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Argument: In the literary critique Camus' The Stranger, written by Arthur Scherr, the concept of Meursault's characterization and the misinterpretations that result due to this characterization are discussed. The author discusses and dismisses the various viewpoints of literary scholars in regards to discussing the intellectual competence of the main character. Claims: The author claims that many literary scholars view the existential hero as an "irrational, unintelligent child" due to his inability to emphasize with others and rationalize his own actions. However, Scherr claims that no such correlation between Meursault's irrationality and intelligence exist. More so, the author discusses how Camus actually presents the stranger as an individual of high intelligence, citing interactions Meursault has with other characters as prime examples. Evidence: "Meursault's ephemeral comrade…Raymond Sintes…trusts that Meursault possesses sufficient intellect and verbal acuity to compose a convincing letter for Raymond to send to his unfaithful girlfriend" (Scherr). "Meursault's boss recognizes his abilities and offers him a promotion" (Schell). "Appropriately enough, the last person to remark on Meursault's intelligence is the prosecuting attorney at his trial for murder. 'The prisoner is an educated man,' he tells the jury. 'You havee observed the way in which he answered my questions; he is intelligent and he knows the value of words'" (Scherr).

Argument: Paul Marchbanks, in his three part literary criticism of Dickens novels, From Caricature to Character: The Intellectually Disabled in Dickens Novels, make the assertion that Dickens usage of intellectually and physically disabled protagonists (as well as smaller secondary and even background characters) brought these otherwise hidden character types to the forefront of the Victorian literary scene. Main Idea of Argument: -Victorian authors spun disability into a spectacle, like a freak show in a circus, but Dickens used the disabilities of the characters as a conflict that tried to hold them back, that they had to either over come, or grow to accept. Evidence: -"The physically disabled character's very distinctiveness can lead, not only to isolation from those other fictional persons who react with distancing pity or disgust, but to a kind of representational disconnect from those real-world individuals with disabilities whose numbers-recognized within the boundary of the novel or short story-would strip the character's exceptional disability of its rhetorical power" (Marchbanks 1). -"Dickens's first three novels bespeak a ready advocate for victims of many kinds of social injustice. The Pickwick Papers (1836-7), Oliver Twist (1837-9), and Nicholas Nickleby (1838-9) together establish what will become life-long, very loud sympathies for the destitute, the orphaned, the poorly educated, and the imprisoned debtor" (Marchbanks 1-2). -"Dickens appears unable, or unwilling, to present a coherent portrait of Smike's mental faculties. Here, the narrator prevents unequivocal praise of Smike's heroic intentions by mixing proof of his valor with doubt about whether the boy's scattered "thoughts" are even worth the name. Other inconsistencies emerge if one considers the former evidence of Smike's faulty memory in conjunction with his surprising ability to navigate London's winding streets, not only those walked multiple times with

Argument: Joan Hope, in her literary criticism of "A Long Way Gone: Memoirs of a Boy Soldier", makes an assertion that Baeh highlights the complexity of human nature under strenuous conditions. Furthermore, Hope stresses the importance of political discussions on the effects of war on children. Components of Argument: 1) Hope supports her argument by highlighting Baeh's narration technique - helping the reader through story by maintaining the tone of a story teller somewhat distanced from what has happened. Hope also acknowledges the neutral tone in which the story is told which allows the reader to draw his/her own horrific conclusions. 2) Hope's secondary support lies in her recognition of the first person account by a child with little understanding of the reasons for the war. Evidence: 1) "Their conversation shows no compassion for the people they killed and no remorse for their actions" (Hope). 2) "In fact, Baeh's memoir describes a society in so much chaos that it is not clear that even the military leaders have a good understanding of what war is about" (Hope). 3) "In the end, the book gives no evidence that one side had greater moral authority than the other" (Hope). MLA Format (My choice to do this): Hope, Joan. "A Long Way Gone." Magill'S Literary Annual 2008 (2008): 1-3. Literary Reference Center. Web. 11 Dec. 2011.

Argument: The theme of "Tender is the Night" is quite similar to other themes Fitzegerald writes about, and many of the events of this story correlate to those of his other literary works such as "The Great Gatsby." Claims: Fitzgerald devolps his themes through the dialogue of the book. Even though Fitzgerald attempts to develop a unique theme in "Tender is the Night," the similarities between this literary work and his others are vast. The emphasis of the story lies on how adult relationships originate and the understanding of the different aspects of each character. Evidence: "The novel has its weaknesses, but these result, at least partly, from Fitzgerald's attempt to express a new theme. He is here concerned, as not before, with the hidden roots of adult relationships." "The Divers have a party to which Dick invites Rosemary and her mother."

Argument: The Jazz Age can be depicted by Fitzgerald's literary works as well as by his type of lifestyle. The influences of the Jazz Age are present in the development of the characters in Fitzgerald's books. Claims: Fitzgerald's writing blatantly portrays how the time period affects his lifestyle and the topics he chooses to write about. The somber mood of his writing is caused by the life experiences of Fitzgerald as well as the harsh life that others lived in that time period. Evidence: "His books, including The Beautiful and the Damned (1922), The Great Gatsby (1925), and Tender Is the Night (1934), depict characters who seem to be thoroughly enjoying life, but who, under the surface, are sad, aimless, and lonely." "His clear literary voice instantly appealed to other people of his generation, who felt lost in a world that had been devastated by World War I (1914-1918), in which it seemed that many men had died needlessly."

Although the author summarizes the novel, they add flashes of insight to each character and relate A Thousand Splendid Suns to The Kite Runner. Chua offers her opinions and literary analysis to characters and the theme of the novel.  With support, Chua offers that Rasheed, Jalil, and Hakim all foil one another, "Hosseini has adadmirably conceived him [ Hakim] as a foil to Jalil (who is weak like Babi [Hakim], but selfish) and to Rasheed (who is far from weak, and also selfish)." Each of the men represent a father figure, either to Mariam or Laila, or Laila's children. What they exemplify, which Chua does not touch on, is how a father treats his daughters. In a society where women are second to men, the way a father may dote (or mistreat) his daughter puts a twist on the gender roles in Afghani society.  Chua does touch on one of the main characters with a specific purpose. Mariam, a bastard child, often finds herself at the blunt end of trauma in the book. The author of the essay speculates that because Mariam's mother killed herself, "the defining trauma, then, teaches Mariam that to assert oneself, to dare, to take the initiative is to suffer pain, cause hurt to others, and precipitate tragedy". She accepts the hatred that comes to her from Rasheed and forces herself to live in a hardened bubble she created because she "deserves" to be punished. Mariam faces the challenged many Afghani women find themselves in and handles it much like the others. Although unhappy she remains with Rasheed and only the bravery found within herself inevitably saves Laila, but destroys Mariam's own life. The change in character after her mother dies should not be over looked and in fact Mariam's subservient attitudes should be noted and compared to whether the death of her mother had any effect on her decisions. 

Jesse, make sure to clearly label the argument, claims, and evidence to avoid losing points on the next post.

Argument In this article, author Susan Tarrow, contrary to the common belief that Meursault maintains the same passive attitude throughout the book, argues that he is instead a dynamic character who evolves through the course of the novel. She explains that Camus's clever use of language establishes a tone that forces many readers to be frustrated with Meursault. Claim Tarrow explains that Meursault is introduced as passive character whose attitude allows him to act with total disregard for others. By the end of the second part, he develops into a  staunch defender of his individuality; he maintains his right to not admit to believing in concepts that do not seem logical to him. Camus's use of passe compose, or compound past tense, maintains a passive tone and establishes the theme of absurdism. Meurasult does not make emotional connections to events which frustrates many people. His lack of language, or rationale for his action, seems insane but he simply does not feel the need for it. Evidence "If the hero Meursault has a moral message-and the reference to him as a Christ figure would suggest that he has-it is one that plays a constant role in Camus's thought; there are no absolutes to which one can adhere, only limits, and the vital nuances are played out within those limits. Total indifference and apathy allow others to act without limits. Meursault develops from an acquiescent figure who admits no limits to a combatant who claims the right to be different" (Tarrow). "When The Stranger was first published in 1942 the aspect that evoked the most interest among critics was the use of the passé composé, the compound past tense, since the traditional tense used in literary narrative is the passé simple. Sartre, in his review of the book, comments that the effect of the passé composé is to isolate each sentence, to avoid giving any impression of cause and effect" (Tarrow). "Meursault, who places no reliance on language, throws down

In a literary criticism by Charlotte Hadella, she states that the Eden biblical allusion plays a major part in the development of characters and the American Dream. Nearing the end, the Eden myth haunts Lennie and George because of Curly's wife, a woman dictates the failure of their dream. Hadella claims that even before they enter the ranch that their dream begins doomed. While in the ranch, the fact that the land owners that he wants to buy from have to sell raises a red flag on their dream, that if they could make it off the land, how could they possible accomplish that same feat. Yet, that breaking point fact gets overlooked in the pursuit of their dream because if they think on their plan George will see that they are banished from Eden before they can enter. Usable Quotes: "When George talks about the actual farm that he intends to buy for himself and Lennie, he explains to Candy that he can get the place for a really cheap price, "for six hundred bucks. The ole people that owns it is fiat bust." Apparently, the present owners of George's dream farm are not able to live "off the fat of the land," a detail that both he and Candy conveniently overlook,"(Hadella). "The Garden of Eden myth "looms large" in Of Mice and Men, and Steinbeck appropriates Edenic elements to convey his personal interpretation of the American Dream,".

Dawson, Janis. "Literary Relations: Anne Shirley And Her American Cousins." Children's Literature In Education 33.1 (2002): 29-51. Academic Search Complete. Web. 12 Jan. 2012.

Argument: Narration to medical ethics comes in two forms: the use of stories for their content and methods of analysis. Claims: Picoult uses both forms of narration in medical ethics in her two books, "My Sisters Keeper" and "Handle With Care". She uses multiple narration in "My Sisters Keeper" to develop the story of ethical issues for Anna and the analysis of the daughters medical condition and ethical issues presented from the mother in "Handle With Care". Evidence: "The contributions of narrative to medical ethics come primarily in two ways: firstly, from the use of stories (narratives) for their mimetic content-that is, for what they say; and secondly, from the methods of literary criticism and narrative theory for their analysis of diegetic form-that is, for their understanding of how stories are told and why it matters." "During the past two decades, stories have been important to medical ethics in at least three major ways: firstly, as case examples for the teaching of principle based professional ethics, which has been the dominant form of medical ethics in the Western world; secondly, as moral guides to living a good life, not just in the practice of medicine but in all aspects of one's life; and thirdly, as narratives of witness that, with their experiential truth and passion, compel re-examination of accepted medical practices and ethical precepts." "In the past decade, scholars have begun to use the methods of literary criticism and narrative theory to examine the texts and practices of traditional medical ethics. What are now referred to as narrative approaches to medical ethics, or narrative contributions to medical ethics, use techniques of literary analysis to enhance the practice of principle based medical ethics. In contrast, what has become known as narrative ethics has reconceptualised the practice of medical ethics, seeking to replace principlism with a paradigmatically different practice."

In the literary criticism by Louis Owens, Of Mice and Men: the Dream of Commitment, Owens portrays the American Dream with a biblical Eden. Owens claims that the people in Steinbeck's novel have the curse of Cain, or to wonder in isolation. That's where Lennie and George come into the picture, to defy their curse. Owens states how Lennie and George upon first introduction are different from the other characters in the novel. They have a joint dream that they are committed to see it become a reality. Lennie, according to Owens, resembles the loner of society. He threatens their commitment to the dream that reality fights. George's commitment rises when he kills Lennie, but when Lennie dies their dream dies with him. 2 usable quotes: "George must reenact the crime of Cain to demonstrate the depth of his commitment. It is a frank acceptance of the way things are," (Owens pg. 149). "The dream of George and Lennie represents a desire to defy the curse of Cain and fallen man-to break the pattern of wandering and loneliness imposed on the outcasts and return to the perfect garden," (Owens pg. 146). http://web.ebscohost.com.lib.chandleraz.gov/lrc/pdf?vid=3&hid=123&sid=44d44b9f-8779-4dc6-841c-0ddc9776cc45%40sessionmgr114

Argument: Carter Kaplan's "The Advent of Literary Dystopia" argues the similarities and differences of Dystopia and satire in the form of literature. Relates to the dystopian society of The Hunger Games. Claim: The idea of dystopia Kaplan discusses come from menippean satire although they differ when it comes to humor. Menippean satire and dystopia are forms of mythology in which both ideas are not likely to occur in reality but emphasizes orthodoxies in society. Kaplan argues that dystopia creates prophacies based on fictional circumstances that relate to society. In other terms, predictions of the future that are usually in a negative manner; the idea of dystopia portray negative mood in literature. Evidence: "Both forms are converned with intellectual mythology, which they critique by exploring the interrelationships that exist between ignorance, intolerance, conflict, brutality, euphemisn, passivity, scientism, and various modern orthodixies" (Kaplan). "The mood of dystopia is usually dark, pessimistic, and often reflects paranoia, alarm or hysteria" (Kaplan). "Dystopia uses fiction to portray institutions based on intellect mythology and essays prophecy and prognostication" (Kaplan). "The literature of dystopia examines the possible effects intellectual mythology can have on individuals and society" (Kaplan).

Argument: While the literary criticism by Boyl isn't that of entirely having to do with how Ishmael Beah constructs his theme, Boyd does eagerly bring up an original point that small bitter conflicts can end up affecting contemporary history far more than the "squalid reckoning that modern warfare encourages". Claim: To support his argument, Boyd highlights that Ishmael Beah was one of the first ever to give literary voice to distressing phenomena like that of pubescent or prepubescent warrior-killer. He goes on claiming that much of how a phrase becomes construed or illustrated is that dependent of the reader; such adolescent, non-seemingly affectionate lines, can end up affecting the reader in unintended consequences. Lastly, Boyd gives light to the fact that small-scale conflicts are often mirror that of an anarchy because of the unpredictability, unlike that of modern warfare tactics which a winner can be estimated nearly correct every time. Evidence: 1) "All this has the idiosyncratic ring of precisely remembered truth." 2) "Such knowledge is shocking, but it's the reader's imagination that delivers the cold sanguinary shudder, not the author's boilerplate prose. It is a vision of hell that Beah gives us, one worthy of Hieronymus Bosch, but as though depicted in primary colors by a naive artist. 3) "It was a moment of pure potential anarchy that could have gone any way. "

In the literary critique Heroes of Our Time: The Stranger, written by Germaine Bree, the author discusses the characterization of Meursault as the "absurd" hero. She claims that he is content to live and ask no questions, refusing to make any concession to the norms of society. Meursault's development throughout the course of the novel is also tracked. Bree claims that Meursault's error lies in his disassociation from society. She describes him as an individual whose story is used by Camus to ridicule modern man's strive to put meaning to their lives, emphasizes Camus' absurdist philosophy. Furthermore, she tracks the development of Meursault's characterization in order to emphasize Meursault's innocence in the fact of society. "In L'Etranger Camus thus suggests that in the face of the absurd no man can afford passively just to exist. To fail to question the meaning of the spectacle of life is to condemn both ourselves, as individuals, and the whole world to nothingness"(Bree). "Meursault's attitude at first merely reveals how arbitrary and superficial are the codes with which we cover up the stark incomprehensibility of life" (Bree). "He is a stranger to society, because he refuses to make any concession whatsoever to its codes and rituals. He sees no relation at all between his mother's death and the fact that he goes to see a comic film two days later, and he establishes none" (Bree).

Argument: This essay examines how three centuries' worth of scientific and literary speculation led up to the creation of the book that set a new standard for fiction about other worlds. Evidence: Much of what the author does to point out ways in which H.G. Wells constructed the book has to do with his scientific background and the ways in which he juxtaposed certain literary approaches with every following chapter. Furthermore, he war of the Worlds achieves its special status by an effective combination of intimacy and generality, archetypal storytelling and open-ended allegorical possibility, a richly specific sense of time, place, and occasion, and an interrogative mode that transcends circumstantial detail. Claim: "It was a shrewd move on Wells's part, therefore, to build the famous first paragraph of The War of the Worlds on the global preoccupation with telescopic surveillance." "Those observatories and the dispatches emanating from them throughout the 1890s are mentioned repeatedly in the first chapter, but the dominant theme, at the outset, is of our world under scrutiny. " "The human role is displaced from the surveyor to the surveyed as Earth's inhabitants fall under the envious gaze of Martian observers"

Argument: Matthew Wynn Sivils argues that William Faulkner, in his novel "Sound and the Fury", uses ecological disturbances in his books from real life events. Claim: "The convict was bearing again that sound which he had heard twice before and would never forget-that sound of deliberate and irresistible and monstrously disturbed water." Sivils uses this quote from one of Faulkner's books, "If I Forget Thee, Jersualem", to mimic the forthcoming of a tsunami. Evidence: "The flourishing of Faulkner's literary career coincided with perhaps the worst period of environmental abuse the South has ever known, and it is unsurprising that he incorporates such desolation into his writing." "Faulkner's literary symbiosis between African Americans and the land helps reveal his environmental consciousness-his view of the South as a place of complicated racial and natural conflict." "Anyone who understands the effect of seasonal changes on the land and the relationships between animals, or knows the best place to hunt or fish is thinking not only environmentally but ecologically. This way of knowing the natural world is based upon an understanding of community, and few writers understood community, human or non human, as well as Faulkner"

Argument: In the literary critique Confession and Desire in L'Etranger, written by Gilbert d. Chaitin, the author argues that Meursault should not, first and foremost, be seen as a Christ figure. He argues against the belief that the main character's ability to live outside the temporal flow allows him to reach a deeper level of enlightenment at the end of the novel, suggesting that there is only a reaffirming of his previous beliefs. Chaitin dismisses claims that the bipartite structure of the novel aids in the characterization of Meursault as an absurd hero. Claims: The author claims that Meursault development as a character stems from his firm belief in the absurdity of life. While other critics notice a change in the character's persona in the second half of the novel, Chaitin claims that Meursault actually reaffirms his beliefs while waiting for execution, only becoming more vocal about his convictions. He states that Meursault only takes pleasure in remembering past events due to his desire to replace the situation he finds himself in the present. Evidence: "The only plausible conclusion to be drawn from this evidence is, therefore, that Meursault's famous 'prise de conscience' does not indicate a change of attitude, but a reconfirmation of his earlier posture" (Chaitin). "Instead of looking back on his past with the eyes of a romantic wishing to resuscitate and preserve it for posterity, Meursault takes an interest in the past only insofar as it informs or replaces his present" (Chaitin). "The actual mode of narration used in the novel corresponds to the Meursault who has become cognizant of his discourse. What matters, therefore, is not the specific nature of the events of his life, but their degree of presence for him; hence the often apparently trivial nature of many of the events that he records, especially in Part I" (Chaitin)

Argument: Asimov uses character motivation to progress the story by having the purpose behind the characters shift in reaction to events in the plot. Claims: He changes his characters from rational to reactionary and impulsive to indicate the climax and the rising anxiety of action. Evidence: Highlighted

Argument: That the problem with trying to write a literary criticism on TKAM is that there isn't anything to criticize. Claim: That TKAM is ranked as one of the most influential books in Americans' lives. Evidence: "To Kill a Mockingbird sells about a million copies per year, for a total of 30 million to date, and is consistently ranked in reader surveys as the most influential book in Americans' lives, after, of course, the Bible."