Papers & Response Papers

FAREWELL Assignment

Using only words from the lexicon page (this includes definitions), write a short farewell to the class. You will hand this in to me and read it aloud to your colleagues. The form you choose to write this in is up to you (note, letter, poem, paragraph, etc.).

DUE: Monday, May 17, 2010

***

Digital Essay Assignment

For the final paper of this semester, I would like for you to select one poem to investigate at great length. Your paper will take the form of an extended critical close reading. In order to further explore the visual and auditory possibilities a poem holds, you will also be composing a “digital essay” on the same piece.

What is a “digital essay”?

A digital essay (in the context of this course) is a piece of work that uses audio, video, text, and/or images. Your goal for this project should be to create a series of electronic images/photos or performance that further illuminate the text you are working with for the paper. Or, in other words, this project must combine image and sound, as well as reflect your own ideas on the text. Your digital essay should be two to five minutes long.

An example of what this means might be to take Stevens’ poem “The Snow-Man” and create a slideshow of winter-related images set to a choral reading of the poem. Or, you might create a short film in which you and some friends stage the action or the sentiments of the poem.

Please see the “Media” page on our course site for specific examples.

How do I do this? I don’t have a camera! I don’t have the right software!

Video Cameras: You may borrow a Hitachi camcorder from the Newman Library. All you need to do is go to the Circulation Desk on the 2^nd Floor and request one. You are permitted to borrow it for three days, with the possibility of renewal.

Production Information:

1. Decide whether you plan to make a slideshow or movie.

— Slideshow: a display of a series of images, often accompanied by a soundtrack. Think “a picture is worth a thousand words” if you choose this option.

— Movie: a short video or film that includes actors and has some semblance of a narrative or plot. To do this you might want to ask some friends to help you out and draft a “script” or choreograph what will happen when and where.

2. Select the tools you will you use create, edit, and share your project. We will review these tools in class. The tools that are available are all free and user friendly, so do not worry if this is your first digital project!

DUE DATE: May 12, 2010

(This means that all projects must be posted to the blog before class meets that morning! NO EXCUSES!)

Paper #3: An Investigation!

Step One:

For your final paper of the semester I would like you to select one specific poem by one of the above authors. If you would like to pursue something not on this list, please let me know and be prepared to convince me why you should write a paper on this topic or individual.

Step Two:

You must do some research on your chosen topic (person or poem). Visit the library, search JSTOR and other databases, find at least two articles or sources on your writer or poem. What do these “critical” sources tell you about your topic? What thesis is proven in these sources? Do you agree or disagree with the point of view presented? Why or why not?

Step Three:

What made you pick the poem you’ve chosen to write about? The answer to this question should help you to formulate a thesis or opinion about the work, an argument that makes an opinionated statement about your chosen subject.

Keep in mind that this assignment is purposely vague—I wanted our last paper of the semester to really give you some room to explore a topic of your own choosing. That said, please make sure that your paper is specific and opinion-driven. You should think about how to use the research you’ve done in order to support your own ideas.

It is not acceptable to think of a thesis as a statement like: “Anne Waldman is one of the best living poets because her work is strong and powerful.” A more successful thesis might be something like: “Anne Waldman’s Fast Speaking Woman is a poem that has stood the test of time, presenting a litany-esque critique of women’s roles (in all their variousness) in society—an open form that is timeless in its assertions of gender equality and a poem that should be a mantra for all women growing up in American society.”

Cover Letters:

At this point in the semester, I think you know what I expect of cover letters. Each draft must have one. Each cover letter should serve as an opportunity for you to tell the reader what you think you achieved in the paper and what you need help with.

ROUGH DRAFT #1 (“Shitty First Draft”) DUE: Wednesday, April 28, 2010

(5 pages, bring 2 copies to class)

ROUGH DRAFT #2 DUE: Monday, May 3, 2010

(5-7 pages, you MUST hand this in when we meet for individual conferences)

FINAL DRAFT DUE: Monday, May 10, 2010 (5-7 pages typed)

I will not accept any papers later than May 10, 2010.

I will not accept this final draft via email.

You MUST hand this paper in on May 10, in class!

Final Project Prep

It is hard to believe that we have only a month left of the semester! And, I know you might feel a little bit overwhelmed by all the work that is expected of you. If you follow the steps and assignments outlined here, hopefully the process of completing both the digital project and paper 3 will be a breeze.

Preparation # 1

Select one poet or poem that you are particularly enthusiastic about and use this freewrite to figure out why.

What is it about this work that you like? How does the poet do what he/she does? What feelings does it evoke? What purpose does a poem serve?

(Think of this as a space to begin your brainstorming for the final paper.)

In class: Monday, April 26, 2010

Preparation # 2

On Monday we were lucky enough to have the wonderful Luke Waltzer visit our class to help us understand how we’ll actually create our digital essays. Please post or comment some kind response to the assignment (i.e. What are you thinking about in terms of the digital essay? What questions do you have?). I’d suggest that you make use of our blog more and more as we near the close of the semester. Any questions or problems you have, your colleagues will probably have as well! Help each other!

Due: Please post to the blog by midnight on Tuesday, April 27, 2010.

**Continue to post ideas and questions as your projects develop!!**

Preparation #3: Rough Draft #3.1 (“Shitty First Draft”)

For this rough draft you should try to fill five pages with all the various thoughts and ideas you have about the final paper. Do not worry about the form of the paper—just fill the pages with notes, ideas, quotes, etc. Make sure to bring two copies of this to class!

Due: Wednesday, April 28, 2010

Preparation #4: Rough Draft #3.2/Individual Conferences

Please bring your most recent (and most thorough) rough draft of the paper to your individual conference with me on Monday, May 3, 2010. I’d also suggest you bring an informal plan for how you will turn this rough draft into the final (5-7 page) Paper.

Rough Draft #3.2 Cover Letter

For Rough Draft #3.2, please write a letter, addressed to your readers, in which you answer the following questions and address any other concerns that you have. Think of your draft letter as an opportunity to request exactly the kind of feedback you need. All cover letters should be typed and about one page long.

What have you done to improve, shape, and/or expand your paper?
What are the biggest problems you are having at this point in the writing process?
What’s the number one question about your essay—its thesis, structure, use of evidence, persuasiveness, style, etc.—that you’d like your readers to answer for you?
What do you envision your final step towards revision for the Final Draft to look like?

Final Draft #3

Please bring in your final draft (5-7 pages with a Works Cited page). It must be stapled with your final draft cover letter attached to the front. Also, please include your previous 2 drafts and cover letters. Submit the entire packet bound with a paperclip.

Paper # 3–Final Draft Cover Letter

For your Paper #3 Final Draft, please write a letter, addressed to your readers, in which you answer the following questions and address any other concerns that you have. Think of your draft letter as an opportunity to share how you feel you have improved your paper. All cover letters should be typed and about one page long.

What is your thesis? What are you hoping to achieve in this paper?
What are some problems you faced when writing and how did you try to or succeed in resolving them?
What idea or point do you feel you’ve made the most successfully? Least successfully?
Do you consider this draft to really be your “Final Draft?” Why? Did you do anything while revising that could be described as a “re-seeing” of the paper?
What grade do you think you deserve on this paper and why?
How do you imagine this paper connects to and enhances your digital essay?

Due: Monday, May 10, 2010 (5-7 pages with a Works Cited page)

***

Response Paper #9:

Pope, “Ode on Solitude” (page 491); Wordsworth, “I Wandered Lonely as a Cloud” (page 502); Keats, “When I Have Fears” (page 525); Dickinson, “Tell All the Truth, But Tell It Slant” (pages 558-559)

OPTION 1:

Select one of the above poems and perform a close and careful reading of it.

Hints:

Investigate the poem line by line (look at word choice, line breaks, stanza breaks, the title of the poem, etc.)
Imagine why the poet wrote this poem—what does this poem “mean” to you as a reader? Make sure to use quotes from the poem to support your ideas.
What information do you gain from reading the poem? Use specific moments in the text to trace what you’ve gained as a reader.

OPTION 2:

Select one of the above poems and imitate it. If you choose this option, your response will likely be less than a page and should look like a poem.

Hints:

Translate the poem line by line or write between the lines of the poem
Think about the theme of the poem you’ve chosen and try to write a poem on the same theme
Write an “Ode to ” poem after Pope.

Bloggers:

Jessica McWilliams, Flor Maldonado, Chi Nguyen, Kate Podwysocka

Matan Shoshani, Liz De La Cruz, Shamima Akter, Nikita Singh

Commentators:

Jessica Wu, Farzana Ghanie, Cara Yip

Rey Perez, Rukmani Nayyar, Alexandra Villano, Abdou Aziz Mbye

DUE:

Monday, April 26 (1-2 pages typed);
if you are blogging, post your entry by 5PM on Friday, April 23
if you are commenting, check the blog/ comment by 10AM on Sunday, April 25.

***

Response Paper #8: Antigone

OPTION 1:

Do you consider Antigone to really be a tragedy? If so, what makes it a tragedy? Who is the tragic hero? What is the tragic flaw?

OPTION 2:

Respond to the following quote from Seamus Heaney on translating Antigone and the characters he got to know in the process:

“Creon, who represents the law of the land, what Hegel calls the daylight gods of free and self-conscious, social, and political life and Antigone, who embraces by contrast the law of the gods, what Hegel calls the Instinctive Powers of Feeling, Love, and Kinship.”

Bloggers:

Anthony Situmeang, Vito Interrante, Crystal Ang, Jessica Wu, Cara Yip

Rey Perez, Bonjun Koo, Miro Velikov, David Lora

Commentators:

Chi Nguyen, Paul Spryropoulos, Jessica McWilliams, Flor Maldonado, Kate Podwysocka

Luis Vivanco, Brian Gutman, Liz De La Cruz, Nikita Singh, Karishma Bachani

DUE:

Wednesday, April 21 (1-2 pages typed);
if you are blogging, post your entry by 5PM on Tuesday, April 20
if you are commenting, check the blog/ comment by midnight on Tuesday, April 20

***

Response Paper #7

Antigone (lines 315-655, pages 840-850)

OPTION 1: Character Analysis

Select either Creon, Ismene, or Antigone and write a detailed character analysis.

Things to think about:

What role does this character play in the play?
How does this character speak? What does this character say? (close read a speech/monologue)

OPTION 2:

Who is this play about? Use close reading and textual evidence to prove your point.

OPTION 3:

Compose a “choral ode” that you imagine would fit into Sophocles’ play. You can find a sample ode on page 842-3.

Bloggers:

Vanita Chaitu, Janelle Franco, Farzana Ghanie, Paul Spyropoulos

Maria Londono, Bonjun Koo, Luis Vivanco, Brian Gutman

Commentators:

Karen Luo, Anthony Situmeang, Vito Interrante, Crystal Ang

Stephanie Betancourt, David Lora, Shamima Akter, Perla Alvarez

DUE:

Wednesday, April 14 (1-2 pages typed);
if you are blogging, post your entry by 5PM on Tuesday, April 13
if you are commenting, check the blog/ comment by midnight on Tuesday, April 13

***

Group Presentation: Rendering Antigone

Guidelines:

Work in groups of 4-5 people.
Create an oral presentation of at least 10 minutes (but no more than 15).
Your final presentation should take the form of a “script” or a “group document.” These will be collected after your performance is completed.
Each member of the group must play an equal role in the presentation. It is not acceptable for one individual to do all of the talking, acting, or performing.

Assignment

You and your group will create a presentation or performance that engages and utilizes the text (Antigone). You cannot simply stage Sophocles’ play. You must figure out what questions the play sparks for you, what themes or characters you find most relevant and powerful, and create a contemporary “rendering” of Sophocles’ play. These renderings might take the form of (but are not limited to): a scene from a soap opera, a news story, gossip, reality television, documentary, interview, etc.

Suggestions:

Use your bodies!
Try situating the plot/themes of the play in a modern day context.
Play with the chorus—represent the chorus as if it is part of a scene.

This is your opportunity for visual and verbal expression!

Presentation Date: WEDNESDAY, April 21, 2009

***

Response Paper #6

Orozco, “Orientation” (pages 390-396)

For this response paper I’ve decided not to give you a formal topic to write about. Instead, simply read the story and respond to it in whatever way you’d like. Some ideas might be to think about what this story aims to say about “work” and work environments; why the story is titled “Orientation”; and you might even opt to write an imitation piece depicting a work experience you’ve had.

Bloggers:

Lori Chen, Amina Khan, Alyson Bonura, Karen Luo

Mitchell Levine, Yaron Silberman, Stephanie Betancourt, Alice Chen

Commentators:

Avinash Lauchman, Rohit Sharma, John Trotta, Janelle Franco

Maria Londono, Alice Chen, Matan Shoshani, Miro Velikov

DUE:

Wednesday, March 24 (1-2 pages typed);
if you are blogging, post your entry by 5PM on Tuesday, March 23
if you are commenting, check the blog/ comment by midnight on Tuesday, March 23

Paper #2: Close Reading

OPTION 1: “The Story of An Hour” by Kate Chopin

We spent some time last week reading, thinking about, and discussing “The Story of an Hour.” Now, for your second essay of the semester, I would like you to write a paper in which you offer your interpretation of the final scene of the story through a close reading of it. Your interpretation may have developed out of what we discussed in class or it may be something that we never mentioned; interpretations of things are not right or wrong—they are persuasive or not, depending on whether or not you can support your argument with textual evidence.

OPTION 2: “Hills like White Elephants” by Ernest Hemingway

The subject of this story, as we discovered in class, is an abortion. Since this subject is never mentioned in the story, however, the question becomes: how can the reader know this?

Here is the subject for your paper, which is an exercise in how to read a text carefully: Provide textual evidence (in other words, evidence directly from the story) to demonstrate how you know that “Hills Like White Elephants” is a story about two people talking about an abortion.

Keep these things in mind as you work on your paper:

Your explanation must be built around the actual story, and not around what you add to, or imagine should be part of, it. In other words, you can only work with the material, or information, that Hemingway gives you; you cannot add your own stuff to the story.
Do not summarize the story. We’ve all read it, and we do not need to know what is in the story; we know. Instead, analyze those parts that are useful to your explanation.
Please work in the theme of the course (“happiness”) in whatever way you find suitable (if at all).

DO NOT FORGET THAT ALL DRAFTS MUST BE ACCOMPANIED BY A COVER LETTER!

ROUGH DRAFT DUE: Monday, March 22

(3-5 pages typed, bring 3 COPIES to class)

FINAL DRAFT DUE: Wednesday, April 7 (3-5 pages typed)

***

RESPONSE PAPER 5: 8:40AM CLASS

Achebe, “Dead Men’s Path” (pages 235-238)

Atwood, “Happy Endings” (pages 295-299)

OPTION 1:

Select one character that you encounter in either of these stories. It does not need to be a main character—just any person you meet over the course of doing the reading. Write a letter to this person. What do you want to tell him or her? What questions might you want to ask?

OPTION 2:

For class this week, you’ve read two very different short stories—“Dead Men’s Path” and “Happy Endings.” Why do you think I would pair these two together on the syllabus? What might they have in common? You can think of this response paper as the chance to do a very quick compare/contrast paper—make sure the points you make connecting the two stories are supported by evidence!

***

If you are posting to the blog (Avinash Lauchman, Astrid Cuas, Sze Nga Yip, John Trotta):

Margaret Atwood’s “Happy Endings” concludes with the following passage:

So much for endings. Beginnings are always more fun. True connoisseurs, however, are known to favor the stretch in between, since it’s the hardest to do anything with.

That’s about all that can be said for plots, which anyway are just one thing after another, a what and a what and a what.

Now try How and Why. (299)

What do you think she means by “try How and Why”? For this response, you can either continue Atwood’s story and compose the “How and Why,” or write a critical response in which you decide what you think Atwood would look for in a “How and Why.”

If you are commenting (Lori Chen, Marc Liu, Jeffrey Chiu, Timothy Boros):

Select a post by a person you do not know, preferably someone in the other section of this course. Read their post carefully and comment on it. You might want to refer the writer to a certain passage in either of these stories that you think is relevant to what he or she is talking about. You might offer your opinion with regards to what the author’s (Atwood or Achebe) writerly intent might be. Please make sure to end your comment with a question you would like for someone (possibly the writer, possibly someone else) to answer.

DUE:

Monday, March 15 (1-2 pages typed);
if you are blogging, post your entry by 5PM on Friday, March 12
if you are commenting, check the blog/ comment by 10AM on Sunday, March 14.

RESPONSE PAPER 5: 10:45AM CLASS

Achebe, “Dead Men’s Path” (pages 235-238)

Atwood, “Happy Endings” (pages 295-299)

OPTION 1:

OPTION 2:

***

If you are posting to the blog (Karishma Bachani, Aditi Rana, Ada Deng, Hao Diep, Alexandra Villano):

Please choose one of the following prompts:

What do you think Chinua Achebe’s story is about? Is there an underlying theme or moral that you think Achebe wants his readers to leave thinking about? If so, why? If not, why not? Please make sure to back up your ideas with evidence from the text.
Do you think Obi’s actions are really a result of “misguided zeal”? If so, why? If not, why not? Please make sure to back up your ideas with evidence from the text.

If you are commenting (Karishma Bachani, Brandon Ryu, Vincent Chin, Yaron Silberman):

DUE:

Monday, March 15 (1-2 pages typed);
if you are blogging, post your entry by 5PM on Friday, March 12
if you are commenting, check the blog/ comment by 10AM on Sunday, March 14.

RESPONSE PAPER 4: 8:40AM CLASS

Gilbert, Stumbling on Happiness, Part Five (pages 165-211)

Carver, “Cathedral” (pages 265-278)

OPTION 1:

Select one section from Gilbert’s text (Part Five) and perform a close reading of it. An example of what this means would be to unpack what he means when he states that people are “surprisingly resilient in the face of trauma.” (166) Do you agree or disagree with his perspectives on how we handle trauma and ambiguities?

OPTION 2:

In “Against Interpretation,” Susan Sontag famously writes, “the modern style of interpretation excavates, and as it excavates, destroys; it digs “behind” the text, to find a sub-text which is the true one.” What is Sontag saying about how we read?

For this response paper you will pay close attention to how you read. In fact, I’d like you to write this short paper immediately after finishing reading the Gilbert or the Carver, or both.

What do you notice in the text(s)? What do you think about while you are reading? After reading? Is your experience as a reader different when you read a story than when you read an essay? This does not have to be a formal paper; it can take the form of a journal entry or a “stream of consciousness”-type response.

***

If you are posting to the blog (Marc Liu, Jeffrey Chiu, Timothy Boros, Rohit Sharma):

Select two quotes from Gilbert’s text. Agree or disagree with each and then in a short “position statement,” explain why your stance is one that others should support. Conclude your post by asking two significant questions that you’d like your readers to answer, that relate to or address some of the concerns you came up with in dealing closely with the quotes you chose.

If you are commenting (Astrid Cuas, Sze Nga Yip, Alyson Bonura, Vanita Chaitu):

Select a post by a person you do not know, preferably someone in the other section of this course. Try your best to answer the questions they ask in their post by doing the following—addressing their questions, pointing them to a quote from something we’ve read thus far, and then end your comment with another question in order to keep this dialogue moving forward.

DUE:

Wednesday, March 10 (1-2 pages typed);
if you are blogging, post your entry by 6PM on Tuesday, March 9
if you are commenting, check the blog/ comment by midnight on Tuesday, March 10.

RESPONSE PAPER 4: 10:45AM CLASS

Gilbert, Stumbling on Happiness, Part Five (pages 165-211)

Carver, “Cathedral” (pages 265-278)

OPTION 1:

In “Principles of a Story” Raymond Carver writes,

I like it when there is some feeling of threat or sense of menace in short stories. I think a little menace is fine to have in a story. For one thing, it’s good for the circulation. There has to be tension, a sense that something is imminent, that certain things are in relentless motion, or else, most often, there simply won’t be a story. What creates tension in a piece of fiction is partly the way the concrete words are linked together to make up the visible action of the story. But it’s also the things that are left out, that are implied, the landscape just under the smooth (but sometimes broken and unsettled) surface of things.

Do you think that Carver follows his own advice? What tension is present in “Cathedral”? What information or details are implied? How might the “sense of menace” or “tension” that Carver mentions affect how you interpret this story?

OPTION 2:

For this response paper you will pay close attention to how you read. In fact, I’d like you to write this short paper immediately after finishing reading the Gilbert or the Carver, or both.

***

If you are posting to the blog (Perla Alvarez, Rukmani Nayyar, Brandon Ryu, Vincent Chin):

Select two quotes from Carver’s text. Agree or disagree with each and then in a short “position statement,” explain why your stance is one that others should support. Conclude your post by asking two significant questions that you’d like your readers to answer, that relate to or address some of the concerns you came up with in dealing closely with the quotes you chose.

If you are commenting (Aditi Rana, Ada Deng, Hao Diep):

DUE:

Wednesday, March 10 (1-2 pages typed);
if you are blogging, post your entry by 6PM on Tuesday, March 9
if you are commenting, check the blog/ comment by midnight on Tuesday, March 10.

PAPER #1

Selections from Aristotle’s Ethics

Selections from Plato’s Republic

Gilbert, Stumbling on Happiness, Parts I and II

Freud, Civilization and Its Discontents, Chapters 2 & 3

A manifesto is “a public declaration of principles and intentions, often political in nature.” In other words, a manifesto is a statement (oftentimes meant to be read out loud) that outlines one’s opinions about an issue the author feels strongly about. For your first paper of the semester, you will write a “Happiness Manifesto.”

In his “Foreword,” Daniel Gilbert writes, “this is not an instruction manual that will tell you anything useful about how to be happy.” So, your job is to do the opposite—aim to tell your reader what you think happiness is and try to prove several “useful” points about “how to be happy.” What does it mean to be happy? Why do we strive for happiness? Should we strive for happiness?

Remember, this paper must have a clear thesis that expresses your views on happiness, and in order to prove and support your thesis you will need to use quotes from materials we’re read in class. Outside research is not needed.

A few tips:

Be clear and concise in your writing. Keep in mind that this is a piece of writing intended to be read, so you want your readers to both understand what you are saying, and to sympathize with your position.

Read your manifesto out loud ahead of time—do you hear any grammatical mistakes, any places where you seem to stumble over your own words?

Remember to be as assertive as possible. You want your readers to agree with you by the end of the paper!

ROUGH DRAFT DUE: Wednesday, February 24 (3-5 pages typed, bring 3 COPIES to class)

FINAL DRAFT DUE: Wednesday, March 3 (3-5 pages typed)

Paper #1 Draft Cover Letter

Each time you hand in a draft or revision of an essay, you’ll attach a cover letter to the front. For your Paper #1 Draft, please write a letter, addressed to your readers, in which you answer the following questions and address any other concerns that you have. Think of your draft letter as an opportunity to request exactly the kind of feedback you need. All cover letters should be typed and about one page long.

What is your thesis? What are you hoping to achieve in this paper?
What are the biggest problems you are having at this point in the writing process?
What idea or point do you feel you’ve made the most successfully? Least successfully?
What’s the number one question about your essay—its thesis, structure, use of evidence, persuasiveness, style, etc.—that you’d like your readers to answer for you?
If you were going to start revising today, what three things would you focus on? How would you begin?

Paper #1 FINAL Draft Cover Letter

Each time you hand in a draft or revision of an essay, you’ll attach a cover letter to the front. For your Paper #1 Final Draft, please write a letter, addressed to your readers, in which you answer the following questions and address any other concerns that you have. Think of your draft letter as an opportunity to share how you feel you have improved your paper. All cover letters should be typed and about one page long.

What is your thesis? What are you hoping to achieve in this paper?
What are some problems you faced when writing and how did you try to or succeed in resolving them?
What idea or point do you feel you’ve made the most successfully? Least successfully?
Do you consider this draft to really be your “Final Draft?” Why? Did you do anything while revising that could be described as a “re-seeing” of the paper?
What grade do you think you deserve on this paper and why?

Response Paper #3

OPTION 1:

Write a movie review of “Little Miss Sunshine.” Do NOT just summarize the film. In fact, for this response paper, you are to use no summary unless it is a detail or scene that helps you to prove the argument you are trying to make about the film.

OPTION 2:

Daniel Gilbert and Freud have at least one thing in common…they both study psychology. However, Freud was writing and thinking long before Gilbert. Select one specific idea from Freud’s text that you imagine Gilbert either learned from or objected to and make sure to explain why. Use at least one quote from each author.

DUE: MONDAY, FEBRUARY 22, 2010, 1-2 PAGES TYPED

Response Paper #2

Gilbert, Part Two (pages 31-79)

OPTION 1:

Daniel Gilbert writes, “Happiness is a word that we generally use to indicate an experience and not the actions that give rise to it.” (39) What do you think Gilbert means by this? Can you relay an experience (fact or fiction) that you feel speaks to this sentiment or phenomenon? In other words, tell a tale of a time when happiness is expressed and the actions that led to the feeling are ignored.

OPTION 2:

In this section of the book, Gilbert spends a lot of time exploring what it means to “experience happiness” and the effect that happiness has on how we interact with and engage with the world. He writes, “our experiences instantly become part of the lens through which we view our entire past, present, and future, and like any lens, they shape and distort what we see.” (53) Do you agree with Gilbert? Why or why not? Make sure that you support your opinion with evidence from the text.

DUE: Wednesday, February 17 (1-2 pages typed)

**do not worry about posting something to the blog yet–we’ll review this in class!**

Response Paper #1

Selections from Aristotle’s Ethics (handout)

Gilbert, “Foreword” (pages xiii-xvii)

Gilbert, Part One (pages 3-27)

OPTION 1:

After reading this first chunk of Gilbert’s text, you should have a good sense of what his voice and writing style is like. Select a section (at least one paragraph) of Aristotle’s to work with and rewrite Aristotle’s text in Gilbert’s voice. This means that you will pretend to be Gilbert “translating” Aristotle’s ideas into his own voice or jargon. Please indicate which segment from Aristotle you choose to work with.

OPTION 2:

Compare and/or contrast Aristotle’s definition of “happiness” with Daniel Gilbert’s definition. Which do you agree with? Why?

DUE: Monday, February 8 (1-2 pages typed)

Papers & Response Papers

FAREWELL Assignment

Digital Essay Assignment

Paper #3: An Investigation!

***

Group Presentation: Rendering Antigone

RESPONSE PAPER 5: 8:40AM CLASS

RESPONSE PAPER 5: 10:45AM CLASS

RESPONSE PAPER 4: 8:40AM CLASS

RESPONSE PAPER 4: 10:45AM CLASS

PAPER #1

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