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The sins of the father are to be laid upon the children.” (William Shakespeare, The Merchant of Venice)

 Assessment 3: EssayAssessment type Essay
Word limit/length 2500 words
Weighting 50% of total grade
Overview
The sins of the father are to be laid upon the children.”
(William Shakespeare, The Merchant of Venice)
-It must be recognised that the experiences of trauma and loss, present since European invasion are a direct outcome of the disruption of cultural wellbeing. Trauma and loss of this magnitude continue to have intergenerational effects”
(National Strategic Framework for Aboriginal and Torres Strait Islander People’s Mental Health and Social and Emotional Well Being 2004—2009, p .6)
It is now clear that trauma at formative times and adverse childhood experiences can have an impact on health and wellbeing in later life. This assignment provides an opportunity for you to consider the mechanisms by which trauma can impact on subsequent generations and how these impacts can be reduced.
Learning outcomes
• Critique the influences and impacts of transgenerational trauma with a focus on Aboriginal and Torres Strait Islander and Culturally and Linguistically Diverse populations.
• Construct helpful interventions, in partnership with consumers, to common mental health conditions within the context of older persons mental health.
Task
With reference to developmental theory and research:
• Discuss how trauma can be communicated intergenerationally;
• Describe the effects of intergenerational trauma across the lifespan generally and with reference to Aboriginal and Torres Strait Islander populations;
• Succinctly describe therapeutic approaches to facilitate healing and recovery of individuals and communities

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The sins of the father are to be laid upon the children.”
(William Shakespeare, The Merchant of Venice)

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• “The Lamb,” or “The Tiger,” or “The Chimney Sweeper” by William Blake

Poetry Essay Instructions

You must complete the required textbook readings in preparation for the Poetry Essay. This will equip you to objectively respond to the readings by compiling information from a variety of sources in order to compose a persuasive analysis of a literary work. You will also learn to follow standard usage in English grammar and sentence structure; identify the theme and structure of each literary selection and the significant characteristics or elements of each genre studied; and evaluate the literary merit of a work.

You will write a 750-word (approximately 3 pages) essay that analyzes 1poem from the Poetry Unit. Before you begin writing the essay, carefully read the below guidelines for developing your paper topic and review the Poetry Essay Grading Rubric to see how your submission will be graded. Gather all of your information, plan the direction of your essay, and organize your ideas by developing a 1-page thesis statement and outline for your essay as you did for your Fiction Essay. Format the thesis statement and the outline in a single Microsoft Word document using current MLA, APA, or Turabian style, whichever corresponds to your degree program; check your Perrine’s Literature textbook, the Harbrace EssentialsHandbook, and/or the link contained in the Assignment Instructions Folder, to ensure the correct citation format is used.

The final essay must include, a title page (see the General Writing Requirements), athesis/outline page, and the essay itself followed by a works cited/references/bibliography page of any primary and/or secondary texts cited in the essay.

Guidelines for Developing Your Paper Topic

The “Writing about Literature” section of your Perrine’s Literature textbook (pp. 1–54) and the “Writing” section of Harbrace Essentials (pp. 1–12, 18–21, 22–28) provide pointers which will be helpful for academic writing in general, and more specifically for your literary essay. Be sure that you read this section before doing any further work for this assignment. Take particular notice of the examples of poetry essays on pp. 43–48 of Perrine’s Literature.

Choose 1 (ONE) of the poems from the list below to address in your essay:

• “The Lamb,” or “The Tiger,” or “The Chimney Sweeper” by William Blake

• “Batter my heart, three-personed God” or “Death Be Not Proud” by John Donne• “Journey of the Magi” by T. S. Eliot

• “God’s Grandeur” or “Spring” by Gerard Manley Hopkins

• “Ode to a Nightingale” by John Keats• “Ozymandias” by Percy Bysshe Shelley• “My Last Duchess” by Robert Browning

• “Sailing to Byzantium” by William Butler Yeats• “The Road Not Taken” or “Stopping by Woods on a Snowy Evening” by Robert Frost

• “It Sifts from Leaden Sieves” or “There’s No Frigate Like a Book” by Emily Dickinson

• “Ulysses” by Alfred Lord Tennyson• Psalm 1 or 23

• “Virtue” by George Herbert• “That Time of Year” (Sonnet 73) by William Shakespeare

Consider answering the following questions about the poem that you have chosen:

• What is/are the theme(s) of the poem?

• Is there a literal setting or situation in the poem? What lines from the poem tell the reader this information? What details does the author include?

• Is the setting symbolic?

• How would you describe the mood of the poem? What elements contribute to this mood?

• Is the title significant to the poem’s content or meaning? How?

• What major literary devices and figures of speech does the poet use to communicate the theme(s)?

• How are rhyme and other metrical devices used in the poem? Do they support the poem’s overall meaning? Why or why not?

• Is the identity of the poem’s narrator clear? How would you describe this person? What information, if any, does the author provide about him or her?

• Does the narrator seem to have a certain opinion of or attitude about the poem’s subject matter? How can you tell?

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Collision theory was developed by Max Trautz and William Lewis in the early 1900s when they established that particles must collide with one another in position to react.

Practical Report – At home Data Analysis Task
Jess Hynes
Chemistry
08/09/2021
Red = not complete yet
Yellow = Needs working (editing)
Green = complete
Purple = Information about the report
Aim
The purpose of this experiment is to see how temperature and concentration affect the rate of a chemical reaction.
describe what happens during a chemical reaction
When a chemical reaction happens, a change in the chemical bonding that holds atoms together causes energy to be more evenly distributed among the atoms in the rearranged state. The most likely state of energy is for it to be in thermal equilibrium with the cosmic microwave background, which means that it will radiate energy into space in a uniform manner (Aoki and Shimosaka, 2018). A reaction is similar to a -square dance- because the atoms switch places with one another. Sometimes a response requires a little -pushing,- in the form of a bit of burst of strategic energy to get it off the ground. However, the reaction will not always continue to a complete stop; instead, it will proceed until it finds an -equilibrium,- which is described in terms of probability (Aoki et al., 2019).
describe collision theory and how reactants interact to form products (needs figure + reference)
Collision theory was developed by Max Trautz and William Lewis in the early 1900s when they established that particles must collide with one another in position to react. The collision theory of chemical reactions says that the pace of a chemical reaction is related to the number of collisions between reactant molecules between two reactant molecules. The more often reactant molecules collide, the more frequently they react with one another, and the more rapid the reaction rate is. Only a tiny percentage of collisions result in effective collisions with other objects (LibreTexts, 2020). Collisions that are effective in causing a chemical reaction are called effective collisions. Reactant particles must have a certain minimum amount of energy to create a successful collision. The activation energy is the amount of energy that is required to start the reaction from scratch. Some reactant particles have this amount of energy in every sample of reactant particle (Stojanovska et al., 2017). The bigger the size of the sample, the greater the number of effective collisions and the greater the pace at which the reaction takes place. The temperature of the reactants affects the number of particles that have enough energy to cause a reaction. If the reactant particles do not have the necessary activation energy when they collide, they will bounce off of each other without causing any reaction (Durmaz, 2018). Trautz and Lewis had concluded that 1.) For a reaction to occur, particles must collide. 2.) The particles must be able to break and form new bonds with enough energy. 3.) They must collide in the right direction.
• describe the chemical reaction used in the experiment, including a balanced chemical equation
describe what a precipitation reaction is and how we can represent it as a chemical equation.
The Liesegang (periodic precipitation) phenomena is the oldest pattern formation. It was found and documented in 1896 by Raphael Edward Liesegang, a German scientist and photographer. Liesegang had discovered that two equation solutions are mixed in a precipitation reaction, resulting in a solid substance called the precipitate. As the reaction progresses, the ions from the reactants aqueous solution create an insoluble ionic compound, which is the cause of precipitation. Because the polar water molecules surround the individual ions of the salt, most ionic solids, such as salts, are soluble in water. Those that do not dissolve and go into solution create precipitates, which are solid products. These precipitates come in a variety of colours, which can assist scientists in figuring out what kind of precipitate is there. Net ionic equations are commonly used to represent precipitation reactions. Because all ions are cancelled out as spectator ions when all products are watery, a nett ionic equation cannot be stated. To identify if an equation is a precipitation reaction, it is when you have a double displacement reaction.
Example: (is this correct?)
Pb(NO3)2 (aq) + 2NaI(aq
When we join these two solutions, the ions can either combine in the same way they entered the solution or trade partners. In this situation, lead nitrate and sodium iodide could form, or lead iodide and sodium nitrate could form; to decide which will form, we must look at the solubility laws (“Notes on Precipitation Reactions – General Chemistry | CHEM 142 – Docsity,” 2021).
describe in the detail what is meant by a “clock reaction”. Include references to both a technique using iodine, and our technique that uses sodium thiosulfate. (Needs fixing because its “apparently a bit too complex”)
A clock reaction is another way of measuring rate. Clock reactions are a really good way of investigating the effect of concentration or the rate of reaction while also being simple to perform. The disappearance of a reactant, such as a sulfite in the Landolt reaction, controls the clock time in the traditional clock reactions. However, there are various types of clock behaviors that may occur. This article provides a brief overview of several instances. The clock time in the bromate-cerous reaction is regulated by the autocatalytic rise in the concentration of an intermediate molecule, HBrO2, which occurs during the process (Yan & Subramaniam, 2016). In the BL reaction, the induction time when the iodide ions concentration is measured looks different when the iodine and iodide concentrations are measured. This period should be referred to as the pre-oscillatory period. We have discovered an entirely new kind of clock behavior in the process of iodine oxidation by hydrogen peroxide: the clock begins to beep when another reaction disrupts the stable steady state of the hydrogen peroxide breakdown (Jusniar et al., 2020). The transitions between various dynamical states that all clock reactions entail go beyond their distinctions. The experimental curves can be analyzed by identifying time intervals with identical combinations of the time concentration profiles first and second derivative signs. This trend analysis can provide helpful information about the dynamical state transitions involved in the experiments (Jusniar et al., 2020).
You will need to record your references correctly in APA style
Hypothesis (I had to re start)
• 2 to 5 sentences explaining your prediction of what should happen in this experiment. You need to back this up with information from your introduction.
Materials
sodium thiosulfate (0.5 M) solution 2 x 50 mL conical flask
hydrochloric acid (1 M) solution hydrochloric acid (2 M) solution
cold water bath hot water bath
5 mL measuring cylinder plastic pipette (3 mL)
deionised water stopwatch
thermometer marker pens
white paper
Method

  1. Add 5 mL of deionised water to the conical flask, using the measuring cylinder.
  2. Add 5 mL of sodium thiosulfate (0.1 M) solution to the conical flask, using the measuring cylinder.
  3. Put the conical flask into a container of ice water for 1 to 2 minutes, until the temperature of the solution is 10°C. Record this temperature.
  4. Remove the conical flask from the ice water and dry its base.
  5. Draw a cross on a piece of white paper and place the conical flask on top of the cross.
  6. Add 2 mL of hydrochloric acid (1 M strength) solution to the conical flask using the plastic pipette and use the stopwatch to time how long it takes before the solution has become so cloudy that you can no longer see the cross under the base of the flask.
  7. Repeat steps 1 to 5, but use 2 M hydrochloric acid solution instead of 1 M hydrochloric acid solution.
  8. Repeat steps 1 to 5, but use the hot water bath in step 2 instead of cold water. Put the conical flask in the hot water for 1 to 2 minutes, until the temperature is 30 °C.
  9. Repeat steps 1 to 5, but use 2 M hydrochloric acid solution and the hot water bath in step 2 instead of cold water. Put the conical flask in the hot water for 1 to 2 minutes, until the temperature of the solution is 30 °C.
    Results
    1M acid and cold bath – 12 minutes 2M acid and cold bath – 8 minutes
    1M acid and hot bath – 2 minutes 2M acid and hot bath – 40 seconds.
    Discussion – 2 pages maximum (had to restart)
    • written as text, with no dot points and a new paragraph should be started for each new point.
    • include a paragraph describing your results and relating them to collision theory.
    • Refer to the student observations. In reference to these observations, in what ways could the experiment be improved to ensure that the results are accurate and consistent between groups
    • describe several applications and everyday occurrences that can be explained using the concepts involved in collision theory and analysing the rate of reaction
    Evaluation – Answer the Questions in Bold in reference to the following information
    Alan and Belinda carried out some reactions using hydrochloric acid and calcium carbonate (marble chips). They did an experiment four times, each time changing one variable. The table below gives the conditions for each of the experiments:
    Reaction A B C D
    Volume of Acid (mL) 50 50 50 100
    Volume of water added (mL) 0 50 0 0
    Temperature (oC) 20 20 60 20
    From your experiences:
    Write the reaction that is most likely to produce the most gas. Explain your answer.
    Determine which reaction is likely to be finished first? Explain your answer in relation to collision theory.
    Which of these experiments is likely to be the control reaction? Explain why you think this is.
    The was carried out and Experiment D was completed in about the same time as experiment B, but produced twice as much gas.
    Alan said “Obviously there was an error in the measurement. Both experiments should have produced gas at the same rate as reaction D because they both use 100ml of solution. Acids have water in them anyway, so it makes no difference that there is 50ml of acid and 50ml of water.
    Belinda said “Well, they have the same volume of solution, but its not the water that reacts with the marble chips it’s the acid. So reaction B really only has half the amount of acid as reaction D, so the results should be different.”
    State who you agree with, why, and relate this to collision theory.
    Conclusion (Was told too complex and had to re start)

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William Bradford described the American wilderness as “hideous and desolate,” full of “wild beasts and wild men.”

Essay 1: Colonial Period Instructions

Choose ONE of the following topics and write a polished essay of about 750 words (3-4 double spaced typed pages).  The essay requires not less than two secondary sources in addition to your primary sources (the literature you are analyzing).  Before writing your essay, reread your notes and assigned textbook reading(s) just to refresh your memory.  Also, it might be useful to reread a composition textbook to remind yourself of the guidelines on how to write a clearly-defined thesis statement, well-developed paragraph(s), and an essay using the MLA or APA or Turabian parenthetical method of documentation for your quotations and any secondary sources you cite. To let your instructor know which style of documentation you are using, write MLA, APA, or Turabian in the title of your essay as follows: Title – Citation style (e.g., “Christians and the Study of Colonial American Literature-APA”).

Your two secondary sources should be academic, peer-reviewed sources, such as articles from scholarly journals and books. Websites, such as Lit Charts, Spark Notes, Shmoop, and so on are not academic sources. Dictionaries, encyclopedias, and other professors’ notes are likely accurate, but they are not academic research. You can cite our textbook in your paper, but it will not count toward your 2 secondary sources. If you have trouble finding scholarly sources, you can access the library’s English Research Guide here.

Develop a clear thesis that is grounded in the literature and specifies the titles of the literary works. Remember that while it is acceptable to include some biographical and historical information for context, your focus should be on analyzing the literature.

NOTE: To receive an excellent grade, a student must demonstrate a reasonable competence in organizing an essay on a set topic; developing ideas logically and systematically; supporting these ideas with the necessary evidence, quotations or examples; organizing a paragraph; documenting essays (using MLA, APA, or Turabian) style; spelling the commoner words of the English language correctly; punctuating correctly; and writing grammatical sentences, avoiding such common mistakes as comma splices, run-on sentences, sentence fragments, faulty agreements, faulty references, shifts in person, number, or tense.

1. Choose any ONE of the works/authors of the Colonial period studied in this course and write a literary analysis of the chosen work. The focus of the essay should be three-fold: to discuss the theme of the author/work, the major characteristics of the period that are evident in the work, and major narrative devices the author uses to communicate his or her message. Your essay must have a clearly-defined thesis statement, well-developed paragraph(s), and fitting conclusion. In your thesis, assert how the author uses narrative devices to convey the theme of the work and how the theme or narrative devices demonstrate major characteristics of the period. Include direct quotes from the primary sources for analysis and support.

2. William Bradford described the American wilderness as “hideous and desolate,” full of “wild beasts and wild men.”  He believed the wilderness as a place of trial and testing rather than a place of ease and plenty – or of social and economic opportunity.  Compare and contrast Bradford’s and John Smith’s views of the American wilderness.  Why, in your opinion, will two pioneers perceive the land so differently? Include direct quotes from Bradford’s and Smith’s literature for analysis and support.

3. Compare and contrast John Smith, William Bradford, and John Winthrop as historians and as literary writers. Include direct quotes from the primary sources for analysis and support.

4. Bradstreet’s collection was published without her knowledge under the title The Tenth Muse Lately Sprung up in America or Several Poems, Compiled With a Great Variety of Wit and Learning, Full of Delight … By a Gentlewoman of Those Parts.  Cite and discuss examples of       1) Great Variety / Themes​2) Evidence of Learning and   3) Delightful subjects.  

Do you find the poetry “delightful”? Explain your answer.  Use at least three (3) poems to illustrate your points. Include direct quotes from Bradstreet’s poems for analysis and support.

5. Critically discuss the poetic idea of the divided self (body and soul) in Edward Taylor’s “A Fig for Thee oh! Death.”  Also discuss this idea of the divided self (flesh and spirit) in Anne Bradstreet’s “The Flesh and the Spirit.”  How is Bradstreet’s representation different from, or similar to that of Taylor’s? Include direct quotes from Taylor’s “A Fig for Thee oh! Death” and Bradstreet’s “The Flesh and Spirit” for analysis and support.

6. Critically discuss Bradstreet’s “To My Dear and Loving Husband” with Taylor’s “Huswifery” to demonstrate the contrasts and similarities between the two poets. Include direct quotes from Bradstreet’s “To My Dear and Loving Husband” and Taylor’s “Huswifery” for analysis and support.

7. Critically discuss Michael Wigglesworth’s “The Day of Doom” and Jonathan Edwards’s “Sinners in the Hands of an Angry God” as “salvific works” of literature.  What literary and rhetorical strategies account for their wide popularity at the time? What factors, in your opinion, account for their diminished reputation in the 20th and 21st centuries? Include direct quotes from Wigglesworth’s “The Day of Doom” and Edwards’s “Sinners in the Hands of an Angry God” for analysis and support

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By William Shakespeare My mistress’ eyes are nothing like the sun;

Directions: Work to paraphrase the poem into its literal meaning, identify the

examples of figurative language and satirical devices, and determine the tone

of the poem and the poem’s theme.

Sonnet 130 (My mistress’ eyes ….)

By William Shakespeare

My mistress’ eyes are nothing like the sun;

Coral is far more red than her lips’ red;

If snow be white, why then her breasts are dun;

If hairs be wires, black wires grow on her head.

I have seen roses damasked, red and white,

But no such roses see I in her cheeks;

And in some perfumes is there more delight

Than in the breath that from my mistress reeks.

I love to hear her speak, yet well I know

That music hath a far more pleasing sound;

I grant I never saw a goddess go;

My mistress when she walks treads on the ground.

And yet, by heaven, I think my love as rare

As any she belied with false compare.

  1. What six complaints the speaker has made about his “mistress:”:

What is the figurative language used?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

What are the satirical elements used?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

_____________________________________________________________________________

What is the effect of this comparison?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

What is the tone of the poem up to this point? Explain.

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

In Shakespeare’s time, the word reeks didn’t have the negative connotation that it does today.

How does this change your understanding of the line?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

The speaker is not always the poet. Who could the speaker be? To whom could the speaker be

talking to?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Pick two tone adjectives to describe the speaker’s attitude towards the subject.

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Identify the poem’s central theme. What is the purpose of the poem overall? What is

Shakespeare suggesting about life?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Why do you think the poet only describes the physical features of his mistress? Nothing is

written to describe her personality. Why do you think this is?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

On a scale of 1 to 10, with 10 being the highest, how would you rate this sonnet as a love

poem? Explain.

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

If the order of the poem’s lines were reversed and the speaker started by telling the mistress he

loves her, before mentioning the negative points, how would this change your view of the

poem?

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William Gibson’s “Marly and the Boxmaker

Topic: In a close and systematic reading of William Gibson’s “Marly and the Boxmaker,” a long selection from his 1986 novel Count Zero, analyze how Gibson’s linguistic style creates a specific and sustained tone in the narrative—both in the reading experience and the level of ideas and themes. Furthermore, discuss how this tone, this emotional and intellectual accent of the narrative, works by a process of description, metaphor, and irony. Description is that linguistic mode of sentences whereby a reader is shown the world in cascades of intricate detail. Metaphor is that process where by figures of speech (terms, phrases, even whole sentences) create vivid comparisons between known and unknown things in order to extend the reader’s understanding of deep and complex processes, contexts, and roles. And irony is that strategy of saying the apparent opposite of what one intends, which creates an instant of contradictory variation in a reader’s understanding, all in order to suggest a strong and sustained critique of some state of affairs contrary to one’s desires, expectations, beliefs, and requirements. Reveal how Gibson’s style, as he unfolds and interrogates his subject matter, offers the careful reader a specific critique of late twentieth century high-technology societies, as well as the forms and roles which individual identities take and the way those identities are battered or soothed by a society comprised of weak governments, rapacious and unstoppable global corporations, and fragmented social networks.

            In your core analysis, it will be important to address the following questions as you unfold and trace Gibson’s style through his lush and intricate text:

1) What kind of a social, cultural world does he give us to contemplate?

2) How does it relate to our world? Where does it match and where vary?

3) What kind of human being is Marly? What universals does she represent? What particularities?

4) What kind of person is Virek? What roles and patterns does he symbolize? Who in our world is he meant to evoke?

5) What is Marly’s central dilemma? What is her crisis? What imbalance shadows her effort to live on her own terms?

6) What is the nature of her central choice? What aspect(s) of herself does she

    transform through that choice?

7) How is Marly defined by the choices she makes? What is the cost to her of such decision-making? What is the treasure of those choices?

8) What, exactly, the ‘boxmaker’? What is the purpose of the Boxmaker? What version of ‘artist’ does it exemplify? How is this version postmodern in nature, texture, and effect?

9) What do the Cornell boxes symbolize? What values, what aesthetics?

10) How can these boxes be read as both general and particular models for society, for culture, even for individual psyches?

11) What argument(s) does Gibson maintain with the world in his fiction?

12) What cultural patterns and social connections does Gibson’s style reveal?

In your placing of Gibson’s work within the post-modern debate about the qualities of life in the late 20th and early 21st centuries, you should address the following concerns:

13) How has Gibson’s career as a writer unfolded in the last thirty-five years?

14) What cultural effects has his work produced, evoked?

15) According to knowledgeable critics, how accurate a picture of the world we inhabit has his work captured?

16) What other writers is he ‘kin’ to and what vision of our world do they share?

17) What is the ultimate critique of our world such a ‘school’ of writers makes?

You may find it helpful to read all of the Gibson fictions in The Dreamstation before you work through “Marly and the Boxmaker” in intricate detail. The other short works may seem mysterious, but if read with eyes sensitive to poetry, one can see the working of description and metaphor, with an often ironic accent, to reveal deep and abiding dimensions of human being. Careful research on Gibson’s style (early and late), and social impact as a post-modern writer and cultural observer can only deepen your appreciation of his work. Especially interesting is the commentary on his most recent, non-science-fiction novels Pattern Recognition (2004), Spook Country (2007), and Zero History (2010). These three works most succinctly present Gibson’s greatest concerns about our hyper-digitized, globalized, asynchronous culture and what it means for us to shape ‘livable’ lives within such a world. Recently Gibson release a collection of incidental essays, Distrust That Particular Flavor (2012), which wonderfully and interestingly reveal his philosophy of life, his aesthetic sense and history, and his sense of what he’s up to as a literary artist. As you frame your analysis of  “Marly and the Boxmaker” with a discussion of how that work sits within the pattern of Gibson’s literary concerns, and how he himself sits in the wider framework of literary investigations of post-modern life, it is important that you define key critical terms (for example, ‘post-modernism,’ ‘globalization,’ ‘individuality,’ ‘digital,’ ‘culture,’ ‘virtual reality’) in several fashions, from basic dictionary consultation to more refined reflection in a specialty encyclopedia and even monographs devoted to literary style, theories of contemporary cultures. The campus library—in its real-world guise and its virtual presence—will be a great aid to you on this point.

Format: Please format your essay in MLA-2009 guidelines (see the Playbook “MLA Presentation Guidelines” document and the “Student Sample Essay” for direct models). The essay should be accomplished in 5 to 8 full pages, plus end-notes and works cited/consulted listings. That is, the primary analysis is 5 to 6 pages long (figure about 300 words per page, for a word range of 1500 to 1800 words). The essay can exceed the five-paragraph structure I have insisted upon in the past assignments, but each paragraph beyond the traditional core three of development should be well-developed (15 to 30 sentences or more long) and balanced by the others—no tiny paragraphs sandwiched between larger ones, creating an uneven analysis and reading flow. Clearly, end-notes will be required to succinctly touch on the framing concerns of Gibson’s career and the structure and process of postmodernism in cultural critique. Also, your Works Cited listing must contain at least fifteen separate sources (in addition to the four Gibson texts in The Dreamstation PDF), though–clearly–you may find and decide to use many more than ten qualitative sources of information. You may exceed this limit of resources (and add more than four internet sources, but the base number should be respected first). It will undoubtedly be necessary to create a parallel Works Consulted listing to show how far and deep your research went to prepare you for your analysis of Gibson’s short tale. 

           This EP topic and task will require you to do serious research to amend your understanding of Gibson’s text, his aesthetics, his effect, and his argument about the world. The Additional Readings page of the class site contains two book-length studies of Gibson (one on his works, and one on the theme of post-modernism in science fiction) which you should read carefully: they will give you very specific ideas, offer wonderful passages to quote and cite and unfold through analysis, and their lists of references are gold–you could easily follow such pointers to other, equally rich and impressive resources. You should also expect to make great use of JSTOR (see, especially Science Fiction Studies journal), EBSCOHost and ProQuest for recent and historical articles, and the GVRL for backgrounders on science-fiction, postmodernism, and various literary themes evident in Gibson’s work. Gibson has a big internet footprint: his own website and blog, a series of Youtube presentations (interviews of various stripe and the entirety of the documentary film on him, No Maps for These Territories)–so using these materials will truly sensitize and deepen your understanding of this artist’s intentions, accomplishments, and effects on readers. And don’t forget the Paris review interview with him in the “Art of Fiction” interview channel. Finally, even a brief survey of his other novels, short-story collection, and recent collection of essays (Distrust That Particular Flavor) will add great particularity to your study.

            With this project you can show your command of the essay form, your significant use of researched material and scholarly structures, and your emerging and sophisticated understanding of how literature creates artifacts not just for entertainment and informative experience, but also for critique and the reformulation of knowledge about the dynamic and often baffling, as well as wonderful and supportive world we live within.