Paper Assignment

Paper Assignment #1: ENGL-225-70 9/17/15, 7:29 AM
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Paper Assignment #1
ENGL 225
Paper Assignment #1
The topics for the first paper assignment are listed below. Please choose one. You may also
choose to write on any of our discussion questions so far, so long as you think you can write a
well-developed paper on that question. You might want to check with me first. You are also
free to come up with your own topic, so long as it is on one or more of our readings for the first
five weeks. Be sure to clear the topic with me so that I can be sure it’s feasible, focused, and
significant.
I’d like to have the papers on Wednesday, Sept. 30th, the start of the 7th course week, but if
you run a few days behind and send your paper to me later that week I won’t squawk. Just be
sure to get your paper to me before Saturday, Oct. 3rd, 11:59 p.m. because the Assignments
Box closes at that time. Also, I want to return all papers the next week. If an emergency
arises, please request an extension, which I’ll be happy to deny, er, grant.
I want to remind you of a few formalities and discuss paper writing. In this week’s Module
there is also a link to a “handout” called “Guidelines to Good Writing” if you need a fuller
review.
The paper should be typed, approximately four pages, double-spaced. If you get enthused
and write more, yes, I’ll read it, but please, no books. Some time before the paper is due, I will
Paper Assignment #1: ENGL-225-70 9/17/15, 7:29 AM
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activate the assignment drop box. That is the preferred way of submitting papers, but you can
also submit your paper by sending it as an email attachment through our regular Canvas email
box. Either way, the Canvas tutorial has advice on uploading and attaching your files. Always
make sure to save your work before uploading it, just in case. Actually, you should save your
paper regularly as you work on it, again just in case. The computer gods can be unforgiving
even after blood sacrifices.
As for the paper itself, this paper is to be your analysis. I don’t require and in fact don’t want
any “outside sources.” I don’t expect you to be a professional literary scholar or critic by any
stretch of the imagination or insanity. I do expect you to think for yourself and be reasonably
intellectually honest with yourself and with me.
If you quote from one of our stories, be sure to quote exactly and have the entire quotation in
quotation marks. If you paraphrase, be sure that the paraphrase is in your own words and that
it accurately expresses the meaning of the text. You must document whether you quote or
paraphrase. Since we’re all using the same anthology, all you need do is give a page number
in parentheses, such as (91). That’s just so I can check the specific reference quickly.
Write crisply, directly, and correctly—avoid jargon and mechanical errors. If Albert Einstein
could present the general theory of relativity in graceful, lucid prose and Bertrand Russell
could do the same for the history of Western philosophy, then complexity is no excuse for not
being clear. Literary works may intentionally create ambiguity, but critical analyses of those
works should be understood by readers. When I read your paper, I don’t want to wonder
what’s what as though I’m in a Poesque opium dream.
Have a clear, direct main idea, a thesis, that you support with persuasive arguments, which in
turn are backed by evidence drawn from the works under consideration. Imagine yourself as a
literary lawyer presenting a case: you’re trying to persuade me not to hang you but instead to
see the wonderful merit and plausibility of your thesis. You don’t need to summarize the plot
or other story elements extensively—you can assume that your readers (including me) have
read the literary works in reasonably sober fashion.
The so-called keyhole method of essay construction might be a bit mechanical but it’s still
effective, especially if you’re new to this game. Your introductory paragraph (and yes, you
should have one) begins with a quick overview or introduction, then funnels down to your
specific thesis statement, usually the last sentence of your introduction. That gives the reader
the impression that you are zeroing in on something clear, pointed, and interesting. Let’s hope
you really are.
The body of your paper is where you present subordinated ideas, arguments, and evidence
illustrating and supporting your thesis. It’s usually best to present your arguments in
increasing order of importance—build as you go along and save your best for the last, to give
the reader a psychologically satisfying sense of ascending rather than descending. Each body
paragraph should be a mini-essay in some respects, namely, well constructed around a
supporting point. The specific point discussed in that paragraph should be expressed in a
Paper Assignment #1: ENGL-225-70 9/17/15, 7:29 AM
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supporting point. The specific point discussed in that paragraph should be expressed in a
topic sentence, which is usually the first sentence of the paragraph, albeit if there’s a
transitional sentence then the topic sentence is the second sentence. Be sure that transitions
between paragraphs and ideas are coherent and fluent.
Also be sure that references to the literary work(s) under consideration are brief, specific, and
necessary to your argument. Don’t quote or paraphrase merely to fill up space. Professors,
cynical souls, are onto that game and won’t play it, at least not without exceedingly large
bribes.
Whereas the introductory paragraph of your essay funnels down to your thesis statement, your
concluding paragraph should funnel outward from your thesis statement. At the start of your
conclusion (N.B. avoid heavy-handed transitions like “in conclusion”), restate your thesis, in
different words of course, and then briefly “funnel outward” to the significance of that now
happily proven thesis. At the end of your essay, you’re trying to answer the reader who says,
“I take your point but who gives a shit?” Show that obnoxious, obscene reader why your
thesis indeed matters, why it will save the world from nuclear war, global warming, financial
collapse, and being destroyed by space aliens to make a hyperspace bypass. Seriously, you
want the reader to realize that what you’ve said about the literary work under discussion does
help us understand that work better and possibly other works akin to it. Writing “my thesis is
important because I think it will get me an A” will not work.
It’s easy to write a critical paper, isn’t it? It makes you wonder why everybody doesn’t become
an English major and swell the unemployment lines yet more.
If you have questions, problems, nervous breakdowns, or just want to discuss your maggot, er,
magnum opus in progress, email me. I’m usually here and usually sober and usually don’t
automatically hit the “delete” button. Besides, I’ve seen enough of your discussion posts by
now to realize that you’re generally intelligent, well-meaning souls who somehow got
hornswoggled into this course by advisors whom you’ve since poisoned. So I reassure myself
that you will do your best and I hope that you don’t harbor any deadly thoughts against me.
Topics for paper #1, due Sept. 30, 2015:
1. Discuss the use of first-person narration in “The Fall of the House of Usher,” third-person
limited narration in “Young Goodman Brown,” and third-person omniscient narration in “The
Birthmark.” Explain why each type of narration is suited to that particular story. Which story
do you find most effective in its use of narration? Why?
2. Analyze the use of setting in “The Fall of the House of Usher” and “Young Goodman
Brown,” including the use of symbolism. Why did the author choose this particular setting?
How does it help to create the story’s “atmosphere”? What does the setting reveal about the
protagonist and other characters in the story? How is the setting related to the story’s theme?
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3. Compare and contrast Poe’s “The Purloined Letter” and Hawthorne’s “The Birthmark” in
their presentation of reason and logic. What does each story suggest about the powers and
limitations of the rational human mind? How are we to regard the desire for intellectual
mastery?
4. Discuss the ways that “The Purloined Letter” laid the basis for the genre of detective fiction
and that “The Birthmark” helped to established the “mad scientist” genre. Which story do you
think contributed most to its genre? Why?
5. Compare and contrast the relationship between Dupin and the narrator of “The Purloined
Letter” with the relationship between Aylmer and Aminadab in “The Birthmark.” In each case,
what does the secondary character reveal, for better or for worse, about the protagonist?
What strengths and flaws of the protagonist are highlighted?
6. Pick two stories and examine carefully their use of language, such as style, diction (formal,
informal, vernacular, or dialect), imagery (including metaphor and simile), tone (e.g., somber,
ironic, satiric, humorous), etc. How does each story’s language influence mood and the
reader’s perception of characters and theme? Which story uses language more effectively
and why?
7. Pick two stories and analyze their use of plot, including exposition, development of tension
or complication (conflict), climax or crisis, relaxing of tension, and resolution or conclusion, if
any. Does the ending suggest closure, anti-closure (resistance to any resolution or final
interpretation), or lack of closure (open-ended)? Which story do you find more effective in its
use of plot? Why?
8. Choose three stories and examine the ways that names are used. What does his or her
name reveal about each character? If a character is unnamed, what does that suggest? How
are names or the lack of names related to each story’s theme? Which story is most effective
in this regard?
9. Pick two of the stories assigned for Week 4 and analyze the search for identity. What
obstacles does each character face in trying to establish a sense of identity and meaning in
life? Does the character succeed or fail, and why?
10. Select two stories that explicitly or implicitly critique their social, cultural, and/or historical
contexts. What are the story’s main targets for criticism? What method(s) of criticism does
the story use (e.g., satire)? Which story is more effective in its criticism and why?
11. Compare and contrast the Twain, Thurber, and Lardner stories in their use of humor. What
are some humorous techniques used in each story? Which story is most effective in its use of
humor? Does the humor serve any purpose beyond making us laugh?
12. Select two stories and explore in depth their perspective on imagination. What does each
story reveal about the benefits and dangers of imagination? Which story is more effective?
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