SUBJECT AREA English Language
DOCUMENT TYPE Research Paper
CREATED ON 18th March 2016
COMPLETED ON 31st March 2016
Expert hired: kennykitchens

Research Paper Topics (Elements of Craft, Authors, & Analyses)

Outline: Points will be deducted for missing or incomplete outlines according to the schedule below: Missing outlines for the research paper = - 9 points Incomplete outlines for the research paper = varies (- 1 to -8 points) Length: The ATS site indicates that the length of the Research Paper must be approximately 1,500. The ATS site also indicates that you may exceed that word count by 200 words. After that maximum word count, points will be deducted. Exceptions: If you need to exceed the 1,500 words, and you find you need to exceed the extra 200 words, please send me a Private Message with a brief explanation of why you would like to exceed 1,700 words for your Research Paper. Extra word count may be granted. MLA 10% Rule: No more than 10% of the Research Paper may consist of direct quotations, summaries, and/or paraphrases. Works Cited List All Research Papers must be submitted with a complete Works Cited list in Modern Language Association (MLA) format. In upcoming modules we will look more closely at the requirements and expectations of the Works Cited list. Research Papers without a complete Works Cited list cannot be accepted. No exceptions. Microsoft Word Only: Both the outline and the research paper must be submitted in Microsoft Word .doc or .docx only. Some tips if you do not have Microsoft Word: In your word processing program, go to the "file" menu to see if you have another word processing program that you can "save as" to Microsoft word format. Or, you may use a computer on campus that has Microsoft Word. Or, you can use the free online web word-processing program that Google provides. The Google docs site is: NOTE: With any of these other options, you still must save your file to Microsoft Word format. Important reminder: If I cannot open the file, you will not receive credit for this assignment. Need help with your file format? If you have any questions about the file format, do not have Microsoft Word, or need help with how to save your document in Microsoft Word, please post your question in the Questions site in a timely manner. Reading Assignments & Overview "Chapter 5: Writing the Research Paper, Avoiding Plagiarism, and Documenting Sources" (96 - 117). Although you have been given general guidelines for the research paper (one element of craft and two authors from the textbook and their literary works found within the textbook), it is still up to you to create a strong, viable thesis statement that the paper will then support. The pages listed here will introduce you to a section titled "Research Today," and provide ideas on how to develop an arguable, supportive, focused, and purpose-driven thesis statement for your paper "Chapter 15: American Regionalism and a Sense of Place" (pages 464-470; 477-481) Stories include: "Love in L.A." by Dagoberto Gilb "The Man to Send Rain Clouds" by Leslie Marmon Silko Chapter 16: An Anthology of Stories for Further Reading" (pages 520-527) "Cathedral" by Raymond Carver As you read Dagoberto Gilb’s short story,“Love in L.A.,” think about what you associate with L.A., specifically L.A. driving, L.A. traffic, and L.A. drivers. Also, consider the stereotypes that are often associated with people living in L.A., including the film business, entrepreneurs, and free-spirits. (Are we the yoga capital of the country??) “Love in L.A.” is a short story about a brief encounter related to cars and car accidents in L.A. But it is also about two characters. Jake, a man who dreams of a better car and women in tequila ads, and lies his way out of responsibility in a fender bender. Jake seems to fit into an L.A. stereotype -- social convention and even legal duty hold no power over him, and he pretends to be someone he’s not. Just as Jake tells lies about his identity, the car has a fake license plate. Notice the setting as you read “Love in L.A.” At the very beginning of the story, Gilb mentions the Hollywood Freeway and Alvarado Street, which would allow us as a reader with some knowledge of Los Angeles to place the story. He describes the dense traffic, stifling hot weather, and the nearby beach. Again, as residents of Los Angeles, this setting is easy to imagine. The story “Love in L.A.” is primarily about the collision—both literally and figuratively—between Jake, a guy not settled in his life and a schemer and an upper class young woman. Jake’s desire to be hip, his interest in Mariana—who is beautiful, naïve, and of a different social class—and his lies to escape consequences could be attributed to a protagonist in any town. Mariana’s innocence and the way she allows herself to be taken in by Jake’s fabrications rather than deal with the complications of the situation at hand are similarly universal—which is why the story has appeal to an audience beyond Los Angeles. However, the details of the setting limit where the story as written could actually take place. The hot weather, Jake’s dreams of cruising along the nearby beach, and the details of both his lies and his reveries, are all restricted to certain places in America. Whereas the events of the story are universal and can be related to by any reader, the details of the story are particular to the American West and give the setting a prominent place in the story. As you read “The Man to Send Rain Clouds,” by Leslie Marmon Silko, consider the two very different cultures of Christianity and the Indian tribe in New Mexico. When you read and review the story, ask yourself the following questions to better penetrate the meaning of the story: Are they (the cultures) in conflict? Is the conflict reconciled, at least tentatively? Is there a possibility that the combination of cultures can serve the tribal people with a greater spiritual and emotional resource? Pay attention to the portrayal of the priest in the story. Notice the priest’s frustration as he tries to bring Christianity to the tribe. He genuinely seems to care for the people, but he is faced with a dilemma of whether or not to use holy water in a non-Catholic ceremony. What does his willingness to sprinkle holy water on the gravesite say about him and the possibility of reconciling or combining Christian and American Indian rites and traditions? Think about the depictions of American Indian culture in Silko and Lopez (“The Location of the River”). Do the characters in Silko’s story seem more content with their life and place in the world? Is the story too short perhaps to reach any more than a tentative conclusion? Raymond Carver has long been associated with the minimalist tradition of American literature. The minimalist style follows the tradition of Hemingway. Sentences tend to be short, direct, without too many metaphors and usually understated, even emotionally flat. (The reaction of the characters and readers may be emotional, but not the prose itself.) Minimalism can be defined as a style marked by slightly plotted storylines, terse and oblique prose, flat and cool-surfaced tones, seemingly realistic and even hyperrealistic details, and characters often more extrospective than introspective. Consider Carver’s tone, sentence structures, language, and use of detail as you read “Cathedral.” When you read “Cathedral,” (considered one of Raymond Carver’s best short stories), critically think about the narrator. Try to witness your reaction to him and gauge whether it changes over the course of the story, and if so, why. The narrator’s life is somewhat of an empty life. He has no interests and no friends, dislikes his job, is non-spiritual, smokes pot, avoids sleep, has nightmares, and sees his marriage deteriorating. His smugness, arrogance, and indelicate sense of humor are devices he uses to mask his insecurity, discontent, and overall anemic life. The narrator has stereotypical notions of the blind (derived from the movies), but all are broken by Robert. For instance, the narrator is surprised by his appearance (his beard, dress), his actions (the way he eats), and his responses (good-naturedly, for instance, to his snide question regarding his seat on the train, and his addressing the narrator as Bub). But all is not lost with this deeply flawed narrator. Notice how the character Robert’s actions influence and push the narrator towards an epiphany: Although he is tired, Robert refuses to go to bed: “I’ll stay up until you’re ready to turn in. We haven’t had a chance to talk. I feel like me and her monopolized the evening” (paragraph 83). With ironic awareness, Robert tells the narrator: “Whatever you want to watch is okay. I’m always learning something. Learning never ends. It won’t hurt me to learn something tonight” (paragraph 87). The narrator is uncomfortable, almost intimidated by Robert’s intense listening to the television while he tugs his beard. Yet at the same time, he feels some sympathy for his struggle to comprehend what appears on the television. In a compassionate and helpful gesture, the narrator reports the images on the screen to Robert and takes seriously Robert’s question about frescoes. This discussion represents a breakthrough as the narrator communicates with Robert without sarcasm or perceived rivalry. The narrator struggles to help Robert understand the appearance of a cathedral only to admit that he is not doing so well. He would not have made such an admission earlier in the story. Robert asks about the narrator’s religious beliefs. The narrator begins to open up, however vaguely and tentatively, about his personal struggles: “Sometimes it’s hard. You know what I’m saying?” (paragraph 103). The question prods the narrator, however briefly, to contemplate his spirituality. The drawing of the cathedral. Their joined hands around the pencil depicts the bonding which is occurring between the two men. The narrator’s intensity and concentration are emphasized when he ignores his wife’s interruption. The narrator’s closed eyes, which he keeps shut after Robert says to open them, seems at once an act of repentance and empathy, as well as a way to prolong this moving experience. The closing lines. Robert says, “I think that’s it. I think you got it.” The narrator in the closing line responds, “It’s really something.” What does “it” represent? Those up for the challenge, briefly describe what you think “it” represents in the last line of the story when the narrator says: “It’s really something.” Post your thoughts in the discussion site titled “It’s Really Something.”
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18 March 2016
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18 March 2016
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18 March 2016
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18 March 2016
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31 March 2016
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31 March 2016
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31 March 2016
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