MATERIAL from Class
– Simpson translation of Ovid’s metamorphosis (Narcissus and echo)
– Melville Translation of Ovid’s metamorphosis, (Teiresias, Narcissus and echo)
-“Mirror” by Sylvia Plath(1961)
– Fred Chappell “Narcissus and Echo)”
– Christina Rossetti: Echo
– Alexander Pushkin: Echo
– Personal Helicon Seamus Heaney
– James Joyce “a painful case”
– Oscar Wilde “a picture of Dorian Gray”
Pick from the materials list NO OUTSIDE SOURCES
—The paper must deal with three or four works assigned in this class from at least three genres (mythic tale, lyric poetry, short story, novel, film, musical composition/recorded performance, and/or visual art), but it must include either the novel or short story from the last few weeks of the semester.
—It must also use one to three sources, These sources may serve at least two distinct purposes: to supply historical or biographical context or to situate your argument in a critical conversation with scholarship published on the topic or text(s) you write about. If your research deals only with the former, please situate your argument within the discourse of our class community.
—All quotes, paraphrases, and summaries of sources (those assigned in class and those you discover) must be transparently, consistently, comphrehensively cited.
Audience: Your instructor (and, hypothetically, your classmates)
You can assume that we have read the works and have a good understanding of them. Therefore, there should be minimal summary.
Your paper will teach us something and/or make us think differently about the texts, individually, in the context of your comparative readings of them, and with help of outside sources that you use to support and/or position your argument.
The final paper is a capstone project meant to represent the skill, understanding, and knowledge you have developed in this class. In this sense, it employs elements of all of the assignments you have completed so far.
Form an interesting, independent, and “arguable” argument about the works it brings together using evidence (cited passages), analysis of that evidence (close reading), and reasoning (demonstrating precisely how and why the evidence and analysis support your argument).
Carry out unique, independent close readings of passages that attend to their linguistic, material, and/or genre-based form and content and the relation between the two.
Relate the above to the broader meanings of the texts, which may include their aesthetic, political, ethical, and/or social dimensions and relate to class, race, ethnicity, gender, and sexuality.
Meaningful and relevant differences among the works should also be acknowledged; these will be explored as a part of the argument’s reasoning or evidence.
Argumentation in longer papers dealing with multiple works
In the introductory paragraph, offer a basis for bringing together the specific works you have chosen. If this does not fit your design, this basis needs to be addressed as each work is introduced.
A coherent and complex thesis statement should be provided by the end of the first paragraph. Its claim will be about literary texts and will not attempt to make claims about human nature, historical fact, etc. on the basis of cultural and aesthetic works.
The thesis of a longer paper must be multipart. Every paragraph in the essay will fulfill a unique role and carry the larger thesis forward in a clearly identified manner. It might be helpful to use subheadings that show the work that section of the paper is doing for the thesis and to organize and structure those sections. The thesis will fit the paper like a glove, not a mitten. Every paragraph will fit into that thesis and the thesis will account for and rely on each paragraph. The ordering of the paragraphs will be directed by a logical and strategic flow of ideas and rhetorical moves.
Choosing what texts to use and how to incorporate your analysis of them into a more complex thesis
—Each text you choose will be used in strategic and focused ways to present, support, and expand on the thesis statement in its own unique way. In relating them to one another, make sure each work contributes something different and that they are not used to demonstrate the same claim over and over again. Try also to avoid simple binaries, where one shows one thing, and the other the opposite.
—The argument will be built out a set of interrelated analyses of relevant aspects of the works selected. Rather than isolating conclusions or claims about these works from one another, something like a dialogue should be drawn between them. One work might raise a crucial question about the paper’s topic, while another might be used to supply a possible answer, for instance
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