Girl’s study article analysis

Brown, Lyn Mikel, and Meda Chesney-Lind. “Growing up mean: Covert aggression and the policing of girlhood.” Problem girls: Understanding and supporting troubled and troublesome girls and young women (2005): 76-88.

Write a short essay: 250-word min (500 words max)
a completed essay includes (in this order): an introduction of the article title and author (suggested: 1-2 sentences)
a brief explanation of the main points of the article (including argument and conclusion) (suggested: 1-2 sentences)
the definition/characteristics that define “girl fighter” (suggested: 1-2 sentences)
an introduction of the novel title and author
an example (or examples) of how “girl fighter” is demonstrated in the reading for this week (suggested: 2-4 sentences)

Reading Final Task

NOTE: This the guide on how to answer the part 1 task. The pictures below are my questions
Knowing the author’s purpose is like knowing what the main idea is and what the text is all about. In every text, the author serves a purpose in order to convey his/her ideas well. As an active reader, the person must identify the purpose to assist in the progress of reading.
We have to persuade. These texts aims to be convincing by stating claims that could support the purpose and of course achieve its aim.
The MAIN purpose is to convince the reader.
Example
A public service written announcement telling kids to stay in school.
Persuasive writing aims to alter the reader’s mind or have perform an action.
Then, we have to inform. This can be related to exposition. Explaining terms, theories, or in simpler terms providing information of a topic being discussed in written discourse. They provide claims of facts,
The MAIN purpose is to enlighten the reader.
Example
A handbook teaching people how to negotiate.
Informational writing may be entertaining, but the MAIN purpose is to inform.
And, we have to entertain. This is when imagination and creativity take place. As reading materials that are intended to entertain and give value by having emotions or the affective domain as the target.
The MAIN purpose is to amuse readers.
Example
A poem of a local pizzeria listing the sizes and prices of pizzas and available toppings.
With this purpose, you may learn a thing or two from the author, but the ultimate goal is simply to entertain.
Generally, what are claims?
According to del Gandio (2008), a claim is an arguable statement that the writer wants the reader to accept.
A claim is a statement.
The writer has good knowledge of who the audience is.
There is a wish for the audience to agree with the statement
There is only anticipation though of an agreement because the idea of disagreement is still most likely to happen
There is a worry that they might not agree
As readers, understanding claims embedded in text would help in discerning the context of the written discourse. Also, it allows the reader to interpret the text using his/her knowledge of what the text aims to accomplish.
Claim of fact
This claim simply pertains to an information that can be proven by careful observation of time, a clear explanation is given that is factual, at times, what we think is true or false is a fact and provide reasons to this claim, and argument, usually, turns on strength of evidence as the reason of the arguer.
Claim of value/judgment
In claim of value, look for key words that are more judgement than facts: like amazing, beautiful, etc.
Reasons are still provided, yet reasoning is not compared to facts
This claim may be based on what is liked and disliked. In short, what is appealing.
The argument turns on whether the underlying value of the claim is accepted as a public good.
Claim of action/policy
This focuses on calling out an action to be taken.
Looking for key words like ought and should would help. They may not always appear, but these words show command or something has to be done.
Reasons on what would happen upon performing the action are given as reasons.
Arguments are presented as to explain how taking the action outweighs the costs of taking the action.

need help with intro to lit short hw

please read both files! and then answer the following 2 questions for each question pls write a good 5 sentences.
1. How do you understand literature? What are some examples (conventional/unconventional) of literature for you?2. How has Eaglestone’s reading shifted your own understanding of the term “literature” THE READINGS ARE ATTACHED BELOW 🙂
here are two examples of my classmate’s answers to these questions for a bit of guidance:
example 1: I originally considered literature as storytelling though I knew it was not accurate because there are always extraneous examples that tell stories that are not literature such as video games. However, I do believe the script for the game could be considered an unconventional form of literature. That makes me question if subtitles could be considered literature because that is a form of communication used to convey a story so within my limiting definition it could fit but there is just this sense or feeling I have that it does not fit.
After reading Eaglestone’s work it gave me validation of the vague sense of definition that I have of literature. It is abstract and loosely defined by nature and to classify it in the same way we do in hard sciences is not intuitive. On page 5 where Eaglestone states “ Literature is more like a verb than a noun” it reminds me of the way anthropologists study culture. Being an anthropology major as a person of color made me scoff at the idea of rich affluent white people with no culture trying to classify culture in such a hard scientific way when it is simply a thing we do that is innate to human nature. Anthropology is a colonial science so its methods by nature can not actually come to the true understanding of cultures; you simply have to be the culture.
example 2: The elusive nature of the definition of literature makes it difficult to succinctly express, but at its core, I believe literature to be a form of physical communication that is used to convey emotional information to an audience. Examples of conventional literature to me are novels, poetry, short stories, and creative nonfiction. These are forms of literature that I encountered most often in English spaces and are therefore most expected and normal to me. Fiction, like To Kill a Mockingbird by Harper Lee for example, is what first comes to mind for conventional literature. This is likely due to the visible role of storytelling and emotion; it is easy to see in this genre.
After considering the definition of literature in a broader context though, I wonder if maps can be a form of unconventional literature. In the same way that graphic novels have written and visual elements to enhance the way they communicate with the reader, so do maps. Maps are subject to the cartographer’s (or author’s) perception of place and what they hope to convey and achieve with their map. For example, many older maps were made by European white men and have visible racial and colonial biases based on the way they convey the world. Maps have changed over time. I think that oftentimes, people do not think to critically engage with maps; they consider them as facts set in stone. If considering them in the context of Robert Eaglestone’s metaphor however, maps can be seen as a living conversation; they exist in time, they can be perceived and engaged with in ways that are unique to each reader, and they can even exclude people like how Eaglestone mentions on page 18.
Eaglestone’s exploration of the definition of literature has broadened my understanding in the way that I now understand that literature is not stationary. It is not a collection of immovable words on pages that are intended to be understood in one particular way; it can never be truly defined. Instead, literature is a conversation that will hold unique significance relevant to each person and each time that it is consumed.

Intro to Theatre- Create a Ten Minute Play (7 minutes minimum)

Write a ten minute play on the subject of your choice and return in PLAY FORMAT.. see below for example
WOMAN: Did you hear?
MAN: Come to bed.
WOMAN: You didn’t?
One page of dialogue usually equates to 1 minute of stage time. You can read and time the play to be sure. The play must be a MINIMUM of seven minutes long but no longer than 13 minutes.
The play must be something that can be staged (not filmed). Multiple short scenes, extreme special effects, extras, and crowd scenes are all examples of things that are not applicable to short plays.

LIT 305 Literature of Migration

Reading Response 1
Prompt
Students will reflect analytically on our readings in a 400-800 word response. This first response
will focus on the ways our readings depict drivers and forms of migration. What causes people
to migrate? What or who is left behind? How do people carry their histories with them as they
migrate? What symbols, metaphors, ideas, concerns, or feelings emerge across the texts?
Possible Topics and Themes
The spectrum of voluntary to involuntary (“forced”) migrations
Push and pull factors
Forms of migration: intranational (internal) and international
Modes of transportation: ship, train, bus, car, foot
Engagement with stereotypes or assumptions about migrants or migration
Instructions
While this assignment invites you to consider how authors’ usage of figurative language
contributes to a specific theme, you have a variety of ways to respond. You may choose to (A)
write your response on a single passage by performing a close reading, (B) contemplate a text’s
approach to a theme by citing multiple passages, or (C) compare and contrast two texts. Below
you will find further explanation of these three types of responses.
A) Close Reading
Pick a specific passage, cite it, and interpret it closely. Consider who is speaking, the context in
which they speak, and who or what they are talking about. But also consider HOW they speak,
their style or voice, and the language, imagery, and other literary devices the author might
employ. Finally, you must end your interpretation by linking your conclusions about the passage
to what you see as a significant theme of the work. Do NOT summarize any plot.
B) Conceptual Analysis
Take a more abstract (yet SPECIFIC) look at the texts we are reading. What are the key
concepts at work? How does the text communicate them? What are the overall effects of its
mode of representation? The key to this type of response is to avoid generalities. Ground each
claim in a clear textual reference (quote a word from the third page here, a sentence from the
last page there.) Make an argument about what unique point the text attempts to accomplish,
and assess its effectiveness.
C) Comparative Analysis
Using the type “A” or “B” approach, compare and contrast the aims or effects of any two texts
we have read. Draw on specific details from each. Conclude with a few sentences about what
the comparison illuminates that your reader might not have noticed thinking about the texts in
isolation. NOTE: Type C must be 600-800 word
The texts we have read so far: “The Interesting Narrative…”, “Come, Japanese!” “An Honest Exit”

Bewoulf book

Compare and contrast the following passages: Lines 1591-1631 (When Hrothgar’s men leave, but Beowulf’s retainers stay) and lines 2401-2668. What do we think about the fact that Beowulf’s men stuck by him in the past when he fought Grendel and Grendel’s mother, but they abandon him when he fights the dragon? He hand-picked these men both times, so what happens in the fight with the dragon? How/why is this fight different? What does their behavior say about Beowulf as a king? What does this say about Beowulf’s *best* men? How can we explain their abandonment, and what do we think about Wiglaf?
Your response should be at least 2 pages double-spaced.
Note: we use MLA style in this class. For poetry, this means citing line numbers when providing a quote in your answer. Your citation must be a complete sentence–you cannot drop a quote into the body of the text without incorporating it into a sentence. When citing 1-3 lines, you need to use quotation marks and include a forward slash separating each line of poetry. For more than four lines, please use block quotation format. You do NOT use quotation marks for block quotations. Instead, you indent each line one tab from left margin. Here are example of how to cite both forms properly, and pay attention to where end punctuation goes in each instance:
1-3 lines:
In the fight with Grendel’s mother, the men waiting on the edge of the meer “saw a heave-up and surge of waves/ And blood in the backwash” (1593-1594).
Block quotation format:
In the fight with Grendel’s mother, the men waiting on the edge of the meer
Saw a heave-up and surge of waves
And blood in the backwash. They bowed grey heads,
Spoke in their sage, experienced way
About the good warrior, how they never again
Expected to see that prince returning. (1593-1597)

I need an analysis for a story

What story will this be about? Sonny’s Blues
How do you write the summary? Your purpose is to present a hypothesis of what the text was “about.” This hypothesis is your “interpretation.” Your task is to tell us your interpretation and support that argument with evidence (numerous examples and quotations) from the text. You can select to discuss the entire text, or interpret a specific character, or character’s relationship with other characters.
After identifying your topic and area of focus with this text you’ve chosen, you also need to present an argument, or thesis, based on your interpretation; in other words, not just what you think the text is “about” or “doing”, but why that matters and what that can help us understand about the text,it’s contexts, author, or even our own current contexts.
Following are the questions to consider:
What got said? That is, on the surface of it, what was the subject matter of the text and what, briefly, did the writer say about it? This is a matter of description, of trying to paint a very compact picture of the text for readers.
What are the major claims? Trace out the central claim, the support for that claim, and most importantly, any warrants (unstated assumptions) that readers must agree with to be persuaded by the argument. What unarticulated attitudes, beliefs, and values underlie the way the writer tells the story? (what can you pull from the text?—cite it)?
What is the writer’s motivation? One of the main tasks for an interpretive summary is to try to get at not just what the author says but why she says it—her purpose in writing the text to begin with. Explain what you think the writer’s motivation is AND what in text led you to believe that (cite it).
What didn’t get said/remains unclear? As we’ve talked about in class, it is important to consider what we don’t know, aren’t told, or otherwise are left without answer after reading a text. DO NOT INVENT YOUR OWN ANSWER; you can make some assumptions, but they are not definitive.
What is the purpose of this assignment? There are a couple. First, I want you to start to “dive in” to some writing-related conversation, which is especially useful if you did not have a Comp 1 class. Second, I want to see you practice careful rhetorical reading strategies and demonstrate that you can rhetorically interpret a text and summarize it clearly for others. Envision your audience(s) for this summary as your classmates and your instructor.
WARNING: Resist only responding to part of a prompt. For example, in the second bullet, students sometimes stop after noting the central claim. This results in an incomplete section as the unarticulated attitudes, beliefs, and values also needs addressed. Make sure you CITE where it’s required.

The largest error I see people make in this assignment is that they simply re-summarize the text; assume the reader knows the text you’ve chosen, and focus on your interpretation and analysis of it.

([Compose a TEN minute play])

One page of dialogue usually equates to 1 minute of stage time.
Must be something that can be staged (not filmed). Multiple short scenes, extreme special effects, extras, and crowd scenes are all examples of things that are not applicable to short plays.
In play format
Duration (7-10 minutes long)
Jump right into the story and every detail must relate to the action of the play. Know what the play is about and compose into the metaphor. Character speaks to get what he/or she wants. All characters have dreams. These dreams are what makes he/or she unique. How are they fulfilled? How are they not fulfilled? How do they turn in on themselves. Characters should be off-balance in some way. If there is no disparity between what your characters are saying and what they are doing, you probably aren’t (composing) theatre. every great play has a point of no return and never let the characters off to easy. Additionally, every protagonist must have a journey. The protagonist crosses the line. Never let your characters off too easy, and find what is universal in your script. The climax is where a play wins or losses. The test of a great play is SELF Discovery.

Literature homework

1. Read the play Harvest and discuss the character Jaya as a metaphor for first, a modern woman; second, a metaphor for resistance, and a symbol of hope in the play.Date Due: 9/7/2022Good luck!!!!!Dr. Eugene NgezemSubmit AssignmentFiles to submit(0) file(s) to submitAfter uploading, you must click Submit to complete the submission.Comments

Reading intentionally: Previewing a text and creating a reading plan

As you begin reading The Return of Martin Guerre, spend at least 15–20 minutes “previewing the book” and making an “inventory” and reading plan, so that you will be able to approach your reading of the book more intentionally.
“Previewing the text” means, as explained in the module resources and in class, examine the table of contents and page through the book to get a sense of its parts. The “inventory” is the loose outline you create for yourself of the major parts of a book, used to help guide your reading and note-taking.
If you have the book in hand, you probably also want to read the back cover copy and a few paragraphs of the introduction, as well as, perhaps, the first paragraphs of a couple chapters that look especially important, to get a sense of the text’s parts, how you should use them, and which ones you should plan to spend the most time on.
This assignment has two parts!
PART ONE: Inventory of the text (7 points)* —
Upload your revised “inventory” or working outline of the text.
Your inventory can take one of two forms:
(a) an annotated table of contents (an annotated PDF, or a photo of one annotated by hand), or
(b) a mind map (produced at https://www.mindmup.com/ (Links to an external site.) and saved as a PDF, or a photo of one drawn by hand).It should divide the text into at least 4 sections or categories of elements and highlight in a clear way what you plan to spend most of your time on when reading. (If needed, here’s a PDF of the Table of Contents you could annotat
PART TWO: Reading plan (6 points)* —
Add a comment to your submission on Canvas, once you’ve uploaded it! (If you need them, there are instructions on how to view and add comments on Canvas (Links to an external site.) here.)
Your comment should include at least 5 sentences building a “reading plan” from your outline and should do three things:
(a) state which 1–2 parts of the book you plan to spend the most time on and why;
(b) state which part or parts you might spend less time on and how you might limit time spent on them (e.g. by skimming certain sections, or by only referring to a section if you have specific questions); and
(c) state how you will adapt at least one of the active reading strategies we’ve practiced so far or that you’ve seen your peers use as you read the book.
For full credit, make sure that your comments are specific and applied to parts of the book that we’re reading!
(That is, don’t just say you’ll focus on important parts and skim others. Instead, identify parts from The Return of Martin Guerre that you think fall into each category, and explain the technique of skimming you would use, e.g., only reading the first sentence of every paragraph.)