English Literature

Read the poem “Those Winter Sundays” by by Robert Hayden and write a paper that will express what you experienced in reading and thinking about the poem. Your reaction should reflect your own background, values, and attitudes in response to the poem, not what other people have written about the poem. Your paper should be a product of your own thoughts and ideas.

1. How would you describe Creon, using a few adjectives or phrases? (Consider especially his self-defense speech against Oedipus’s accusations.) 2. What detail does Jocasta offer Oedipus about Laius’s death, a reason why Oedipus should “take no heed” of oracles? How did she and the slain king think they had outwitted fate? 3. Who does Oedipus think his parents are? (Just give their names.) 4. At what moment in the play do you think Oedipus starts to suspect the truth about himself and what he has done? (Give the line, if possible, and the quote.) 5. According to Professor Johnston’s lecture, how is Oedipus’ defiance central to his heroic nature? 6. Your question is this: is there any character you relate to, and why? (Please don’t say ‘No’ unless you give a detailed answer. You need to have something to say

For this essay, you are to write an evaluation of the book She Said. In your evaluation, you should review Kantor’s and Twohey’s main points in the form of a summary, and then decide whether or not they makes their case. In other words, what is the book’s main argument and did it succeed? If it did, what aspects of the book were successful (use of sources, first hand info, writing style, interviews, logical thinking, etc.? If it did not, what were the problems (bias, illogical thinking, poor sources, etc.)? You should begin your essay with an accurate summary, and then explain what aspects of the book you found strongest, as well as a weakness or two (evaluation). Or, if you found the book to be unsuccessful, focus on the negatives and then afterwards something you thought worked. Finally, you should express your views (opinion) on the topic itself- the power dynamics of powerful men and women in the workplace, the #MeToo Movement, Weinstein’s enablers, etc. This last component of your essay could simply be a longer version of some of your points in the discussion, though it should be a bit more formal. Thus, your essay should have two components: 1. Summary 2. Evaluation 3. Opinion on topic Grading: This will be based on meeting the assignment’s requirements, your use of academic vocabulary, the complexity of your thinking, your use of quotes and paraphrases, and the overall flow and rhythm of your writing.

Write or present a convincing argument with supporting textual evidence from the texts in the course, as well as others of your own choosing, as to why Shakespeare still matters or does not matter. Explain whether his writing reflects the human condition or not. Is Shakespearean literature still relatable today? Explain with reasons and textual evidence. If writing: In an essay, convince your audience as to why Shakespeare still matters or does not matter. Does his writing reflect the human condition today? Explain your ideas clearly with two to three reasons why Shakespeare still is or is not important today. Introduction (1st paragraph)—Start with a hook that grabs your reader’s attention. Present a claim that tells your audience your position—Does Shakespeare still matter? Does his writing reflect the human condition today, and is his work still relatable? Give your two to three reasons. (3-7 sentences) 2nd paragraph—Explain your first reason with textual evidence from sources (3-7 sentences). 3rd paragraph—Explain your 2nd reason with textual evidence from sources (3-7 sentences). 4th paragraph (optional)—Explain your 3rd reason with textual evidence from sources (3-7 sentences). Conclusion / final paragraph—Summarize your main points in different words, and put emphasis on what you really wanted your reader to learn from your argument.

Choose five (5) of the following nine (9) passages and perform these operations. 1. Identify the author and title of the text in which the passage appears (one point each, two points total). 2. Briefly discuss (in a substantive paragraph) some of the salient features of the passage. Bear in mind that these features may be formal, linguistic, conceptual, and/or historical—and that you are free to talk about how the passage relates to the work in which it appears as well as how it fits in with the broader cultural stuff that we talked about in class (10 points).  1.          [Mr. Plummer] was a cruel man, hardened by a long life of slaveholding. He would at times seem to take great pleasure in whipping a slave. I have often been awakened at the dawn of day by the most heart-rending shrieks of an own aunt of mine, whom he used to tie up to a joist, and whip upon her naked back till she was literally covered with blood. No words, no tears, no prayers, from his gory victim, seemed to move his iron heart from its bloody purpose. The louder she screamed, the harder he whipped; and where the blood ran fastest, there he whipped longest. He would whip to make her scream, and whip to make her hush; and not until overcome by fatigue, would he cease to swing the blood clotted cowskin. I remember the first time I ever witnessed this horrible exhibition. I was quite a child, but I well remember it. 2.           If a thousand men were not to pay their tax-bills this year, that would not be a violent and blood measure, as it would be to pay them, and enable the State to commit violence and shed innocent blood. This is, in fact, the definition of a peaceable revolution, if any such is possible. If the tax-gatherer, or any other public officer, asks me, as one has done, ‘But what shall I do?’ my answer is, ‘If you really wish to do any thing, resign your office.’ When the subject has refused allegiance, and the officer has resigned his office, then the revolution is accomplished. 3.           Ye say they all have passed away, That noble race and brave, That their light canoes have vanished From off the crested wave; That ‘mid the forests where they roamed There rings no hunter shout, But their name is on the waters, Ye may not wash it out. 4.           Poor fellow, thought Captain Delano, so nervous he can’t even bear the sight of barber’s blood; and this unstrung, sick man, is it credible that I should have imagined he meant to spill all my blood, who can’t endure the sight of one little drop of his own? Surely, Amasa Delano, you have been beside yourself this day. Tell it not when you get home, sappy Amasa. Well, well, he looks like a murderer, doesn’t he? More like as if himself were to be done for. Well, well, this day’s experience shall be a good lesson. 5.           “Indeed, Lucy, he has an admirable talent for contributing to vary, and increase amusement. We have few hours unimproved. Some new plan of pleasure, and sociability is constantly courting our adoption. He lives in all the magnificence of a prince; and why should I, who can doubtless share that magnificence if I please, forego the advantages and indulgences it offers, merely to gratify those friends who pretend to be better judges of my happiness than I am myself?” 6.           Now let me ask you, white man, if it is a disgrace for to eat, drink, and sleep with the image of God, or sit, or walk and talk with them. Or have you the folly to think that the white man, being one in fifteen or sixteen, are the only beloved images of God? Assemble all nations together in your imagination, and then let the whites be seated among them, and the let us look for the whites, and I doubt not it would be hard finding them: for to the rest of the nations they are but a handful. Now suppose those skins were put together, and each skin had its national crimes written upon it—which skin do you think would have the greatest? 7.           To believe your own thought, to believe that what is true for you in your private heart, is true for all men,—that is genius. Speak your latent conviction and it shall be the universal sense; for always the inmost becomes the outmost,—and our first thought is rendered back to us by the trumpets of the Last Judgment. 8.           The question now arose as to the character of the word. Having made up my mind to a refrain, the division of the poem into stanzas, was, of course, a corollary: the refrain forming the close to each stanza. That such a close, to have force, must be sonorous and susceptible of protracted emphasis, admitted no doubt: and these considerations inevitably led me to the long o as the most sonorous vowel, in connection with r as the producible consonant. 9.           Through me forbidden voices, Voices of sexes and lusts, voices veil’d and I remove the veil, Voices indecent by me clarified and transfigured. I do not press my fingers across my mouth, I keep as delicate around the bowels as around the head and heart, Copulation is no more rank to me than death is. I believe in the flesh and the appetites, Seeing, hearing, feeling, are miracles, and each part and tag of me is a miracle. Divine I am inside and out, and I make holy whatever I touch or am touch’d from, The scent of these arm-pits aroma finer than prayer, This head more than churches, bibles, and all the creeds.   Possible Authors: • Ralph Waldo Emerson • Walt Whitman • Henry David Thoreau • Hannah Webster Foster • Edgar Allan Poe • Frederick Douglass • Herman Melville • William Apess • Lydia Huntley Sigourney Possible Texts: • “Philosophy of Composition” • “Leaves of Grass [Song of Myself]” • “Indian Names” • The Coquette • Benito Cereno • “Self-Reliance” • “An Indian’s Looking-Glass for the White Man” • “Resistance to Civil Government” • Narrative of the Life of [Name], an American Slave

Write an overall programme proposal of 1 of the 21 district sports associations to develop a brand new comprehensive leisure programme to the five year District Sports Programmes Funding Scheme. Please include: 1. Summary 2. Introduction 3. Problem Statement / Statement of Need 4. Program Goals and Objectives 5. Methods 6. Formative and Summative Evaluation 7. Future Funding 8. Programme Life Cycle (PLC) 9. Budget 10. Appendix The assignment should contain a cover page. For the content of the assignment , please include a content page , with introduction , conclusion , page number , word count and reference (if necessary).

https://docs.google.com/document/d/1HxYL1pT3-KmVKgFSNXt_JUbupV2gMOTIZtLvEQMiA2k/edit yes and you are not just talking about the poem you have to give striking evidence. and how the poem feel.

Your essay should be a cohesive response (purposeful paragraphs, one unifying thesis, not list-like) to the use of symbolism to create meaning. Questions to consider include the following: What symbol(s) did you notice in this story? What “big ideas” do the symbols represent? How do the symbols relate to the story’s meaning or overall theme? Can these symbols be interpreted in more than one way? Your first paragraph should include (a) the name of the story and author, (b) a one or two sentence summary of the story and (c) your thesis statement or main point about the symbols used in the story.  Your essay should be written in academic style (no first or second person, academic language, use of MLA formatting) and include examples or quotes from the story.

Research Paper Choose two out of three literary works: The Illiad by Homer, Fathers and Children by Ivan Turgenev, and The Invisible Man by Ralph Ellison – Thesis statement that links chosen two works – 2 outside sources required on top of the chosen works – 5 pages – MLA format – Double spaced

Write an essay on the poem where you analyze its language and images, using your chosen school of literary criticism (feminist)  in order to interpret the poem’s overall meaning. Remember to include your word count at the end of your essay, and also a Works Cited page that cites your poem, plus at least one credible outside source to support/explain your interpretation.  Reminders: Use your chosen literary theory (feminist) to analyze the poem to explain what the poem “means.” Use examples from the text to convincingly support the claims you’re making. When quoting extensively, take time to explain the specific parts in the quote that prove your point. Avoid simply offering a summary or restating of each line, but analyze and discuss the words/lines with a purpose. Use the present tense when describing or discussing events in the poem. In writing about literature, the convention is to always use the present tense throughout. The idea is that the poet is currently communicating thoughts to you in the present time. Ensure you have correctly spelled all names and titles. Put the name of the poem in double-quotation marks.  When referring to the poet, write out his/her full name (and later references can be last name only). Don’t confuse the poet with the speaker of the poem – they are different. Remember to put quotation marks at the beginning and end of each quoted part.