EXIT EXAM

No online dictionaries

You can use marked up essays--  not any pre-writing--like a sample essay you might have written.

You will have until 2PM

 

 

I will give you the second exam essay in case you fail.

 

 

I will call you over the w/e if you fail.

 

 

The next test is a week from Friday--same time--same place.

William Carlos Williams Question

 In the early 1900s William Carlos Williams was working at a hospital with mostly women.  This was a time when women were viewed as second class citizens in comparison to men. What do you think Williams' attitude toward these women were--positive--negative--both? Do you think he treated them as second class citizens?  Give examples and quote from the text. Make sure this is in essay form.  ( Standard  250 words)

“Oh don’t,” she said, “it's cold.”

“Oh don’t,” she said, “it's cold.”

*With my mother, Nov. 22, 2012.

“ I’m depressed

I’m old,”

I held her hand

“Oh don’t” she said,

“It's cold.”

 She said:

“Maybe I was aggressive

Maybe too passive

Perhaps it was something

That I needed to be told.”

I held her hand

“Oh don’t ,” she said

“it's cold.”

I said:

“But we love you,

What we once bought

Has now long been sold.”

I held her hand

“ Oh don’t,”  she said

“it's cold.”

She said:

“ What should I have seen?”

“What was I meant to be?”

“What could of pleasured me?”

I held her hand

“Too bad” she said

“it's warm now", but

“  oh, so old.”

Her hands

Gently broke

from me

And like spotted moths,

fluttered free.

Evaluation of Draft One

DANGER

DAVID ROPEIK TALKS ABOUT THE RATIONAL APPROACH VS. THE IRRATIONAL APPROACH TO DANGER. EXPLAIN WHAT HE MEANS BY THESE  DIFFERENT APPROACHES. USE YOUR OWN EXPERIENCE TO ILLUMINATE YOUR EXPLANATION, AS WELL AS EXAMPLES FROM THE ESSAY.

Incorporating quotes)

When you directly quote the works of others in your paper, you will format quotations differently depending on their length. Below are some basic guidelines for incorporating quotations into your paper. Please note that all pages in MLA should be double-spaced.

Short Quotations

To indicate short quotations (four or fewer typed lines of prose or three lines of verse) in your text, enclose the quotation within double quotation marks. Provide the author and specific page citation (in the case of verse, provide line numbers) in the text, and include a complete reference on the Works Cited page. Punctuation marks such as periods, commas, and semicolons should appear after the parenthetical citation. Question marks and exclamation points should appear within the quotation marks if they are a part of the quoted passage but after the parenthetical citation if they are a part of your text.
For example, when quoting short passages of prose, use the following examples
:

According to some, dreams express "profound aspects of personality" (Foulkes 184), though others disagree.

 

According to Foulkes's study, dreams may express "profound aspects of personality" (184).

 

Is it possible that dreams may express "profound aspects of personality" (Foulkes 184)?

 

When short (fewer than three lines of verse) quotations from poetry, mark breaks in short quotations of verse with a slash, /, at the end of each line of verse (a space should precede and follow the slash).

Cullen concludes, "Of all the things that happened there / That's all I remember" (11-12).

Long Quotations

For quotations that extend to more than four lines of verse or prose, place quotations in a free-standing block of text and omit quotation marks. Start the quotation on a new line, with the entire quote indented one inch from the left margin; maintain double-spacing. Only indent the first line of the quotation by an additional quarter inch if you are citing multiple paragraphs. Your parenthetical citation should come after the closing punctuation mark. When quoting verse, maintain original line breaks. (You should maintain double-spacing throughout your essay.)
For example, when citing more than four lines of prose, use the following examples:

Nelly Dean treats Heathcliff poorly and dehumanizes him throughout her narration:

 

"They entirely refused to have it in bed with them, or even in their room, and I had no more sense, so, I put it on the landing of the stairs, hoping it would be gone on the morrow. By chance, or else attracted by hearing his voice, it crept to Mr. Earnshaw's door, and there he found it on quitting his chamber. Inquiries were made as to how it got there; I was obliged to confess, and in recompense for my cowardice and inhumanity was sent out of the house. (Bronte 78)"

 

 

When citing long sections (more than three lines) of poetry, keep formatting as close to the original as possible.

In his poem "My Papa's Waltz," Theodore Roethke explores his childhood with his father:

 

The whiskey on your breath
Could make a small boy dizzy;
But I hung on like death:
Such waltzing was not easy.
We Romped until the pans
Slid from the kitchen shelf;
My mother's countenance
Could not unfrown itself. (quoted in Shrodes, Finestone, Shugrue 202)

Bartleby's Problem

Bartleby, in Bartleby the Scrivener by Herman Melville, refuses to work by answering all requests to work from his employer with, "I prefer not to."  The reason Bartleby refuses to work is because of his employer, the Lawyer, who tolerates his insubordination. A solution to this problem would be to have the Lawyer, hire a professional manager to handle the day to day office affairs.

 Bartleby, after starting out as an excellent employee eventually starts to refuse to work....

  Then show evidence from the book.

The Lawyer unreasonably tolerates this behavior which contributes to his refusal to work.

 

Show evidence from the book...

One way to handle Barlteby's refusal to work is for the Lawyer to hire a professional manager for day to day operations.  Write a bit about your solution

The Double Cheese Burger

Make the reader see, feel, smell and taste this burger

QUIZ QUESTION ON THE MAN IN THE BOOTH IN THE MIDTOWN TUNNEL

 

 

 

MUCH HAS BEEN WRITTEN ABOUT FOOD IN THE MAN IN THE BOOTH IN THE MIDTOWN TUNNEL. IN YOUR VIEW WHAT DOES FOOD REPRESENT IN THE POETRY COLLECTION? IS IT AN EROTIC SYMBOL? DOES IT HELP DEFINE RELATIONSHIPS? YOU CAN WRITE ABOUT WHATEVER YOU WANT. BUT MAKE SURE TO HAVE A THESIS, QUOTE LIBERALLY FROM THE BOOK, AND HAVE AN INTRO PARAGRAPH, TWO BODY PARAGRAPHS, AND A CONCLUSION.

Paraphrasing Mitt Romney

You read in the Problem with Diaper Rash and Mitt Romney by Doug Holder

In my research I find that Mitt Romney acts the way he does because the severe itching makes him start bitching and he acts irrationally.

Mitt Romney behavior can be explained by severe diaper rash that causes an upswing in his violent verbal outbursts and irrational behavior.  ( Holder 252)

 

Direct Quote

"In my research I find that Mitt Romney acts the way he does because the severe itching makes him start bitching and he acts irrationally." ( Holder 252)

Works Cited

 

Holder, Doug.  Problem with Diaper Rash and Mitt Romney

Bartleby The Scrivener Quiz

 

 

 

 

The characters that Bartleby shares the office with can be said to create an atmosphere that causes Bartleby to reply to his boss's demand to work with "I prefer not to." How do you feel that these characters contribute to Bartleby's dysfunction? Use at least two characters in your answer, and make sure to quote from the text to prove your point.

Cites-- Works Cited

                                                   Work Cited



Melville, Herman.  " Bartleby the Scrivener." Literature: A Portable Anthology. Ed. Janet E. Gardner et al. 2nd  ed. Boston: Bedford, 2009. 537. Print. 


Bloom, Harold.  Joe Smith.  New York: Chelsea, 1999. Print.




Cites in text -- (Melville  444.)

Things NOT to do in an introductory paragraph:

Things NOT to do in an introductory paragraph:

• Apologize. Never suggest that you don't know what you're talking about or that you're not enough of an expert in this matter that your opinion would matter. Your reader will quickly turn to something else. Avoid phrases like the following:
  In my [humble] opinion . . .
  I'm not sure about this, but . . .
• Announce your intentions. Do not flatly announce what you are about to do in an essay.
  In this paper I will . . .
  The purpose of this essay is to . . .
  Get into the topic and let your reader perceive your purpose in the topic sentence of your beginning paragraph.
• Use a dictionary or encyclopedia definition.
  According to Merriam-Webster's WWWebster Dictionary,
  a widget is . . .
  Although definitions are extremely useful and it might serve your purpose to devise your own definition(s) later in the essay, you want to avoid using this hackneyed beginning to an essay.
• Dilly-dally. Get to it. Move confidently into your essay. Many writers find it useful to write a warm-up paragraph (or two, even) to get them into the essay, to sharpen their own idea of what they're up to, and then they go back and delete the running start.

Have a minute? Good. Because that may be all it takes to save the life of a child—your child. Accidents kill nearly 8000 children under age 15 each year. And for every fatality, 42 more children are admitted to hospitals for treatment. Yet such deaths and injuries can be avoided through these easy steps parents can take right now. You don't have a minute to lose.

[This article begins with a surprising, even shocking, statistic, 8000 children die each year from accidents. The article then lists seven easy actions a person can take to help guard a child against accidents. These range from turning down the water heater to 120 degrees Fahrenheit to putting firearms under lock and key.]

4 Famous person: People like to know what celebrities say and do. Dropping the name of a famous person at the beginning of a paper usually gets the reader's attention. It may be something that person said or something he or she did that can be presented as an interest grabber. You may just mention the famous person's name to get the reader's interest. The famous person may be dead or alive. The famous person may be a good person like the Pope, or he or she may be a bad person like John Wilkes Booth. Of course, bringing up this person's name must be relevant to the topic. Even though the statement or action may not be readily relevant, a clever writer can convince the reader that it is relevant.

from "Dear Taxpayer" by Will Manley in Booklist, May 1, 1993.

The most widely read writer in America today is not Stephen King, Michael Chrichton or John Grisham. It's Margaret Milner Richardson, the Commissioner of the Internal Revenue Service, whose name appears on the "1040 Forms and Instructions" booklet. I doubt that Margaret wrote the entire 1040 pamphlet, but the annual introductory letter, "A Note from the Commissioner," bears her signature.

[This is the first paragraph of an article about the lady named above. The author used the names of three famous, modern American writers to get a reader's interest. Notice that the first name on his list is a name that is probably more widely known than the other two. Stephen King has been around for some time now, and everyone, from teenagers to grandparents, know his name whether they have read his books or not.]

5 Declarative: This technique is quite commonly used, but it must be carefully used or the writer defeats his whole purpose of using one of these patterns, to get the reader's interest. In this pattern, the writer simply states straight out what the topic of his paper is going to be about. It is the technique that most student writers use with only modest success most of the time, but good professional writers use it too.

from "The Tuition Tap" by Tim Lindemuth in K-Stater, February, 1994.

In the College of Veterinary Medicine and Engineering, for example, nearly one-third of the teaching faculty may retire by the year 2004. In the College of Education, more than a third of the professors are 55 years old and older. The largest turnover for a single department is projected to be in geology. More than half of its faculty this year are in the age group that will retire at the millennium, says Ron Downey of K-State's Office of Institutional Research and Analysis. The graying of K-State's faculty is not unique. A Regents' report shows approximately 27 percent of the faculty at the six state universities will retire by the end of this decade, creating a shortage of senior faculty.

[This is a straight forward introduction that gets right down to the topic of the aging of the faculty of Kansas State University. There are no historical reviews, no surprising statements, no anecdotes, no quotations from or about famous people. This is a discussion that leads to further discussion about the topic. The biggest difficulty about this type of introduction is that it can get boring. It is not likely to get the interest of anyone except those who are already interested in this subject. Use this pattern with caution.]

These patterns can give a "lift" to your writing. Practice them. Try using two or three different patterns for your introductory paragraph and see which introductory paragraph is best; it's often a delicate matter of tone and of knowing who your audience is. Do not forget, though, that your introductory paragraph should also include a thesis statement to let your reader know what your topic is and what you are going to say about that topic.

Creative Writing Quiz Sept 27, 2012 Nick Flynn

    Setting, Dialogue, Narrative Variation, Details, Rising Tension are components of a good memoir. Choose one of these components and explain how Flynn employs it to make his memoir compelling.

Quoting, Paraphrasing, and Summarizing

Quoting, Paraphrasing, and Summarizing

What are the differences among quoting, paraphrasing, and summarizing?

These three ways of incorporating other writers' work into your own writing differ according to the closeness of your writing to the source writing.
Quotations must be identical to the original, using a narrow segment of the source. They must match the source document word for word and must be attributed to the original author.
Paraphrasing involves putting a passage from source material into your own words. A paraphrase must also be attributed to the original source. Paraphrased material is usually shorter than the original passage, taking a somewhat broader segment of the source and condensing it slightly.
Summarizing involves putting the main idea(s) into your own words, including only the main point(s). Once again, it is necessary to attribute summarized ideas to the original source. Summaries are significantly shorter than the original and take a broad overview of the source material.

Why use quotations, paraphrases, and summaries?

Quotations, paraphrases, and summaries serve many purposes. You might use them to . . .

• Provide support for claims or add credibility to your writing
• Refer to work that leads up to the work you are now doing
• Give examples of several points of view on a subject
• Call attention to a position that you wish to agree or disagree with
• Highlight a particularly striking phrase, sentence, or passage by quoting the original
• Distance yourself from the original by quoting it in order to cue readers that the words are not your own
• Expand the breadth or depth of your writing

Writers frequently intertwine summaries, paraphrases, and quotations. As part of a summary of an article, a chapter, or a book, a writer might include paraphrases of various key points blended with quotations of striking or suggestive phrases as in the following example:

In his famous and influential work the Interpretation of Dreams, Sigmund Freud argues that dreams are the "royal road to the unconscious" (page #), expressing in coded imagery the dreamer's unfulfilled wishes through a process known as the "dream-work" (page #). According to Freud, actual but unacceptable desires are censored internally and subjected to coding through layers of condensation and displacement before emerging in a kind of rebus puzzle in the dream itself (page #).

How to use quotations, paraphrases, and summaries

Practice summarizing the essay found here, using paraphrases and quotations as you go. It might be helpful to follow these steps:

• Read the entire text, noting the key points and main ideas.
• Summarize in your own words what the single main idea of the essay is.
• Paraphrase important supporting points that come up in the essay.
• Consider any words, phrases, or brief passages that you believe should be quoted directly.

QUIZ QUESTION

 

Barnes, Miller, and Celine had different perspectives of New York City. Write an introductory  paragraph that explains what you feel  are their perspectives, and in subsequent paragraphs give evidence, quotes from their essays, etc... to prove your point. Also include a conclusion.

The Jewish Giant by Diane Arbus

                                               THE  JEWISH GIANT

Cannibalism: A Love Poem

Cannibalism

And what could be more intimate? To deflesh a skull crack a femur to get down to the very marrow. Is there a greater act of love as when the prayers of the mantis are answered and her lover loses his head over her after the frenzied copulation? Or the  amoeba with all consuming passion shuns his bacterial prey and engulfs his object of desire in a zygote for two. And isn't it the same, my love for me and you.

The big guy and the little guy

The big Guy and the little guy have two different perspectives on life. Who do you identify with more, and why? Use your personal experience to support your position.

Exit Exams 2012

Summary of Exit Exam Process for ENG095 and ENG111/ SPRING 2012

Week 12 (April 16-22)

Readings and prompts distributed to instructors.  As usual, we will ask instructors to photocopy suitable numbers of readings for each section for distribution during week 13.  Instructors will also receive exam prompts, which are not to be distributed to the students until the actual exam sessions.  Students may not have advance access to the prompts, only to the readings upon which the prompts are based. 

Week 13 (April 23-April 29)

Readings distributed to students in anticipation of week 14 exam. Students may annotate the reading.  They may bring in the annotated reading to the exam.  However, they may not bring in additional notes or outlines or other types of prewriting.  Further, the instructor doesn’t “prep” the reading with students.

Week 14 (April 30-May 6)

First administration of the exam.  Students write the exams in class.  They may not receive additional help.  They may consult a dictionary. Students may use scratch paper to do prewriting and plan and draft.  Instructor should oversee the collection of all of this material at the end of the session. Past experience has shown that a standard seventy-five minute period is sufficient for most students to write an exam.  However, some students do struggle at the end, particularly those students who come to English as a second language. At the instructor’s discretion students may receive some additional time to complete their exam.  The only stipulation is that the students must be monitored by the instructor.  Instructors should also be mindful of classes that may be scheduled to meet during the next period.

Grading sessions.  Full-time day faculty are scheduled to meet during the Tuesday 1 p.m. activity hour.  Part-time faculty will meet either Thursday, May 3, 4:00 p.m. (ENG095: C202 lecture hall; ENG111: E421 Culinary Arts dining room) or Saturday morning, May 5, at 9:30 a.m. (room E450 Culinary Arts function room).  (A stipend is paid for the Thursday evening and Saturday morning sessions.)  See below for additional information about grading procedures for ENG095 and ENG111.

Notifying students of the results.  If a class meets twice per week, instructors can use the second session to go over exams with students who need to re-take the exam.  [Note:  students may see exams, but the instructor retains the exams.]  The instructor can then give the week 15 reading to students who need to re-take.  Evening, weekend and Friday classes present a special problem as they meet only once per week.  How best to notify students?  How best to distribute the reading to those students who need to re-take the exam?  Some instructors call or e-mail students, particularly those students who need to re-take.  Students are then able to come to the week 15 class ready to go over the exam and then re-take.  Some instructors also distribute the week 15 reading ahead of time to all students.  If a student is then notified of the need to re-take the exam, the student already has the reading to work on.

Week 15 (May 7-13)

The process is repeated during week 15, the last regular week of classes, for those students who did not pass the exam the first time around, or for those students who missed the first administration.

Week 16 – Final Exam week

“LAST CHANCE” FINAL FOR DAY STUDENTS: Tuesday, May 15, 12 p.m., rooms tba.   This is an opportunity for day students who missed one of the earlier sessions.  Students do not need to receive a reading ahead of time.  A shorter reading appropriate for a two hour exam sitting will be provided at the time of the exam.  Instructors who refer students to this session should be prepared to help with proctoring and grading.

Grading

ENG095 GRADING

1.      Instructors bring all exams to the grading session.  It is recommended that instructors do an initial read first.  Instructors should not mark exams in any way.  Instructors should double-check to make sure the correct section numbers are on the exam.

2.      At the exam session, all exams are placed in a pile.  The exams are shuffled.  

3.      Before the actual grading begins, there will be some discussion of norming.  In the case of the Saturday morning grading session, there will be a group grading discussion of several exams.

4.      Exams are graded “P” (pass) or “NP” (not pass).  Based on norming discussion if an instructor feels completely comfortable that an exam falls into either of the categories, one reading is sufficient.  If however the grader thinks the exam is borderline, the grader should put a question mark on the paper and either hold on to it to discuss with another reader or put it into the question mark pile for additional readings.  Readers should not mark up the exams.  A check-off form should be filled out for each “NP” exam.  Areas that are problematic should be checked off.  Additional comments may be written on the check-off form but these should be written with the knowledge that the instructor will show the comment sheet to the student and will go over the exam using the check-off sheet to help the student know why the exam did not pass.

5.      At the end of the session, the instructor should go through his or her exams to verify that they are all there and have all been graded.  If an instructor feels an exam may have been misread, the instructor may request additional readings at that time.

6.      At the end of the entire process, all exam materials should be returned to the department chair.  Exams will be filed for one year.

ENG111 GRADING

The exam grading process for ENG111 is much the same as ENG095.  However, there is one important difference.  Present practice exempts exams that are “B or better” from the grading session.  This, then, requires that the instructor do an initial culling of exams before attending the grading session. This in turn requires a very clear understanding of what a “B or better” exam is.  The reason for this practice is basically a practical one.  If there were enough time it is clear that it would be better that all exams be brought to the grading session and all exams be graded in the way that the ENG095 exams are graded.  However, the reality is that time is limited and the ENG111 exams are much longer and demand more time.  If this practice is to work it is imperative that all instructors have a clear sense of what “B or better” is.  This can be arrived at in a number of ways.  One is to apply a set of descriptors like the ones below.  The second is to have a norming session in advance of the actual grading session in which sample essays are group graded, which should lead to group consensus on grading standards.  The department could also put together a set of exams that have been determined to be “A,” “B”, etc., which then serve as “range finders.”  For part-time faculty new to the process, it would be a good idea, prior to Saturday morning grading session, to go through the exams, arranging them roughly from best to worst.  Then once the initial practice grading has been completed, it should be clear which exams need to go into the pile.

Options for Students Who Do Not Pass the Exam

Options are limited.  Students may not receive a grade of C or better for the course unless the exam has been passed.  This leaves the following options…

1.      A final grade of D for the course.  “D” is minimally passing.  However, a student may not advance to the next level with a “D.”  A student must re-take the course.

2.      A final grade of F for the course.  The student has failed and needs to repeat the course.

3.      An “IP” grade—i.e., “in progress.”  This is a temporary grade.  In essence the instructor is making a bargain with a student to finish up the course after the semester.  While this might be accomplished in a number of ways, the bottom line is still the same:  the instructor who awards the IP is responsible for giving the final grade as the student is still on the instructor’s class roster.  Instructors should certainly consider the IP option but award this temporary grade only after careful consideration and discussion with the student.  Some instructors give an IP out of compassion; however, the student often remains unclear on what it is that he or she has to do to complete the IP.  Thus the importance of filling out an IP agreement form.  IP agreement forms are available in the dean’s office.  The form requires stipulation of what must be done and establishes a time line for completing it.  A student should sign the form and retain a copy.  In the event a student is not available to sign the form the instructor should mail a copy to the student, explaining the circumstances for giving the IP and the requirements for completing the course.  In recent years the department has experimented with an “IP completion course.”  This is a course that carries no credit and costs the student nothing.  A student must still sign up.  The course is listed in the master schedule as ENG005.  Space is limited.  Students will work with an instructor (and tutors, if available).  After a student has been retested, the ENG005 instructor reports back to the referring instructor so the referring instructor can change the IP to an appropriate final grade.  For more information on this, contact Tim McLaughlin.  Please note:  IP’s revert to F if the grade is not changed by the end of the next semester, unless the IP is formally extended by the original instructor.

HOWL

http://cda.mrs.umn.edu/~beaversg/ginsberg

                          HOWL

                    For Carl Solomon

                           I

       I saw the best minds of my generation destroyed by
              madness, starving hysterical naked,
       dragging themselves through the negro streets at dawn
              looking for an angry fix,
       angelheaded hipsters burning for the ancient heavenly
              connection to the starry dynamo in the machin-
              ery of night,
       who poverty and tatters and hollow-eyed and high sat
              up smoking in the supernatural darkness of
              cold-water flats floating across the tops of cities
              contemplating jazz,
       who bared their brains to Heaven under the El and
              saw Mohammedan angels staggering on tene-
              ment roofs illuminated,
       who passed through universities with radiant cool eyes
              hallucinating Arkansas and Blake-light tragedy
              among the scholars of war,
       who were expelled from the academies for crazy &
              publishing obscene odes on the windows of the
              skull,
       who cowered in unshaven rooms in underwear, burn-
              ing their money in wastebaskets and listening
              to the Terror through the wall,
       who got busted in their pubic beards returning through
              Laredo with a belt of marijuana for New York,
       who ate fire in paint hotels or drank turpentine in
              Paradise Alley, death, or purgatoried their
              torsos night after night
       with dreams, with drugs, with waking nightmares, al-
              cohol and cock and endless balls,

A Bukowski Writing Lesson

1. A Bukowski Writing Lesson

   It’s about this time he pulls out my first book of poetry, the copy I mailed him three months earlier. He starts reading the very first poem:
   
   i tore my nails into
   my stomach ripping a hole
   big enough to put my hand
   into me with blind fingers
   feeling between intestines
   and liver for the flower of
   me, until i found it pulling
   it out, holding it in my bloody
   right hand until my left hand
   got hold of my soul, and i
   took the two and smashed them
   together until they became a
   solid piece of total beauty
   for me to throw with all
   my strength into the
   stars
   
   I’m watching close as he reads it through. He seems to not be hurting at all so I feel it’s all working nicely and then he gets to the last word and he suddenly goes, “OOOOOHHH SHIT. IT WAS GOING FINE RIGHT UP TO THAT LAST WORD-STARS-OHH IT’S TOO DAMN BAD, OH - WHAT A SHAME!”
   
   I was asking myself “What? What in the hell does he mean? What’s wrong with stars? I’ve never heard anything bad about ‘stars’ said to me in my lifetime.”
   
   Bukowski spoke on, “STARS is so goddamn ultra poetic. You can’t use STARS. STARS STARS STARS FUCK TH’ GODDAMN STARS! What a shame, kid. You had it strong up to the last word, then gone, ruined, all th’damn dead false sewing circle poets are forever writing STARS STARS STARS!! They can’t even write a line without STARS in it somewhere. I’m so sorry kid.”
   

Whitman--List Poem

O my Body! I dare not desert the likes of you in other men and women, nor the likes of the parts of you;	130
I believe the likes of you are to stand or fall with the likes of the Soul, (and that they are the Soul;)
I believe the likes of you shall stand or fall with my poems—and that they are poems,
Man’s, woman’s, child’s, youth’s, wife’s, husband’s, mother’s, father’s, young man’s, young woman’s poems;
Head, neck, hair, ears, drop and tympan of the ears,
Eyes, eye-fringes, iris of the eye, eye-brows, and the waking or sleeping of the lids,	135
Mouth, tongue, lips, teeth, roof of the mouth, jaws, and the jaw-hinges,
Nose, nostrils of the nose, and the partition,
Cheeks, temples, forehead, chin, throat, back of the neck, neck-slue,
Strong shoulders, manly beard, scapula, hind-shoulders, and the ample side-round of the chest.
Upper-arm, arm-pit, elbow-socket, lower-arm, arm-sinews, arm-bones,	140
Wrist and wrist-joints, hand, palm, knuckles, thumb, fore-finger, finger-balls, finger-joints, finger-nails,
Broad breast-front, curling hair of the breast, breast-bone, breast-side,
Ribs, belly, back-bone, joints of the back-bone,
Hips, hip-sockets, hip-strength, inward and outward round, man-balls, man-root,
Strong set of thighs, well carrying the trunk above,	145
Leg-fibres, knee, knee-pan, upper-leg, under leg,
Ankles, instep, foot-ball, toes, toe-joints, the heel;
All attitudes, all the shapeliness, all the belongings of my or your body, or of any one’s body, male or female,
The lung-sponges, the stomach-sac, the bowels sweet and clean,
The brain in its folds inside the skull-frame,	150
Sympathies, heart-valves, palate-valves, sexuality, maternity,
Womanhood, and all that is a woman—and the man that comes from woman,
The womb, the teats, nipples, breast-milk, tears, laughter, weeping, love-looks, love-perturbations and risings,
The voice, articulation, language, whispering, shouting aloud,
Food, drink, pulse, digestion, sweat, sleep, walking, swimming,	155
Poise on the hips, leaping, reclining, embracing, arm-curving and tightening,
The continual changes of the flex of the mouth, and around the eyes,
The skin, the sun-burnt shade, freckles, hair,
The curious sympathy one feels, when feeling with the hand the naked meat of the body,
The circling rivers, the breath, and breathing it in and out,	160
The beauty of the waist, and thence of the hips, and thence downward toward the knees,
The thin red jellies within you, or within me—the bones, and the marrow in the bones,
The exquisite realization of health;
O I say, these are not the parts and poems of the Body only, but of the Soul,
O I say now these are the Soul!

Exit Exam Practice Test Question.....

Do you agree or disagree with Etzioni's point that McDonald's is bad for your kids? Make sure to engage the text, and use your personal experience to support or refute the author.


In the essay "Working at McDonald's" by Amitazi  Etzioni, the author argues that it is a negative experience for kids to work at McDonald's. He points out that McDonald's does not promote creativity, and takes valuable time away from school work. I agree strongly with this statement. In my own experience at McDonald's I was a hamburger producing drone, and my schoolwork suffered.


Etzioni points out that the work structure at McDonald's does not promote creativity. Etzioni argues that once you arrive at work at McDonald's everything is arranged for you so you don't have to think:"True, you have to have the gumption to get yourself to the hamburger stand, but once you don the prescribed uniform,...your task is spelled out in minute detail. The Franchise prescribes the shape of the cups; the weight, size, shape and color of the patties; and the texture of the napkins...."


Etizioni points out that school work suffers as well. The job provides no career ladder, and the time spent at the job is time that can be spent hitting the books. Etizioni is straight to the point about this negative affect on academic endeavors: "... there is just no such amounts of work will not interfere with schoolwork, especially homework. In an informal survey published in a recent yearbook of the high school ( Montgomery County, Maryland) 58 percent of seniors acknowledged that their jobs interfere with their school work."


My own experience follows what Etzioni writes about. I was asked for no input, and I couldn't vary from the McDonald's handbook. Because I had less time to study and my grades suffered--going from a  B average to C.


In conclusion working at McDonald's is a negative experience. It is clear from this essay and from my own experience that creativity is stifled, and schoolwork suffers.

Readers For Arguing A Position

* Read for first impression---

* Does the reader give enough information?

* Is the position clearly stated?

* Evaluate reasons for support.

*How well have opposing arguments been dealt with?

* Organization effective?

The Red Wheelbarrow

so much depends
upon
a red wheel
barrow

glazed with rain
water

beside the white
chickens.

THE WRITING PLACE – E142

THE WRITING PLACE – E142



WHAT IS THE WRITING PLACE?

The Writing Place is a tutoring service sponsored by the English Department. Students come to the Writing Place to work with tutors on specific writing tasks, including brainstorming ideas for college writing assignments, organizing rough drafts, revising, editing, and doing library research. The Writing Place tutors are students who have successfully completed their College English program and are taking a course that prepares them to provide effective feedback and assistance.



WHERE IS THE WRITING PLACE?

The Writing Place is located in E-142 (1st floor of E Building). It is open each day, Monday through Friday, for appointments scheduled with tutors and for drop-in assistance at posted times. To arrange a time with a tutor, go directly to E-142, and if your instructor has given you a referral form, be sure to bring it with you. A staff member or tutor will help you to schedule a weekly session in the Writing Place at a time that is convenient for you. You may also see Jennifer Rosser, Professor in the English Department, during her office hours at B-300-J, or leave her a voice mail message at 617-228-3244, or an e-mail message at jrosser@bhcc.mass.edu. She will get back to you. The tutoring schedule fills quickly, so visit the Writing Place in E-142 as soon as possible to arrange your schedule, or see Professor Rosser in B-300-J.



HOW DOES THE WRITING PLACE WORK?

We would like each student to sign up for one regular appointment per week. It is our expectation that you will keep your appointments and come to the Writing Place every week at your scheduled time until you have mastered the skills you have been working on. Once this mastery has been achieved to your satisfaction, and to the satisfaction of your teacher, you are no longer expected to come to the Writing Place. Your association with the Writing Place may be a short one of two or three weeks or it may last the entire semester. It all depends on how much time it takes you to master the skills you've come to work on. Please note: if you miss two appointments in a row, you will lose the times that have been reserved for you. You will have to reschedule if you wish to continue with tutoring at the Writing Place.



WHAT WILL I DO AT THE WRITING PLACE?

The Writing Place tutors will talk with you about your writing tasks and will have specific materials for you to work on. These materials have been selected to supplement the materials your teacher has assigned in your class. Working through these materials should help you with the regular class work your teacher has assigned. The Writing Place tutor will not do your homework assignments for you. The tutors will help you to organize your ideas and to work on the specific skills identified by you or your instructor. If you complete the Writing Place materials effectively, you should be able to complete homework assignments and compositions more effectively on your own. If you have any other questions about the Writing Place, see Writing Place Instructor, Jennifer Rosser, at her desk in B-300-J. You may also call her at 617-228-3244 or e-mail her at jrosser@bhcc.mass.edu



Good luck! We hope that your experience at the Writing Place is a positive one.

Character Study

The character's physical appearance and traits....

The characters actions...

The character's background

The reaction of other character's to her physical appearence

The character's speech

Thoughts, feelings and desires

Comments other characters might make about her

Quiz 2/14/2012 Patti Smith " Just Kids"

Setting is a key part of any memoir. The environment that one grows up in or grows in; the place he or she lives, etc.... forms the individual. In Just Kids by Patti Smith, Smith uses the settings of Coney Island and the Chelsea Hotel to help define her and Robert Mapplethorpe and their development emotionally and artistically. How does Smith portray these two settings (using excerpts from the book) to define and trace the relationship of Smith and Mapplethorpe and their journey from novice artists to more developed ones?

First Draft of Memoirs

First impression-- its sense of significance.



Examine the story--does it engage?



Are the people and places described vividly?


Is there use of memorabilia?



ORGANIZATION

Does the intro arouse curiosity?


How about the ending? Does it seem to be tacked or does it fit with the memoir?



Strongest Part/ Weakest Part

MEMOIR

Key People

Twists of Fate

Symbols

Music Pictures

Dialogue/Detail

How did you change?

How do you want the readers to feel?