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Hello, I need help with an essay that is  2,000 words, I have uploaded the essay instruction in this please look at itENG2l36A Essay Topics Select one of the following topics and write a 2,000 word essay about it. The essay must argue an interpretation of one or more of the assigned readings, supporting the argument by analysing details from the story. No research is necessary, but if you wish you may research any CONTEXT vital to the topic you select. Consult authoritative, scholarly sources of information. Avoid reading actual interpretations of the assigned readings. Due date: See course outline and calendar. Length: Approx. 2,000 words (give or take 15\%) Format: MLA Additional information to be posted separately on Brightspace. 1. In adventure fiction, the hero slays the monster, affirming the triumph of good over evil. In horror fiction, the main character may become or discover himself to be the monster. Analyse and interpret the characterization of one such protagonist in one of the stories studied this term. 2. In horror fiction, even the home can become an unsettling, dangerous place. Analyse and interpret the way in which the home is transformed into a nightmare space in one of the stories studied this term. 3. In horror fiction, intimate personal relationships become twisted beyond recognition into something physically and/or psychologically destructive. Select one type of relationship: parent/child, friendship, courtship, marriage, sibling, etc., and analyse and interpret what one of the stories studied this term suggests about society and/or human nature by twisting it. 4. The monster, especially when supernatural, figuratively expresses literal fears. Monsters have been described as “meaning machines,” i.e., multivalent, open to multiple interpretations. As such, they raise multiple troubling questions about important matters we often prefer to take for granted, like social traditions and institutions, politics and history, human nature or identity, and more. Select, analyse and interpret the multiple implications of a monster in one of the stories studied this term. 5. Much horror fiction emphasizes our mortality, reminding us of the many and varied physical threats to our lives. Some horror fiction goes further, speculating about the extinction of humanity as a species and even suggesting that we ourselves will be the authors of our own destruction. Select, analyse and interpret what one of the stories studied this term has to say about mortality. 6. The monsters in some horror fiction call attention to the human capacity to dehumanize other human beings and the disastrous consequences thereof. Analyse and interpret the depiction of the process of dehumanization in one of the stories studied this term. 7. In horror fiction, human characters unwisely make a deal with the devil or invite evil in, and usually come to regret it (not always). Analyse and interpret what one of the stories studied this term suggests about the reasons for and/or consequences of such choices. Important Tip Do not assume that the more ideas coverPage 1 of 4 Notes on Horror as a type of fiction “Horror is not a genre, it is an emotion. It is a progressive form of fiction, one that evolves to meet the fears and anxieties of its times.” (Douglas E. Winter) Definitions of “horror” fiction usually focus on reader response, specifically disturbing emotions. Because interpreting literature requires, above all, paying close attention to literature itself rather than speculating about hypothetical readers, in this course we concentrate on that which provokes reader response, the horrifying phenomenon described or implied in the story. Given that the concept “horrifying phenomenon” is unhelpfully broad and vague, we focus on a more manageable, narrower concept of the phenomena which horrify or terrify, such as the “monster” and the “monstrous.” What is a monster? Recent dictionary definitions are surprisingly limited and literal, focusing largely on physical traits, and reinforcing the unhelpful assumption that by definition monsters are supernatural. The very earliest definitions of the terms “monster” and “monstrous” by contrast provide less limiting guidance to reading horror fiction. Samuel Johnson, Dictionary of the English Language (1755) MONSTER. n.s. [monstre, Fr. monstrum, Latin.] 1. Something out of the common order of nature. 2. Something horrible for deformity, wickedness, or mischief. To MONSTER. v.a. [from the noun.] To put out of the common order of things. Not in use. MONSTROSITY. MONSTRUOSITY MONSTRUOSITY. n.s. [from monstrous.] The state of being monstrous, or out of the common order of the universe. Monstrosity is more analogous. MONSTROUS. adj. [monstrueux, Fr. monstrosus, Latin.] 1. Deviating from the stated order of nature. 2. Strange; wonderful. Generally with some degree of dislike. 3. Irregular; enormous. 4. Shocking; hateful. Page 2 of 4 MONSTROUSLY. adv. [from monstrous.] 1. In a manner out of the common order of nature; shockingly; terribly; horribly. 2. To a great or enormous degree. MONSTROUSNESS. n.s. [from monstrous.] Enormity; irregular nature or behaviour. Joseph Campbell The Power of Myth (1988) By monster I mean some horrendous presence or apparition that explodes all of your standards for harmony, order, and ethical conduct (Campbell 222). Horror Fiction According to Stephen King, horror is generated when “our confidence in the sane, predictable cosmic order is suspended” and we move “beyond the safe, normal confines of [our] everyday world” (Dans Macabre) BUT what exactly constitutes • “the common order of things”? • “standards for harmony, order, and ethical conduct”? • “sane, predictable cosmic order”? • a “safe, normal . . . everyday world”? Horror raises and addresses such questions through its use of monsters and monstrous elements, and also through its use of the various types of irony. 1 World view: shared perception of and beliefs about the world, our selves, social norms and codes of conduct, etc. WaInterpretive Essay -- Grading Criteria U of O System of grading Letter grade Percentage Point Value Definition A+ 90\%-100\% 10 exceptional A 85\%-89\% 9 excellent A- 80\%-84\% 8 excellent B+ 75\%-79\% 7 very good B 70\%-74\% 6 very good C+ 65\%-69\% 5 good C 60\%-64\% 4 good D+ 55\%-59\% 3 passable D 50\%-54\% 2 passable E 40\%-49\% 1 failure F 0\%-39\% 0 failure Please Note Interpretive essays argue informed opinions based on evidence drawn from primary sources (the literature studied in the course). Secondary sources, especially sources of factual information, may also be necessary, depending on the choice of primary source, and the topic. For example, an essay that argues an opinion about what a novel reveals about a specific society (e.g., Victorian England) will require research into 19th-century culture. Secondary sources that argue interpretations of the literature studied in this course should be used sparingly – if at all – to avoid misusing them (for further details see descriptions below). A- to A+ Papers (80-100\%)  Have a very clear aim. The thesis identifies the topic in specific, accurate language. The thesis does not simply make an assertion that can be substantiated in the body of the paper, but opens up a thought-provoking, plausible argument.  Have exceptionally strong introduction and conclusion. The introduction moves gracefully from the general (context of topic) to the specific (thesis statement). It is at least ½ a page long. It should leave no doubt where the argument is headed and why. The conclusion is thoughtful and ties together the argument, unobtrusively summarizing what ground has been covered and why.  Well-chosen quantity & quality of supporting detail drawn from the primary source. Quotations are not left to speak for themselves, but are explicitly tied to the argument, i.e., analysed and interpreted.  Well-chosen quantity and quality of secondary source material. Any requisite factual information has been derived from authoritative, scholarly sources, such as the Oxford English Dictionary, peer-reviewed journals, and the like. If opinions drawn from scholarly interpretations have been used – which is by no means essential – they have either been debated, or built upon.  Quantity of evidence is appropriate. Quotations, paraphrase, and other evidence comprise no more than ½ of the body of the essay.  Development of argument is logical and well-organised. Topic sentences should be strong, and implicitly or explicitly relate to the thesis.  Tone is formal and objective. Ideally, while the writer’s commitment to the thesis comes across clearly, the reader is convinced of the plausibility of the argument by careful, even rigorous, development of ideas/opinions. No slanted language or emotive rhetoric has been used.  Show stylistic maturity and confident facility with language. Writer demonstrates an ability to use a variety of sentence structures, but does not lapse into unnecessary prolixity. VocabuHome     His Life     His Writings     His Creations     His Study     Popular Culture     Internet Resources     About This Site   The Statement of Randolph Carter By H. P. Lovecraft I repeat to you, gentlemen, that your inquisition is fruitless. Detain me here forever if you will; confine or execute me if you must have a victim to propitiate the illusion you call justice; but I can say no more than I have said already. Everything that I can remember, I have told with perfect candour. Nothing has been distorted or concealed, and if anything remains vague, it is only because of the dark cloud which has come over my mind—that cloud and the nebulous nature of the horrors which brought it upon me. Again I say, I do not know what has become of Harley Warren; though I think—almost hope—that he is in peaceful oblivion, if there be anywhere so blessed a thing. It is true that I have for five years been his closest friend, and a partial sharer of his terrible researches into the unknown. I will not deny, though my memory is uncertain and indistinct, that this witness of yours may have seen us together as he says, on the Gainesville pike, walking toward Big Cypress Swamp, at half past eleven on that awful night. That we bore electric lanterns, spades, and a curious coil of wire with attached instruments, I will even affirm; for these things all played a part in the single hideous scene which remains burned into my shaken recollection. But of what followed, and of the reason I was found alone and dazed on the edge of the swamp next morning, I must insist that I know nothing save what I have told you over and over again. You say to me that there is nothing in the swamp or near it which could form the setting of that frightful episode. I reply that I know nothing beyond what I saw. Vision or nightmare it may have been—vision or nightmare I fervently hope it was—yet it is all that my mind retains of what took place in those shocking hours after we left the sight of men. And why Harley Warren did not return, he or his shade—or some nameless thing I cannot describe—alone can tell. As I have said before, the weird studies of Harley Warren were well known to me, and to some extent shared by me. Of his vast collection of strange, rare books on forbidden subjects I have read all that are written in the languages of which I am master; but these are few as compared with those in languages I cannot understand. Most, I believe, are in Arabic; and the fiend-inspired book which brought on the end—the book which he carried in his pocket out of the world—was written in characters whose like I never saw elsewhere. Warren would never tell me just what was in that book. As to the nature of our studies—must I say again that I no longer retain full comprehension? It seems to me rather merciful that I do not, for they were terrible studies, which I pursued more through reluctant fascination than through actual inclination. Warren always domTo know more, see the Purdue OWL, SPARK, Infosphère, or similar writing centre websites. © 2016 Academic Writing Help Centre (AWHC), Student Academic Success Service (SASS), University of Ottawa This content is available under the terms of the Creative Commons Attribution 4.0 International License. Following the Instructions Before you start planning your paper, make sure that you understand its goal; before you start writing your paper, make sure that you respect its format. If you tend to procrastinate, prepare a writing calendar as soon as you receive the assignment instructions. By having smaller tasks to accomplish each week, you are more likely to have enough time to complete every step of the writing process. Establish your priorities, especially when you have more than one paper to write. ‒ How much of your overall grade is awarded to the paper? How many points is it worth? ‒ What are the evaluation criteria? Do you have a checklist to follow? ‒ When is the paper due? Are there penalties for late submissions? Goal Plan your paper according to the type of paper that you must write and according to the topic that you must explore. ‒ Must you write an annotated bibliography, a critical review, an essay, a lab report, a literature review, an oral presentation, a research proposal, a summary, or another type of academic paper? ‒ Must you find your own topic, choose from a list of topics, or follow a given topic? ‒ How many sources are required? Pay attention to the verbs that are used in the instructions. ‒ Argumentation: analyze, assess, debate, discuss, consider, evaluate, prove, reflect, show, etc. ‒ Description: classify, define, demonstrate, enumerate, explain, identify, illustrate, outline, show, etc. ‒ Relation: apply, compare, connect, contrast, differentiate, distinguish, link, relate, show, etc. Format Make a list of all the formatting requirements—these are easy points to collect. ‒ What is the length of the paper? (This is an important clue concerning the scope of the topic.) ‒ What are the professors preferences regarding font, margins, and spacing? ‒ What are the professors preferences regarding page numbers, headers, and headings? ‒ What is the expected format for the title page and bibliography? ‒ Which referencing style must you use? https://creativecommons.org/licenses/by/4.0/ Goal FormatPage 1 of 8 Short Notes on the Elements of Fiction (the building blocks of all types of fiction) 1 Plot plot = “the organization of incidents in a narrative. . . .The governing word in this definition is organization” (Beckson & Ganz 203) Elements of plot structure/organization:  exposition, or introductory information  complication(s), series of events caused by the central conflict  climax, the moment of crisis in the story--point of no return  denouement/resolution, the untangling of the complications  foreshadowing, clues of events to follow  flashback, shift back to the past  juxtaposition The most important key aspect of plot, however, is conflict whether it be an actual physical battle between good and evil, or inner psychological turmoil. A mere string of events does not constitute a plot, that is simply a narrative sequence. (See the definition of narration in any writer’s handbook.) The king died and the queen died. Simple narrative sequence. The king died and the queen died of grief. A plot. Plots may be comic – move from disorder to order – the resolution of the conflict affirms that the world we live in is orderly, and the roles we play in it effectual and meaningful Plots may be tragic – move from order to disorder – the resolution of the conflict suggests that the world we live in is chaotic, hostile and the roles we play in it meaningless, or ineffectual 2 Characterization characterization = the technique(s) used to create a character. Texts can TELL us about characters (intervene to describe & evaluate characters) or SHOW us characters (present dialogue & action without overt judgement). Page 2 of 8 Texts can TYPIFY OR INDIVIDUALIZE ‘Flat’ characters: representative, generic, static (incapable of growth & change) ‘Round’ characters: unique, distinctive, capable of growth and change Few characteristics (often physical) Many characteristics (physical & emotional) Representative (stock) Individual Stereotype (reflects shallow prejudices--facile judgement ) or archetype (full of symbolic resonance) Unique: depiction of human being as a social being with a distinct personality (social & psychological depth) We come to understand a character through the following:  what the text tells us (physical descriptions, moral judgements, etc)  what the character does (plot)  what the character says & thinks (dialogue)  what other characters say about him/her (dialogue) Important categories of character:  hero or protagonist  villain or antagonist  heroine 3 Setting setting = the natural and artificial scenery or environment in which the characters in literature live and move, together with the things they use. It establishes the time, place & social reality within which the story takes place. Setting = all physical and temporal objects and artifacts found in the story:  times of day  weather  hills & valleys  trees & animals  sounds outside & in  smells  walking sticks, necklaces, clothi