Required textbooks: Norton Introduction to Literature, 12e Portable (Mays), and The Little Seagull Handbook, 3e by Bullock. Other required materials will be on reserve in the library or linked on the course’s Blackboard site. You are required to use those materials as well.
Also required: go to my academic Facebook page and like it
(https://www.facebook.com/ProfREMinksClassYClassPage?ref=hl) so that you can get some tips as the semester goes on. Print out the first page, put your name at the top, and turn it in. This will count as one homework assignment. You do not need to have a Facebook account to do the assignment.
You will also need a standard page notebook (8 Ω x 11) with pages that can be removed–a multi section spiral notebook or loose-leaf binder is fine as long as you can devote one section to EN 102; a folder with pockets–can be part of a notebook to keep handouts and research articles in; a 9 x 12 manila envelope to submit papers in (available in the bookstore); access to a typewriter, word processor, or typist; and money for photocopying or access to a personal printer. It is strongly recommended that you buy a good paperback dictionary if you don’t already own one (the free, online dictionaries will not be of much use to you in this class since they offer only the current, popular definition of words), and a good English handbook (the Little Seagull Handbook is preferred). Failure to obtain your own, correct, copy of the textbook and materials will adversely affect your grade.
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1.ó There is a clear sociological distinction between the cultural manifestations from the 1980’s studied in class and Ray Loriga’s novel. My brother’s gun (1994). It was published when Spain finally accomplished its transition. While it could be stated that during the 1980’s the traumatic Francoist past was present within the cultural manifestations from that period, Loriga a paradigm of the Generation X in Spain showcases a culture rejects any trace of history and depicts events as if they were recorded with a video-camera. This a formal characteristic that we studied at class, when we discussed how My Brother’s Gun plot is not conventional as it is characterized by its puzzling, fractured form, unresolved and even unclear actions. This is a formal manifestation of a globalized and postmodern culture, an epoch in which current theories endorse a conception about the end of art, the novel, the knowledge, representation of history and the dissolution or impossibility to represent the subject by means of discursive practices. At the same time, within this critical context, accepted meanings are plundered and laid bare, resulting in problems of legitimating reality. Furthermore, Loriga’s fiction belongs to an epoch in which theoreticians, such as Baudrillard, claim that there exists a crisis of representation, in particular, by the rising control of TV and its power to manipulating what is thought to be the real world, which turns out to be a simulacra.
First, you need to bear in mind the complex historical and political framework of Spain in the year 1994. Second, bear in mind Kathryn Everly’s argument in television and the Power of Image in CaÌdos del cielo and La pistola de mi hermano by Ray Loriga, where she discusses the role of the image and television within Loriga’s novel (the article also mentions Loriga’s own filmic adaptation [La pistola de mi hermano] of his novel but you just need to focus on what Everly says in regards to the novel: CaÌdos del cielo/My brother’s gun). How do you think the given fragments from My Brother’s Gun reflect the fake image of the killer as the Angel of Death(#2 #6) #14)? Does the idea of violence help the reader to correct the official truth about the events as well as the purpose of the killer (#14 #28))?
Parallel to this, in Beauty and Death as Simulacra in Ray Loriga’s CaÌdos del Cielo [My brother’s gun] and El hombre que invent Manhattan [another novel by the author; again, you just need to concentrate on what Everly argues in relation with Loriga’s My brother’s gun [CaÌdos del Cielo] Everly states that the collective agency of television produces an image of the assassin that mystifies his very existence. Why do you think the TV fabricates this image of the older brother (#22)? Does the narrator understand the violent acts of his brother in the same way as the TV (#21 # 28)? Why did the police reacted in such a violent way at the end of the older brother’s journey (#43 # 44 # 45 #46 #47 #48)? According to your point of view, who do you think is more free, the older brother or the rest of the society that he finds on the beach or attends to the TV Show Because we are all in this together?
You have to obviously create an answer taking into consideration the relevance of the selected fragments in relation with the plot of the novel. For this reason, it is highly important to bear in mind the totality of Loriga’s text. At the same time, it is equally important to support your answer by incorporating a textual discussion as well as the historical framework of Loriga’s novel.
EXTENSION LIMIT 1500 words.
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This paper needs to be written about 1 or more of the
following in the story : Irony, Simile, Figurative Language, Symbolism, Imagery, or Naturalism. I will write the Introduction and thesis statement. All I need someone to do is write a great body and conclusion of the paper as stated in the beginning. I just need 1 1/2 pages. That’s all.
Your assignment must follow these formatting requirements:
Be typed, double spaced, using Times New Roman font (size 12), with one-inch margins on all sides; citations and references must follow APA or school-specific format. Check with your professor for any additional instructions.
Include a cover page containing the title of the assignment, the student’s name, the professor’s name, the course title, and the date. The cover page and the reference page are not included in the required assignment page length.
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Sociologists Begin Conducting a Literature Review GOAL: This assignment introduces you to how sociologists begin conducting a literature review, i.e., learning what we already know about a topic before doing additional research on it.
Sociologists Begin Conducting a Literature Review
OBJECTIVES: The objectives of the assignment are for students to demonstrate:
Ability to conduct searches for academic, peer-reviewed, sociological articles
Understanding of the structure of an academic article
Ability to read and understand academic articles
Ability to summarize others’ ideas in writing, and
(choose one of the following three classical theories: functionalism, conflict theory, symbolic interactionism;
choose one of the following four contemporary theories: feminist theory, critical race theory, postcolonial theory, queer
theory)
Choose a sociological topic that interests you.
Search Sociological Abstracts to find two articles related to your topic in sociological, peer-reviewed journals.
Read the two articles.
Write a paper that:
Summarizes research question, methods, & findings of each article in your own words,
Compares the two articles, and
Reflects on what you have learned.
LENGTH/FORMAT:
Between 1,000-1,500 words.
Double spaced in a 12-point font.
Saved as either .doc or .docx (Other formats will not be read)
The first page of your submission must include your name, tutorial section number, UofT email address, and UofT student number. (You don’t need a separate title page.)
ASSIGNMENT OUTLINE:
Introduction: Brief explanation of your research topic
Summaries: For each article, explain the author’s research question, the methods used, and major findings. You can either explain each article separately or you can weave them together and explain them in tandem. In this section, you are only reporting on what you read.
Discussion: Compare the two articles. How were their questions, methods, and findings similar or different?
Conclusion: What were the most interesting or useful things that you learned from the articles? What other questions did they raise for you?
Reference List: Complete citations for any works that you referred to in your assignment, formatted in ASA style. (not included in word count)
Academic Integrity Checklist: This checklist helps you review your work to ensure that you complied with all of the requirements for academic integrity. You are required to copy and paste this completed checklist as the last page of your document. Your typed name at the bottom of the list will serve as your signature.
ACADEMIC INTEGRITY AND CITATIONS:
As always, you MUST properly cite ANY sources that you draw on in your essay (e.g., lecture, textbook, news articles, etc.).
When you paraphrase (restating in your own words), you must:
Include an in-text citation with name of author AND year of publication.
Include a full citation of the source in the reference list.
When you use a direct quote (the author’s exact words), you must:
Include an in-text citation with name of author AND year of publication.
Include the page number on which the original material appears.
Use quotation marks around the words.
Include a full citation of the source in reference list.
However, you should minimize your use of direct quotes. We need to see that you understand the material and you can best demonstrate that by restating material in your own words.
Please review the handouts posted on Quercus about how to avoid plagiarism, how to paraphrase, and how to use ASA (American Sociological Association) style. Please also review the information in your syllabus regarding academic integrity and the U. Of T. Code of Behaviours on Academic Matters. Claiming that you “didn’t know” or “didn’t mean to” will not reduce your penalty if you commit an academic offense.
Practice Profile Story about Nicki Karimipour Workshop Write a profile story about Nicki Karimipour based on watching the interview with her from Module 6:
Practice Profile Story about Nicki Karimipour
“Workshop on Interviewing for the Personal Profile Assignment” – Dr. Julie Dodd & Nikki Karimipour (Links to an external site.) Links to an external site. [33:30]
Be sure to base your profile on the second interview – not the first sample interview on the video. The focus of the profile is on Ms. Karimpour’s experience as editor of the Florida State University newspaper.
The profile story should include quotes, paraphrases, and anecdotes from the interview. Identify the type of soft lead used and nut graph.
Review the rubric before you begin this assignment and again before you submit to make sure you have addressed all the requirements.
Criteria
Soft lead: Soft lead that draws the reader into the story. Soft lead based on the interview and not an essay-type lead or created from the writer’s imagination or speculation. Can include profile subject’s name.
Nut graph Follows lead. Usually the second or third graph. Summarizes the focus of the profile and identifies the person by name (if not done in lead) and includes other relevant information.
Storytelling: The profile focuses on one aspect of the person throughout the article. Includes relevant, specific details. Emphasis on showing not telling. Includes at least two anecdotes. Answers questions readers would have. Avoids vague, generalized or clichéd language. The story comes full circle, if appropriate. Elements of past, present and future are addressed as needed.
Writing Style: Easily understood. Organized and makes good use of transitions. Uses active voice when possible Stays objective. Provides needed context and/or explanation of terms. Uses clear, tight and natural writing. One or two-sentence graphs. Sentences generally no more than 35 words.
Quotes, paraphrases, and attribution: Uses a minimum of five relevant, effective quotes. Also makes good use of paraphrasing. Quotes and paraphrases are appropriately introduced and used in context. The story ends with a kicker quote or paraphrase. Attribution is used regularly and effectively. Attributions repeated during story to indicate the source of information. Attribution typically used at the end of the information. “According to” most often used for citing reports. Said most often used for citing people.
Headline: Includes subject and verb. The brief summary of the story. Not a teaser or question. Should be no more than about 8 to 10 words.
Writing Mechanics and AP Style: Story free of grammar errors, typos, and punctuation errors. AP Style used properly.
Fact Error(s): Story free of inaccurate information and errors or typos in proper nouns, numbers, addresses, dates, and quotes.
Critical Analysis on We are Literally Slaves For this assignment you are to watch The Help video (see Modules – Video/Podcast) and read “We Are Literally Slaves”, upon completion construct an essay as it relates to the following:
Critical Analysis on We are Literally Slaves
What is the storyteller’s argument (summarize briefly but thoroughly)? What motive or purpose might she have for telling her story?
Discuss the meaning of the “treadmill life” as it relates to this woman’s relationship with her own family.
Although “We are Literally Slaves” was printed in 1912 and The Help took place in the 1960s, from the video does it appear that much changed in comparison to the article? List and explain 3 similarities that you noticed.
From your reading what do you make of the dynamics of the relationship with “white wives” and their “colored women servants?” Does it appear that “white wives” rushed to the defense of their “colored women servants” why or why not? Explain.
Critical Analysis on We are Literally Slaves Requirements
The paper should be a minimum of 1 ½ – 2 (not to exceed 3) pages typed and double-spaced with a 1” margin using Times New Roman 12 Font.
Points will be deducted for grammatical/ spelling errors (2 points for each).
For each question, a new paragraph is required, there is no need to add excessive spacing in between each question (please do not write out each question).
The Travels of Sir John Mandeville Prompt: In the first half of the quarter, we are focusing on the development of Western historiography from the Classical Greek period through the late medieval era.
The Travels of Sir John Mandeville
As a way of synthesizing the various themes, both historiographical and theoretical, that we will be pursuing, we will be analyzing The Travels of Sir John Mandeville, the record of the purported journeys around the known world of a fourteenth-century English knight. What we are interested in understanding is the manner in which Mandeville conceptualizes the world through which he travels.
The Travels of Sir John Mandeville
How does he see the world? What does he focus on? Why does he focus on the things that he does? What sorts of things inspire his attention? What is he not interested in? What is included in his account? What is left out? What are the criteria that are at work in terms of inclusion and exclusion? How does the structure his narrative? How does he connect one thing to another? What sort of attitude does he take toward the various peoples and cultures that he describes? Upon what basis does he legitimate his claims to truthfulness?
The Travels of Sir John Mandeville
As you sort through these issues, you will want to consider Mandeville’s relation to the other historical narratives that we are reading. Mandeville was the heir to an already rich and heterogeneous set of historical accounts stretching back to the Classical Greek and Roman periods, as well as numerous records of the travels of other Europeans. How does the manner in which Mandeville depicts the world relate to the approaches we have seen in Herodotus, Diodorus, William of Tyre, and Geoffrey de Villehardouin? How similar or different is Mandeville’s approach to theirs? How does he both draw from and expand upon the approaches we have encountered in these other writers?
The Travels of Sir John Mandeville
In addition, you will also want to think about Mandeville’s narrative in relation to the theoretical issues that we have been pursuing in the first half of the quarter. How can Mandeville’s approach to depicting the world aid us in thinking through the problems that the authors in Hughes-Warrington’s text have raised concerning the writing of inclusive human history? What exactly is the status of Mandeville’s text? Is it a world history, a universal history, a global history, or something else? Further, how does Mandeville’s depiction of non-European cultures fit into Chakrabarty’s concerns surrounding the inherent Eurocentrism of all forms of Western thinking? Mandeville is writing in a period prior to Europe’s rise to the level of global power, so how does this affect the manner in which he envisions his own culture’s relation to the rest of the world? Is Mandeville’s manner of depicting the world free of the problems that Chakrabarty identifies?
The Travels of Sir John Mandeville
A word of caution: we are reading Mandeville’s narrative as a piece of primary evidence concerning the development of historical thinking and writing up through the fourteenth century.
The Travels of Sir John Mandeville Research Paper
As such, we are not interested in a literary-critical reading of the narrative, but in a historical-critical one. This means that the paper’s argument should be centered on explaining and analyzing Mandeville’s idea and approach, not in evaluating the aesthetic merits or faults of the text or summarizing its narrative. In the same respect, we are not interested in the validity of Mandeville’s depiction of the world – its truth or falseness – but in the manner in which he can better help us understand the way in which Europeans were thinking about their relationship to the rest of the world up through the late medieval period. In this regard, what does Mandeville allow us to see about the fashion in which Europeans saw themselves, others, and the world around them?
This is the paragraph for close reading.
“ ‘Only twelve,’ she faltered. ‘the impertinent ones. The ones who’d been rude. The ones who used to thumb their noses at me. Melantho of the Pretty Cheeks and her cronies – that lot. They were notorious whores.’
‘The ones who’d been raped,’ I said. ‘The youngest. The most beautiful.’
My eyes and ears among the Suitors, I did not add. My helpers during the long nights of the shroud. My snow-white geese. My thrushes, my doves.” (160).
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Choose one of the following topics and write a paper on it, supported by strong evidence from at least five academic, peer-reviewed sources (articles from the library databases) in addition to detailed examples from at least one work of fiction covered this semester (The Handsomest Drowned Man, The Epic of Gilgamesh, The Little Mermaid by Hans Anderson).
1) Propose and defend your own definition of fantastic literature/speculative fiction/science fiction/fantasy (choose one of these notions to write about; do not define all four in one paper).
2) How can science fantastic literature/speculative fiction be used productively in college courses other than English (sciences, social sciences, etc.)?
3) How can fantastic fiction be used to bring about social changes and/or political reforms?
All papers should be typed using the Times New Roman font (12pt.), and one-inch margins all around the page. All papers should be double-spaced and at least 8 pages long, not including Works Cited. Do not use a cover page. All papers should follow the latest, 2016 version of MLA format, including the header, pagination, and citations of sources both in the text of the paper and on the Works Cited page. All papers should have an original title appropriate for their content and use proper academic diction. All papers must follow the rules of grammar, syntax, and punctuation. All papers must contain a strong thesis statement supported by evidence from peer-reviewed sources.
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Go Tell It on the Mountain by James Baldwin Many works of literature deal with political or social issues.
Go Tell It on the Mountain by James Baldwin
Choose a novel or play that focuses on a political or social issue. Then write an essay in which you analyze how the author uses literary elements to explore this issue and explain how the issue contributes to the meaning of the work as a whole. Do not merely summarize the plot.
Go back to where you started,” James Baldwin wrote, “or as far back as you can, examine all of it, travel your road again and tell the truth about it. Sing or shout or testify or keep it to yourself: but know whence you came.” Baldwin was the son of a preacher and the grandson of a slave, and his voice continues to resonate 50 years after the publication of his first novel, Go Tell It on the Mountain (1953). The story was molded by Baldwin’s painful relationship with his stepfather, David, a disciplinarian preacher from New Orleans who repeatedly told his stepson that he was ugly, marked by the devil.
