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. * how Shakespeare presents the character, thello, in his play, Othello; * the stren!ths an" weaknesses of the mo#ie, Children of a Lesser God; * the $se of color in %onet&s paintin!, Sunflowers. A critical essay analyzes the stren!ths, weaknesses an" metho"s of someone else&s work. 'enerally these essays (e!in with a (rief o#er#iew of the main points of the text, mo#ie, or piece of art, followe" (y an analysis of the work&s meanin!. It sho$l" then "isc$ss how well the a$thor)creator accomplishes his)her !oals an" makes his)her points. A critical essay can (e written a(o$t another essay, story, (ook, poem, mo#ie, or work of art.
Teacher Structure : .esson /: (Dimension 1: Attitudes and perceptions p. 1 ! 0hy learn this1 Analytic essays occ$r across the c$rric$l$m, in "rama, reli!ion, m$lti2stran" science, history, !eo!raphy, le!al st$"ies, film st$"ies, En!lish, 34S, $ni#ersity. 5n"erstan"in! the task : anal"tic 6 what it&s all a(o$t, how the a$thor tackles his task, i"entifyin! its point of #iew alon! the ran!e of possi(le #iews, i"entifyin! the elements of the work, appraisin! key concepts, themes, or characters. Analysis is not a (ook re#iew, appreciation 7matters of taste, $sef$lness8, or plot s$mmary.
9ea" samples, mo"el analytic essays e.!., -'oo" no#els "o more than tell a story- AP :ote str$ct$re, synonyms: exemplifies, ill$strates, pro;ects, (ro$!ht forth,
"emonstrates, Do a P.A: an" a 3A9 post rea"in! reflection on the text.
.esson <: Para!raph str$ct$re: 3ES4. metho": 7 $tline, explain, s$pport, concl$"e, link8, si!npost sentences an" linkin! sentences. .esson =: >ow to (rainstorm i"eas, pickin! pertinent points 7see A(stractin! (elow8, examples an" oral an" writin! exercises. 'raphic or!aniser p. <?=. 5se a @rayer mo"el. .esson A: >ow to $se +$otations an" examples: samples an" writin! exercises. 5sin! a comparison matrix p. /</. A"#ice for this task we( search See .inks (elow. .esson ?: Post2rea"in! prewritin! orientation: $se a 9A@* mo"el. *ypes of +$estions an" types of plans, samples an" writin! exercises 7/AA8 .esson B: Scholarly tone, lan!$a!e an" metaphors, creatin! interest. !ore Stu ent Structure : .esson C: P$ttin! it to!ether: @rom notes to plan, arran!in!) recor"in! (est +$otations an" examples, @rom inci"ents to character profile 2 $se In"$cti#e reasonin! 7Student #and$oo% </, DL&eacher's (anual /A<.8 .esson D: @rom plan to first "raft. .esson E: 9e#isin! a "raft, e"itin!, critically examine the text, text an" +$estion ali!ne"1. .esson /F: 4ompletin! an" s$(mission of final copy. Attach criteria sheet. "esources: Some relevant lin#s
$$$ %est site for this tas# - gives specific strategies A"#ice for a Shakespeare essay 'oo" ($llet point a"#ice A"#ises constant re"raftin! S$ccinct a"#ice in B points 0ho is my a$"ience1
Analyzin! a text Gince 9occhio&s a"#ice plan an" sample sample: *he H$rassic Symphony :I5 points: persona, tone
fin" the core elements 2 i"entify the literal information: @in" six key sentences. replace key wor"s fin" alternati#es for them compose another #ersion of the material
9eso$rce: %arzano 9. H. et al. Dimensions of Learnin) &eacher's (anual <n" e"ition. Alexan"ria, GA: AS4D, /EEC. Pa!e compose" an" maintaine" (y '.I. Smith Iris(ane A$stralia April <FF<.
Ask yo$rself if an a$thorKs literary ar!$ment is inconsistent with itself or is in some way philosophically -"an!ero$s,- ina"e+$ate, $nethical, or mislea"in!. Examine how characters are presente" in a story. >ow "o they help the main character to "e#elop1 0hich characters are tr$stworthy1 0hich are not1 0hy are they presente" this way1 What counts as evidence: Structure: >ow the parts of the (ook or essay follow one another, how the parts are assem(le" to make a whole1 0hy "oes the a$thor start where they start, en" where they en"1 0hat is the lo!ical pro!ression of tho$!ht1 >ow mi!ht that pro!ression (e inten"e" to affect the rea"er 0hat effect mi!ht this pro!ression of i"eas ha#e on a !eneric rea"er or on a rea"er from the time perio" in which the work was written1 Does the piece mo#e from the !eneral to the specific or #ice #ersa1 If yo$ co$l" "i#i"e the (ook)essay into sections, $nits of meanin!, what wo$l" those sections (e1 >ow are they relate" to each other1 :ote that chapters, while they form o(#io$s sections can themsel#es (e !ro$pe". "eferring to the te't: In writin! analytic papers that a""ress any kin" of literat$re, it is necessary to refer to the text 7the specific wor"s on the pa!e of the (ook8 in or"er to s$pport yo$r ar!$ment. *his means that yo$ m$st +$ote an" interpret passa!es that "emonstrate or s$pport yo$r ar!$ment. 3$otation is $s$ally stron!er than paraphrase. 9emem(er also that yo$r p$rpose in writin! an essay is not merely to paraphrase or s$mmarize 7repeat8 what the a$thor has sai", ($t to make an ar!$ment a(o$t how the make their point, or how they ha#e sai" what they ha#e sai". (anguage: incl$"es the way an a$thor phrases his or her sentences, the key metaphors $se" 7itKs $p to yo$ to explain how these metaphors are $se", why these metaphors are appropriate, effecti#e, ineffecti#e, or am(i!$o$s8. Is the way a sentence is phrase" partic$larly re#ealin! of the a$thorKs meanin!1 Practical Essay-writing Hints: Please title yo$r paper an" make the title apt an" enticin!22I . GE a !oo" title. It p$ts me in a !oo" moo" (efore I start rea"in!. Ie clear a(o$t whether yo$Kre writin! a(o$t a (ook, an essay 7non2fiction, short prose8, a story 7short fiction8 a poem, a no#el 7(ook2len!th fiction8, an a$to(io!raphy, a narrati#e 7as in 4apti#ity :arrati#es8 etc. 0al"en is a (ook comprise" of chapters. Each of these chapters co$l" also (e calle" an essay. 0ithin these essays, *horea$ sometimes tells stories. *he (ook itself is not a story, ($t closer to a narrati#e, which is non2fiction. Always !o thro$!h at least two "rafts of yo$ paper. .et yo$r paper sit, prefera(ly for <A ho$rs (etween "rafts sometime "$rin! the process of yo$r writin!.
Eliminate first person prono$n 7-I-8 in yo$r final "raft 7itKs M for ro$!h "rafts an" may help yo$ write8. If yo$r para!raphs are more a f$ll pa!e or more in len!th it is more than likely that they are tooooooo lon!. Pro(a(ly yo$ ha#e too many i"eas -in the air- at once. 4onsi"er (reakin! the para!raph in half22into two smaller, ($t relate" ar!$ments. Jo$r rea"er nee"s a (reak, nee"s more str$ct$re in or"er to (e a(le to follow yo$r meanin!. If se#eral of yo$r para!raphs are excee"in!ly short 7A2? lines8, it is likely that yo$ are not "e#elopin! yo$r i"eas thoro$!hly eno$!h22that yo$ are writin! notes rather than analysis. Short para!raphs are $s$ally $se" as transitional para!raphs, not as content para!raphs. 7Short para!raphs can (e $se" in the rhetorical "e#ise of re#ersal where yo$ lea" yo$r rea"er "own a certain path 7to show them one si"e of the ar!$ment, the one yo$ are !oin! to oppose8 an" then t$rn away from that ar!$ment to state the tr$e ar!$ment of yo$r paper.8 Employ +$otation often. ne +$otation per ar!$mentati#e para!raph is $s$ally necessary. Depen"in! $pon the len!th an" complexity of the passa!e or topic yo$&re "ealin! with, more +$otations may (e $sef$l to pre#ent yo$ from !ettin! too far away from the text. Jo$r +$otations com(ine" with yo$r interpretations are yo$r proof. Ie s$re that yo$ show yo$r rea"er how they sho$l" interpret these +$otations in or"er to follow yo$r ar!$ment. 7Almost e#ery +$otation sho$l" (e followe" (y an interpretation, a "eeper rea"in! of what is (ein! sai" an" how its (ein! sai". *his interpretation "emonstrates how the +$otation s$pports the claim yo$&re makin! a(o$t it8. Pay attention to metaphor, phrasin!, tone, alliteration, etc. >ow is the a$thor sayin! what they are sayin!22what "oes that teach $s a(o$t the text1 9emem(er to write "irecti#e 7sometimes calle" -topic-8 sentences for yo$r para!raphs. *he first sentence of any para!raph sho$l" !i#e yo$r rea"er an i"ea of what the para!raph is !oin! to say an" how the para!raph will connect to the lar!er ar!$ment. It sho$l" ha#e more to "o with what "ou ha#e to say a(o$t the materials than what the a$thor him or herself has sai". *ransitions (etween para!raphs: try to !et away from $sin! -*he next,- -@irst of all-Another thin!...- to connect yo$r para!raphs. *his is the -list- metho" of str$ct$rin! a paper22not an inte!rate", lo!ical approach. A really stron! transition makes the lo!ical connection (etween para!raphs or sections of a paper an" !i#es the rea"er a sense that yo$Kre ($il"in! an ar!$ment. *o make s$re yo$ are makin! a well2connecte" ar!$ment, ask yo$rself how the last sentence of each para!raph an" the first sentence of the next are connecte". Each of the sentences within yo$r para!raphs sho$l" (e relate" somehow 7follow from, refer to, etc.8 the one that prece"es it, an" the one which follows it. *his will help the rea"er follow the flow of yo$r i"eas. *he or"er of yo$r para!raphs sho$l" re#eal a "e#elopin! ar!$ment. n the most (asic le#el, yo$ sho$l" (e a(le to conscio$sly ;$stify the presence an" placement of e#ery wor" in e#ery sentence, e#ery sentence in e#ery para!raph, e#ery
para!raph in e#ery essay. *o repeat: in re#isin! yo$r papers after the first "raft 7which is always, ine#ita(ly to some "e!ree conf$se" (eca$se yo$ are in#ol#e" in the process of workin! yo$r i"eas o$t8, yo$ sho$l" (e hi!hly conscio$s of what yo$ are "oin! an" why yo$ are "oin! it.