Solved by verified expert:2000 words 1: read the instruction before you star work my paper, make sure you following every detail that instruction requires.2: make sure the grammar was perfect and good organization. good connect with each paragraph.3: No plagiarism !!Thanks
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Paper 2 : 2000-word Research Paper
Discuss at least 2 works in your paper
In addition to the standards described for Paper 1, Paper 2 is a research paper, and
requires you to incorporate quotations and ideas from critical articles on the works
you are addressing.
Start by writing your OWN PAPER about the novel. You need your own thesis
and quoted evidence from the novel, just like your other papers for the
class. Then go find some articles to interact with.
Sources:
Find 5 critical articles about it using the online library database search:
UNH Library
Databases
Academic Search Ultimate
Articles — Check “Limit to Full Text”
Check “Peer Reviewed” (On left)
Check “Academic Journals” (On left lower down)
Choose 5 articles that you think would be interesting to read and not too
insane. The way to do this is to click on the article title and read the
abstract. All must be from PEER REVIEWED JOURNAL ARTICLES. No articles
from anthologies, encyclopedias, open-source journals. If you have trouble finding
articles, please let me know and I’ll point you in the right direction.
Quotation length and incorporation.
Quotations should typically be no more than two sentences. If they occupy more
than 4 lines on the page, you need to block quote them (indent and single-space).
Incorporate shorter quotations into the grammar of your sentences, just like the
quotations you use from the literary work: Troy’s anger at his family emerges as a
“visceral, ruinous force” (Constanz 36) throughout the play.
Put the author and page number of the quotation parentheses after the
quote:
Despite their delicious vinegary flavor, one can’t forget that “pickles can
be deadly” (Piper 33).
If you mention the author’s name in the sentence, you can just put the page
number: Despite their delicious vinegary flavor, Peter Piper notes that “pickles
can be deadly” (33).
Don’t begin a paragraph with a quotation.
Engaging with Quotations:
Quotes should make a significant point that you interact with. Use their ideas to
help you make your point either by disagreeing with them or by adding to what
they say. It is important that you engage thoughtfully with the critical works you
cite. Quotations, by themselves, aren’t strong evidence until you respond to and
analyze them. Discuss their word-choice and phrasing the way you would discuss
a passage from a literary work. If you agree with them, take their points and
expand upon them. If you disagree, make it clear how you differ and why.
It IS important to me that you think about and engage with the sources you use. It
is NOT important to me that you obsess about every teeny detail of bibliographical
or citation formatting.
Examples
Below are some examples from an imaginary paper on the brilliant film Wolfman
v. Dracula that offer examples on how to incorporate and engage with quotations.
The costumes in Wolfman v. Dracula seem surprisingly shabby. Rather than
appearing powerful and impressive, both monsters look like garbage men, or, as
Jonathan Wigglebottom puts it, “conceptual detritus” (27). Wigglebottom goes on
to say that their junky appearance “expresses the profound purposelessness of
violence,”(28) but I would suggest that it reminds the viewer of aging and death
rather than violence. The monsters seem less frightening than pathetic. Rather
than the “purploselessness” of human life, aging speaks to the inevitability, and
thus, potentially, the nobility, of mortality.
The film is loosely based on the off-off-off-broadway play Wolfie’s Blues.
However, while both monsters are African-American in the play, the film
presents them as white Eastern Europeans. “Such race-normalizing renders a social
critique into a standard Hollywood screamer,” (478) argues Jenna Francona. But
by making the characters Bosnian and Serbian, rather than just white Americans,
the film-makers are offering more of a political critique, and less “racenormalizing” than Francona suggests. The religious and ethnic conflicts in the
former Yugoslavia raise issues of race, religion, and political violence that the
viewer can’t completely ignore.
Franz Velvel, the Wolfman, is the most tragic character, because, unlike Dracula,
he despises himself for his monstrosity. This self-hatred, which Angelika Mink
calls a “suicidal obsession, feeding endlessly on itself,” (237) underlies every choice
Velvel makes throughout the film. As Mink’s word “feeding” suggests, Velvel’s
animalistic nature seems to be devouring him. Mink goes on to describe Velvel’s
self-hatred as a form of “self-violation.” Velvel stands as one of the great
cinematic examples of psychological self-violation. His wolf-like savagery and
destructiveness are both directed entirely toward himself. We hardly ever see him
commit violence against anyone else, yet he constantly tears at his own body and,
more significantly, allows his conscience to tear at his psyche. (238) Mink
repeatedly uses the word “tear” to describe Velvel’s self-hatred, which shows both
that he wounds himself and that he fragments himself. Velvel’s attempts to
destroy his identity, which Mink points out, lead, I would argue, to the creation of
multiple personalities that emerge throughout the play.
1. Why do Victorian heroes act so much like villains (or at least unpleasant
supporting characters)? Victorian seem to like their heroes dark and creepy;
Heathcliff, Sherlock, and Dr. Jekyll all have their dark side. Define the
complicated nature of Victorian heroism by showing its relationship to
villainy. Remember, it’s not enough just to show that these heroes have
villainous traits: the question assumes that. Explain why these authors seem to
like their heroes frightening or weird.
2. Compare the descriptions of houses in Jane Eyre. Love occurs within the
home, but the home is often frightening, painful and dangerous. How does
Jane use love to overcome the dangers of domestic space (or does she)?
3. Compare Jonathan Harker’s travels through Romania with Quatermaine’s
travels through Africa. What do the differences suggest about how an “old”
European world differs from an “old” African world? Look especially at the
word choice in passages describing landscape and people. What sorts of public
rituals are described? What do the authors want to say about the emotional
and moral qualities of these foreign lands? Do these descriptions demonstrate
a political agenda about the power of England and English culture?
4. Compare portrayals of the body in the city and in foreign lands. In Victorian
urban fiction, bodies tend to be grotesque, vigorous, vivid and very visible.
Many of the urban works we have studied present strange bodies, or normal
bodies rendered strangely. How does this make sense given the nature of life
in the city? In works about imperial travel some bodies are strong and
beautiful, some are ugly and deformed, many are scarred, bloated or burned,
and some just look silly. What do these portraits of bodies suggest about how
the English Victorians view people in cities and in foreign lands? What do the
similarities and differences suggest?
5. Mowgli has to learn a lot and so does Alice. But Mowgli learns things that he
needs to survive every day. Is Alice’s Wonderland education also practical? It
seems full of weird random rituals and strange pieces of nonsense. Define the
similarities and differences between their educations. Which is better?
6. Compare children in love stories (young Jane Eyre, John Reed, Helen Burns)
with Alice and Mowgli. Does Alice experience the same sort of emotions as
Jane? Is life on the heath like life in the jungle? Which type of literature
portrays children as having more complicated psychology and why? Which
type portrays childhood as happier?
…
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