Fluent Essays

5 Pages MLA Double SpacesRead the requirements carefully and also read the sample essay.You must cite from at least two outside scholarly sources in your essay.Topic: Discuss the ways in which one of these elements—the setting, or an unreliable narrator—creates a sense of horror in one of the following stories. Make sure you relate your chosen element in meaningful ways to other significant elements in the story (character, plot, symbols, figurative language, etc.), as appropriate. You must cite from two outside scholarly sources in your essay. You must locate these sources via either the JSTOR or Project Muse databases, which you can access via the WLAC library website using your LACCD login credentials. You may not cite from Wikipedia, Sparknotes, or websites found via general Google searches. After finish , read others essay, and give 3 Peer reviews.Setting “A Rose for Emily” by William Faulkner “A Jury of Her Peers” by Susan Glaspell “Afterward” by Edith Wharton “The Cask of Amontillado” by Edgar Allan PoeUnreliable Narrator “The Tell-Tale Heart” by Edgar Allan Poe “The Yellow Wallpaper” by Charlotte Perkins Gilman literary_analysis_essay_instructions_winter_2020_final.pdf sample_essay_2_setting_.pdf sample_essay_unreliable_narrator.pdf introductions_for_literary_analyses.pdf how_to_write_a_literary_analysis_essay.pdf Unformatted Attachment Preview Literary Analysis Essay Topic: Discuss the ways in which one of these elements—the setting, or an unreliable narrator—creates a sense of horror in one of the following stories. Make sure you relate your chosen element in meaningful ways to other significant elements in the story (character, plot, symbols, figurative language, etc.), as appropriate. You must cite from two outside scholarly sources in your essay. You must locate these sources via either the JSTOR or Project Muse databases, which you can access via the WLAC library website using your LACCD login credentials. You may not cite from Wikipedia, Sparknotes, or websites found via general Google searches. Setting  “A Rose for Emily” by William Faulkner  “A Jury of Her Peers” by Susan Glaspell  “Afterward” by Edith Wharton  “The Cask of Amontillado” by Edgar Allan Poe Unreliable Narrator  “The Tell-Tale Heart” by Edgar Allan Poe  “The Yellow Wallpaper” by Charlotte Perkins Gilman Setting: In gothic fiction, the element of setting assumes a prominence beyond its usual role in most stories that is disturbing. Why? What makes it a gothic (horror-inducing) place and/or space? What themes are implied by the detailed descriptions of Poes gothic places/spaces? Are the places/spaces symbolic? Of what? What language describing the places/spaces suggests those ideas? To what extent could the gothic places/spaces, perhaps, be considered active participants in the stories? In what ways? Can the descriptions of the settings be read as a projection or reflection or revelation of the characters psychological state, perhaps of his/her sub-conscious? If so, what do we learn about the inner world of the character? How does the language describing the settings contribute to the horror effect in general? Look closely at language as you answer these questions. Narrator: See definition of unreliable narrator (online). Discuss some of the ways the author undermines the reliability of the narrators presentation of the story. How and why does that undermining create a sense of horror? To what degree is the narrators narration unreliable? What is his motive? Is he lying? mistaken for some reason? unethical? indifferent or lazy? downright crazy? Or what? Does the narrator think he is unreliable? If we cant believe everything the narrator says (and have good evidence for our skepticism), then how do we know what really happened or what is the correct way to interpret signs or actions or passages? Keep in mind that the author has to provide us, through the narrators narration, with enough information to determine the possible shortcomings of the narrator--very tricky technique since the narrator cannot be aware that he is undermining his own narration. Is the revelation of the narrators shortcomings gradual throughout the story or a surprise (shocking?) revelation near the end of the story? In looking back over the story, where has the author inserted some foreshadowing of the unreliability of the narrator--or with-held information that would make us question the narrator more closely? Why? How does all this contribute to the overall horror-effect of the story? Structure: Before you begin writing, read this handout on writing a literary analysis. Your essay should include an introduction that introduces the topic and ends with a clearly worded, 1-2 sentence thesis statement. Each supporting paragraph (there should be at least 3) should begin with a strong topic sentence and should incorporate evidence, including direct quotations from secondary scholarly sources. Direct quotations should be incorporated using the quotation sandwich method and proper MLA in-text citations. The essay should also contain a strong conclusion. The final page of the document should consist of a Works Cited page. Specific tips for formatting electronic sources can be found here. Formatting Tips: Your document should be 5-7 pages in length, typed and double-spaced, in Times New Roman font, size 12. Your paper should have 1-inch margins and should include a properly formatted heading and a title. Due Dates:    Friday, January 24: Draft 1 must be uploaded as a Word document or a PDF via the assignment link in the Week 3 Module by 11:59pm for online peer review. If you do not submit your draft by the deadline, you will not be able to participate in the peer review process and will therefore earn a failing grade on your draft. It’s critical that you submit a draft. Friday, January 31: Peer reviews must be completed (you will be assigned 3 essays to review). Peer review groups will be automatically assigned at 12:01am on Sunday, June 1. Instructions for peer review are located in the Week 4 Module. Tuesday, February 4: Draft 2 must be uploaded as a Word document or a PDF via the assignment link in the Week 5 Module by 11:59pm. I will grade this draft. ***Note that your grade for the draft will reflect the overall completeness of your first draft (50\%) as well as the quality of your peer review feedback (50\%). Students who do not devote adequate time and effort to the peer review process will receive a failing grade for the draft. Tips for Success: 1. As you study your selected story, develop a solid thesis about this topic--some conclusion you have arrived at-and make sure you cite lots of examples and details from the story to support and illustrate your thesis and subpoints. And make sure you discuss and explain your evidence. 2. And please read Organizing your Paper (online). One thing you do NOT want to do is to produce a paper that just answers each of the above questions, one after another. There is no particular reason or purpose in the order of the questions, so you would end up with a very unfocused and disorganized paper. 3. Check out some samples! There are several student samples located in the Week 4 Module. 4. You must cite scholarly sources in this paper. You must include all sources cited in your essay (both the primary texts, i.e. the short stories, as well as any outside sources) in your Works Cited page. This page, which will be the final page of your document, must be formatted according to MLA requirements. This page should list all works referenced in your paper (including your short story).  Use standard in-text citation (author and page), and put the source information on the final page of your document labeled Works Cited). Follow MLA directions.  See this short summary of MLA style: MLA Formatting and Style Guide (online), created by the Purdue University Online Writing Lab. Scroll down the page to find a long list of links for in-text citation and bibliographies, including how to do electronic sources (online).  Also check MLA Style: MLA Style: Frequently Asked Questions (online). Smith 1 Julie Smith Dr. Stella Setka English 101 14 July 2017 The Mirror of Suffering in “The Yellow Wallpaper” The ‘Yellow Wallpaper” written by Charlotte Perkins Gilman is both a haunting psychological story and a feminist masterpiece that uses setting to communicate the unnamed narrator’s struggles. The story takes place in an ancestral house where the narrator and her husband stay over the summer. Gilman purposely gives vivid descriptions of the house to foreshadow the main character’s horrific experience. In the house, the narrator is forced by her husband to stay in a nursery room. Confined and isolated in this room, the protagonist becomes obsessed with the yellow wallpaper, which leads to her insanity. From this, it is evident that there exists a connection between the narrator and her physical setting. The gothic setting is a true revelation of the narrator’s oppression, emotional state, and insanity, therefore, it also plays an essential role in the story. In the beginning of the story, John’s wife describes the outside of the house, which presents a setting that is empty and isolated. The way the house is set up gives the narrator a strange feeling; “It is quite alone, standing well back from the road, quite three miles from the village. It makes me think of English places that you read about, for there are hedges and walls and gates that lock, and lots of separate little houses for the gardeners and people” (Gilman 84). The house is separated from the road meaning she is separated from society. It is described as a place that is isolated and restricted with many locks, which mirrors the narrator’s emotional position. Eugenia Delamotte argues, “Gothic talk of houses [is] really a description of women’s Smith 2 suffering” (4). When the narrator talks about the house, she is talking about her isolation and imprisonment, although, it is not immediately obvious. In fact, the setting foreshadows the confinement to which the woman will soon be subjected. This makes sense as to why Delamotte also argues, “…the Gothic situation of the heroine character is initially disguised from her” (3). In other words, we are not told immediately that the house will become her suffering. The connection between the narrator and her physical setting also reveals the unjust relationship with her husband. John belittles her nervous depression, especially her opinion of things. For instance, she mentions how she dislikes the room her husband chose for both of them to stay in; “I don’t like our room a bit. I wanted one downstairs that opened on the piazza and had roses all over the window, and such pretty old-fashioned chintz hangings! But John would not hear of it” (Gilman 84). It is clear that the narrator is dominated by a male figure, which in this case it is her husband. Her stand in society is viewed as powerless to men. Delamotte also agrees that John uses his exclusive masculine knowledge as a source of power over his wife. Delamotte explains, “...he prohibits self expression, forbidding his wife to write down her thoughts. To feeble her attempts to speak her own reality, he responds that she does not understand these matters: “I am a doctor, dear, and I know” (9). Undoubtedly, John overpowers his wife. He uses his Doctor title as a tool to control her. In doing so, he prohibits her from writing, but little does he know that this weakens her. This oppression is one of the reasons why the narrator gets close to her insanity. Inside the house, there is a particular room where John’s wife is kept in. She examines the room and says, “It was a nursery first and then playroom and gymnasium, I should judge; for the windows are barred for little children, and there are rings and things in the walls” (Gilman 84). The room was indeed a nursery and she was kept in there like if she was a child. This very Smith 3 much connects to the way John infantilizes his wife. He calls her his “blessed little goose” and “little girl”. He basically treats his wife more like a child than an adult. The thought of John’s wife being trapped in that room makes her look weak like a child. Beverly Hume explains how the nursery room symbolizes the narrator being controlled. Hume carefully analyzes, “If we take this narrator at her word, children…need to be kept behind bars to be controlled…” (5). This is just another way John empowers his wife. If he treats her like a little girl, then he must think that she doesn’t know what she’s doing, except him. He thinks that his wife being kept in the room will do her good, but on the contrary, it is slowly deteriorating her. Further in the story, the narrator starts to reveal her inner psyche through the “horrid” yellow wallpaper that she sees in her room. The narrator carefully describes this paper and begins to see things that frighten her and amuse her at the same time. This plot is centrally important and gives the story its title. The yellow wallpaper twists and turns with a pattern that is described as; “One of those sprawling flamboyant patterns committing every artistic sin” symbolizes the imprisonment of the narrator (Gilman 85). As the narrator continues to observe its patterns she points out, “…a woman stooping down and creeping about behind that pattern… The faint figure behind seemed to shake the pattern, just as if she wanted to get out” (Gilman 90). This gothic scene is a reflection of the character’s psychological state. Her confinement and her isolation lead her descent into madness. Hume explains that the narrator “appears to move deliberately toward her final revelation of herself as the woman in the wallpaper, a woman suffering from the final and grotesque delusion that she has gained freedom from her domestic situation by literally ripping the paper off her walls” (11). This scene of total madness ends with John fainting out of horror. He finds his wife had peeled off the yellow wallpaper and this is the Smith 4 symbol of her “freedom”. Disconnected from reality, she feels she has finally freed herself from her isolation, her confinement, and her oppression. The “Yellow Wallpaper” is definitely a Gothic that uses setting to create a sense of horror in the story. Gilman skillfully uses the house to connect with the protagonist’s struggles. One way the author does this is by describing the exterior of the house and the nursery room inside it. Another way is by telling the horrific experience of the narrator while staying at the house. In the house, John oppresses the protagonist by forcing her to stay in a nursery room. The room becomes her isolation and confinement as she begins to see a woman behind bars through the yellow wallpaper. She was basically looking at herself the whole time. This only proves that the house is a reflection of the narrator because all her suffering is seen through it. That is why the setting truly has a connection with the main character of the story. Smith 5 Works Cited Delamotte, Eugenia C. “Male and Female Mysteries in “The Yellow Wallpaper.’” Legacy, vol. 5, no. 1, 1988, pp. 3–14. JSTOR. Web. 29 June. 2017. Gilman, Perkins Charlotte. “The Yellow Wallpaper.” The Norton Introduction to Literature, edited by Kelly J. Mays, New York: W.W. Norton & Company, 2013, pp. 83-97. Print. Hume, Beverly A. “Managing Madness in Gilman’s “The Yellow Wall-Paper.”” Studies in American Fiction, vol. 30, no. 1, 2002, pp. 3-20. Project MUSE. Web. 29 June. 2017. 1 Jane Doe Dr. Stella Setka English 101 30 June 2017 “A Secret Horror” “The Yellow Wallpaper” by Charlotte Perking Gilman is not your ever-day horror story. There are no ghosts or goblins, demons or spirits, massacre or murder. There is no gruesome plight or terror filled chase. No, “The Yellow Wallpaper” is absent of all of these typical horror provoking traits, yet it is perhaps even scarier than the most dreadful terrors one can conjure. Why? The horrors found in this tale are those buried in the secrecy of one’s own mind turning on itself, those that are fueled by nothing more than benign surroundings, and those that cast one into a gradual descent of madness while everyone around them is none the wiser. This is the horror “The Yellow Wallpaper” brings upon its reader. It is a quiet but intense nauseating feeling, sending shivers down one’s spine. Gilman brilliantly created this troubling sensation by coaxing the reader into an initially sympathetic relationship with an unreliable narrator who at first seems trustworthy but soon journeys deep into secret psychosis fueled by nothing more than her own mind and staring at a wall. The reliability of the narrator early on creates a false sense of calm and believability for the reader. The narrator, Jane, does not strike the reader as all that unreliable when first introduced. In fact, there seems to be an air of trust built between the reader and narrator, which makes this story so horrifically and emotionally complex. Jane is self-introduced by her own secret narrative that is hidden from all others in her life. She is well aware of her current mental struggles, noting that she possesses a “temporary nervous depression – a slight hysterical 2 tendency” (Gilman 83). Throughout her first day of writing, she has a very introspective demeanor, consistently questioning her own rational and reliability, even reiterating that her emotional sensitivities are “due to this nervous condition” (Gilman 83). This creates a sense of reassurance in the reader because it is clear that Jane does possess an acute awareness for her psychological illness and does her very best to correct her irrational thoughts. Jane’s relationship with her husband provokes a deeper alliance between reader and narrator. John, her husband, is clearly an oppressive figure. While he has good intentions, he treats her in a condescending and dismissive manner. Jane repeatedly tries to convince herself to follow John’s direction, reassuring both herself and the reader that “he is very careful and loving” and that she merely gets “unreasonably angry with John sometimes” and is “basely ungrateful” for his care (Gilman 84). The treatment by John provokes the reader to sympathy towards Jane and anger at John. Trust in Jane’s reliability increases as her perspective on her mental illness seems even more accurate than John’s beliefs. Jane pleads with John to take her out of the room with the yellow wallpaper. She expresses how it is making her worse, and John brushed her aside stating, “Nothing was worse for a nervous patient than to give way to such fancies” (Gilman 85). The wallpaper stayed, and Jane got worse. Now that Gilman has wrapped up the reader in Jane’s emotional plight, things begin to shift in a disturbing way. When Jane writes again, it becomes clear to the reader that she may not be the reliable source she was once thought to be. She begins seeing things in the wallpaper, describing “absurd, unblinking eyes” (Gilman 87). She begins to make out “a strange, provoking, formless sort of figure, that seems to skulk about behind that silly and conspicuous front design” (Gilman 87-88). The reader begins to feel uneasy about how much they can actually trust Jane’s 3 grasp on reality. While she is still aware of her illness and expresses a desire to “get well faster” (Gilman 86), there is no denying Jane is not in a healthy state of mind. Jane has, without question, begun her gradual descent into madness, leaving her literary observer unsure of what to believe and what to expect. There is a pivotal moment where the wallpaper is no longer “particularly irritating” to Jane. It has morphed into a sick obsession. She excitedly claims she is “getting really fond of the room in spite of the wall-paper. Perhaps BECAUSE of the wall-paper” (Gilman 88). That formless figure reveals itself to Jane as a “woman stooping down and creeping about behind the pattern” (Gilman 90). Jane is disturbed by the woman in the pattern, and so is the reader. In an attempt to hang onto a last shred of sanity, Jane makes one final attempt to convince John of her disturbed mental state. Once again, he brushes her aside. He bodaciously proclaims, “but you really are better, dear, whether you can see it or not. I am a doctor, dear, and I know. You are gaining flesh and color, your appetite is better, and I really feel much easier about you” (Gilman 91). If only John knew the internal horror rapidly growing in Jane’s mind. If only John knew, that this was the final attempt Jane would make before she is consumed by her madness. If only John knew that he just experienced the last moment of sanity his wife would possess. While the suspense of witnessing this dichotomy of realities creates such an unease and sense of impending doom, the reader does not know that the worst is yet to come. Jane’s narrative has a dramatic shift in tone, style, and focus. All she can write about is the yellow wallpaper and the woman behind it creepin ... Purchase answer to see full attachment