Paper Writing Services Legitimate
Empathy and the Visual: Paper #2 Dr. Milne
First draft due – Friday, Oct 30, aim for 3-4 full pages
On Oct 30, post your first draft to the Assignments channel in ACE as a Word attachment by the start of class, or your first
draft will be late. You will ALSO print one copy to bring to class for peer review. Per the syllabus, if you do not bring a
hardcopy to class on Oct 30, your grade will be negatively affected. Try to make this first draft as complete as possible to
maximize your grade. (Use e-mail as a backup—following syllabus instructions—ONLY if you cannot access ACE).
Revision/final draft due – Monday, Nov 9, 3-4 full pages (not including your image)
Post your revision to ACE as a Word attachment (.doc or .docx) no later than start of class on Nov 9.
Formatting requirement – 12pt Times New Roman font, double-spaced, 1-inch margins. MLA format!
Refer to ACE or LIT on arranging your paper in MLA format. See the syllabus for details. Review your MLA formatting
lessons from ENGL101 if necessary. You may use only one (1) block quote in this essay.
Purpose and Overview: While focusing on issues related to empathy and experience, many of our texts can also be said to center
around an object or set of objects: Consider the symbolic nature of the quilts in Walker’s “Everyday Use” and Glaspell’s “Trifles,” or
the toxic fruit in Blake’s “A Poison Tree.” Other texts explicitly begin with an object; for instance, Natasha Trethewey’s ekphrastic
Domestic Work is so inspired by photographs that reading her poems evokes the feeling of flipping through a photo album, a sensation
shared by the child flipping through the National Geographic photos in Bishop’s “The Waiting Room.” At the end of the semester, we
will read Lewis’s March, a graphic novel directly confronting the idea of empathy and the visual. As a way to synthesize previous
readings and to anticipate March, this essay asks you to connect one of our texts to a visual artifact of your choice—a specific
building, sculpture, park bench, seashell, etc.—that you feel represents or symbolizes the text. You will apply your explication
techniques honed from Paper #1 and class discussion to a close reading of both object and text together, to answer these questions:
How does the visual add meaning and understanding to texts? How do symbols help us interpret texts?
Pre-writing: In honor of Atwood’s “Happy Endings,” you can do A then B, or you can reverse the order and start with the object and
find a text to match. Same goes for C and D. It is up to you!
A. Choose two to four texts we have read so far that have resonated with you. Skim or re-read them for review.
Go back and reread your class notes, reading journal, and marginalia to remind yourself of your thoughts about these texts.
After narrowing your choice to one text, create a cluster, list, or outline. Write down featured literary devices (metaphor?
alliteration? personification?) that you think may be important to mention, objects that feature prominently (if applicable),
unusual structural features like a unique narrative voice or arrangement, important characters and major themes, dominant
motifs, etc. Remember, a motif is more complex than a single, generic word. “Death” or “grief” does not fully describe a
theme. “A boy’s grief over the mysterious drowning of his uncle” is much more specific. “Growing up” may not be a
complete motif, but “growing up in a poor family living in a factory town in southern Illinois” could be.
B. Choose a striking visual image, artifact, or symbol that you feel has some kind of connection to your chosen text. This can be
a fuzzy feeling; you don’t have to be sure yet about the connection – just that you think that one exists.
Freewrite on the image and where you think the connection between text and visual lies. What does the object symbolize?
Once you are done, circle significant words that you feel most clearly represent the connection.
Important: Do NOT take this assignment too literally. Don’t pick the wallpaper in Gilman’s “The Yellow Wallpaper,” glass
slippers for “Cinderella,” or a microscope for Trethewey’s “Microscope.” The best essays will find unexpected, creative, and surprising
connections that require reflective thought and explanation.
C. Narrow down your visual choice. Let’s say, e.g., that
you decided on a painting of a mother and child.
Consider genre: Is an oil painting a better match to
the text than a photograph? And content: What are
the mother and child (son? daughter?) doing in the
image, and how does that connect to the text?
What’s in the background? What is the color scheme,
and how does it affect the painting? Think context:
Who created the painting and when? For what
purpose? For instance, Mary Cassatt’s painting, “The
Child’s Bath” (1893, left), is different from Dorothea Lange’s photograph, “Migrant Mother” (1936, center), and also from
Michelangelo’s “Madonna of Bruges” (1501, right). Don’t pick the first tree you find on Google when you really mean to
discuss Methuselah, the 5000-year old Bristlecone pine tree in California’s White Mountains. Choose something memorable,
thought-provoking, and provocative. Use the image as a jumping off point to think about your argument.
D. Narrow down your passage in the text. Focus on a specific motif, moment, or set of lines. Just as you did with Paper #1, do
a close reading or explication on the significance of that passage. Keep summaries to a minimum. Freewrite on the
connections between your artifact and your passage. Be precise: Your readers must know the reason you are connecting the
specific object with the specific moment in the text. Only after this is done can you widen your essay out to include the
context of the text as a whole, the historical time period, author biography, or whatever else you deem important.
Using your pre-writing, draft an organizing sentence that narrows down your focus. This sentence, or thesis statement, will
involve a statement that clearly communicates the connection between your text and your object.
Decide on essay organization, or rhetorical arrangement. Do you want to spend a few paragraphs discussing each, or do you
want to switch back and forth between object and text?
Include an image of your chosen object in your paper. It should take up no more than ¼ of a page. You are not required to use
any additional secondary sources for this essay, but if you do, include them in your Works Cited along with where you got
your image. (While you do need parenthetical citation, there’s no need to include a Works Cited since you’re using one of the
texts we read this semester. However, you can include one if you want to practice for your final paper).
Organize your body paragraphs so that they begin with topic sentences that preview your paragraph’s specific focus. Treat
each paragraph as a mini-argument that supports, clarifies, and expands upon your thesis statement. Include evidence
(quotes, specific examples, etc.) that reinforce your main points in each paragraph and explores your text.
As you craft your body paragraphs, use concrete details to describe the specifics of your object and why they matter (e.g.,
why did you choose graffiti on the Berlin Wall as opposed to graffiti on the Great Wall of China? Why that specific graffiti?
What makes Dorothy’s ruby slippers more appropriate to your text than, say, Run DMC’s trainers or any other shoe?).
Connect these details to your quotes and evidence in order to analyze your chosen literary moment.
Go back and write an introduction that briefly summarizes both the text and object leading up to your thesis.
Now return to your conclusion and tie everything together. Leave your readers with one more inspiring point. Print out your
draft to bring to class and turn in a copy as a Word attachment (.doc or .docx) to ACE Assignments by Oct 30.
ê Highlight your thesis statement. Does it focus on the connection between your specific object and textual moment? If not,
you must rethink your main argument. Sometimes, looking back at your paragraphs allows you to discover a better focus.
ê Review each paragraph. If you cannot find a good connection between the point of the paragraph and your thesis, then you
should consider omitting or revising the paragraph! Make sure each paragraph is relevant.
ê Check for connections between paragraphs, and connections between your statements and your evidence. Don’t just include
evidence without introducing it or interpreting it. Keep in mind that your responses and thoughts about the evidence should
make up the majority of each paragraph. If you have a paragraph that is made up mostly of quotes or other people’s ideas or
words, then you must revise that paragraph. Your voice is the one that counts here, so let it shine through!
ê If you have time, check grammar, spelling, and punctuation. Be cautious of plagiarism. Double-check MLA citation using
LIT 1247-1261 for assistance. Turn in 3-4 full pages to ACE as a Word attachment (.doc or .docx) by Nov 9.
Consult tips on close reading and visual analysis in ACE under “Writing about Literature Advice.”
Consider brainstorming with someone or interviewing someone to get an outside, objective perspective on your writing,
your chosen object, and the conclusions you have made about how they are connected.
For images, try library and museum databases. For example, the Smithsonian collection of art, historical artifacts, and
memorabilia is at http://collections.si.edu/search/. Art and design sites like My Modern Met, Colossal, or Deviant Art might
work. And of course, do a Google image search.
Be creative! Don’t choose the first idea that springs to your head if it’s not original or unique. Think outside the box!
Keep an open mind and an open heart. Don’t forget that discomfort can be a really important part of learning. Embrace it!
And of course, never hesitate to contact me if you have any questions or concerns.
First Name Last Name
Dr. Leah Milne
29 Oct 2015
Natural Beauty: Far Away from Reality
(Photo of the Week: Natural Beauty and Business in Colombia )
“A thing of beauty is a joy forever”, I read this phrase somewhere in a magazine or a
book, but it has made a mark on my mind and soul. Everywhere I look and find something
beautiful I immediately link with the phrase that a beautiful thing is a joy forever. I think this
photo also attracted my attention because of the beauty of the fast flowing greenish- brown
stream, the trees coming together to make a heart-shaped figure or may be just my imagination is
running wild, the hard working men all dressed in the same yellow t-shirts rowing the boat and
the look on their faces that displays multiple emotions. I found a special connection between this
picture and the two poems I have read in the book, “Domestic Poems” by Natasha Trethewey.
Natasha Tretheway has collected most of the poems related to photography and through her
poems she tries to suggest that reality is far different from what we see in the photographs. The
poems “Three Photographs” by Clifton Johnson and “Cabbage Vendors” emphasize that natural
beauty is definitely attractive, but it does not show reality because reality is far more different
from what is captured in photographs and images.