English 102
You are to write a research paper with a minimum of five FULL pages of text and a continuous page(s) for your Works Cited page.
Research Paper Checklist for English 102
1. Format
a. I have used Times New Roman font size 12.
b. I have 1” inch margins.
c. My header follows MLA guidelines and appears on the first page only.
d. My last name and page number appear ½ inch, not 1 inch, from the upper right hand corner on all pages, including the Works Cited Page.
e. In the paragraph dialogue box I have set the Spacing After Lines to 0, set the Line Spacing to double and have checked the Don’t add extra space between paragraphs of the same style box.
2. Length: My paper is a minimum of 2 1/2 full pages of text, not less.
3. Quotes
a. Quotes occupy no more than 30% of my paper.
b. All quotes are properly introduced and integrated into a grammatically correct sentence that I have written.
c. I have properly punctuated quotes within quotes (including quoting dialogue).
d. Block quotes are formatted correctly according to MLA guidelines.
4. Paraphrasing
a. I have double checked my paraphrase against the original to make sure that I have changed all major words (verbs, concrete nouns, etc.).
b. My paraphrase maintains the order of the original.
c. My paraphrase is not patch-written.
5. Parenthetical Citations
a. My parenthetical citations are located in places where they do not interfere with the text.
b. My parenthetical citations include all the necessary information to point clearly to their corresponding works cited entries.
c. I have checked my end punctuation to make sure that it is placed properly.
d. I have used parenthetical citations to clearly identify any words or ideas that are not my own.
6. Sources
a. All of my sources are neatly organized, and each source is stapled and paginated correctly.
b. They follow the order of the Works Cited Page.
The 6 sources can be the same 6 sources used in the annotated bibliography that I have an ordered and is due by June 15th.
1. The essay must have at least 5 scholarly secondary sources and your primary source(s).
2. The essay must follow MLA guidelines for formatting, citing sources, introducing quotations, etc.
3. Follow the link provided about writing research papers.
https://owl.purdue.edu/owl/general_writing/common_writing_assignments/research_papers/genre_and_the_research_paper.html
4. The essay is worth 40% of your grade.
5. As far as topics go you are limited to literature; however, literature encompasses a large variety of genres. For example, poetry, short stories, novels, plays, graphic novels, creative nonfiction, etc. I will allow you to choose your own work–within reason, so ask me if the work you want to write about is suitable–but you must be able to think of an approach that you can cover within a limited number of pages (You can go over five pages but must make sure essential aspects of the critical approach you use is covered). You must also find a work about which plenty has been written. The following list of stories and poems from your textbook have had plenty of works written about them:
Short Stories
Alice Walker “Everyday Use” pp.147-155
Eudora Welty “A Worn Path” pp. 221-228
Ursula K. Le Guin “The Ones Who Walk Away from Omelas” pp.603-608
Nathaniel Hawthorne “Young Goodman Brown” pp. 292-303
Poems
Alfred, Lord Tennyson, “Ulysses” pp.767-769
Emily Dickinson, “Because I could not stop for death” pp.764-765
William Butler Yeats, “The Second Coming” pp. 1024
5. You must use one of the following approaches:
CRITICAL APPROACHES TO LITERATURE
Described below are nine common critical approaches to the literature.
Quotations are from X.J. Kennedy and Dana Gioia’s _Literature: An Introduction
to Fiction, Poetry, and Drama_, Sixth Edition (New York: HarperCollins, 1995),
pages 1790-1818.
* Formalist Criticism: This approach regards literature as “a unique form of
human knowledge that needs to be examined on its own terms.” All the
elements necessary for understanding the work are contained within the
work itself. Of particular interest to the formalist critic are the
elements of form-style, structure, tone, imagery, etc.-that are found
within the text. A primary goal for formalist critics is to determine how
such elements work together with the text’s content to shape its effects
upon readers.
* Biographical Criticism: This approach “begins with the simple but central
insight that literature is written by actual people and that understanding
an author’s life can help readers more thoroughly comprehend the work.”
Hence, it often affords a practical method by which readers can better
understand a text. However, a biographical critic must be careful not to
take the biographical facts of a writer’s life too far in criticizing the
works of that writer: the biographical critic “focuses on explicating the
literary work by using the insight provided by knowledge of the author’s
life…. [B]iographical data should amplify the meaning of the text, not
drown it out with irrelevant material.”
* Historical Criticism: This approach “seeks to understand a literary work
by investigating the social, cultural, and intellectual context that
produced it-a context that necessarily includes the artist’s biography and
milieu.” A key goal for historical critics is to understand the effect of
a literary work upon its original readers.
* Gender Criticism: This approach “examines how sexual identity influences
the creation and reception of literary works.” Originally an offshoot of
feminist movements, gender criticism today includes a number of
approaches, including the so-called “masculinist” approach recently
advocated by poet Robert Bly. The bulk of gender criticism, however, is
feminist and takes as a central precept that the patriarchal attitudes
that have dominated western thought have resulted, consciously or
unconsciously, in literature “full of unexamined ‘male-produced’
assumptions.” Feminist criticism attempts to correct this imbalance by
analyzing and combatting such attitudes-by questioning, for example, why
none of the characters in Shakespeare’s play Othello ever challenge the
right of a husband to murder a wife accused of adultery. Other goals of
feminist critics include “analyzing how sexual identity influences the
reader of a text” and “examin[ing] how the images of men and women in
imaginative literature reflect or reject the social forces that have
historically kept the sexes from achieving total equality.”
* Psychological Criticism: This approach reflects the effect that modern
psychology has had upon both literature and literary criticism.
Fundamental figures in psychological criticism include Sigmund Freud,
whose “psychoanalytic theories changed our notions of human behavior by
exploring new or controversial areas like wish-fulfillment, sexuality, the
unconscious, and repression” as well as expanding our understanding of how
“language and symbols operate by demonstrating their ability to reflect
unconscious fears or desires”; and Carl Jung, whose theories about the
unconscious are also a key foundation of mythological criticism (see
below). Psychological criticism has a number of approaches, but in
general, it usually employs one (or more) of three approaches:
1. An investigation of “the creative process of the artist: what is the
nature of literary genius and how does it relate to normal mental
functions?”
2. The psychological study of a particular artist, usually noting how
an author’s biographical circumstances affect or influence their
motivations and/or behavior.
3. The analysis of fictional characters using the language and methods
of psychology.
* Sociological Criticism: This approach “examines literature in the
cultural, economic and political context in which it is written or
received,” exploring the relationships between the artist and society.
Sometimes it examines the artist’s society to better understand the
author’s literary works; other times, it may examine the representation of
such societal elements within the literature itself. One influential type
of sociological criticism is Marxist criticism, which focuses on the
economic and political elements of art, often emphasizing the ideological
content of literature; because Marxist criticism often argues that all art
is political, either challenging or endorsing (by silence) the status quo,
it is frequently evaluative and judgmental, a tendency that “can lead to
reductive judgment, as when Soviet critics rated Jack London better than
William Faulkner, Ernest Hemingway, Edith Wharton, and Henry James,
because he illustrated the principles of class struggle more clearly.”
Nonetheless, Marxist criticism “can illuminate political and economic
dimensions of literature other approaches overlook.”
* Mythological Criticism: This approach emphasizes “the recurrent universal
patterns underlying most literary works.” Combining the insights from
anthropology, psychology, history, and comparative religion, mythological
criticism “explores the artist’s common humanity by tracing how the
individual imagination uses myths and symbols common to different cultures
and epochs.” One key concept in mythlogical criticism is the archetype, “a
symbol, character, situation, or image that evokes a deep universal
response,” which entered literary criticism from Swiss psychologist Carl
Jung. According to Jung, all individuals share a “`collective
unconscious,’ a set of primal memories common to the human race, existing
below each person’s conscious mind”-often deriving from primordial
phenomena such as the sun, moon, fire, night, and blood, archetypes
according to Jung “trigger the collective unconscious.” Another critic,
Northrop Frye, defined archetype in a more limited way as “a symbol,
usually an image, which recurs often enough in literature to be
recognizable as an element of one’s literary experience as a whole.”
Regardless of the definition of archetype they use, mythological critics
tend to view literary works in the broader context of works sharing a
similar pattern.
* Reader-Response Criticism: This approach takes as a fundamental tenet that
“literature” exists not as an artifact upon a printed page but as a
transaction between the physical text and the mind of a reader. It
attempts “to describe what happens in the reader’s mind while interpreting
a text” and reflects that reading, like writing, is a creative process.
According to reader-response critics, literary texts do not “contain” a
meaning; meanings derive only from the act of individual readings. Hence,
two different readers may derive completely different interpretations of
the same literary text; likewise, a reader who re-reads a work years later
may find the work shockingly different. Reader-response criticism, then,
emphasizes how “religious, cultural, and social values affect readings; it
also overlaps with gender criticism in exploring how men and women read
the same text with different assumptions.” Though this approach rejects
the notion that a single “correct” reading exists for a literary work, it
does not consider all readings permissible: “Each text creates limits to
its possible interpretations.”
* Deconstructionist Criticism: This approach “rejects the traditional
assumption that language can accurately represent reality.”
Deconstructionist critics regard language as a fundamentally unstable
medium-the words “tree” or “dog,” for instance, undoubtedly conjure up
different mental images for different people-and therefore, because
literature is made up of words, literature possesses no fixed, single
meaning. According to critic Paul de Man, deconstructionists insist on
“the impossibility of making the actual expression coincide with what has
to be expressed, of making the actual signs [i.e., words] coincide with
what is signified.” As a result, deconstructionist critics tend to
emphasize not what is being said but how language is used in a text. The
methods of this approach tend to resemble those of formalist criticism,
but whereas formalists’ primary goal is to locate unity within a text,
“how the diverse elements of a text cohere into meaning,”
deconstructionists try to show how the text “deconstructs,” “how it can be
broken down … into mutually irreconcilable positions.” Other goals of
deconstructionists include (1) challenging the notion of authors’
“ownership” of texts they create (and their ability to control the meaning
of their texts) and (2) focusing on how language is used to achieve power,
as when they try to understand how a some interpretations of a literary
work come to be regarded as “truth.”
