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Business Studies Grade 12 Essay Guidelines Free Essays
You will need a total of two critiques (also known as critical analysis essays) for this assignment.
First, use the selection of links below ONLY to locate a critical analysis essay written about the 1818 version of Mary Shelley’s novel, Frankenstein. You may focus most of your attention on this first critique.
Choose from among these sources:
Literary Criticism collection:
1. Evaluate the critic/author:
Who wrote the criticism you read? What credentials does the author have (education, professional career, other publications, etc.)? (If you are using a credible author, you should be able to find her/his credentials fairly easily)
2. Find the thesis of the article: What is the thesis of the critical article you’ve chosen? What point does the author want to make about Frankenstein?
3. Evaluate the thesis: Do you agree with this thesis? Why or why not? We’ve covered many ideas in the study guides. Can you find points within the guides that support your agreement or disagreement with the critical writer(s)? Look for new supporting information rather than revisiting the same ones the critics have chosen.
4. Evaluate the support: Whether you agree or disagree with the thesis, does the critic provide sufficient research from the text and outside references to make a strong case? What does the article have for support from the text or outside sources? In your opinion, what makes these references valid? Do you feel the author uses this support properly?
Next, locate a second critique about the novel, and discuss how this second critique agrees and/or disagrees with the first one. For instance, if the first critic argues that Shelley’s writing is juvenile, does the second critic agree with this assessment? If the first critic believes the novel is autobiographical, does the second critic concur? These are just a few examples of how you can include this second critique in order to have a polished, comprehensive Evaluation Essay.
In addition to addressing each of the evaluative components above, develop your essay so it has a clear introduction, body, and conclusion. You must include an evaluative thesis statement both the introduction and the conclusion. Ensure that each of your claims are supported with valid evidence from the literary criticism you have chosen, or the novel, Frankenstein.
Using proper MLA2 style, insert parenthetical citations for all borrowed information in addition to a Works Cited page for Frankenstein and your chosen literary critiques.
This assignment should be at least 750 words.
Underline your thesis statement in the introductory paragraph.
Reminder: You need at least two critiques in addition to the novel in Works Cited. In other words, you need three sources total cited in the essay and on the Works Cited page.
Colin Nicholson's Critical Approaches to the Fiction of Margaret Laurence is a collection of primarily introductory and appreciative essays intended for readers not particularly familiar with either Canadian literature or the accomplishments of one of the country's most respected writers. Such readers will be served well by this volume. For the most part, the essays are cogent, persuasive discussions of some larger aspect of Laurence's writing or readings of particular texts, sometimes assessed individually and sometimes compared to other texts. Thus Clara Thomas solidly surveys (her subtitle) "Margaret Laurence and the Canadian Tradition in Fiction," and Colin Nicholson writes an engaging and wide ranging study of (his subtitle) "Aspects of Scotland in Laurence's Writing." Or Shirley Chew in "Some Truer Image" and Simone Vauthier in "Images in Stones, Images in Words" both read The Stone Angel largely in terms of the blind marble carving after which the novel is named, whereas Michael A. Peterman in "'All that happens, one must try to understand': The Kindredness of Tillie Olsen's Tell Me a Riddle [End Page 769] and Margaret Laurence's The Stone Angel" (an essay considerably better than its cumbersome title) partly situates Laurence's protagonist by comparing her to another elderly female character also talking her way toward death.
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But that is not to say that is not considered a classic. Indeed, it is still read and it still inspires criticism, however less frequently than more "major" Canadian authors; thanks to its inclusion in the New Canadian Library in 1964, it has become a staple of Canadian Literature around the country. Janet Friskney informs us, however, that of all the McClelland & Stewart New Canadian Library authors who have sold at least 2,000 copies annually, "only Paul Hiebert engendered little criticism in any form" (165).
Another critic, Carole Gerson, finds a link between Sarah Binks and another woman, this time the popular Canadian poet Edna Jaques. In "Sarah Binks and Edna Jaques: Parody, Gender, and the Construction of Literary Value" Gerson finds Jaques to be "the real woman whose verse Sarah's approximates" (62), but in this equation it is Jaques who is the marginal and Binks who is the canonical poet, furthering Canada's schizophrenic view of Hiebert's masterwork as somewhere between canonical art and period parody. It is Gerson's view that is canonical and that Edna Jaques is not because "the literary establishment has extended greater hospitality to the parody than to the reality" (67). Gerson's feminist (or anti-establishment) paradigm points to Hiebert's position that his parodic poems are funnier coming from a female poet rather than his originally envisioned male one (Siemans 66). She writes "the men are funny because of their misguided professional zeal, but the women are funny because they are constructed according to the stereotype of the frustrated spinster" (65). The canonicity of stems from a sort of "old boys club" of Canadian literature, as she concludes by saying
contextualizing a parodic figure like Sarah Binks within the shifting grid of literary value shaped by the changing reputations of real, albeit very different, popular writers like Edna Jaques and W.H. Drummond allows to see in operation some of the biases of class, gender, and ethnicity that have been unquestionably accepted by the profession that constructed literary value, and in many instances still prevail. (70)
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Psychoanalytic criticism may focus on the writer's psyche, the study of the creative process, the study of psychological types and principles present within works of literature, or the effects of literature upon its readers (Wellek and Warren, p.
Margaret Atwood’s works, especially The Handmaid’s Tale, are widely taught not only in literature courses but also in economics, political science, sociology, film, and business courses. Her writings span a variety of genres and address such themes as identity, Canadian nationalism, struggle for survival, sexual politics, and shamanism; this rich and diverse range has proved fertile ground for teachers and critics alike. Approaches to Teaching Atwood’s The Handmaid’s Tale and Other Works is the first book to focus on the teaching of this writer’s oeuvre exclusively.
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FALL 2017 Book Guide Coming Soon!
This volume, like others in the MLA’s Approaches to Teaching World Literature series, is divided into two parts. The first, “Materials,” gives editions and productions, readings for students, reference works, background and critical studies, and audiovisual resources. The second part, “Approaches,” contains twenty essays that situate the play in the Beckett canon, explore what it does rather than what it means, discuss its absurdity, put it in the context of contemporary drama, interpret it from different critical perspectives, examine its relation to Charlie Chaplin, compare its French and English texts, and share the pedagogical insights obtained by a teacher who directed it in a maximum-security prison in Florida.
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Jane Austen’s Pride and Prejudice is one of the most popular and widely taught works of English literature. Despite its enormous appeal—the novel has been in print almost continuously since its publication in 1812—there are few scholarly works devoted to teaching it. As Marcia McClintock Folsom notes in her introduction to Approaches to Teaching Austen’s Pride and Prejudice, respondents to an MLA survey on teaching this Austen novel expressed the need for relevant background materials, brief reviews of criticism, and descriptions of pedagogical strategies
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, with Tom Robinson (Toronto: Canadian Scholars Press), 600 pages. This was a first rudimentary effort at realizing the concept of what would become the volume of 2004. But this was in the nature of a course kit for students, with an ISBN but hastily compiled and poorly bound. The 2004 Reader is a completely new work, with a different range, base translation, introductions, and commentary.
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