YOU HAVE MISSED. There might be second showings outside of class time and after school if there is a very unique circumstance or verified illness You can also check Kurtattrillium.blogspot.com for major assignments and syllabus updates.


You may not eat your lunch in my room when it is class time. You will not be permitted into the room with lunch and will considered to be tardy if you make a choice to go eat it elsewhere.


Absences/Tardies

You are considered to be absent if you are more than Ten (10) minutes late.

Absence issues will be dealt with on a case by case basis and may involve different consequences for different students.


Consequences for tardies (from 1 sec - 9:59 min late) will be dealt with on a case by case basis.


Five skipped classes and you will be dropped from class with no grade given.

Skipped Class = You leave class for more than five minutes without instructor acknowledgement or permission OR you have been in the school for the previous period or are in the school during Daily 2 and do not attend this class.

GRADING POLICY:

LATE PAPERS AND/OR THE CULMINATING PROJECT WILL NOT BE ACCEPTED. LATE PAPERS/PROJECT WILL AUTOMATICALY RESULT IN ZERO CREDIT.

The grading is based on a point system with a possible 100 points being the maximum. Completion of the course awards .5 Language Arts credit.

Participation = discussion and attendance 20 points

Paper 1 10 (pre mid term)

Paper 2 10 (pre mid term)

Paper 3 10 (after midterm)

“Emergent” assignments/homework 25

Culminating Project 25 (after midterm)


PARTICIPATION: 20% of your grade

This is a record of your active level of discussion and general participation. However, you DO NOT earn these points merely by showing up and sitting in class. See attached Participation Rubric for the expectations.

PAPERS: 30% of your grade (10% each)

Three papers will be assigned. All are required. All papers must be typed, using standard margins and fonts and meet MLA formatting and style guidelines. Students will be able to select from a set of provided essay topics or present their own (based on instructor pre-approval). Always print up two copies: one for me and one for you to have just in case. Always make sure to save a copy of your paper to a disc, back up hard drive or even something like Google Docs. The instructor reserves the right to suggest or REQUIRE A RE-WRITE on any paper. If a re-write is assigned the student and instructor will agree upon a new due date with the same late penalties as before. Suggested or required re-writes will earn new (usually better!) grades if the work

improves. Details TBA.


EMERGENT ASSIGNMENTS/HOMEWORK/CLASSWORK: 25% of your grade

There will be many assignments relating to each film. Most of these will be “emergent” and will come directly from discussion and class interest. Each will be due the next time the class meets unless otherwise announced. The final number of these assignments therefore is not known, but all such assignments will count for a total of 25% of your final grade. Homework will be posted on the class blog within one week of being assigned. When classwork is assigned the expectation is that it be completed during class time.


CULMINATING PROJECT: 25% of your grade

One major combination writing and creative project will be assigned. The student must create a series of three artistic pieces of differing media (drawing, painting, poem, collage, video, performance art, interpretive dance, etc.) that exemplifies or questions thematic and philosophical paradigms as discussed in class and in relation to the films. All Culminating Projects must include essays that interpret and explains how each of the works of art fulfills the given criteria and one large “Meta” essay which explains the intent and execution of the entire series as whole. Details TBA.

Wednesday, April 7, 2010

Blood Simple questions

Answer on a different sheet of paper. Make sure your responses are thoughtful, complete, and reflect the high expectations of this course.

1. What scene, shot, or series of shots was the most interesting to you and why?

2. What was your overall impression of the film and why?

3. What sort of similarities in theme and style are there to Jim Jarmusch films?

4. Blood Simple is very “sound oriented.” The Coen Brothers purposely increase the volume of many sounds that we normally wouldn't notice or even care about. What effect does this have on the mood and overall feeling of the film and/or specific scenes?

Monday, March 22, 2010

Visions of America paper #2

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

DUE: Wednesday April 7th, 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. Describe a moment of “silence” from each of the Jarmusch films we have seen. What is said/conveyed/understood in that moment of no spoken language? Which scene does it best according to you. Define your criteria and then explain why. (BTW: That answer is your thesis statement!) For 3pts extra credit: Describe each of the scenes you selected in four separate poems.

2. Just as Blake's life slowly drains away from his injury, he also experiences the gradual loss of meaning of his social identity. Even from the start of the film his life has already begun to deteriorate. Explain and analyze this journey of disintegration.

3. 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.

Sunday, February 21, 2010

Down By Law paper topics

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

DUE: Wednesday, February 24th

  1. Jim Jarmusch has said that Down By Law is essentially a fairytale. Explain the how this comes across in the film. First present your definition of “fairytale” and demonstrate which elements are similar and why.

  1. Jim Jarmusch has said, “I'm drawn to humor, miscommunication and things that arise out of misunderstanding. All those things coexist, so I try to have them coexist in a character or in a film.” Explain what Jim Jarmusch does to create this atmosphere and, in turn, what questions and philosophical issues that this “coexistence” creates.

  1. Discuss and explain the symbolism and importance of impermanence in the film. How does Jarmusch show the audience impermanence and why?

  1. Pick your own topic (including a thesis statement) and present to Kurt for approval BEFORE you write it.

Very Important Things 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.

INTRODUCTION

Introduction has a clear, obvious Thesis Statement

The topic of each of the Body Paragraphs is presented clearly, obviously and in order.

BODY PARAGRAPHS

Each and every Body Paragraph has a clear, obvious Topic Sentence.


Each Body Paragraph gives clear evidence and arguments to support the Topic Sentence.


Each Body Paragraph begins and/or is finished with transitional words and phrases or sentences that clearly connect it to it's preceding and following Body Paragraphs.

CONCLUSION

Conclusion clearly and obviously restates the Thesis Statement.


Conclusion clearly and obviously reviews topics sentences of each of the body paragraphs. 


You use the Conclusion to present some new information, questions, insights, or ideas.

*A thesis statement is a single declarative sentence that states what you want your readers to know, believe, or understand after having read your essay.

Monday, January 25, 2010

End of the World Study Guide for the Final Exam

These questions should all be answered with a short, well organized paragraph. Specific answers that are supported by direct references to the texts are the best.

1. Is Hamlet truly mad? Why or why not? Be as specific as possible.

2. Which text (film, novel, poem, play, etc.) had the greatest impact on you and why? Be as specific as possible.

3. What do you think Lauren Olamina would explain to Elie Wiesel about about what he was going through and how to deal with it? Be as specific as possible.

4. Think about Simon (“The one who cut the rope”) from Touching the Void. Compare and contrast his “character” and actions to that of Hamlet. Be as specific as possible.

5. Of the following characters is the least sympathetic to you and why? Who is the most sympathetic to you and why? And yes, you must pick one for each. No “cop out” answers will count for credit. Be as specific as possible.


Hamlet

Lauren Olamina

Gregor Samsa

Joe Simpson

Elie Wiesel

Jean Dominique

Willy Loman

6. Define your own philosophical paradigm of one's “world” ending. Which of the texts best reflects your own ideas? Which seems furthest from your own ideas? Be as specific as possible.


Thursday, January 21, 2010

Hamlet Act IV and V questions

ACT IV

1. Is Hamlet really mad in this play, or is merely pretending to be mad? (Find lines that support your answer.)

2. A foil is a character who is like the protagonist in some respects but who has contrasting qualities that "reflect" or illuminate the traits of the main character. Who are Hamlet's foils, and in what ways do their characters shed light on his?

3. Do Hamlet and Fortinbras meet in IV.iv? Why is this significant?

4. Why is Ophelia mad? Does anything she say make sense? What happens to her at the end of Act IV? What does her madness and death symbolize about the kingdom?

5. Look at the scene with Laertes and Claudius (IV.vii). What plans do they have for Hamlet? How does this scene establish Laertes as a foil for Hamlet?

6. Why is Hamlet less present in this act than in the previous three?

  1. ACT V

    1. Why does this scene begin with two clowns trading jokes? Do their jokes make any sense in the context of the play?

    2. Where do Hamlet and Laertes fight in V.ii?

    3. Who is Osric, and why is he included in the play?

    4. Does Hamlet realize that he might not come out of this fight alive? See V.ii.225-238.

    5. What is the outcome of the fight scene at the end?

    6. When Gertrude drinks from the cup, Claudius asks her not to drink and she refuses. Has she ever disobeyed Claudius before?

7. Who is alive at the end of the play, and how do the others meet their ends?