31 Matching Annotations
  1. May 2021
    1. One of the challenges of writing a research paper is successfully integrating your ideas with material from your sources. Your paper must explain what you think, or it will read like a disconnected string of facts and quotations. However, you also need to support your ideas with research, or they will seem insubstantial. How do you strike the right balance? In your essay, the introduction and conclusion function like the frame around a picture. They define and limit your topic and place your research in context. In the body paragraphs of your paper, you need to integrate ideas carefully at the paragraph level and at the sentence level. You will use topic sentences in your paragraphs to make sure readers understand the significance of any facts, details, or quotations you cite. You will also include sentences that transition between ideas from your research, either within a paragraph or between paragraphs. At the sentence level, you will need to think carefully about how you introduce paraphrased and quoted material.

      Integrating source material into analysis adds credibility. You can do this in a variety of ways: direction quotation, in-text citation, and paraphrasing.

  2. Apr 2021
    1. But the main problem with quoting arises when writers assume that quotations speak for themselves. Because the meaning of a quotation is obvious to them, many writers assume that this meaning will also be obvious to their readers, when often it is not. Writers who make this mistake think that their job is done when they’ve chosen a quotation and inserted it into their text. They draft an essay, slap in a few quotations, and whammo, they’re done.

      Rule of thumb is that anytime you integrate a quotation into your analysis, explain that quotation to the reader. Now rules can be broke, but early writers should try to follow these conventions. Make a quotation sandwich! Analysis, quotation, analysis.

  3. Mar 2021
    1. Run-on sentences, also known as fused sentences, occur when two complete sentences are squashed together without using a coordinating conjunction or proper punctuation, such as a period or a semicolon. 
    1. In a way, quotations are orphans: words that have been taken from their original contexts and that need to be integrated into their new textual surroundings. This chapter offers two key ways to pro-duce this sort of integration: (1) by choosing quotations wisely, with an eye to how well they support a particular part of your text, and (2) by surrounding every major quotation with a frame explaining whose words they are, what the quotation means, and how the quotation relates to your own text.

      Avoid dangling quotations. Review strategies for integrating quotations effectively. Make sure you explain the meaning of the quotation to the reader. See section below about the hit-run quotation and why you should avoid it.

    2. Quoting someone else’s words gives a tremendous amount of credibility to your summary and helps ensure that it is fair and accurate. In a sense, then, quotations function as a kind of proof of evidence, saying to readers: “Look, I’m not just making this up. She makes this claim and here it is in her exact words.”

      Quotations are a great way to add credibility to your analysis. As you read further, you'll see integrating quotations is sort of like the porridge in Goldie Locks and the Three Bears--usage should be "just right."

    3. THIRD EDITION“THEY SAY I SAY”The Moves That Matter in Academic Writing

      This is a tremendous resource that will help to refine strategies for making and supporting written arguments. Check it out!

  4. Oct 2020
  5. Sep 2020
    1. December 1912: Tagore

      I think it is interesting that this poem is in prose. What is meant when the writer said “brother of the stranger?

  6. Jan 2020
    1. Become a bright, flat surface. Cast no shadow.
    2. a prelude to detainment and dismemberment, grimly fascinating to observe, potentially thrilling to oppose, but no cause for prescription sedatives.
    3. I was coming to think of paranoia as a form of folk art, the poetic eruption of murky inklings
  7. Dec 2018
    1. having her distress

      Camilla (1796) by Frances Burney, a popular romanticist novel. In Camilla, the titular character has many misadventures concerning love and relationships. This reference could either be a funny nod or light foreshadowing. Source).

    2. Lovelaces

      Possible reference to Richard Lovelace (1617 - 1657), a cavalier poet. He was born into a family of soldiers and politicians and was described as “much admired and adored by the female sex.” He also wrote heavily on relationships, love, and the military. Source.

    3. Richardson's

      Specifically Samuel Richardson, the author of epistolary novels Pamela and Clarissa. Pamela was the really weird novel in which landowner Mr. B makes several unwanted advances towards 15-year-old Pamela, who marries him at the end. This is an unfortunate influence. Source.

    4. Links to common words/themes throughout the annotations

  8. Oct 2015
  9. Feb 2014
    1. You're as bad as that character in Moliere who didn't know he was talking prose! You've b een committing philosophical nonsense with your \rigorous pro ofs of existence". Don't you know that what exists has to b e observed, or at least observable?
  10. Nov 2013
    1. A painter without hands who wished to express in song the picture before his mind would, by means of this substitution of spheres, still reveal more about the essence of things than does the empirical world.
  11. Oct 2013
    1. Good riddles do, in general, provide us with satisfactory metaphors: for metaphors imply riddles, and therefore a good riddle can furnish a good metaphor. Further, the materials of metaphors must be beautiful; and the beauty, like the ugliness, of all words may, as Licymnius says, lie in their sound or in their meaning. Further, there is a third consideration -- one that upsets the fallacious argument of the sophist Bryson, that there is no such thing as foul language, because in whatever words you put a given thing your meaning is the same.

      Types of metaphors

    2. Prose-writers must, however, pay specially careful attention to metaphor, because their other resources are scantier than those of poets. Metaphor, moreover, gives style clearness, charm, and distinction as nothing else can: and it is not a thing whose use can be taught by one man to another. Metaphors, like epithets, must be fitting, which means that they must fairly correspond to the thing signified: failing this, their inappropriateness will be conspicuous: the want of harmony between two things is emphasized by their being placed side by side

      Metaphors are a powerful tool in prose, they connect ideas for the reader.

    1. Even now most uneducated people think that poetical language makes the finest discourses. That is not true: the language of prose is distinct from that of poetry. This is shown by the state of things to-day, when even the language of tragedy has altered its character.

      Poetry does not equal intelligence. Distinct difference between poetry and prose.

    2. the language of prose is distinct from that of poetry.
    1. The simile is a full-blown metaphor. Similes are useful in prose as well as in verse; but they must not be used often, since they are of the nature of poetry.

      Simile=poetic devise

    2. Rare, compound, and invented words must be used sparingly in prose; in which, over and above the regular and proper terms for things, metaphorical terms only can be used with advantage, and even these need care.

      Use common terminology

    3. Upon the subject of delivery (which presents itself here) no systematic treatise has been composed, though this art has much to do with oratory (as with poetry).

      Style; differentiating prose from poetry

    4. Four faults of prose style, with illustrative examples: (1) misuse of compound words; (2) employment of strange words; (3) long, unseasonable, or frequent epithets; (4) inappropriate metaphors.
    1. Prose, then, is to be rhythmical, but not metrical, or it will become not prose but verse.

      Prose vs. verse.