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kendallrdunn

From Caricature to Character: The intellectually Disabled in Dickens Novels (Part One) - 0 views

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    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
Sydnee Arnson

EBSCOhost: Exodus Inverted: A New Look at The Grapes of Wrath - 0 views

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    Argument: This article is about the second book I am reading. In this abstract it talks about religion. Sometimes religion can be controlling. Control is what I am writing about for my paper. Claims: Control can be found in many aspects of life. I would research different religions and find controlling things about them. Evidence: "The Grapes of Wrath has been read typically as a period of social activism". "...emerging from a self-satisfied and legalistic moralism into a new ethos of universal love in pattern of Christ".
Jonah Malloy

Literature Resource Center - Document - 0 views

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    Privateness Sex and murder are really the same - things done in private. Linked together pain and pleasure not for entertainment, but to show how isolation brought on by keeping to oneself. Privateness=self-isolation.
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    Jonah, clearly label the argument, claims, and evidence you will use for your paper to avoid losing points on future posts.
liza sejkora

Sound and The Fury - 4 views

Sudhanshu, for evidence, I want you to list quotes that you may use in your paper.

sound fury william faulkner

Ivan Munoz

EBSCOhost: Ayn Rand: The Russian Radical/ Anthem: Expanded 50th Anniversary Edition (B... - 0 views

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    Shelton, Robert. "Ayn Rand: The Russian Radical/ Anthem: Expanded 50Th Anniversary Edition (Book Review)." Utopian Studies 8.1 (1997): 225. Academic Search Complete. Web. 20 Dec. 2011.
Megan Brown

Rob Merritt Interview with Jodi Picoult - 1 views

  • hey were great. Those two really gave me the teacher's point of view. A lot of the details that you see in that first chapter, on the shooting, came from either the Jefferson County Sheriff's Office (Columbine) or from those teachers. I also spoke to a young man named Kevin Braun, who was a survivor at Rocori. His best friend was killed that day, and he was in gym class with the other student who was killed. He had never talked about this with anyone. He says—as I imagine you have heard also—that kids who were there know that there are no words for what happened, and if you weren't there, you'd never understand anyway, so why bother?
  • In terms of the twist at the end, I often do that in my books. I'll have a twist, and I'll know it before I even write it. Because I need to be able to lay a paper trail for you throughout the book, so you can go back at the end and say, "What did I miss?" And of course, thematically, this twist is something you should be able to figure out.
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    Argument: Claim: Evidence:
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