MLA Formatting and Style Guide. Summary: MLA (Modern Language Association) style is most commonly used to write papers and cite sources within the liberal arts and humanities. This resource, updated to reflect the MLA Handbook for Writers of Research Papers (7th ed.) and the MLA Style Manual and Guide to Scholarly Publishing (3rd ed.), offers examples for the general format of MLA research papers, in-text citations, endnotes/footnotes, and the Works Cited page. Contributors:Tony Russell, Allen Brizee, Elizabeth Angeli, Russell Keck, Joshua M. Paiz, Purdue OWL StaffLast Edited: 2012-05-09 07:17:57 Please use the example at the bottom of this page to cite the Purdue OWL in MLA.
To see a side-by-side comparison of the three most widely used citation styles, including a chart of all MLA citation guidelines, see the Citation Style Chart. You can also watch our MLA vidcast series on the Purdue OWL YouTube Channel. General Format MLA style specifies guidelines for formatting manuscripts and using the English language in writing. A Protocol for Citing Evidence from Informational Text from Expeditionary Learning. English Argumentative essay.
Teaching Shakespeare's Julius Caesar: Common Core-Style. For the first eight years of my teaching career, my Shakespare daily lesson plans went something like this: "Good morning! Turn to Act II Scene 1 on page 234. I'm going to push play on the CD, let's listen to a few lines... " (Actors performing while students follow along for about 30 seconds. Once in awhile, I would have the students act out a scene or two... but that usually led to monotone recitations and awkward moments helping students pronounce words. I think many people would relate to these methods. We were studying the play a mile wide and an inch deep. This year, my English II colleague Blake Revelle and I decided to try something completely different when we taught Julius Caesar. We felt like the answer was clear: In 10 years, it will be far more important for our students to know how to annotate, analyze and explain a complex text they have to read for work or college, rather than be able to answer plot questions or create a poster with all of the characters.
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TEST YOURSELF - The Learning Network Blog. E-learning and Digital Cultures. TYENGLISH - The Learning Network Blog. Ela-teach-strat-read-text-6-12. Classroom Activities | ISUComm. How Media Shapes Perception. Thinking and Learning TED Ed. Thinking and Learning TED Ed. Language and Literature TED Ed. Jamie Oliver Campaign makes McDonald’s change recipe / News + Video on Documentary Lovers.
LitGloss. Poetry. Famous Novelists on Symbolism in Their Work and Whether It Was Intentional. Eric Carle's bright, beloved children's classic about an insatiable caterpillar has been collecting awards—and fans—since it was first published in 1969. Here are a few things you might not know about The Very Hungry Caterpillar. 1. The Very Hungry Caterpillar's bright colors contrast a dark period in Eric Carle's childhood. Eric Carle was born in Syracuse, New York, on June 25, 1929. But when Carle was 6, his father relocated the family back to his native Stuttgart, Germany. It was 1935—so precisely the wrong time to move back to Europe. World War II cast a bleak pallor of violence and loss over Carle’s childhood. The author has since speculated that he was drawn to the chunky, vibrant colors of painted tissue paper collage in part as reaction to the grimness of his childhood. 2.
Herr Kraus, Carle’s high school art teacher, recognized his young pupil’s potential and risked his livelihood for the opportunity to foster it. 3. 4. 5. 6. 7. When George W. 8. 9. 10. 11. 12. 13. 14. 15. Sentence Structures and Styles - Samples From a Scrapbook of Styles - Examples of Verb Style, Parataxis, Hypotaxis, and More. Daily Grammar Archive - Comprehensive archive of all of our grammar lessons and quizzes. This archive contains links to all of our free grammar lessons and quizzes. You can use this archive to study Daily Grammar at your own pace. Lessons 1-90 cover the eight parts of speech, which are verbs, nouns, pronouns, adjectives, adverbs, prepositions, conjunctions, and interjections. Lessons 91-300 cover the parts of the sentence, such as appositives, predicate nominatives, direct objects, prepositional phrases, clauses, and verbals.
Lessons 301-440 cover the mechanics of grammar, which is also known as capitalization and punctuation. Our lessons have been organized by lesson number and by subject. Lessons 1, 2, 3, 4, 5 - Quiz Lessons 6, 7, 8, 9, 10 - Quiz Lessons 11, 12, 13, 14, 15 - Quiz Lessons 31, 32, 33, 34, 35 - Quiz Lessons 36, 37, 38, 39, 40 - Quiz Lessons 41, 42, 43, 44, 45 - Quiz Lessons 46, 47, 48, 49, 50 - Quiz Lessons 51, 52, 53, 54, 55 - Quiz Lessons 56, 57, 58, 59, 60 - Quiz Lessons 61, 62, 63, 64, 65 - Quiz Lessons 66, 67, 68, 69, 70 - Quiz.
The Race Card Project: Six-Word Essays. Character - the living handbook of narratology. Last modified: 24 February 2013 Fotis Jannidis 1 Definition Character is a text- or media-based figure in a storyworld, usually human or human-like. 2 Explication The term “character” is used to refer to participants in storyworlds created by various media (→ Narration in Various Media) in contrast to “persons” as individuals in the real world. At the discourse level, the presentation of characters shares many features with the presentation of other kinds of fictional entities. Viewing characters as entities of a storyworld does not imply that they are self-contained. For most readers, characters are one of the most important aspects of a narrative. There has always been a need to categorize characters in order to facilitate description and analysis. 3 History of the Concept and its Study 3.1 People or Words Characters have long been regarded as fictive people.
Another school of thought pictured character as mere words or a paradigm of traits described by words. 3.2 Character Knowledge. Plot, Theme, the Narrative Arc, and Narrative Patterns. In the world of fiction, just as in the world of your life, events occur. In life, people often try to determine what events mean in their own life and in the life of others. In fiction, authors will create meaning by introducing conflicts in the life of a character. The way a character responds to these conflicts is part of what gives a story meaning. Understanding plot, conflicts, structure, and their relationship will help a reader understand the meaning in a story. Plot is not just what happens in a story. Rather, plot is a pattern of cause and effect or conflicts upsetting the equilibrium of a situation.
Similarly, the plot in a film is not just what happens. The pattern for narrative was largely handed down from the Greek tradition in drama. Exposition In section one of a narrative, viewers are exposed to information that will later be necessary for them to have if they are to understand the unfolding story. Rising Action In early literature, the conflicts were Man vs. Resolution.
Greek and Roman Mythology. About the Course Myths are traditional stories that have endured over a long time. Some of them have to do with events of great importance, such as the founding of a nation. Others tell the stories of great heroes and heroines and their exploits and courage in the face of adversity. Still others are simple tales about otherwise unremarkable people who get into trouble or do some great deed. What are we to make of all these tales, and why do people seem to like to hear them? This course will focus on the myths of ancient Greece and Rome, as a way of exploring the nature of myth and the function it plays for individuals, societies, and nations. Course Syllabus Week 1: Homer, epic poetry, and Trojan legends Week 2: Heroes and suffering Week 3: This World and other ones Week 4: Identity and signs Week 5: Gods and humans Week 6: Religion and ritual Week 7: Justice Week 8: Unstable selves Week 9: Writing myth in history Week 10: From myths to mythology Recommended Background In-course Textbooks.
Persuasion Analysis | Hugh Rank. The Art of Being Right. The Art of Being Right: 38 Ways to Win an Argument (1831) (Eristische Dialektik: Die Kunst, Recht zu Behalten) is an acidulous and sarcastic treatise written by the German philosopher Arthur Schopenhauer in sarcastic deadpan.[1] In it, Schopenhauer examines a total of thirty-eight methods of showing up one's opponent in a debate. He introduces his essay with the idea that philosophers have concentrated in ample measure on the rules of logic, but have not (especially since the time of Immanuel Kant) engaged with the darker art of the dialectic, of controversy.
Whereas the purpose of logic is classically said to be a method of arriving at the truth, dialectic, says Schopenhauer, "...on the other hand, would treat of the intercourse between two rational beings who, because they are rational, ought to think in common, but who, as soon as they cease to agree like two clocks keeping exactly the same time, create a disputation, or intellectual contest. " Publication[edit] A. C. Synopsis[edit]