Arguing About Literature - A Brief Guide

282 Index of Authors, Titles, First Lines, and Key Terms

Mother’s Mixed Messages in “Girl,” The passive verbs, 14–15
(Schumwalt), 57–60 Paterson, Don

Negotiating Boundaries (Fiorucci), Two Trees, 112, 113
154–56 pathos

new criticism, 254, 255–56, 267 making arguments about literature
new historicism, 258–59, 271 and, 56–57
New Moral Compact, A (Barno), 16–20,
understanding, 11, 13
21–24 patterns
newspaper articles, in Works Cited, 206
Night Waitress (Hull), 82–88, 148 close reading and, 71, 76–77
nonfiction issues of, 49
peer review, revising after, 108–10
literature as, 34, 35–36 peer-reviewed journals, 196–97
writing about; see essays, writing about pentameter, 153
non sequitur, 104 Perez, Rolando
notebook, dialectical, 73 Office at Night, 157, 158–62
performance
observation analyzing literature by, 87
stating theme as, 47, 135–36 of play, versus script, 162–63
theme of play and, 174 periodicals, in Works Cited, 205–06
persona
octometer, 153 essays and, 187
Office at Night (Hopper), 157, 159–62 poetry and, 148
Office at Night (Perez), 157, 158–62 personal communication, in Works Cited,
Oland, Edith, 163
Oland, Warner, 163 207
Olds, Sharon personal factors, analyzing literature by,

Summer Solstice, New York City, 74–79 86
Oliver, Mary perspectives by incongruity, 16
persuasion
Singapore, 142–52, 154–56
omniscient narrator, 130 making arguments about literature
One morning, Don Miguel got out of bed, and, 53

112, 113 understanding, 8
online sources philosophical evaluation, 49
photographs, as visual art, 157
in-text citations for, 202–03 pictures, comparing poetry and,
searching for, 194–96
in Works Cited, 206–07 156–62
organization plagiarism, 198–99
determining, writing process and, planning, writing process and,

95–96 92–96
revising for, 107 plays, writing about, 162–78
Orientation (Orozco), 37–42, 45–57
Orozco, Daniel characters and, 169–70
Orientation, 37–42, 45–57 example for, 163–67
outline, 95 example of final draft and, 176–78
oversimplification, 103–04 example of freewriting and, 167–68
imagery and, 172
paragraphs, rearranging, 109 language and, 172–73
paraphrasing, 198 plot and structure and, 168–69
Passage of Time in “The Solitary Reaper,” stage directions and setting and,

The (Hazelton), 104–06, 110–12 170–72
theme and, 173–76
pleasure, analyzing literature by, 87

Index of Authors, Titles, First Lines, and Key Terms 283

plot quotation marks, 200
of plays, 168–69 quotations
of short stories, 127–30
avoiding excess of, 97
plot summary as evidence, 54–55
limiting length of, 98–99 integrating into text, 200
of plays, 168–69, 174 recording when working with sources,
of short stories, 136
197, 199
poems, writing about, 141–62 from unreliable sources, 102
comparing pictures to, 156–62
diction and syntax and, 148–49 reader-response criticism, 254, 257–58,
example of first draft of, 146–48 270
example of freewriting about, 144–45
example of revised draft of, 154–56 reading aloud, 71
examples for, 142–44 reading closely; see close reading
figures of speech and, 149–51 Real Meaning of “Charity” in “A Visit of
literature as, 34–36
rhythm and meter and, 152–53 Charity,” The (Vincent), 137–40
sound and, 151–52 reasoning
speaker and tone and, 148
theme and, 153–54 making arguments about literature
and, 55
poetry, writing about; see poems, writing
about understanding, 9–10
recommendation
point of view
of plays, 170 stating theme as, 47, 135–36
of short stories, 130–31 theme of play and, 174
Reflected in the plate glass, the pies,
politics, analyzing literature by, 86
postcolonial criticism, 258, 270–71 82–88
post hoc, ergo propter hoc, 102–03 Refugee at Home, A (Frye), 272–74
predictions, making, while close reading, Regarding History (Igloria), 112, 113–14
Relative Absence of the Human Touch in
70, 75–76
present tense, in summaries, 97 “The Yellow Wallpaper,” The
primary sources, 193 (Thomas), 223–27
private factors, analyzing literature by, 86 relevance, issues of, 50
problem, theme stated as, 136 religious values, analyzing literature by,
Project Muse, 195 87
Prose, Francine repetition
coherence through, 13–14
Why Are Poor Kids Paying for School as issue of pattern, 49
Security?, 29–33 in plays, 169
in short stories, 129–30
protagonist representative anecdote, 9
in plays, 170 reputation, appeals based on; see Ethos
in short stories, 131–32 rereading text, close reading and, 70–71,
75
psychoanalytic criticism, 254, 256, 268 researched arguments, 193–253
public factors, analyzing literature by, 86 documenting sources for, 201–08
puzzles, close reading and, 71, 77–78 evaluating sources for, 196–97
four student examples of, 208–27
qualifications, ethos and, 12 identifying issues and claims for, 194
questions integrating sources into, 199–201
sample texts for, 228–53
asking and answering, close reading searching for sources for, 194–96
and, 72–73, 78–79 working with sources for, 197–99

stating main issue as, 98

284 Index of Authors, Titles, First Lines, and Key Terms

Resisting Women’s Roles (Bravo), social policy
188–92 finding sources for, 194
issues of, 51–52
response criticism, 254, 257–58, 270
revised drafts, examples of Solitary Reaper, The (Wordsworth),
89–112
about poetry, 154–56
writing process and, 110–12 Something there is that doesn’t love a
revising wall, 61–63
strategies for, 106–10
while close reading, 73 sound, in poetry, 151–52
rhetoric, 5–6 sources
rhetorical purpose outline, 95–96
rhetorical situation, 5 documenting, 201–08
rhyme, 151 evaluating, 196–97
rhyme scheme, 152–53 integrating, 199–201
rhythm searching for, 194–96
in poetry, 152–53 working with, 197–99
rhythmic symmetry of sentences, 14 speaker, in poetry, 148
Robinson, Edwin Arlington square brackets, for changes in
The Mill, 144–48, 152–56
Rosenblatt, Louise, 258 quotations, 201
stage directions, in plays, 170–72
Schumwalt, Ann (student writer) Stopping by Woods on a Snowy Evening
The Mother’s Mixed Messages in “Girl,”
57–60 (Frost), 151–52
stories, writing about, 121–40
script of play
versus performance, 162–63 characters and, 131–32
themes and, 174 example of final draft and, 137–40
example of freewriting and,
search engines, 195
secondary sources, 193 126–27
sentence length variation, 14 imagery and, 133
sentence outline, 95 language and, 133–34
setting plot and structure and, 127–30
point of view and, 130–31
of plays, 170–72 sample for, 122–26
of short stories, 132–33 setting and, 132–33
sexual orientation, analyzing literature themes and, 134–37
straw man, 103
by, 85 stress, rhythm and, 152–53
short stories, writing about; see stories, Strindberg, August
The Stronger, 163–77
writing about Stronger, The (Strindberg), 163–77
similarities, comparative paper and, structure
of essays, 187–88
114–15 of plays, 168–69
similes of short stories, 128–29
style
in poetry, 149–50 choosing, 97
as style choice, 15 effective, developing, 13–16
Singapore (Oliver), 142–52, 154–56 of essays, 187
slash marks, for quoting poetry, of pictures, 157
revising for, 108
200–01 of short stories, 134
slippery slope, 103 subclaims, beginning new paragraphs
social class, analyzing literature by,
with, 99
84–85
social factors, analyzing literature by, 86

Index of Authors, Titles, First Lines, and Key Terms 285

summarizing topics
verb tense for, 97 common in literary studies, 81–88
when working with sources, rhetoric and, 5
197–98
transitions, developing argument with, 13
Summer Solstice, New York City (Olds), trimeter, 153
74–79 trochee, 152
trust, appeals based on; see Ethos
Swift, Jonathan Two Trees (Paterson), 112, 113
A Modest Proposal, 63–69
underlining while close reading, 73
symbolism, issues of, 48 Using Foucault to Understand
symbols
Disciplinary Power in Gilman’s “The
in plays, 172 Yellow Wallpaper” (Grobowicz),
in poetry, 150–51 218–23
in short stories, 133
symmetry of sentences, 14 values
synecdoche, 150 assumptions about, 10–11, 56
syntax, in poetry, 148–49 close reading and, 71
synthesizing literature, 36
synthesizing sources, 193 verb tense, in summaries, 97
Vincent, Tanya (student writer), 136–37
talking back to text, while close reading,
73 The Real Meaning of “Charity” in “A
Visit of Charity,” 137–40
tetrameter, 153
text, choosing for analysis, 92–93 Visit of Charity, A (Welty), 122–40
themes visual art, comparing poetry and,

issues of, 46–48 156–62
of plays, 173–76 voice, of essays, 186–87
in poetry, 153–54
of short stories, 134–37 warrants
The miller’s wife had waited long, assumptions about, 10–11
making arguments about literature
144–48, 152–56 and, 55–56
thesis
we, short story narrated by, 130
as claim, 8 weighted comparative paper
identifying, writing process and, 94
as main claim, 53 comparing literature and art for, 158,
They left my hands like a printer’s, 159–62

143–48, 152–56 comparing two or more texts for,
third person, short story written in, 115–20

130 Weir Mitchell, S.
Thomas, Brittany (student writer) The Evolution of the Rest Treatment,
243–48
The Relative Absence of the Human
Touch in “The Yellow Wallpaper,” Welty, Eudora
223–27 A Visit of Charity, 122–40

title When I consider how my light is spent
choosing, 96–97 (Milton), 60–61
of plays, 174
of short stories, 134, 135 Which Is the Stronger Actress in August
Strindberg’s Play? (Carlisle), 176–78
tone
of essays, 186 Why Are Poor Kids Paying for School
of poetry, 148 Security? (Prose), 29–33

topic outline, 95 Why I Wrote “The Yellow Wallpaper”
(Gilman), 242–43

286 Index of Authors, Titles, First Lines, and Key Terms

Wikipedia, 195 example of first draft and, 104–06
Wordsworth, William example of revised draft and, 110–12
exploring, 90–92
The Solitary Reaper, 89–112 planning, 92–96
Works Cited revising and, 106–10

format for, 201, 203–08 Yellow Wallpaper, The (Gilman), 35, 37,
recording information for, 197 228–42
writing, as response to argument,
“Yellow Wallpaper” as a Guide to Social
20–24 Factors in Postpartum Depression,
writing process, 89–120 “The” (Michaels), 208–12

comparative paper and, 112–20
composing and, 96–104