The Things They Carried Analysis Paper

The Things They Carried Analysis
The Things They Carried Analysis

The Things They Carried Analysis

Please see attached document for FULL instructions and links to resources.

LENGTH: 800 words is required! (Double space if you want, but word count should guide you.)

RESEARCH REQUIREMENT: 1 outside source plus the story The Things They Carried found in the book Wolff, Tobias.

The Vintage Book of Contemporary American Short Stories. New York: Vintage Contemporaries, 1994. Print. ISBN-10: 0679745130 ISBN-13: 978-0679745136. Use the text from the book to support your claim.

The outside source MUST be from the following:

The link below can be used for the outside source reference. Ctrl+click to open

https://owl.purdue.edu/owl/subject_specific_writing/writing_in_literature/literary_theory_and_schools_of_criticism/psychoanalytic_criticism.html

Develop two or three insights and form them into a thesis (or main claim) about the story that is to be analyzed further. I want to use a theme of how mental burdens outweigh physical agony that people carry in war and how they carried the emotional baggage of each other. Fear, fantasy and responsibility outweigh the physical torture they deal with to stay alive.

  •  Once a thesis is created, the topic sentences should repeat the same phrases that appear in the thesis statement.
  • If your topic sentences do not contain those three elements–restatement of the theme, statement of the paragraph’s main idea, and a transition–the essay is not “coherent”; in other words, the ideas are not logically related together. Including these items is also a way to ensure that the essay is analyzing the work instead of just summarizing the story.

There must be a thesis (or main claim) and several points that should be covered in the paper. For this paper, use Psychoanalysis, so that to explore the unconscious desires of the narrator and relate it to the current culture of how men handle the burdens of war.

CLOSE READING

Engaging in a “close reading” (Ctrl+Click to open link for info on close reading) is a significant component of this paper. Make sure you have a good understanding of the ENTIRE story.  Focusing in on one aspect that is not supported by the rest of the text makes for poor criticism.

Assume the role of an academic, who takes into account the WHOLE text, and adjusts his/her criticism to support an integral part of that text.  An academic explores, rather than reduces.

DO NOT tell me what the author meant or what the author is trying to tell us. That’s 19th Century criticism. Once Postmodernism hit, it wasn’t effective. (It would be like driving a Model T in the 21st century.

Cute, but LIMITING.) Also, couching an argument or analysis in terms of “what the author meant” has the unfortunate consequence of suggesting that there is one true meaning of the story — what the author meant. And, we want to come from the reader’s perspective.

Some information on Psychoanalytic Theory

Psychoanalytic Theory

(Please consider any links provided in this document as sources for the paper.)

With the growth of psychoanalysis, and the popularity of Freud’s body of work, theorists began taking an interest in the psychological state of the characters in fiction.  Unlike some other schools of criticism, psychoanalytic criticism can exist along side any other critical method of interpretation.

Freud’s dynamic model, which he developed early in his career, and which puts forth the idea that the conscious and unconscious minds are separate, became a central discussion for character and author motivation.

This of course, puts forth that in fiction as in life, the unconscious governs a large part of our action.  We store our fears, desires, ambitions, passions, irrational thought, in the unconscious.

Psychoanalytic critics also employ the Typographical Models about the human psyche.  They apply the concepts of the id, superego and ego to both character types, and to discovering the overall character motivations of a more complex character.

Some fiction employs an id character as aìfoilî as in a movie like Wedding Crashers.  Vince Vaughn is almost always the id, instinctual, an agent of our darkest wishes and deepest desires.

The link below can be used for an outside source reference

https://owl.purdue.edu/owl/subject_specific_writing/writing_in_literature/literary_theory_and_schools_of_criticism/psychoanalytic_criticism.html

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